Week 10 Andris Nelsons Music Director

Home , Andris Nelsons, Marcia Marcus, Neil Rosenshein

bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 10 andris nelsons music director

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Table of Contents | Week 10

7 bso news 17 on display in symphony hall 18 bso music director andris nelsons 20 the boston symphony orchestra 22 this week’s program

Notes on the Program

24 The Program in Brief… 25 John Harbison 33 Eriks¯ Esenvaldsˇ 39 Sergei Prokofiev 47 Sergei Rachmaninoff 59 To Read and Hear More…

Guest Artists

63 Yo-Yo Ma 65 Victoria Yastrebova 67 Pavel Cernochˇ 69 Kostas Smoriginas 71 Tanglewood Festival Chorus

78 sponsors and donors 96 future programs 98 symphony hall exit plan 99 symphony hall information

the friday preview talk on november 21 is given by bso assistant director of program publications robert kirzinger.

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 134th season, 2014–2015

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

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

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp •

week 10 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • 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 • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • John P. Eustis II † • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • 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 • Farla H. Krentzman • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck † • Dr. Martin C. Mihm, Jr. • Robert Mnookin • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • 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

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BSO News

In Time for the Holidays: Andris Nelsons’ First Compact Disc with the BSO The Boston Symphony Orchestra and Andris Nelsons are very pleased to announce their first compact disc recording (also available as a download), a BSO Classics release pair- ing the overture to Wagner’s Tannhäuser and the Symphony No. 2 of Jean Sibelius. Both works are taken from concert performances earlier this season at Symphony Hall—the Wagner from Maestro Nelsons’ inaugural concert as music director on September 27, 2014, the Sibelius from his BSO program of November 6-11. The selections are particularly meaningful. It was hearing Wagner’s opera when he was just five years old that made Andris Nelsons want to be a conductor; the Sibelius reflects his strong interest in music of the Scandinavian and Slavic countries, and also builds upon the BSO’s distinguished history of past Sibelius recordings. Priced at $17.95 for the CD and $9.99-$13.99 for downloads (depending on format), the recording will be available in early December at the Symphony Shop and online at bso.org, as well as from Amazon.com and iTunes. To pre-order for shipping in early December, please visit bso.org.

Introducing a New, Complimentary Shuttle Service for BSO Friday-afternoon and Saturday-night Concerts The BSO is pleased to offer patrons who park in the Prudential Center garage a new, complimentary shuttle service between the Prudential Center and Symphony Hall for all Friday-afternoon and Saturday-night subscription concerts this fall. The twenty-three- passenger shuttle will pick up passengers in front of P.F. Chang’s restaurant on Belvidere Street near Huntington Avenue before the concert, and at Symphony Hall after the concert. Service begins one hour before the concert starts and will run for up to one hour after it ends (or until there are no more passengers needing return service). The shuttle is run by Commonwealth Worldwide Chauffeured Transportation, is marked “BSO Shuttle,” and will loop to and from Symphony Hall every fifteen to twenty minutes, depending on traffic. Please visit bso.org for further details.

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 Novem- ber 21 is given by Robert Kirzinger, next week’s, on November 28, by Marc Mandel.

week 10 bso news 7 individual tickets are on sale for all concerts in the bso’s 2014-2015 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 99 of this program book.

The Allison G. and William F. Achtmeyer Concert, Thursday, Planning Committee and a member of the Executive, Leadership Gifts, and Overseers November 20, 2014 Nominating committees. Bill and Alli have The performance on Thursday evening is generously supported many initiatives at the supported by a generous gift from Great BSO, including the Symphony Hall Forever Benefactors Allison G. and William F. Fund, Immediate Impact Fund, Symphony Achtmeyer. A BSO subscriber for thirty years, Annual Fund, Tanglewood Annual Fund, Bill served on the BSO Board of Overseers Opening Nights at Symphony and Tangle- from 2005 to 2010, when he was elected to wood, and BSO corporate events. the Board of Trustees. Bill currently serves as Bill is the founder and senior managing direc- Chair of the Board of Trustees. He previously tor of Parthenon/EY. He was the chairman served as a Vice-Chair of the Board of Trustees and managing partner of The Parthenon from 2013 to 2014. Group LLC, a leading strategic advisory firm In addition to attending Symphony perform- which merged with Ernst & Young in Septem- ances, Bill and Alli regularly attend Holiday ber 2014. Bill has served on the boards of Pops and Tanglewood performances. They numerous non-profit organizations, including have served annually on the benefactor com- the Tuck School of Business at Dartmouth mittee for Opening Night at Symphony since College, Belmont Hill School, Handel and the 2011-2012 season, including as chairs of Haydn Society, Massachusetts Society for the the Symphony Gala last season. Bill has also Prevention of Cruelty to Children, Tenacity, been involved with BSO corporate events for and the Museum of Fine Arts, Boston, among many years, and was co-chair for A Company others. Alli, who is the owner of StyleAlli Christmas at Pops in 2009 and 2010. He has Consulting, is a board member of the Isabella served on many board committees over the Stewart Gardner Museum, Friends of the Public years, including as Chair of the Strategic Garden, and UNICEF.

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The Cynthia and Oliver Curme Encore level, the Koussevitzky Society at the Concert, Friday, November 21, 2014 Virtuoso level, and the Fiedler Society at the Benefactor level. They are also full Fellowship The performance on Friday afternoon is sup- sponsors through their support of the ported by a generous gift from Great Bene- Tanglewood Music Center. factors Cynthia and Oliver Curme. Longtime concertgoers who have been a part of the BSO family for thirty years, Cindy and Ollie The Kristin and Roger Servison are true champions of the Boston Symphony Concert, Saturday, Orchestra both in Boston and the Berkshires. November 22, 2014 Both Cindy and Ollie are passionate advocates The performance on Saturday evening is for music and arts education, and they are supported by a generous gift from Great musicians themselves. Cindy, who is a classi- Benefactors Kristin and Roger Servison. Roger cally trained pianist, worked at the Symphony served on the BSO Board of Overseers from as part of the administration from 1984 to 1996 to 2001, when he was elected to the 1995, and later served as a volunteer. Cindy Board of Trustees. He previously served as was elected to the BSO Board of Overseers a Vice-Chair of the Board of Trustees from in 2003 and the Board of Trustees in 2005. 2003 to 2013. She is extremely active in her role as a Trustee, Kristin and Roger have been BSO subscribers serving on numerous board committees, infor sixteen years, and they also attend Holiday cluding the Executive Committee, Education Pops, Spring Pops, and Tanglewood perform- Committee, Overseers Nominating Committee, ances. “The BSO has been such an important Leadership Gifts Committee, and Tanglewood part of our lives, and we’ve enjoyed introduc- Annual Fund Task Force. In addition, Cindy ing our daughter to the joys of the Symphony serves as chair of the Tanglewood Strategic through Tanglewood and the Family Concert Planning Committee and Engagement Com- programs,” they have said. Kristin and Roger mittee. She has also served on many Opening have served on the benefactor committee for Night gala committees at Tanglewood and Opening Night at Pops and Symphony for Symphony, including the Fanfare Gala. Cindy many years. They have endowed, for a period and Ollie were co-chairs for the 2010 Opening of twenty years, a BSO first violin chair, cur- Night at Tanglewood and 2005 Opening Night rently held by James Cooke. The Servisons at Symphony. Ollie serves on the BSO’s Tech- have also generously supported the Artistic nology and Media Committee. Initiative, Immediate Impact Fund, Symphony In addition to her involvement here at the Annual Fund, and Opening Nights. They are BSO, Cindy has been involved with several members of the Higginson Society at the arts organizations, including serving as a Virtuoso level, as well as the Walter Piston trustee of the Boston Conservatory and the Society. Roger has served on many board Terezín Music Foundation, and as an overseer committees over the years; he currently of From the Top. Ollie, who most recently serves on the Investment, Leadership Gifts, served as a senior advisor at Battery Ventures, and Trustees Nominating and Governance studied several instruments as a child, con- committees. tinuing into adulthood. Together they share Roger serves as president of Strategic New their commitment to music with their three Business Development of Fidelity Investments. sons, all of whom studied music. He joined Fidelity in 1976 as vice-president The Curmes are early supporters of the of marketing. During his nearly forty years of Tanglewood Forever Fund, and were leading service, Roger held such executive roles as supporters of the Artistic Initiative and the executive vice-president, managing director, Immediate Impact Fund. Longtime donors to president of Fidelity Investments Retail Mar- the BSO Annual Funds, Cindy and Ollie are keting Company, senior vice-president of members of the Higginson Society at the Fidelity Brokerage Services, and senior vice-

week 10 bso news 11 president of Fidelity Capital. Roger and Kristin friends, meet new people, and conserve have been involved with a number of non- energy. If you would like further information profit organizations, including Historic New about bus transportation to Friday-afternoon England, the Museum of Fine Arts, Boston, Boston Symphony concerts, please call the Tenacity, Winsor School, Japan Society of Subscription Office at (617) 266-7575. Boston, Vincent Memorial Hospital, and Pioneer Institute, among others. BSO Members in Concert BSO principal second violin Haldan Martin- Go Behind the Scenes: son is soloist in Dvoˇrák’s Violin Concerto The Irving W. and Charlotte F. Rabb with the Orchestra of Indian Hill, Bruce Hangen, Symphony Hall Tours artistic director, on Saturday, November 22, The Irving W. and Charlotte F. Rabb Symphony at 7:30 p.m. at the Littleton High School Hall Tours—named in honor of the Rabbs’ Performing Arts Center, 56 King Street, devotion to Symphony Hall with a gift from Littleton, MA. Also on the program are Suk’s their children James and Melinda Rabb and Toward a New Life and Brahms’s Symphony Betty (Rabb) and Jack Schafer—provide a No. 2. Tickets are $20 to $50. For further rare opportunity to go behind the scenes at information, visit indianhillmusic.org or call Symphony Hall. In these free, guided tours, (978) 486-9524. experienced members of the Boston Sym- The Walden Chamber Players, whose mem- phony Association of Volunteers unfold the bership includes BSO musicians Tatiana history and traditions of the Boston Symphony Dimitriades and Alexander Velinzon, violins, Orchestra—its musicians, conductors, and and Richard Ranti, bassoon, perform in the supporters—as well as offer in-depth infor- Studio Theater at the Dreamland in Nantucket mation about the Hall itself. Tours are offered on Thursday, December 4, at 7 p.m. The pro- most Wednesdays at 4 p.m. and two Satur- gram includes Reger’s Serenade, Op. 141a, days per month at 2 p.m. during the BSO Thomson’s Serenade for flute and violin, season. Please visit bso.org/tours for more Mozart’s Flute Quartet in C, K.285b, and information and to register. Penderecki’s String Trio. Tickets are $5 at the door. Visit waldenchamberplayers.org or call Friday-afternoon Bus Service to (617) 871-9WCP[-9927] for more information. Symphony Hall Founded by former BSO cellist Jonathan Miller, If you’re tired of fighting traffic and searching the Boston Artists Ensemble performs Bee- for a parking space when you come to Friday- thoven’s String Trio in C minor, Op. 9, No. 3, afternoon Boston Symphony concerts, why Debussy’s String Quartet in G minor, Op. 10, not consider taking the bus from your com- and a “mystery piece” on Friday, December 5, munity directly to Symphony Hall? The BSO at 8 p.m. at the ensemble’s new venue in is pleased to continue offering round-trip bus Salem, historic Hamilton Hall, and on Sunday, service on Friday afternoons at cost from the December 7, at 2:30 p.m. at Trinity Church in following communities: Beverly, Canton, Cape Newton Centre. Joining Mr. Miller are BSO Cod, Concord, Framingham, Marblehead/ members Tatiana Dimitriades, violin, and Swampscott, Wellesley, Weston, the South Kazuko Matsusaka, viola, as well as violinist Shore, and Worcester in Massachusetts; Bayla Keyes. Tickets are $27 (discounts for Nashua, New Hampshire; and Rhode Island. seniors and students), available at the door. Newly added this season, for selected con- For more information, call (617) 964-6553 certs, is a bus from the Holyoke/Amherst or visit bostonartistsensemble.org. area. Taking advantage of your area’s bus The chamber ensemble Mistral, of which service not only helps keep this convenient BSO violinist Julianne Lee and BSO cellist service operating, but also provides opportu- Mickey Katz are members, presents a holiday nities to spend time with your Symphony program under artistic director Julie Scolnik

week 10 bso news 13 entitled “Viva Vivaldi!” on Saturday, December Hall (orchestra level). There you will find 6, at 5 p.m. at St. Paul’s Episcopal Church in the latest performance, membership, and Brookline and on Sunday, December 7, at 3 Symphony Hall information provided by p.m. at West Parish Church in Andover. The knowledgeable members of the Boston all-Vivaldi program includes The Four Seasons, Symphony Association of Volunteers. The as well as the double trumpet concerto, Lute BSO Information Table is staffed before each Concerto in C (featuring guitarist Eliot Fisk in concert and during intermission. his Mistral debut), and Piccolo Concerto in C. Tickets are $30 (discounts for students and seniors). For further information, call (978) Those Electronic Devices… 747-6222 or visit mistralmusic.org. As the presence of smartphones, tablets, and other electronic devices used for communica- BSO violinist Sheila Fiekowsky and principal tion, note-taking, and photography continues clarinet William Hudgins (performing on to increase, there have also been increased basset horn) along with pianist Vytas expressions of concern from concertgoers Baksys, clarinetist Catherine Hudgins, and and musicians who find themselves distracted cellist William Rounds perform in the West not only by the illuminated screens on these Stockbridge Chamber Players’ annual winter devices, but also by the physical movements concert—to benefit the West Stockbridge that accompany their use. For this reason, Historical Society and renovation of the West and as a courtesy both to those on stage and Stockbridge 1854 Town Hall—on Tuesday, those around you, we respectfully request December 30, at 6 p.m. at West Stockbridge that all such electronic devices be turned Congregational Church, 45 Main Street. off and kept from view while BSO perform- The program includes Dvoˇrák’s Romance in ances are in progress. In addition, please F minor, Bartók’s Contrasts, Mendelssohn’s also keep in mind that taking pictures of the Konzertstück in D minor, and Kodály’s Sonata orchestra—whether photographs or videos— in B minor for solo cello. Tickets are $30 and is prohibited during concerts. Thank you very available beginning December 1 from West much for your cooperation. Stockbridge merchants, by e-mailing info@ weststockbridgehistory.org, or by calling (413) 232-4270. Advance purchase is recom- Comings and Goings... mended, as seating is limited. Please note that latecomers will be seated by the patron service staff during the first The Information Table: convenient pause in the program. In addition, Find Out What’s Happening please also note that patrons who leave the at the BSO hall during the performance will not be allowed to reenter until the next convenient Are you interested in upcoming BSO concert pause in the program, so as not to disturb the information? Special events at Symphony performers or other audience members while Hall? BSO youth activities? Stop by the infor- the concert is in progress. We thank you for mation table in the Brooke Corridor on the your cooperation in this matter. Massachusetts Avenue side of Symphony

week 10 bso news 15 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • two displays in the Huntington Avenue corridor celebrating the 200th anniversary of Boston’s Handel and Haydn Society, the oldest continually operating arts organization in the United States, and which performs fourteen concerts at Symphony Hall during its 2014-2015 bicentennial season exhibits on the first-balcony level of symphony hall include: • a display in the first-balcony corridor, audience-right, celebrating the recent 50th anniversary of the Boston Symphony Chamber Players • a display case in the first-balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrated its 75th anniversary last season

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad A portrait of Paul Cherkassy (BSO violinist from 1923 to 1952), a 2014 gift to the BSO from the estate of Paul and Chloe Cherkassy, part of a display of orchestra member memorabilia located at the stage-end of the first-balcony corridor, audience-right Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 10 on display 17 ac Borggreve Marco

Andris Nelsons

Andris Nelsons begins his tenure as the BSO’s Ray and Maria Stata Music Director with the 2014-15 season, during which he leads the orchestra in ten programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in April. Mr. Nelsons made his Boston Symphony debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert subsequently issued on DVD and Blu-ray, and televised nationwide on PBS), following that the next day with a BSO program of Stravinsky and Brahms. His Sym- phony Hall and BSO subscription series debut followed in January 2013, and at Tanglewood this past summer he led three concerts with the BSO, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. His appointment as the BSO’s music director cements his reputation as one of the most renowned conductors on the international scene today, a distinguished name on both the opera and concert podiums. He made his first appearances as the BSO’s music director designate in October 2013 with a subscription program of Wagner, Mozart, and Brahms, and returned to Symphony Hall in March 2014 for a concert performance of Strauss’s Salome. He is the fifteenth music director in the history of the Boston Symphony Orchestra.

Maestro Nelsons has been critically acclaimed as music director of the City of Birming- ham Symphony Orchestra since assuming that post in 2008; he remains at the helm of that orchestra until summer 2015. With the CBSO he undertakes major tours worldwide, including regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berlin Festival. Together they have toured the major European concert halls, including Vienna’s Musikverein, the Théâtre des Champs-Élysées in Paris, the Gasteig in Munich, and Madrid’s Auditorio Nacional de Música. Mr. Nelsons made his debut in Japan on tour with the Vienna Philharmonic and returned to tour Japan and the Far East with the CBSO in November 2013. Over the next few seasons he will continue collabora- tions with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw

18 Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House–Covent Garden, the Vienna State Opera, and New York’s Metro- politan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010.

Andris Nelsons and the CBSO continue their recording collaboration with Orfeo Inter- national as they work toward releasing all of Tchaikovsky’s orchestral works and a majority of works by Richard Strauss, including a particularly acclaimed account of Strauss’s Ein Heldenleben. Most of Mr. Nelsons’ recordings have been recognized with the Preis der Deutschen Schallplattenkritik. In October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his CBSO recording of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release being a Dvoˇrák disc entitled “From the New World” with the Bavarian Radio Symphony Orchestra, released on DVD and Blu-ray in June 2013. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.”

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 Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. ac Borggreve Marco

week 10 andris nelsons 19 Boston Symphony Orchestra 2014–2015

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

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

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

week 10 boston symphony orchestra 21 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 134th season, 2014–2015

Thursday, November 20, 8pm | the allison g. and william f. achtmeyer concert Friday, November 21, 1:30pm | the cynthia and oliver curme concert Saturday, November 22, 8pm | the kristin and roger servison concert

andris nelsons conducting harbison “koussevitzky said:,” choral scherzo with orchestra tanglewood festival chorus, john oliver, conductor

Text is on page 31.

eˇsenvalds “lakes awake at dawn,” for mixed chorus and orchestra (world premiere; co-commissioned by the boston symphony orchestra through the generous support of the new works fund established by the massachusetts cultural council, a state agency; and by the city of birmingham symphony orchestra) tanglewood festival chorus

Text is on page 37.

prokofiev symphony-concerto for cello and orchestra, opus 125 Andante Allegro giusto Andante con moto—Allegretto—Allegro marcato yo-yo ma

{intermission}

22 rachmaninoff “the bells,” poem for orchestra, chorus, and soloists, opus 35 Allegro, ma non tanto Lento Presto Lento lugubre tanglewood festival chorus victoria yastrebova, soprano pavel cernochˇ , tenor kostas smoriginas, bass-baritone

Text and translation begin on page 54.

this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. thursday evening’s appearance by yo-yo ma is supported by a generous gift from nancy and richard lubin. saturday evening’s appearance by yo-yo ma is supported by a gift in honor of claire keller. saturday evening’s performance of john harbison’s “koussevitzky said:,” choral scherzo with orchestra, is supported by a gift from lloyd axelrod, m.d., in memory of the composer’s father, e. harris harbison. bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

The evening concerts will end about 9:55, the Friday concert about 3:25. 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 and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 10 program 23 The Program in Brief...

This week’s BSO concerts feature the Tanglewood Festival Chorus in three works, including the first world premiere in Andris Nelsons’ tenure as BSO music director. Commissioned jointly by the BSO and the City of Birmingham Symphony Orchestra, the Latvian composer Eriks¯ Ešenvalds’ Lakes Awake at Dawn celebrates both Nelsons’ first season with the BSO and his final season as music director of the CBSO. Ešenvalds is highly regarded interna- tionally, especially for his works with chorus, and was his compatriot Andris Nelsons’ first choice for the commission. Lakes Awake at Dawn for chorus and orchestra is in two parts, the first a setting (in English translation) of a poetic fragment by the Latvian writer Inga Abele¯ depicting the dark hours before the dawn. The second section, with a text assembled by the composer, illustrates the sunrise and represents freedom from anxiety and care.

John Harbison’s Koussevitzky Said:, Choral Scherzo with Orchestra, was commissioned by the BSO to celebrate the 75th anniversary of the Tanglewood Festival. It was first performed by the BSO and the Tanglewood Festival Chorus as a companion to Beethoven’s Ninth Symphony to conclude Tanglewood’s 75th Anniversary Season in 2012. The piece honors Serge Koussevitzky, the BSO’s legendary music director at the time of Tangle- wood’s beginning and the festival’s guiding spirit. Harbison chose to set the conductor’s own words, bursting with humor and optimism and anchored by his famous phrase “The next Beethoven will from Colorado come!”

The great Russian cellist Mstislav Rostropovich inspired works from a number of 20th- century musical giants, among them Shostakovich, Britten, and Dutilleux. In the case of Sergei Prokofiev, Rostropovich triggered a complete revision of the composer’s failed Cello Concerto of 1938. The cellist worked closely with the composer in the revision process, but even following the premiere of a new version in February 1952, Prokofiev made further major revisions to the orchestral part to give it greater presence, ultimately choosing to rename the work “Symphony-Concerto.” Prokofiev’s contrasting modes of rich lyricism and sardonic, characterful music are found in abundance in this mostly genial but dramatic three-movement work.

Known primarily for his piano solo works and concertos, Sergei Rachmaninoff also wrote a number of major orchestral works without solo piano. One of these is his 1913 The Bells, a symphony-like piece for soloists, chorus, and orchestra. Rachmaninoff based his piece on the Russian poet Konstantin Balmont’s free adaptation into Russian of Edgar Allan Poe’s famous poem “The Bells,” which traces human activity from light to dark via the conceit of sleigh bells, wedding bells, alarm bells, and finally the tolling of funeral bells. Bell-motives resound through Rachmaninoff’s music as well—light and gleeful in the opening movement; solemn but warm in the wedding-bells second movement; threatening in the scherzo-like third movement, and in the finale, dark and fateful. The BSO has only performed The Bells on one previous occasion, for a subscription series at Symphony Hall in 1979, when it was sung in an English translation of Balmont’s Russian adaptation of Poe’s original.

Robert Kirzinger

24 t Rosner Stu

John Harbison “Koussevitzky Said:,” Choral Scherzo with Orchestra (2012)

JOHN HARBISON was born in Orange, New Jersey, on December 20, 1938, and lives in Cambridge, Massachusetts, and Token Creek, Wisconsin. Receiving its Boston premiere this week, his “Koussevitzky Said:” was commissioned by the Boston Symphony Orchestra to mark the 75th anniversary of the Tanglewood Music Festival and was premiered by the BSO at Tanglewood on August 26, 2012, with Rafael Frühbeck de Burgos conducting. On that occasion the piece served, as originally conceived (see the composer’s own note on page 26), as a prelude to the BSO’s traditional, season-ending Tanglewood performance of Beethoven’s Ninth Symphony, which followed it without an intermission.

THE SCORE OF “KOUSSEVITZKY SAID:” calls for four-part mixed chorus and an orchestra of two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, two trombones and bass trombone, percussion (triangle, bass drum, and cymbals), timpani, and strings. The scoring, by design, corresponds exactly to that of Beethoven’s Ninth Symphony.

Harbison’s multifaceted and ongoing relationship with Tanglewood began in 1959 and 1960, when he was a member of the conducting class during the BSO music directorship of Serge Koussevitzky’s successor, Charles Munch. Seiji Ozawa was a classmate in that second season. Years later, in 1984, Ozawa conducted the Boston Symphony Orchestra in the premiere of Harbison’s Symphony No. 1, commissioned by the BSO in celebration of its centennial. The symphony was scheduled for a repeat performance at Tanglewood in July 1984 to be led by Edo de Waart, but de Waart canceled and Harbison, by that time known primarily as a composer (although he had been conducting all along), stepped in at short notice to make his BSO conducting debut.

Harbison has also been deeply involved in the core mission of professional musical training at the Tanglewood Music Center, Serge Koussevitzky’s most inspired conception and perhaps his greatest legacy. As chairman of the TMC’s composition program for the past

week 10 program notes 25 John Harbison “Koussevitzky Said:”

When approached to write a piece to partner on a program with Beethoven’s Ninth the British composer Michael Tippett is reported to have said, “really, my dear boy, does my piece come before—or after?”

Perhaps someday a conductor will assemble a full program of pieces “paired” with Beethoven 9, thus ensuring an unlikely but conceivably lively afterlife for these pesky gnats who once rode on an elephant.

In the case of Koussevitzky Said:, I wanted the founder’s words to be a part of a piece for Tanglewood’s 75th. I began by working with some wonderfully inspiring passages from some of his early addresses to the Tanglewood community. Eventually I realized that their texture was taking the music to a hortatory place made unnecessary by the Beethoven that would follow.

I also did not wish to let go of Koussevitzky. I began to think about some things he was reported to have said, very informally, and I began to hear a kind of choral Scherzo in which Koussevitzky’s ideas would be present but off the cuff—teaching, rehearsing, conversing. I found many choice remarks, some of the best of which I couldn’t fit: “What makes a Tradition? The Artist. Who follows it? The Kapellmeister.” “I must be a policeman to look for your nuances!” Koussevitzky’s most famous remark, “The next Beethoven will from Colorado come,” leads off this piece. I’ve become aware that some take this quite literally. “Did he know about some composer from Colorado,” “Did that composer ever arrive?” It seems clear that Koussevitzky meant no geographic precision, probably was very vague about Colorado’s whereabouts. However, already knowing Copland, and some of our other composers before he came, he was very sure of our country’s musical future, and his role in it.

It is to Koussevitzky that we owe so much of Tanglewood’s durability, idealism, and sin- gularity. It was an honor to add my six minutes of engagement with his unquenchable spirit.

John Harbison August 1, 2012

26 several years, he is a hands-on member of the composition faculty and an ears-open adviser for both composers and performers. On several occasions he has directed the annual Festival of Contemporary Music, a demonstration of his well-established advocacy of the work of other contemporary composers that goes along with his exploration of the musical timeline from Schütz and Bach through Stravinsky and Sessions. This part of Harbison’s musical life is entirely in sympathy with the philosophy of Koussevitzky, who mentored such phenomena as Leonard Bernstein and Lukas Foss and devotedly commissioned two generations of the best and brightest composers from Stravinsky and Bartók to Messiaen and Britten.

Of course, Harbison’s BSO connections go beyond Tanglewood. In the past three decades, Harbison has become the BSO’s most-performed living composer and the most frequently commissioned. Koussevitzky Said:, premiered in August 2012, was the latest of these commissions; at Symphony Hall in January 2012, the orchestra led by David Zinman premiered his BSO-commissioned Symphony No. 6 as the culmination of a two-season survey of the composer’s complete symphonies, all of which were subsequently released in live BSO performances as downloads on BSO Classics. The BSO had also commissioned his Fifth Symphony, as well as several others of his orchestral works. His Requiem for soloists, chorus, and orchestra was composed for the combined forces of the BSO and the Tanglewood Festival Chorus. The much briefer, celebratory, even humorous Koussevitzky Said: is the second piece Harbison has written for the BSO and TFC.

Serge Koussevitzky was also determined to help his adoptive country realize its own destiny in classical music, to that end making a point of performing music by American composers. The first and greatest of his successes in this sphere was Aaron Copland, who as a twenty-four-year-old unknown was one of the first composers Koussevitzky programmed in the early years of his BSO tenure. Fifteen years later in 1940, the first year of the Tanglewood Music Center (then called the Berkshire Music Center), Copland

week 10 program notes 27

John Harbison (center), Rafael Frühbeck de Burgos, and John Oliver on stage with the BSO at Tanglewood following the premiere of “Koussevitzky Said:” on August 26, 2012 (Hilary Scott)

became the first head of the Tanglewood composition faculty, in turn nurturing the careers of many a well-known name. He was succeeded impressively by such composers as Gunther Schuller, Oliver Knussen, Michael Gandolfi, and John Harbison.

For those involved with Tanglewood, a summer never goes by without encountering another iteration of a well-worn Koussevitzky anecdote, of which there are many; one hears many a musician born thirty years after the conductor’s death acquiring an ersatz Russian accent to re-tell historic one-liners from the 1940s. “The next Beethoven vill from Colorado come” is a particularly famous one, as optimistic a statement about American classical music as one is likely to encounter, couched in the slightly tortured but usefully poetic syntax of the successful Russian emigré whose championing of new music, and Americans especially, was unparalleled. Koussevitzky put his money vere vas his mouth, in other words, and that legacy continues in the many prestigious commissions funded by his Koussevitzky Foundation, now administered by the Library of Congress. The first of John Harbison’s works to be performed by the BSO, in 1977, was his Koussevitzky Foundation-commissioned Di¯otima.

All this is at the root of Koussevitzky Said:. The piece is in three brief movements played without pause—two smaller scherzos, separated by a short Maestoso (“majestic”) section. (“Scherzo,” by contrast, is Italian for “joke.”) The title is a play on the text of Aaron Copland’s Lincoln Portrait, with its refrain of “This is what Abraham Lincoln said.” Given its original context as a companion for Beethoven’s Ninth, there are some connections to that towering edifice—not its fierce scherzo movement, to be sure, but rather the finale’s jesting, faux-military march-scherzo (Allegro assai vivace, alla Marcia), with its belching bassoon and “Turkish” percussion.

The first and last movements of Koussevitzky Said: are highly contrapuntal. In the first, “The next Beethoven will from Colorado come,” choral sections pair up with orchestral

week 10 program notes 29 sections in a highly intricate texture—for example piccolo or first violins doubling sopranos, clarinet or cello doubling basses, with the instrumental colors continuing to evolve through the movement. A brief homophonic section for the chorus illustrates unity in the line “We musicians must be first to stand by the composer,” a nod to the “Be embraced, you millions” passage in Beethoven’s Ninth. The Maestoso middle movement, “I am an American citizen,” is homophonic in the chorus with countering remarks in the orchestra. The last movement plays, in the chorus, with the idea of “tuning” in the chorus’s opening phrases; at “Let’s do it together” the parts begin at odds but finish in agreement. The final bars refer back to the opening of the piece and point optimistically to the future.

John Harbison’s own comments are printed on page 26.

Robert Kirzinger robert kirzinger, a composer and annotator, is Assistant Director of Program Publications of the Boston Symphony Orchestra.

JOHN HARBISON “Koussevitzky Said:” Words from Koussevitzky

I. The next Beethoven will from Colorado come. We musicians must be first to stand by the composer, because we owe him most. I will keep playing this music—until you hear it.

II. I am an American citizen, but I still love Russia. I am depriving Europe of my art in order to give your town the best of my artistry, but this is where I carved out my career in life.

III. If not in tune, all our tragedy goes to le diable. If not in tune, you play as if Government employees. If not in tune, it smells of office, as if price five cents. If not in tune, still we will arrive. Tanglewood: 4000 people, 8000 eyes are on you. You have to portray the music correctly; play it from your hearts. Let’s do it together for our own satisfaction.

week 10 program notes 31

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Eriks¯ Esenvaldsˇ “Lakes Awake at Dawn,” for mixed chorus and orchestra (2014)

ERIKSE¯ SENVALDSˇ was born in Priekule, in western Latvia, on January 26, 1977, and lives in Salaspils, Latvia, near Riga. He wrote “Lakes Awake at Dawn” for chorus and orchestra in 2014 on a joint commission from the Boston Symphony Orchestra and the City of Birmingham Symphony Orchestra “in celebration of their Music Director, Andris Nelsons.” These are the world premiere performances, and this is the first BSO performance of any music by Eriks¯ Esenvalds.ˇ

IN ADDITION TO THE MIXED CHORUS, the score of “Lakes Awake at Dawn” calls for an orchestra of two flutes (second doubling piccolo), two oboes (second doubling English horn), two clarinets (second doubling bass clarinet), two bassoons, four horns, three trumpets, three trombones, tuba, percussion (two players: crash cymbals, suspended cymbal, crotales, bells, glockenspiel, wind chimes, bass drum, tam-tam, tambourine), timpani, harp, celesta, and strings.

Latvia, along with the other Baltic countries, has a deep and abiding tradition of choral singing. Choral music as an art form, founded on the Catholic and Lutheran liturgical traditions, has permeated early music education and is a widespread community pastime. During the establishment of a Latvian national musical identity in the late 19th century (paralleling musical nationalism throughout Europe), a song festival was begun that continues to this day at five-year intervals. Held on a huge public stage in the capital city of Riga, the festival attracts thousands of participants and many more as spectators. Latvia’s national opera and conservatory were established during the time of the Latvian republic after World War I and have continued beyond the Soviet era (1940-1990).

Eriks¯ Ešenvalds grew up in this tight-knit tradition. Showing his talent early, he began his formal music studies as a child in Priekule and Liep¯aja before going on to attend the Latvian Baptist Congregation Theological Seminary. He earned his bachelor’s and master’s degrees in composition under Selga Mence at the Latvian Academy of Music, the country’s premier music college, and has participated in master classes and other programs throughout Europe, working with such composers as Klaus Huber, Michael Finnissy,

week 10 program notes 33

Trevor Wishart, and Philippe Manoury, among others. He has twice received the Latvian Great Music Award, the country’s highest musical honor. For the two academic years 2011-2013, Ešenvalds was in residence at Trinity College, Cambridge University, as Fellow Commoner in Creative Arts. Beyond his childhood, Ešenvalds continued to participate as a chorister as an adult, singing in the State Choir “Latvja” from 2002 to 2011. He has written for many different ensemble types, including chamber music, works for orchestra, an opera (his 2007 Joseph is a Fruitful Bough, on a libretto by Inga Abele,¯ the poet of Lakes Awake at Dawn), and pieces for Latvian folk instruments, but choral music dominates his catalogue and is responsible for his worldwide reputation as a composer. A significant number of his works treat explicitly Latvian cultural themes, including the The Latvia of Songs, a big multimedia piece featuring Latvian soloists present via video (including conductor Andris Nelsons) plus chorus and orchestra. Christian subjects are also prevalent.

Eriks¯ Ešenvalds first encountered the musicianship of his slightly younger colleague Andris Nelsons some fifteen years ago at the latter’s final trumpet recital for the Latvian Music Academy; the concert took place in one of Riga’s historic churches. Ešenvalds recalls “I was amazed at the blissful virtuosity the trumpeter showed, and couldn’t believe my ears that he had already decided to give up the trumpet and turn to orchestral conducting studies.” In the interim, both have risen significantly within their fields, Ešenvalds becoming one of Latvia’s most prominent composers and Nelsons achieving international stature as a conductor. The two have never collaborated directly before, but Ešenvalds was strongly on the Nelsons radar. In September 2013, when BSO artistic

week 10 program notes 35 Vit¯alijs St ī pnieks

The Latvian poet Inga Abele¯

administrator Anthony Fogg broached with Nelsons the idea of commissioning a work celebrating both his tenure at the City of Birmingham Symphony Orchestra and his first season as music director of the Boston Symphony Orchestra, Ešenvalds was the conductor’s immediate first choice. The composer completed Lakes Awake at Dawn earlier this fall, although he suffered a setback in the final stretch when, on a trip to Alaska to research native legends about the Northern Lights for another new piece, he broke his right fibula. That new piece, a multimedia symphony with chorus called Nordic Light, will be premiered in Riga and Melbourne, Australia, in 2015.

On one level, Lakes Awake at Dawn can be heard in the tradition of sunrise-pieces by Sibelius, Strauss, and Schoenberg, starting in tension and darkness, gradually expanding and brightening. The first part of the text, which ties the piece specifically to dawns of northern climes, is by the accomplished Latvian poet, playwright, and novelist Inga A¯bele (b.1972), whose very Latvia-centric writings have a magic-realism quality that hovers for- mally between poetry and stream-of-consciousness prose. Abele¯ is the author of two volumes of poetry as well as plays, short stories, and novels. For the composer’s use, she adjusted her original, longer poem “Tribe Writings,” from the collection The Horses of Atgazene Station, which was published in a translation by Inara Cedrins in 2013.

Fluent in English himself, Ešenvalds chose to use an English translation of Abele’s¯ poem by Canadian writer Edita Page as a clear nod to his commissioning orchestras. The choral part is a contrapuntal, relatively straightforward presentation of the text, with significant repeats of phrases and lines; one could imagine it sung a cappella. The music is tonally centered, beginning in a fairly definite C minor, but the orchestral part goes well beyond accompaniment and harmonic support to create a teeming, texturally rich atmosphere illustrating the poem’s tensions. A repeating dotted rhythmic figure, glissandos, tremo- los, and scalar runs in violins and woodwinds suggest the cold, evoking weather and reactions to weather and the psychological state of the sleeper awakened in the dark.

36 A definite change comes with the second part of the piece. The text here (again in English) was compiled by the composer from various readings about lakes, and his own experi- ences with this natural phenomenon. Marked “Lucid and calm,” the orchestral part is simplified and the harmony hovers in the neighborhood of D-flat major.

The composer writes: In Lakes Awake at Dawn there is no particular hero or story. It is a picture of one’s emotional unrest, anxiety, and physical running away from danger at night in a forest, at moments even tumbling and wriggling through moss and lichen (and yes, there ARE such true stories!) to escape from being deported to Siberia, to escape from war and violence, to be safe. Then with the first distant rays of dawn one has come to a lake— the Lake whose silence and silvery mirror seem like a sanctuary of prayers for peace, better life, dreams, and happiness.

The text for Lakes Awake at Dawn is printed below.

Robert Kirzinger

ERIKS¯ ESENVALDSˇ “Lakes Awake at Dawn”

Like ants lost on my skin the two coldest hours, when sleep vanishes in listening as the skies slowly pale. The coldest time, when the darkness covers your existence with barren fields. Watching with doubt, watching with trembling the certain return of light, hanging in the daybreak swing and riding the ray to the sunrise, thinking and rethinking and weighing what you have of darkness and what you have of light. Inga Abele,¯ trans. Edita Page

I hear lake water, lakes awake at dawn. The waters sing to the dewy morn, lakes awake at dawn. The naked sky silvers the water and echoes in my soul, all the griefs left behind, I stretch my empty arms towards the light. My dreams the shape of lakes turn into a prayer for light. Eriks¯ Ešenvalds

(Inga Abele’s¯ poem originally published in the collection Atg¯azenes stacijas zirgi, 2006 At¯ena, Riga)

week 10 program notes 37

Sergei Prokofiev Symphony-Concerto for cello and orchestra, Opus 125

SERGEI SERGEEVICH PROKOFIEV was born in Sontsovka, Ukraine, on April 23, 1891, and died in Moscow on March 5, 1953. The Symphony-Concerto was composed between 1950 and 1952 with collaboration from Mstislav Rostropovich, to whom it is dedicated; it is a substantial reworking of Prokofiev’s Cello Concerto No. 1, Opus 58, which he composed 1933-38. Rostropovich was soloist in an initial version of the reworked piece—designated as the composer’s Cello Concerto No. 2— on February 18, 1952, with Sviatoslav Richter conducting the Moscow Youth Orchestra. The final version, now with the title Symphony-Concerto for cello and orchestra, was premiered in Copen- hagen on December 9, 1954, after the composer’s death, with Rostropovich again as soloist and Thomas Jensens conducting the Danish Radio Orchestra. Rostropovich also gave the American premiere, with Dimitri Mitropoulos conducting the New York Philharmonic on April 19, 1956.

IN ADDITION TO THE SOLO CELLO, the score calls for two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons, two trumpets (a third is optional) , four horns, three trombones, tuba, timpani, cymbals, tambourine, triangle, bass drum, side drum, celesta, and strings.

No other single work by Sergei Prokofiev—not even his epic opera War and Peace— endured a longer composition and revision process than the Symphony-Concerto for cello and orchestra. Nearly twenty years passed between its initial conception (in 1933 as the E minor cello concerto) and its assumption to final form in 1952, in the last months before Prokofiev’s death. In fact, Prokofiev did not live to hear Mstislav Rostropovich, to whom the Symphony-Concerto is dedicated, perform its definitive version in Copenhagen in 1954—just as he never saw War and Peace on stage in its final form.

Without Rostropovich’s contribution of energy, enthusiasm, and expertise during an unusually difficult period in Prokofiev’s life, the Symphony-Concerto would likely never have been completed. Before he met the twenty-year-old cellist from Baku in 1948, Prokofiev’s output for cello had been limited to a youthful Ballade (for cello and piano, Opus 15) and an ill-fated Cello Concerto in E minor (Opus 58) written during the mid- 1930s. The premiere of the Cello Concerto on November 26, 1938, in Moscow was, in

week 10 program notes 39 Program page from the first Boston Symphony Orchestra performances of Prokofiev’s Symphony- Concerto for cello and orchestra on March 1 and 2, 1963, with then BSO principal Samuel Mayes as soloist and Erich Leinsdorf conducting (BSO Archives)

40 the words of pianist Sviatoslav Richter, “a complete failure.” So devastating were the reviews and the remarks he heard from his colleagues that Prokofiev, who had moved (permanently) back to Russia from Paris only a few years earlier, withdrew the Cello Concerto from circulation. But in early 1948, Prokofiev heard Rostropovich, then a student at the Moscow Conservatory, play the concerto with piano in a recital program. Rostopovich’s brilliant resurrection of this half-forgotten composition inspired Prokofiev to tell the cellist backstage that he would rewrite it for him. Rostropovich reminded Prokofiev of that promise on every possible subsequent occasion.

During the five years remaining to him, Prokofiev came to rely heavily on Rostropovich for musical advice and emotional support. For a young musician like Rostropovich to befriend Prokofiev—who was under almost constant attack from the Soviet cultural authorities after early 1948 for his alleged crimes of “formalism” and inaccessibility— was a courageous and selfless act. Many others in the musical establishment shunned Prokofiev at the time; some took obvious pleasure in seeing the great international master humbled. His income from publications and performances declined precipitously. Also in early 1948, Prokofiev’s first wife, Lina, from whom he had been estranged for some years, was arrested on false charges of spying for foreign powers and sent to a labor camp. All the while, Prokofiev had to face these challenges in a state of chronic illness, having never completely recovered after a stroke suffered in early 1945. Doctors strictly limited his work schedule to no more than an hour or an hour and a half each day. It was difficult for Prokofiev’s colleagues, such as Richter, to see this “giant of Russian music” so “soft” and “helpless.”

In this vale of tears, the appearance of the youthful and extraordinarily talented Rostro- povich was a welcome source of happiness. In 1949, Prokofiev completed a cello sonata (Opus 119) for Rostropovich that is now one of the most popular pieces in the cello repertoire. Rostropovich frequently came to visit Prokofiev and his second wife, the writer Mira Mendelson, at their cozy dacha in Nikolina Gora.

Their friendship eventually became so close that Rostropovich spent summers between 1950 and 1952 living at Nikolina Gora, helping to rewrite the Opus 58 cello concerto. Rostropovich gave the premiere of this revised version, renamed as the Cello Concerto, Opus 125, on February 18, 1952, with the Moscow Youth Orchestra conducted by Sviato- slav Richter (in his first and last appearance as a conductor). But Rostropovich and others persuaded Prokofiev to make further changes to the piece during the coming months. These revisions resulted in a significantly expanded role for the orchestra, so Prokofiev decided to change the work’s title to Symphony-Concerto—though the opus number remained 125. According to Rostropovich’s biographer Elizabeth Wilson, the Symphony- Concerto represents Prokofiev’s “final thoughts” on the work, which was intended to replace the Second Cello Concerto (which had already been designated Opus 125). After Prokofiev’s death on March 5, 1953 (the same day as Stalin), Rostropovich successfully persuaded Communist Party officials to approve his planned performance of the work in Copenhagen. Soon after that performance, Rostropovich played the Symphony-Concerto

week 10 program notes 41 42 Mstislav Rostropovich and Sergei Prokofiev, Moscow, 1952

in Prague, Leningrad, and then in New York and San Francisco during his celebrated first American tour in 1956.

The Symphony-Concerto impresses by its vigor, harmonic complexity, melodic richness, and masterful interaction of soloist and orchestra. Compared to other works Prokofiev completed during these years (the opera Story of a Real Man, the ballet The Stone Flower, the symphonic poem The Meeting of the Volga and the Don), the Symphony-Concerto is refreshingly free of programmatic intent. It brings us back to Prokofiev the musical adventurer of his early years, creator of such masterpieces in the concerto form as the First Violin Concerto or the Second Piano Concerto.

Although Prokofiev does not specify the key, E minor dominates, which is one of the ways in which the three-movement Symphony-Concerto retains its roots in the Opus 58 cello concerto. The first movement opens with an insistently repeated four-note figure in unmistakable E minor (progressing from tonic to dominant), the sort of “motor” ostinato foundation over which Prokofiev constructed so many memorable musical structures. In measure seven, the cello solo states the first theme, a romantically drooping tune that contrasts elegantly with the tart accompaniment and sets the lyrical mood that perme- ates the entire piece. Indeed, the Symphony-Concerto is a notably pensive and romantic work for a composer sometimes accused of a lack of feeling or emotional warmth. The second theme is more athletic and exhibitionist.

By far the longest and most important movement is the second. Following a four-measure introduction, the cello enters with a short cadenza in sixteenth-notes, the music continuing at a furious pace in another E minor section with the spiky first theme of a sonata form. Soon after a modulation into bright E major, the soloist introduces the movement’s second theme, one of the most seductive Prokofiev ever wrote, a great romantic melody of the sort heard in Romeo and Juliet. A spectacular cadenza passage cleverly incorporating

week 10 program notes 43 elements of all the movement’s themes continues the development section, which proceeds to a remarkable gesture: over ghostly harmonic accompaniment in the strings, the cello again sings that amazing tune, rhythmically displaced, as if calling from another world.

The third movement contains another great lyrical theme, heard in the cello at the very outset in that affirmative E major key. Prokofiev then uses this theme as the basis for variations. The mood changes abruptly in the middle section (Allegretto), which introduces a popular Soviet song of Belorussian origin, “Bud’te zdorovy, zhivite bogato” (“Good health to you”). This theme becomes increasingly more grotesque, assuming something like the quality of Jewish village klezmer music, the sort that Prokofiev imitated so bril- liantly in his early Overture on Hebrew Themes. There was also an ideological subtext: the theme had earlier been used by Soviet popular composer Boris Zakharov, one of those who most energetically attacked Prokofiev in 1948 for his failure to write accessible melodies. So the inclusion of this sneering little tune can be construed as Prokofiev’s ironic retort to those who had attacked him so mercilessly in recent years.

After returning to another set of variations on the movement’s first theme and ending with what sounds like a funeral march, the movement and the Symphony-Concerto conclude with a furious coda dominated by the soloist playing arpeggios in E major. Unlike the Seventh Symphony composed around the same time, and whose (original) ending sounds wistful and uncertain, this work ends in a spirit of defiance and triumph. Here, in one of his most consistently brilliant and original scores, Prokofiev unapologetically asserted his colorful creative individuality in the midst of gray totalitarian mediocrity, rising—with a little help from his friends—to the full stature of his unique and compelling talent.

Harlow Robinson harlow robinson is Matthews Distinguished University Professor of History at Northeastern University, and a frequent lecturer for the Boston Symphony Orchestra and Metropolitan Opera Guild. His books include “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians.”

THEFIRSTAMERICANPERFORMANCEOFPROKOFIEV’SSYMPHONY-CONCERTO took place (as noted above) on April 19, 1956, with Mstislav Rostropovich as soloist and Dimitri Mitropoulos conducting the New York Philharmonic.

THEFIRSTBSOPERFORMANCESOFTHESYMPHONY-CONCERTO were on March 1 and 2, 1963, with the orchestra’s then principal cellist Samuel Mayes as soloist and Erich Leinsdorf conducting, followed by performances that same month in Providence, New York, Cambridge, and Brooklyn. There were further BSO performances on two subsequent occasions, all with Mstislav Rostropovich as soloist and Seiji Ozawa conducting: in March/April 1977, and in February 1987 (in concerts celebrating Rostropovich’s 60th birthday), followed by a Carnegie Hall performance in early March.

week 10 program notes 45

Sergei Rachmaninoff “The Bells,” Poem for orchestra, chorus, and soloists, Opus 35

SERGEI VASILIEVICH RACHMANINOFF was born in Semyonovo, district of Starorusky, Russia, on April 1, 1873, and died in Beverly Hills, California, on March 28, 1943. He began composing his choral symphony “The Bells”—after Edgar Allan Poe’s poem “The Bells,” as translated and adapted into Russian by Konstantin Balmont—in Rome in early 1913 and completed it at his home at Ivanovka, Russia, on July 27, 1913. The score is dedicated to “my friend Willem Mengelberg and his Concertgebouw Orchestra of Amsterdam.” The first performance took place on November 30, 1913, in St. Petersburg, with soloists E.I. Popova, A.D. Alexandrovich, and P.Z. Andreev and the chorus of the Mariinsky Theatre conducted by the composer.

IN ADDITION TO THE CHORUS AND SOLOISTS, the score calls for an orchestra including three flutes and piccolo, two oboes and English horn, three clarinets and bass clarinet, two bassoons and contrabassoon, six horns, three trumpets, three trombones, tuba, timpani, triangle, tambourine, side drum, bass drum, cymbals, tam-tam, tubular bells, glockenspiel, harp, celesta, upright piano, organ (ad lib.), and strings.

In Russia, bells have long held intense spiritual and cultural power. Regarded as living beings, these “singing icons” were often given names, and their pealing was believed to protect hearers from plagues and other misfortunes. At one time, Moscow had 4,000 church bells. Many visitors to Russia have commented on the beauty of the exotic sound of the ringing bells, and numerous Russian writers have celebrated them in poems, stories, and novels. Russian composers often included the sounds of bells in their works, including—besides Rachmaninoff—Glinka (the rousing finale to A Life for the Tsar), Tchaikovsky (the heroic climax of the 1812 Overture), Mussorgsky (the Coronation Scene in Boris Godunov) and Rimsky-Korsakov (in the opera The Invisible City of Kitzeh and elsewhere). After the Bolshevik Revolution, the new adamantly atheistic Soviet Communist government prohibited bell-ringing; thousands of priceless bells were melted down to build tractors, and master bell-ringers were persecuted. Happily, since the fall of the USSR in 1991, the tradition of Russian bell-making and bell-ringing has seen a robust revival.

week 10 program notes 47 Program page for the only previous Boston Symphony Orchestra performances of Rachmaninoff’s “The Bells,” on November 23 and 24, 1979, with the Tanglewood Festival Chorus, soloists Sheri Greenawald, Neil Rosenshein, and John Cheek, and Edo de Waart conducting (BSO Archives)

48 Having spent much of his childhood and youth in the Russian countryside, Sergei Rach- maninoff grew up with the sound of bells, as he remembered later in Rome in 1913 when he was beginning work on what would become his choral symphony The Bells: The sound of church bells dominated all the cities of the Russia I used to know— Novgorod, Kiev, Moscow. They accompanied every Russian from childhood to the grave, and no composer could escape their influence. All my life I have taken pleasure in the differing moods and music of gladly chiming and mournfully tolling bells. This love for bells is inherent in every Russian.... If I have been at all successful in making bells vibrate with human emotion in my works, it is largely due to the fact that most of my life was lived amid vibrations of the bells of Moscow.... In the drowsy quiet of a Roman afternoon, with Poe’s verses before me, I heard the bell voices, and tried to set down on paper their lovely tones that seemed to express the varying shades of human experience.

Rachmaninoff’s love of the sound of bells had already found its way into several of his compositions for piano (the opening measures of the Second Piano Concerto, the Prelude in C-sharp minor, Opus 3, No. 2). Strangely, it was an anonymous letter he received from a young admirer, later revealed to be a cello student in Moscow, that led him to undertake his choral symphony. She sent him a copy of Poe’s famous 1849 poem, “The Bells,” as freely translated in 1900 by the Russian Symbolist poet Konstantin Balmont (1867-1942), and urged him to consider it as a possible subject. It was the right idea at the right time, and inspired Rachmaninoff to produce (rather quickly, given his

week 10 program notes 49 usually slow pace of composition) his most ambitious work to date. The composer said later that The Bells was his favorite among all his compositions.

One of the most popular and virtuosic Russian poets of his generation, Balmont was only six years Rachmaninoff’s senior. Like him, Balmont spent much of his life abroad, and abandoned Russia after the 1917 Revolution to live in France. Known as the leading representative of the Russian Decadent movement, the prolific Balmont produced about 7,000 poems, including many translations from various languages. Stravinsky, Prokofiev, Miaskovsky, and other Russian composers set his mellifluous poems to music. With his deep fatalism, gothic sensibilities, incantatory style, and fondness for the mystical, Poe resonated deeply with all the members of the Russian Decadent movement, especially Balmont, who published five volumes of Poe translations.

50 Edgar Allan Poe (1809-1849)

Balmont considered his version of “The Bells” an “adaptation, more an imitation than a translation.” He retains Poe’s four-stanza structure, each stanza treating a different kind of bell: silver sleigh bells, wedding bells, alarum bells, funeral bells. The same basic trochaic meter (strong accent on the first of two syllables, unusual in Russian poetry) is also there, in lines of regularly varying length, producing the same monotonous, hypnotic sensation of tolling bells. But Balmont employs very different imagery, particularly in the last stanza, giving the funeral bells a considerably darker, more hopeless, and more devilish atmosphere.

In his choral symphony, which runs about thirty-five minutes, Rachmaninoff gives each of Balmont’s four stanzas its own movement, varying in length and forces. The chorus is heard with orchestra in all four movements, joined by the tenor soloist in the first, soprano in the second, and baritone in the fourth. The longest movements are the second (Lento; wedding bells), and the fourth (Lento lugubre; funeral bells). Rachmaninoff frequently repeats particular lines and phrases from Balmont’s version, savoring the rich onomatopoeia of the Russian words.

The first movement opens in A-flat major, with the flutes, oboes, clarinets, triangle, piano, harp, and second violins repeating a three-note motif in imitation of small silver bells. After a lengthy introduction that gradually involves the entire orchestra, the tenor soloist enters on a held E-flat at pp, on the opening word: “Slyshysh” (“Hear”). The entire chorus responds with the same word at ff. The jubilant mood gradually becomes more reflective, with the chorus taking up a wordless dirge-like motif, as the text changes to promise “rebirth” after “days of wandering,” and “sweet sleep.” At the end, the cheerful mood returns, but tempered in the strings by a falling and rising phrase that recalls the

week 10 program notes 51 52 tune of the Dies irae from the Latin requiem mass. As the symphony progresses, the Dies irae motif grows in prominence, until it comes to dominate the final, funereal movement.

In the second movement an atmosphere of languid tranquility reigns, expressing feelings of sensual rapture associated with romantic love and marriage. Although the shortest stanza in Balmont’s poem (only fourteen lines), this is the symphony’s longest movement. The strings open with the same motif heard at the end of the preceding movement, colored with what sounds like the tolling of bells in the brass and woodwinds. The soprano solo part soars into high territory, rising to a high A on the words “golden bells,” set against a shimmering, transparent orchestral accompaniment. Ecstatic and sublime, the orchestral writing here recalls Rachmaninoff’s 1909 symphonic poem The Isle of the Dead, another rumination on mortality, that one inspired by Arnold Böcklin’s painting of a boat carrying a coffin to its final resting place.

To open the third movement, Rachmaninoff builds a powerful sound picture of alarm bells filling the air with tension, despair, and terror, the harps and violins (playing sul pon- ticello) later joined by the entire orchestra, then the full chorus. So dense and complex are the vocal parts that Rachmaninoff later made a revised, simpler version for some performances in England. Abruptly the movement ends, after some marvelous word painting in the choral parts on the word “moaning.”

Owing to its funereal imagery, Balmont’s final stanza required that the symphony end with a quiet, slow movement. Although unusual, this structure had a strong precedent in Russian music in Tchaikovsky’s Sixth Symphony, the Pathétique. The last movement of The Bells features some of the most seductive and complex orchestral writing of Rachmaninoff’s career, from the opening haunting English horn solo, to the intricate reworking of the Dies irae motif, to the liturgical threnody of the baritone solo over an obsessively rocking accompaniment in the strings (playing divisi in ten different parts). There is little hope here, only endless grief and mourning. But in the score’s last few pages, the darkness lifts as the key changes from gloomy C-sharp minor to affirmative D-flat major. The strings offer some final consolation, playing a glowing refrain of the lyrical theme heard at the movement’s opening, promising peace and rest in the afterlife.

Harlow Robinson

THEONLYPREVIOUSBSOPERFORMANCESOF“THEBELLS” were given (sung in English) on November 23 and 24, 1979 (see page 48). Edo de Waart conducted, with the Tanglewood Festival Chorus and soloists Sheri Greenawald, Neil Rosenshein, and John Cheek. Valery Gergiev led the visiting Kirov Orchestra and Chorus in a Tanglewood performance on July 27, 1996, with soloists Marina Shaguch, Yuri Alexeev, and Nikolai Putilin.

week 10 program notes 53 SERGEI RACHMANINOFF “The Bells,” Opus 35

[Balmont’s Russian version of Poe’s original poem necessarily presents many changes from the original text, though often attempting to keep some of the alliteration and word-repetition that gives Poe’s poem its characteristic feel. But Poe’s text cannot serve as a translation for Balmont’s translation of Poe. What appears here, then, is not Poe but a fairly literal translation of Balmont’s Russian text, which was the speciﬁc impetus for Rachmaninoff’s music.]

I. I. Slyshysh, Hear, slyshysh, sani mchatsay v ryad, hear the sleigh bells fly past in line, mchatsay v ryad fly in line, Kolokolchiki zvenyat, The little bells ring out, serebristym lehkim zvonam their light silvery sound slukh nash sladostna tamyat sweetly obsesses our hearing. etim penem I gudenem With their singing and their jingling a sabvene gavaryat. they tell of oblivion. O, kak zvonka, zvonka, zvonka, Oh, how clearly, clearly, clearly, tochna zvuchnyi smekh rebyonka, like the ringing laughter of a child, v yasnam vozdukhe nachnom in the clear night air gavaryat ani o tom, they tell the tale shto za dnyami zabluzhdenya of how days of delusion nastupayet vazrazhdenya will be followed by renewal; shto valshebno naslazhdenya of the enchanting delight, naslazhdenye nezhnym snom. the delight of tender sleep. Sani mchatsya, The sleighs fly past, sani mchatsya v ryad, mchatsya v ryad, the sleighs fly past, fly past in line, kolokolchiki slushayut, the little bells ring out; zvyozdy slushayut, the stars listen kak sani, ubegaya, as the sleighs fly into the distance gavaryat, with their tale i vnimaya im, garyat, and listening, they glow, i mechtaya, i blistaya, and dreaming, glimmering, v nebe dukhami paryat; spread a scent in the heavens; i izmenchivym siyanem, and with their flickering radiance malchalivym abayanem, and their silent enchantment, vmeste s zvonam, together with the ringing, vmeste s penem together with the singing, a zabvene gavaryat. they tell of oblivion.

II. II. Slyshysh, k svadbe zov svyatoy, Hear the holy call to marriage zalatoy. of the golden bells. Slyshysh, k svadbe zov svyatoy, Hear the holy call to marriage zalatoy. of the golden bells. Skolka nezhnava blazhenstva How much tender bliss v etoy pesne maladoy! there is in that youthful song!

54 Slyshysh, k svadbe zov... Hear the call to marriage... Skvos spakoynyi vozdukch nochi Through the tranquil night air slovna smotryat chi-ta ochi it is like someone’s eyes i blestyat, glowing iz valny pevuchikh zvukav and through the waves of ringing sounds na lunu ani glyadyat. gazing at the moon. Iz prizyvnykh divnykh keliy, From beckoning, wondrous cells polny skazachnykh veseliy, ﬁlled with fairy-tale delights, narastaya, upadaya, soaring and falling, bryzgi svetlyie letyat. ﬂy out sparks of light. Vnov patukhnut, vnov blestyat Dimmed again, glowing again, i ranyayut svetlyi vzglyad they shed their radiant light na gryadushcheye, on the future gde dremlyet bezmyatezhnost nezhnyhkh where tender dreams slumber snov, tranquilly, vazveshchayemykh saglasem zalatykh, heralded by the golden harmony zalatykh kolokolov. of golden bells. K svadbe zov svyatoy, The holy call to marriage zalatoy. of the golden bells. Slyshysh, k svadbe zov svyatoy, Hear the holy call to marriage zalatoy. of the golden bells.

III. III. Slyshysh, Hear, slyshysh, voyushchyi nabat, hear the howling of the alarm bell tochna stonet mednyi ad. like the groaning of a brazen hell. Eti zvuki, v dikoy muke These sounds in wild torment skasku uzhasov tverdyat. keep repeating a tale of horror. Tochna molyat im pamoch, As though begging for help, krik kidayut pryama v noch, hurling cries into the night, pryma v ushi temnoy nochi straight into the ears of the dark night, kazhdyi zvuk, every sound, to dlinneye, to karoche, now longer, now shorter, vazveshchayet svoy ispug. proclaims its terror. Pryma v ushi temnoy nochi straight into the ears of the dark night, kazhdyi zvuk, every sound, to dlinneye, to karoche, now longer, now shorter, vazveshchayet svoy ispug. proclaims its terror. I ispug ikh tak velik, And so great is their terror, tak bezumen kazhdyi krik, so desperate every shriek, shto razorvannyie zvony, that the tortured bells, nespasobnyie zvuchat, incapable of ringing out, mogut tolka bitsya, bitsya, can only batter, batter, i krichat, krichat, krichat, and shriek, shriek, shriek, tolka plakat a pashchade only weep for mercy i k pylayushchey gramade and to the thunderous blaze vopli skorbi abrashchat. address their wails of grief.

Please turn the page quietly.

week 10 program notes 55 A mezh tem agon bezumnyi, But meanwhile the raging fire, i glukhoy, i mnogashumnyi, both heedless and tumultuous, vsyo garit. ever burns. To iz okan, to pa kryshe From the windows, on the roof, mchitsya vyshe, vyshe, vyshe, it soars higher, higher, higher, i kak budtogavarit: as though announcing: —Ya khachu “I want vyshe mchatsya, razgaratsya to soar higher, and aflame vstrechu lunnamu luchu, meet the beams of moonlight; il umru, I will die, il totchas, totchas vplot da mesyatsa vzlechu. or now, now fly right up to the moon.” O, nabat, nabat, nabat, Oh, alarm bell, alarm bell, alarm bell, yesli b ty vernul nazad if you could only take back etat uzhas, eta plamya, etu iskru, etat the horror, the flames, the spark, the vzglyad, look, etat pervyi vzglyad agnya, that first look of the fire, o katorom ty veshchayesh which you proclaim s voplem, splachem i zvenya. with your howls and wails! A teper nam net spasenya, But now we are past help, vsyudu plamya i kipene the flames seethe everywhere, a teper name net spasenya, but now we are past help, vsyudu plamya i kipene the flames seethe everywhere, vsyudu strakh i vazmushchene. everywhere is fear and wailing. Tvoy prizyv, Your call, dikikh zvukav nesaglasnost, this wild disconsolate noise, vazveshchayet nam apasnost, proclaims our peril, to rastyot beda glukhaya, the hollow sounds of misfortune flowing to spadayet, kak priliv. and ebbing like a tide. Slukh nash chutka lovit volny We can clearly hear the waves v peremene zvukavoy, in the changing sounds, vnov spadayet, vnov rydayet now ebbing, now sobbing, medna-stonushchyi priboy! of the brazen, groaning surf!

56 IV. IV. Pakharonnyi slyshen zvon, Hear the funeral knell, dolgiy zvon! lengthy knell, Gorkoy skorbi slyshny zvuki, Hear the sound of bitter sorrow gorkoy zhizni konchen son. ending the dream of a bitter life. Zvuk zheleznyi The iron sound vazveshchayet a pechali pakharon. proclaims a funeral’s grief. I nevolna my drazhim, And we unwittingly shiver, at zabav svaikh speshim, hurry away from our amusements, I rydayem, vspaminayem, and we weep, and remember shto I my glaza smezhim. that we too shall close our eyes. Neizmenno manatonnyi, Unchanging and monotonous, etat vozglas atdalyonnyi, that faraway call, pakharonnyi tyaskhiy zvon, the heavy funeral knell, tochna ston, like a groan, skorbnyi, gnevnyi, plaintive, angry, i plachevnyi, and lamenting, vyrastayet v dolgiy gul. swells to a lengthy booming. Vasveshchayet, shto stradalets It proclaims that a sufferer neprabudnym snom usnul. sleeps the eternal sleep. V kolokolnych kelyach rzhavykh From the belfry’s rusty cells on dlya pravykh i nepravykh from the just and the unjust grozna vtorit ab adnom: it sternly repeats its theme: shto na sertse buden kamen, that a stone shall cover your heart, shto glaza samkrutsya snom. that your eyes will close in sleep. Fakel traurnyi garit, As the mourning torch burns s kolokolni kto-ta kriknul, someone shrieks from the belfry kto-ta gromka gavarit. someone is loudly talking. Kto-ta chyornyi tam stait, Someone dark is standing there, i khakhochet, i gremit, laughing and roaring, i gudit, gudit, gudit. and howling, howling, howling. K kolokolne pripadayet, He leans against the belfry gulkiy kolokol kachayet, and swings the hollow bell, gulkiy kolokol rydayet, and the hollow bell sobs stonet v vozdukhe nemom, and groans through the silent air, gulkiy kolokol rydayet, and the hollow bell sobs stonet v vozdukhe nemom, and groans through the silent air, i pratyazhno vazveshchayet slowly proclaiming a pakoye grabavom. the stillness of the grave.

week 10 program notes 57

To Read and Hear More...

The best quickly available source of information about John Harbison is the website of his publisher, G. Schirmer (www.schirmer.com), which contains a biography, work list, reviews, and several interesting essays about the composer and individual pieces, including his opera The Great Gatsby. David St. George wrote the essay on Harbison in the New Grove II (from 2001); Richard Swift wrote the one in The New Grove Dictionary of American Music (1983).

Koussevitzky Said: hasn’t yet been recorded commercially, but much of John Harbison’s catalogue is available on CD and in downloads. All six of his symphonies were recorded by the Boston Symphony Orchestra in live performances during the 2010-11 and 2011-12 seasons and are available for download at the orchestra’s website bso.org. The BSO also recorded the composer’s Symphony No. 1 under Seiji Ozawa’s direction in 1984, the year of its premiere (New World Records). The Boston Symphony Chamber Players, with pianist Gilbert Kalish, recorded the Piano Quintet and Words from Paterson, the latter with baritone Sanford Sylvan, on a disc with Simple Daylight performed by Kalish and soprano Dawn Upshaw (Nonesuch). Boston’s Cantata Singers, under David Hoose’s direction, recorded Harbison’s Four Psalms and Emerson (New World Records); the same forces, with soprano Roberta Anderson and baritone Sanford Sylvan, also recorded the composer’s Pulitzer-winning “sacred ricercar” The Flight into Egypt (New World Records, with the Concerto for Double Brass Choir and The Natural World). Also of interest are three recordings by the Boston Modern Orchestra Project—the ballet Ulysses and the short operas Full Moon in March and Winter’s Tale (all on BMOP/sound)—and the Lydian String Quartet’s recording of Harbison’s first four string quartets (Centaur). A live Metro- politan Opera broadcast recording of Harbison’s evening-length opera The Great Gatsby, under James Levine’s direction and featuring Dawn Upshaw, Lorraine Hunt Lieberson, and Jerry Hadley, was released by the Met on its own label and is available at the Metropolitan Opera shop (online or in person).

Eriks¯ Ešenvalds’ own website, eriksesenvalds.com, is a rich source of information on the composer, including a comprehensive work list, biography, and discography. His publisher Musica Baltica also maintains a site with some of the same information (musicabaltica. com/en/composers-and-authors/eriks-esenvalds/). Among recordings of Ešenvalds’ music is a monograph disc of choral works performed by the vocal group Polyphony, with and without the Britten Sinfonia, conducted by Stephen Layton, which includes the com-

week 10 read and hear more 59 poser’s Passion and Resurrection and other works (Hyperion). His Go away rain, A drop in the ocean, and an arrangement of Amazing Grace are on the all-Latvian choral disc “Dawn Is Breaking,” with music of P¯eteris Vasks, Rihards Dubra, Valts P¯¯uce, and Art¯urs Maskats (Quartz). Other recordings that appear on Ešenvalds’ website might be tracked down via European sources.

Robert Kirzinger

The important modern study of Prokofiev is Harlow Robinson’s Sergei Prokofiev: A Biography. Originally published in 1987, this was reprinted in 2002 with a new foreword and afterword by the author (Northeastern University paperback). Robinson’s book avoids the biased attitudes of earlier writers whose viewpoints were colored by the “Russian”-vs.-“Western” perspectives typical of their time, as reflected in such older volumes as Israel Nestyev’s Prokofiev (Stanford University Press; translated from the Russian by Florence Jonas) and Victor Seroff’s Sergei Prokofiev: A Soviet Tragedy (Taplinger). More recently Robinson produced Selected Letters of Sergei Prokofiev, newly translating and editing a volume of previously unpublished Prokofiev correspondence (Northeastern University). Sergey Prokofiev by Daniel Jaffé is in the well-illustrated series “20th-Century Composers” (Phaidon paperback). Other useful books include Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917-1981 (Indiana University Press) and Prokofiev by Prokofiev: A Composer’s Memoir, an autobiographical account covering the first seventeen

60 years of Prokofiev’s life, through his days at the St. Petersburg Conservatory (Doubleday). Robert Layton discusses Prokofiev’s concertos in his chapter “Russia after 1917” in A Guide to the Concerto, for which Layton was also editor (Oxford paperback).

Yo-Yo Ma recorded Prokofiev’s Symphony-Concerto for cello and orchestra with Lorin Maazel and the Pittsburgh Symphony Orchestra (Sony). Mstislav Rostropovich’s first recording of the piece outside of Russia was with Sir Malcolm Sargent and the Royal Philharmonic (EMI “Great Recordings of the Century”); the cellist later recorded it with Seiji Ozawa and the London Symphony Orchestra (Warner Classics). Other recordings feature Gautier Capuçon with Valery Gergiev and the Mariinsky Theater Orchestra (Virgin Classics), Lynn Harrell with Gerard Schwarz and the Royal Philharmonic (Avie), Truls Mørk with Paavo Järvi and the City of Birmingham Symphony Orchestra (Erato), and Daniel Müller-Schott with Jukka-Pekka Saraste and the West German Radio Symphony Orchestra (Orfeo).

Geoffrey Norris’s article on Rachmaninoff from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Russian Masters 2 with the 1980 Grove articles on Rimsky-Korsakov, Scriabin, Prokofiev, and Shostakovich (Norton paperback). Norris revised his article for the 2001 edition of Grove, the composer’s name now being spelled “Rachmaninoff” rather than “Rakhmaninov.” Norris also wrote Rakhmaninov, an introduction to the composer’s life and works in the Master Musicians series (Littlefield paperback). Also useful are the smaller volumes Rachmaninov Orchestral Music by Patrick Piggott in the series of BBC Music Guides (University of Washington paperback); Sergei Rachmaninov: An Essential Guide to his Life and Works by Julian Haylock in the series “Classic fm Lifelines” (Pavilion paperback), and Rachmaninoff: Composer, Pianist, Conductor by Barrie Martyn (Scolar Press). An older book, Sergei Rachmaninoff: A Lifetime in Music, compiled by Sergei Bertensson and Jay Leyda with assistance from Sophie Satin, Rachmani- noff’s sister-in-law, draws upon the composer’s own letters and interviews (originally New York University Press; reprinted by Indiana University Press). Michael Steinberg’s program note on The Bells is included in his compilation volume Choral Masterworks–A Listener’s Guide (Oxford paperback).

Noteworthy recordings of The Bells, listed alphabetically by conductor, include Vladimir Ashkenazy’s with the Concertgebouw Orchestra and Chorus of Amsterdam (Decca), Semyon Bychkov’s with the West German Radio Symphony Orchestra and Chorus of Cologne (Profil), Charles Dutoit’s with the Philadelphia Orchestra and Choral Arts Society of Philadelphia (originally Decca; reissued on Newton Classics); Mikhail Pletnev’s with the Russian National Orchestra and Moscow Chamber Chorus (Deutsche Grammophon), Simon Rattle’s with the Berlin Philharmonic and Berlin Radio Chorus (Warner Classics), Robert Shaw’s with the Atlanta Symphony Orchestra and Chorus (Telarc), and Yevgeny Svetlanov’s as recorded live in 2002 with the BBC Symphony Orchestra and Chorus (ICA Classics).

Marc Mandel

week 10 read and hear more 61

Guest Artists

Yo-Yo Ma

Yo-Yo Ma’s multi-faceted career is testament to his continual search for new ways to com- municate 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 Western classical tradition, he strives to find connections that stimulate the imagination. His interest in music as a vehicle for the migration of ideas across a range of cultures led to his founding, in 1998, the Silk Road Project, a nonprofit arts and educational organization. Under his artistic direction, the Silk Road Project presents performances by the acclaimed Silk Road Ensemble, engages in cross-cultural exchanges and residencies, leads workshops for students, and partners with leading cultural institutions to create educational materials and programs. The Project’s ongoing affiliation with Harvard University has made it possible to broaden and enhance educational programming. Developing new music is also a central undertaking of the Silk Road Project, which has been involved in commissioning and performing more than sixty new works. As the Chicago Symphony Orchestra’s Judson and Joyce Green Creative Consultant, Mr. Ma partners with Riccardo Muti on innovative program development for the orchestra’s Institute for Learning, Access and Training and its artistic initiatives. He and the Institute have created the Citizen Musician Initiative (citizenmusician.org), which calls on musicians, music lovers, music teachers, and institutions to use the art form to bridge gulfs between people and inspire a sense of community. Strongly committed to educational programs, Mr. Ma takes time whenever possible to interact with students— musicians and non-musicians alike—and has reached young audiences through appearances

week 10 guest artists 63 on Arthur, Mister Rogers’ Neighborhood, and Sesame Street. His discography of more than ninety albums (including more than seventeen Grammy-winners) reflects his wide-ranging interests; his recent recordings include Mendelssohn trios with Emanuel Ax and Itzhak Perlman, and “The Goat Rodeo Sessions” (with Edgar Meyer, Chris Thile, and Stuart Duncan), which received the 2013 Grammy for Best Folk Album. He remains one of the best-selling recording artists in the classical field. In fall 2009, Sony Classical released a box set of over ninety albums to mark his thirty years as a Sony recording artist. Yo-Yo Ma was born in 1955 in Paris to Chinese parents who later moved the family to New York. He began studying 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 Sonning Prize, the World Economic Forum’s Crystal Award, the Presidential Medal of Freedom, the Kennedy Center Honor, the Polar Music Prize, the Vilcek Prize in Contemporary Music, and the Fred Rogers Legacy Award. For the summer of 2015 he has been named (along with Emanuel Ax) one of Tanglewood’s first Koussevitzky Artists. A UN Messenger of Peace and a member of the President’s Committee on the Arts & the Humanities, he has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. Mr. Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius. Since his Boston Symphony debut in February 1983, Yo-Yo Ma has appeared many times with the BSO in Boston, at Tanglewood, and on tour. His most recent subscription performances were in October 2013, as soloist in Shostakovich’s Cello Concerto No. 1; his most recent Tanglewood appearance with the orchestra was this past August, in music of Tchaikovsky.

Victoria Yastrebova

Russian soprano Victoria Yastrebova was born in Rostov-on-the-Don. A graduate of the Rostov State Conservatory, she has been a soloist of the Mariinsky Theatre since 2002. She has won prizes in many international competitions, including the International Stanislav Monushko Competition in Poland, the sixth International Rimsky-Korsakov Competition in

week 10 guest artists 65 St. Petersburg, and the third International Elena Obraztsova Competition in 2003. Ms. Yastrebova has appeared at the Royal Opera–Covent Garden, Milan’s Teatro alla Scala, Opera Leipzig, Aalto Theater Essen, the Barbican Centre in London, Millennium Centre in Cardiff, Birmingham Symphony Hall, Festspielhaus Baden-Baden, Tokyo Metropolitan Symphony Orchestra, Opéra du Capitole Toulouse, Savonlinna Opera Festival, Teatro Municipale Giuseppe Verdi in Salerno, Teatro Carlo Felice in Genoa, Zaubersee Music Festival in Lucerne, Abu Dhabi Festival, Mikkeli Festival, and Royal Opera House Muscat. In addition to her Boston Symphony Orchestra debut this week, engagements in 2014-15 and beyond include Tosca in Leipzig, and such leading roles at the Mariinsky as Elsa in Lohengrin, Violetta in La traviata, and the title role in Madama Butterfly. Recent highlights include concert performances of Tosca with the Royal Liverpool Philharmonic Orchestra (with Vasily Petrenko conducting and Bryn Terfel as Scarpia), Tosca at Oper Leipzig and in a new production at Theater Saarbrücken (including the opening of its new hall), and Elisabeth de Valois in Don Carlo in a new production at Finnish National Opera. Ms. Yastrebova has sung Verdi’s Requiem under Valery Gergiev at the Barbican Centre, Millennium Centre Cardiff, Birmingham Symphony Hall, and Festspielhaus Baden-Baden, in Madrid under Adrian Leaper, and in Tokyo under Ion Marin. She opened Lucerne’s Zaubersee Music Festival in a joint recital with Lilya Zilberstein and, with Bryn Terfel, sang gala concerts in Abu Dhabi and Muscat. Ms. Yastrebova has appeared at La Scala (covering the role of Tosca) and made her Covent Garden debut as Oksana in Tchaikovsky’s Cherevichki. She performed the title role in Tchaikovsky’s Iolanta in a new production in Toulouse and Verdi’s Requiem

66 under the baton of Valery Gergiev at Finland’s Mikkeli Festival, as well as Madama Butterfly under Stefan Soltesz at the Savonlinna Opera Festival. She has toured the United States and Europe with the Mariinsky and performed recitals with Larissa Gergieva in Russia and abroad. She sang Musetta in La bohème at the Teatro Municipale Giuseppe Verdi in Salerno and in Genoa under Daniel Oren. In concert she has performed The Bells with the BBC Symphony Orchestra conducted by Semyon Bychkov and Mahler’s Symphony No. 8 with Valery Gergiev and the London Symphony Orchestra, both at the Barbican; Beethoven’s Ninth Symphony in Rotterdam and Israel, and Richard Strauss’s Four Last Songs at the Easter Festival and White Nights Festival, St. Petersburg, all under Gergiev.

Pavel Cernochˇ

Making his BSO debut this week, Pavel Cernochˇ was born in Brno and sang as a child with the famed Cantilena Choir. As a young adult, he participated in a master class with the legendary Franco Corelli, who advised him to pursue a career as a classical artist. He studied at the Janáˇcek Academy and continued his vocal studies with Paolo de Napoli, who remains his mentor today. He made his professional debut in his native city of Brno in Die Zauberflöte and in 2004 began his association with the National Opera in Prague. Since his debut with the Latvian National Opera in Riga as Števa in Jen˚ufa, he has returned there as Alfredo in La traviata and the Prince in Rusalka, subsequently appearing at the Vienna Volksoper as Alfredo, as Alfred in Die Fledermaus, and as Lionel in Martha. Highlights of 2013-14 included his debut at Milan’s Teatro alla Scala in Rimsky-Korsakov’s The Tsar’s Bride conducted by Daniel Barenboim and singing that work at the Berlin State Opera, where he also sang Boris in a new production of Kátya Kabanová conducted by Sir Simon Rattle. Since 2010 Pavel Cernochˇ has been a regular guest of such major European opera houses as the Berlin Staatsoper, Bayerische Staatsoper München, Staatsoper Hamburg, Staatstheater Stuttgart, Paris Opera, Opéra de Nice, Teatro Real Madrid, and Opera La Monnaie Brussels, in such roles as Alfredo, Gabriele Adorno in Simon Boccanegra, Rodolfo in La bohème, Pinker- ton in Madama Butterfly, Faust (both Berlioz’s La damnation de Faust and Gounod’s Faust), Lensky in Eugene Onegin, Vaudémont in Tchaikovsky’s Iolanta, Števa, Boris in Kátya Kabanová,

week 10 guest artists 67 the Prince, and Jeník in The Bartered Bride. He is a regular guest at the Glyndebourne Festi - val (Števa in 2010, the Prince in 2011, Don José in Carmen in 2015) and with the City of Birmingham Symphony Orchestra under Andris Nelsons (Rodolfo in La bohème and Verdi’s Requiem). In 2012 he made his French operatic debut as Gabriele Adorno for Opéra de Nice. He returned to Munich in Jen˚ufa and will return there for a new production of The Makropulos Case. He made his Italian stage debut in January 2013 at the Teatro San Carlo di Napoli as the Prince, the role that also served for his Zurich Opera debut. Other recent highlights include his Spanish operatic debut at the Teatro Real in Madrid as Vaudémont in Iolanta, in a production directed by Peter Sellers and conducted by Teodor Courentzis; his debut at La Monnaie in Brussels as the Prince in Rusalka; and debuts at Hamburg State Opera, Deutsche Oper Berlin, and the Berlin State Opera, all as Alfredo. Pavel Cernochˇ frequently appears as soloist with orchestras and has collaborated with such eminent conductors as Andris Nelsons, Kirill Petrenko, Jiˇrí Bˇelohlávek, Gennady Rozhdestvensky, and many others.

Kostas Smoriginas

Bass-baritone Kostas Smoriginas studied at the Lithuanian Music and Theatre Academy. After moving to London in 2005 and representing his country at the BBC Cardiff Singer of the World Competition, he spent two years at the Royal College of Music before joining the Jette Parker Young Artist Program at the Royal Opera House in 2007. Mr. Smoriginas made his United States opera debut in 2010 as Figaro in Le nozze di Figaro at Washington National Opera, a role he later repeated at San Francisco Opera. He returned to the United Kingdom as Escamillo in Carmen in a new Opera North production, having made his debut in the role at the Berlin Staatsoper. He has also sung Colline in La bohème at the Royal Opera House and Tomsky in Pique Dame with the Israeli Opera. Highlights of recent seasons include his debut at Milan’s Teatro alla Scala as Masetto in Don Giovanni; his debut as Leporello in Don Giovanni at Opéra de Bordeaux; Escamillo in the Salzburg Easter Festival’s production of Carmen with the Berlin Philharmonic under Simon Rattle, also recorded for EMI; Escamillo at Beijing’s National Centre for the Performing Arts; Don Giovanni at the

week 10 guest artists 69

Teatro Municipal in Santiago, Chile, and also in Toulouse; Eugene Onegin and Guglielmo in Così fan tutte at Vilnius City Opera; Masetto in a new Dmitri Tcherniakov production of Don Giovanni conducted by Marc Minkowski at the Aix-en-Provence Festival; Pietro in Simon Boccanegra with Dmitri Hvorostovsky, Ildar Abdrazakov, and Barbara Frittoli; Escamillo at the Semperoper Dresden and at the Royal Opera House–Covent Garden; Papageno in The Magic Flute in Washington; Escamillo in Santa Fe, and Count Almaviva in Le nozze di Figaro in Vilnius. His operatic repertoire also includes Araspe (Tolomeo), Seneca (L’incoronazione di Poppea), Dandini and Alidoro (La Cenerentola), the Marquis d’Obigny (La traviata), Angelotti (Tosca), Zuniga (Carmen), Bello (La fanciulla del West), Smirnov (The Bear), Schlémil (Les Contes d’Hoffmann), and the Mandarin (Turandot). Kostas Smoriginas is also in high demand on the concert platform. His repertoire includes the Requiems of Verdi, Mozart, and Fauré, Handel’s Messiah, Bach’s Magnificat, Mendelssohn’s Elijah, Janáˇcek’s Glagolitic Mass, and Dvoˇrák’s Te Deum. He sang Szymanowski’s Stabat Mater with Edward Gardner and the City of Birmingham Symphony Orchestra and with the London Symphony Orchestra under Valery Gergiev, and garnered rave reviews for his BBC Proms debut in Stravinsky’s Les Noces under the baton of Edward Gardner at the Royal Albert Hall. A native Russian speaker, he includes a great variety of Russian works in his song repertoire. Highlights of his 2014-15 season and beyond include Dvoˇrák’s Te Deum with the Orchestre de Paris, this week’s Boston Symphony Orchestra debut in Rachmaninoff’s The Bells, the title role in Rachmaninoff’s Aleko with La Monnaie, Chelkalov in Boris Godunov at Covent Garden, Leporello in Santa Fe, and Prosdocimo in Rossini’s Il turco in Italia in Toulouse.

Tanglewood Festival Chorus John Oliver, Conductor

Having begun its 2014-15 season in October with Brahms’s Ein deutsches Requiem led by Bramwell Tovey, the Tanglewood Festival Chorus rejoins the Boston Symphony Orchestra this week to sing three works in a single program with Andris Nelsons conducting: the Boston premiere of John Harbison’s BSO-commissioned Koussevitzky Said:, the world premiere of a new work—Lakes Awake at Dawn—commissioned by the BSO from Latvian composer Eriks¯ Ešenvalds, and Rachmaninoff’s The Bells in the work’s first BSO performances since the orchestra’s only previous performances in 1979. Later this season, in March, the

week 10 guest artists 71 chorus participates in the BSO’s first performances of Syzmanowski’s opera King Roger, with Charles Dutoit on the podium. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsor- ship of Boston University and the Boston Symphony Orchestra for performances during the Tangle wood season, the chorus originally numbered 60 well-trained Boston- area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard

week 10 guest artists 73 Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tangle wood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary.

The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy- winner for Best Orches tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. 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 at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes 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. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; 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 to 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 Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

74 John Oliver

John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tangle wood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In Febru ary 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of

week 10 guest artists 75 the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch Inter national: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music.

76 Tanglewood Festival Chorus John Oliver, Conductor (Harbison, Ešenvalds, and Rachmaninoff, November 20, 21, and 22, 2014)

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 Abel • Carol Amaya • Aimée Birnbaum • Joy Emerson Brewer • Norma Caiazza • Jeni Lynn Cameron • Catherine C. Cave • Lorenzee Cole # • Emilia DiCola • Christine Pacheco Duquette* • Christina Grandy de Oliveira • Carrie Louise Hammond • Eileen Huang • Polina Dimitrova Kehayova • Donna Kim • Nancy Kurtz • Barbara Abramoff Levy § • Suzanne Lis • Hannah McMeans • Kieran Murray • Ebele Okpokwasili-Johnson • Laurie Stewart Otten • Livia M. Racz • Adi Rule • Melanie Salisbury # • Johanna Schlegel • Sarah Wesley • Lauren Woo • Meghan Renee Zuver mezzo-sopranos

Anete Adams • Betty Blanchard Blume • Betsy Bobo • Lauren A. Boice • Janet L. Buecker • Abbe Dalton Clark • Diane Droste # • Barbara Durham • Barbara Naidich Ehrmann # • Paula Folkman # • Dorrie Freedman § • Irene Gilbride # • Betty Jenkins • Irina Kareva • Evelyn Eshleman Kern # • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Louise Morrish • Kendra Nutting • Andrea Okerholm Huttlin • Roslyn Pedlar # • Daniel Roihl • Lori Salzman • Julie Steinhilber # • Lelia Tenreyro-Viana • Martha F. Vedrine • Cindy M. Vredeveld • Christina Wallace Cooper # • Marguerite Weidknecht # • Karen Thomas Wilcox • Lidiya Yankovskaya tenors

Stephen Chrzan • Andrew Crain # • Tom Dinger • Ron Efromson • Keith Erskine • Len Giambrone • Leon Grande • J. Stephen Groff # • John W. Hickman # • Stanley G. Hudson # • Timothy O. Jarrett • James R. Kauffman # • Jordan King • Lance Levine • Henry Lussier § • Ronald J. Martin • Mark Mulligan • Jonathan Oakes • Dwight E. Porter* • Guy F. Pugh • Peter Pulsifer • Tom Regan • David Roth • Blake Siskavich • Arend Sluis • Stephen E. Smith • Peter L. Smith • Martin S. Thomson • Stephen J. Twiraga • Adam Van der Sluis • Hyun Yong Woo basses

Nicholas Altenbernd • Vartan T. Babikyan • Scott Barton • Nathan Black • Daniel E. Brooks # • Arthur M. Dunlap • Mark Gianino • Jim Gordon • Jay S. Gregory # • Mark L. Haberman # • Marc J. Kaufman • David M. Kilroy • Yangming Kou • Bruce Kozuma • Timothy Lanagan # • David K. Lones # • Christopher T. Loschen • Martin F. Mahoney II • James Mangan • Lynd Matt • Eryk P. Nielsen • Stephen H. Owades § • William Brian Parker • Michael Prichard # • Peter Rothstein* • Jonathan Saxton • Charles F. Schmidt • Karl Josef Schoellkopf • Kenneth D. Silber • Scott Street • Samuel Truesdell • Bradley Turner # • Terry Ward • Lawson L.S. Wong

William Cutter, Rehearsal Conductor Lidiya Yankovskaya, Russian Diction Coach Martin Amlin, Rehearsal Pianist Erik Johnson, Chorus Manager Emily W. Siders, Assistant Chorus Manager

week 10 guest artists 77 The Great Benefactors

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

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

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

five million Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • 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 • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • 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 • 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 (2)

78 one million Alli and Bill Achtmeyer • 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 • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • 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 ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • 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 • Polly and Dan ‡ Pierce • Carol and Joe Reich • 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 • Kristin and Roger Servison • 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 (8)

‡ Deceased

week 10 the great benefactors 79

Maestro Circle

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

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Fidelity Investments • Michael L. Gordon • Mr. and Mrs. Ulf B. Heide • Dorothy and Charlie Jenkins • Stephen Kay and Lisbeth Tarlow • Ted and Debbie Kelly • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • Commonwealth of Massachusetts • National Endowment for the Arts • Megan and Robert O’Block • John S. and Cynthia Reed • Carol and Joe Reich • Susan and Dan ‡ Rothenberg • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds committee peter c. andersen, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $4 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by November 5, 2014. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor. founders $100,000+ Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Barbara and Amos Hostetter • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • William and Lia Poorvu • John S. and Cynthia Reed • Susan and Dan ‡ Rothenberg • Kristin and Roger Servison •

weeks 10 maestro circle 81 Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2)

encore $25,000 to $49,999 Jim and Virginia Aisner • Joan and John Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Katherine Chapman and Thomas Stemberg • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Brent L. Henry • Josh and Jessica Lutzker • Henrietta N. Meyer • Sandra Moose and Eric Birch • Louise C. Riemer • Richard and Susan Smith Family Foundation • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4)

patron $10,000 to $24,999 Amy and David Abrams • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Lloyd Axelrod, M.D. • Judith and Harry Barr • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • James Catterton ‡ and Lois Wasoff • Ernest Cravalho and Ruth Tuomala • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Deborah and Philip Edmundson • Roger and Judith Feingold • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Laurel E. Friedman • Jody and Tom Gill • Barbara and Robert Glauber • Thelma and Ray Goldberg • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Paul L. King • Mr. John L. Klinck, Jr. • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • John F. Magee • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Mr. and Mrs. Jack R. Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Mary S. Newman • Peter Palandjian • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael Rosenblatt and Ms. Patty Rosenblatt • Debora and Alan Rottenberg • Cynthia and Grant Schaumburg • Benjamin Schore • Arthur and Linda Schwartz • Ron and Diana Scott • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Dr. and Mrs. Phillip Sharp • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mr. and Mrs. David Weinstein • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Marillyn Zacharis • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (5)

82 sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Helaine B. Allen • Shirley and Walter Amory • Dr. Ronald Arky • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • John and Molly Beard • Deborah Davis Berman and William H. Berman • Roz and Wally Bernheimer • Jim and Nancy Bildner • Brad and Terrie Bloom • Mark G. and Linda Borden • Mr. and Mrs. Stephen P. Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Ms. Carol Feinberg Cohen • Mrs. Abram Collier • Mr. Jeff Conklin • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Dr. Ronald A. and Dr. Betty Neal Crutcher • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • Gene and Lloyd Dahmen • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Dr. Ronald F. Dixon and Mrs. Elizabeth Ohashi • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Shirley and Richard Fennell • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • Mr. David Fromm • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Jane ‡ and Jim Garrett • Mr. and Mrs. Paul B. Gilbert • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Holly and Bruce Johnstone • Barbara and Leo Karas • Joan Bennett Kennedy • Mrs. Thomas P. King • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Dr. and Mrs. Jeffrey M. Leiden • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Kyra and Jean Montagu • Mr. and Mrs. Joseph M. Paresky • Mr. and Mrs. Michael Payne • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Rita and Norton Reamer • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Dr. Robin S. Richman and Dr. Bruce Auerbach • Allan Rodgers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • Norma and Roger A. Saunders • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Ms. Nancy F. Smith • John and Katherine Stookey • Patricia L. Tambone • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Nicholas T. Zervas • Anonymous (9)

weeks 10 the higginson society 83 member $3,000 to $4,999 Mrs. Sonia Abrams • Joel and Lisa Alvord • Mrs. Mary R. Anderson • Ms. Eleanor Andrews • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Donald P. Barker, M.D. • Mr. and Mrs. Eugene F. Barnes III • Hanna and James Bartlett • Mr. and Mrs. Clark L. Bernard • Leonard and Jane Bernstein • Bob and Karen Bettacchi • Marion and Philip Bianchi • Annabelle and Benjamin Bierbaum • Mrs. Stanton L. Black • Partha and Vinita Bose • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Gertrude S. Brown • Elise R. Browne • Matthew Budd and Rosalind Gorin • Assunta H. and George Y. Cha • Yi-Hsin Chang and Eliot Morgan • Mr. and Mrs. Dan Ciampa • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Robert and Sarah Croce • Joanna Inches Cunningham • Dr. and Mrs. Francis de Marneffe • Pat and John Deutch • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. William V. Ellis • Peter Erichsen and David Palumb • Elizabeth and Frederic Eustis • Ziggy Ezekiel and Suzanne Courtright Ezekiel • Mr. and Mrs. Andrew J. Ferrara • Mr. and Mrs. Peter Fiedler • Barbie and Reg Foster • Velma Frank • Myrna H. and Eugene M. Freedman • Martin Gantshar • Dozier and Sandy Gardner • Rose and Spyros Gavris • Arthur and Linda Gelb • Dr. and Mrs. Zoher and Tasneem Ghogawala • Mr. David Gifford • Mr. Nelson S. Gifford • Roberta Goldman • Adele C. Goldstein • Phyllis and Robert Green • Harriet and George Greenfield • Ms. Paula Greenman • Madeline L. Gregory • Marjorie and Nicholas Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mary and Harry Hintlian • Pat and Paul Hogan • Albert A. Holman III and Susan P. Stickells • G. Lee and Diana Y. Humphrey • Cerise Lim Jacobs, for Charles • Dr. and Mrs. G. Timothy Johnson • Susan Johnston • Elizabeth Kent • Mary S. Kingsbery • Mason J. O. Klinck • Margaret and Joseph Koerner • Susan G. Kohn • Anna and Peter Kolchinsky • Dr. and Mrs. David Kosowsky • Mr. Andrew Kotsatos and Ms. Heather Parsons • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Ms. Alexandra Leake • Mr. and Mrs. William Leatherman • Emily Lewis • Alice Libby and Mark Costanzo • Dagmar K. Liles • Thomas and Adrienne Linnell • Mr. and Mrs. Francis V. Lloyd III • Marcia Marcus Klein and J. Richard Klein • David Margolin and Nancy Bernhard • Takako Masamune • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse • Anne J. Neilson • Avi Nelson • Cornelia G. Nichols • Judge Arthur Nims • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Bob and Kathryn O’Connell • John O’Leary • Dr. Christine Olsen and Mr. Robert J. Small • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Kitty Pechet • Dr. Alan Penzias • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Mr. and Mrs. Randy Pierce • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Helen C. Powell • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Dr. and Mrs. Michael Ronthal •

weeks 10 the higginson society 85

Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene Rubin • Jordan S. Ruboy, M.D. ‡ and Richard S. Milstein, Esq. • Marjorie and Walter Salmon • The Sattley Family • Betty and Pieter Schiller • Mr. and Mrs. William Schmidt • Mr. and Mrs. Marvin G. Schorr • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Eleanor and Richard Seamans • Carol Searle and Andrew Ley • The Shane Foundation • Betsy and Will Shields • Maggie and Jack Skenyon • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Sharon Stanfill • Sharon and David Steadman • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Galen and Anne Stone • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Richard S. Taylor • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham • Philip C. Trackman • Mr. and Mrs. John H. Valentine • Matthew and Susan Weatherbie • Sally and Dudley Willis • Albert O. Wilson, Jr. • Elizabeth H. Wilson • Chip and Jean Wood • Donald Workman • Jean Yeager • Dr. and Mrs. Bernard S. Yudowitz • Dr. Xiaohua Zhang and Dr. Quan Zhou • Anonymous (13)

weeks 10 the higginson society 87

Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator 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 Marketing and Communications Ofﬁcer Bart Reidy, Director of Development Ray F. Wellbaum, Orchestra Manager administrative staff/artistic

Bridget P. Carr, Senior Archivist • Anna Le Tiec, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 10 administration 89 development

Joseph Chart, Director of Major Gifts • 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 Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Nadine Biss, Assistant Manager of Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Thomas Linehan, Beranek Room Host • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate 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 and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 10 administration 91 information technology Timothy James, Director of Information Technology

Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box ofﬁce David Chandler Winn, Associate Director of Tanglewood Ticketing and Tessitura Liaison • Megan E. Sullivan, Associate Subscriptions Manager box ofﬁce representatives Jane Esterquest • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

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

week 10 administration 93

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood/Chair-Elect, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2014-15

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

week 10 administration 95 Next Program…

Tuesday, November 25, 8pm Friday, November 28, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) Saturday, November 29, 8pm

leonidas kavakos, conductor and violin bartók “two portraits,” opus 5 Andante (with solo violin) Presto

haydn symphony no. 82 in c, “the bear” Vivace assai Allegretto Menuet Finale: Vivace

{intermission}

mussorgsky “pictures at an exhibition,” orchestrated by maurice ravel Promenade Gnomus Promenade Il vecchio castello Promenade—Tuileries Bydlo Promenade—Ballet of Chicks in their Shells Samuel Goldenberg and Schmuyle The Market at Limoges Catacombae. Sepulcrum Romanum Con mortuis in lingua mortua The Hut on Chicken Legs (Baba-Yaga) The Great Gate of Kiev

The Greek-born violin virtuoso Leonidas Kavakos returns to the BSO as both soloist and conductor in Béla Bartók’s Two Portraits for violin and orchestra, which the BSO has never performed. The yearning Portrait No. 1 is an arrangement of the first movement of the composer’s first, long- suppressed violin concerto; the brief second Portrait is an arrangement of a quick, waltzing piano bagatelle. Kavakos also leads Haydn’s Symphony No. 82 in C, The Bear, one of the six so-called “Paris” symphonies he wrote in the mid-1780s for that city as his international reputation grew. Its nickname, not the composer’s own, apparently comes from the droning figure at the start of the finale, which suggested, to a later arranger, music for a dancing bear. Completing the program is Ravel’s familiar arrangement of Mussorgsky’s kaleidoscopic Pictures at an Exhibition, a suite of highly characterized musical reactions to fantastical paintings and drawings.

96 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.

Tuesday ‘C’ November 25, 8-9:50 Sunday, January 11, 3pm Friday ‘B’ November 28, 1:30-3:20 Jordan Hall, New England Conservatory Saturday ‘A’ November 29, 8-9:50 BOSTON SYMPHONY CHAMBER PLAYERS LEONIDAS KAVAKOS , conductor and violin MYSLIVECEKˇ Quintet No. 2 in G for BARTÓK Two Portraits, for violin and two clarinets, two horns, orchestra and bassoon HAYDN Symphony No. 82, The Bear FOOTE Nocturne and Scherzo for MUSSORGSKY/ Pictures at an Exhibition ﬂute and string quartet RAVEL ERIC NATHAN New work for oboe, horn, and piano (world premiere; BSO commission) Thursday ‘C’ January 8, 8-9:55 DVORÁKˇ Octet-Serenade in E for winds, UnderScore Friday January 9, 8-10:05 (ARR. INGMAN) strings, and piano, Op. 22 (includes comments from the stage) Saturday ‘A’ January 10, 8-9:55 Thursday, January 15, 10:30am (Open Rehearsal) ANDRIS NELSONS, conductor Thursday ‘A’ January 15, 8-10:10 GAUTIER CAPUÇON, cello Friday ‘A’ January 16, 1:30-3:40 STEVEN ANSELL, viola Saturday ‘A’ January 17, 8-10:10 BRAHMS Variations on a Theme ANDRIS NELSONS, conductor by Haydn LARS VOGT, piano HAYDN Symphony No. 90 MOZART Piano Concerto No. 24 in STRAUSS Don Quixote C minor, K.491 BRUCKNER Symphony No. 7

Thursday ‘D’ January 22, 8-9:45 Friday ‘B’ January 23, 1:30-3:15 Saturday ‘B’ January 24, 8-9:45 TUGAN SOKHIEV, conductor JOHANNES MOSER, cello BERLIOZ Le Corsaire Overture SAINT-SAËNS Cello Concerto No. 1 RIMSKY- Scheherazade KORSAKOV Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200, or at the Symphony Hall box office Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

week 10 coming concerts 97 Symphony Hall Exit PlanPlanSymphony

98 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through Symphony Charge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building.

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 10 symphony hall information 99 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. 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, Thursday, and Friday 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, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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