COLLEGE OF FINE ARTS ADMINISTRATION Benjamin E. Juarez, Dean Boston University Robert K. Dodson, Director, School of Music Jim Petosa, Director, School of Theatre Arts Tanglewood Institute Lynne Allen, Director, School of Visual Arts John Amend, Assistant Dean of Finance and Administration presents Patricia Mitro, Senior Assistant Dean of Enrollment Stephanie Trodello, Assistant Dean of Development and Alumni Relations Laurel Homer, Director of Communications

BUTI ADMINISTRATION Phyllis Hoffman, Executive and Artistic Director Shirley Leiphon, Administrative Director Lisa Naas, Director of Operations and Student Life David Faleris, Program Administrator Young Artists Orchestra Emily Culler, Development, Alumni Relations, and Outreach Officer Grace Kennerly, Publications Coordinator Manda Shepherd, Office Coordinator Mandy Kelly, Office Intern Ben Fox, Private Lessons Coordinator RYAN MCADAMS, conductor Travis Dobson, Stage Crew Manager Matthew Lemmel, Greg Mitrokostas, Andres Trujillo, Matt Visconti, Stage Crew Shane McMahon, Recording Engineer Xiaodan Liu, Piano Technician

YOUNG ARTISTS ORCHESTRA FACULTY AND STAFF Ryan McAdams, Conductor Paul Haas, Conductor Mark Berger, Viola Coach, String Chamber Music Ariana Falk, Cello Coach, String Chamber Music Michael Israelievitch, Percussion Coach David Krauss, Brass Coach, Brass Chamber Music Hyun Min Lee, Cello Coach, String Chamber Music Kai-yun Lu, Winds Coach, Wind Chamber Music Laura Manko, Viola Coach, String Chamber Music Saturday Miguel Perez-Espejo Cardenas, Violin Coach, String Chamber Music Coordinator Brian Perry, Double Bass Coach, String Chamber Music July 14, 2012 Caroline Pliszka, Violin Coach, String Chamber Music Clara Shin, Piano Chamber Music Coach Samuel Solomon, Percussion Coordinator and Coach 2:30pm Klaudia Szlachta, Violin Coach, String Chamber Music Hsin-Lin Tsai, Violin Coach, String Chamber Music Seiji Ozawa Hall Ronald Barron, Private Lessons Instructor, Trombone Dan Bauch, Private Lessons Instructor, Percussion Kevin Owen, Private Lessons Instructor, Horn Andrew Price, Private Lessons Instructor, Oboe Mike Roylance, Private Lessons Instructor, Tuba Linda Toote, Private Lessons Instructor, Flute Janet Underhill, Private Lessons Instructor, Bassoon Tiffany Chang, Orchestra and Chamber Music Manager Kory Major, Orchestra Librarian and Assistant Manager

DESIGN TEAM FOR SEIJI OZAWA HALL William Rawn Associates, Architect Lawrence Kierkegaard & Associates, Acoustician Theatre Projects Consultants, Inc., Theatrical Consultant Florence Gould Auditorium SUPPORT FOR THE BOSTON UNIVERSITY TANGLEWOOD Seiji Ozawa Hall INSTITUTE IS PROVIDED BY: Tanglewood Young Artists Orchestra Ryan McAdams, conductor

CHAVEZ Sinfonia India

~Intermission~

BERLIOZ Symphonie Fantastique

Rêveries – Passions Un bal Scène aux champs Marche au supplice Songe d’une nuit de sabbat

This program is supported in part by awards from the Jack Kent Cooke Foundation, the Surdna Foundation, the National Endowment for the Arts, the ASCAP Foundation Irving Caesar Fund, Zildjian, and the Bose Foundation.

Yamaha is the official piano of the Boston University Tanglewood Institute, arranged in cooperation with Falcetti Music.

Rehearsal space is provided In Kind by Lenox Commons. BOSTON UNIVERSITY COLLEGE OF FINE ARTS RYAN MCADAMS, conductor

The Boston University Tanglewood Institute is part of the educational and artistic pro- Ryan McAdams is quickly establishing himself as one of the most exciting and versatile grams of the Boston University School of Music. Founded in 1873, the School of Music conductors of his generation. A Fulbright scholar, he previously served as Appren- combines the intimacy and intensity of conservatory training with a broadly based, tice Conductor of the Royal Stockholm Philharmonic, assisting then-Chief Conductor traditional liberal arts education at the undergraduate level and intense coursework at Alan Gilbert. Mr. McAdams is the first-ever recipient of the Sir Georg Solti Emerg- the graduate level. The school offers degrees in performance, composition and theory, ing Conductor Award, a $10,000 grant given by the Solti Foundation in Chicago. His musicology, music education, collaborative piano, historical performance, as well as a highly successful subscription debut with the Israel Philharmonic in May, replacing an certificate program in its Opera Institute, and artist and performance diplomas. indisposed Raphael Fruhbeck de Burgos, was hailed as “extraordinary,” “masterful,” and “immense[ly] dramatic” by the Jerusalem Post. At twenty-nine, he is one of New Founded in 1839, Boston University is an internationally recognized private research York’s most in-demand conductors, working regularly with New York City Opera, New university with more than 30,000 students participating in undergraduate, graduate, York City Ballet, and New York’s premiere new music ensembles. His work as the 15th and professional programs. BU consists of 17 colleges and schools along with a number Music Director of the New York Youth Symphony has been called “electrifying,” “excel- of multi-disciplinary centers and institutes which are central to the school’s research lent” and “essential” by the New York Times. and teaching mission. The Boston University College of Fine Arts was created in 1954 to bring together the School of Music, the School of Theatre, and the School of Visual Mr. McAdams made his subscription European debut in February, 2010 with the or- Arts. The University’s vision was to create a community of artists in a conservatory- chestra of the Maggio Musicale in Florence, and was immediately reinvited for sub- style school offering professional training in the arts to both undergraduate and gradu- scription concerts in 2012. He made his Eastern European debut with the Academy of ate students, complemented by a liberal arts curriculum for undergraduate students. St. Martin in the Fields, Julian Rachlin, and Mischa Maisky in Dubrovnik in September, Since those early days, education at the College of Fine Arts has begun on the BU 2010. Recently, he was the conductor for Elliott Carter’s 103rd Birthday Celebration campus and extended into the city of Boston, a rich center of cultural, artistic and intel- at the 92Y with Fred Sherry and Nicholas Phan - a concert that was named one of the lectual activity. Best Classical Music Events of 2011 by Anthony Tommasini in the New York Times. His first commercial recording, a live performance of John Zorn’s Violin Concerto “Contes de Fees,” was released in 2010 on the composer’s label.

His appearances in 2012-13 include return subscription engagements with the Orches- tra Sinfonica Nazionale della RAI, Maggio Musicale Fiorentino, CityMusic Cleveland, Indianapolis Symphony, and debuts with Opera Theater of St. Louis, Louisville Orches- tra, the Meltdown Festival at the Queen Elizabeth Hall in London, and the Orchestre symphonique et lyrique de Nancy. Recent highlights include appearances with the Israel Philharmonic, Academy of St. Martin in the Fields, Los Angeles Philharmonic, Co- lumbus Symphony, Princeton Symphony, Saint Paul Chamber Orchestra, New York City Opera, New York City Ballet, Sinfonica Nazionale della RAI, Indianapolis Symphony, CityMusic Cleveland, Tanglewood Music Festival, Aspen Music Festival, the Wordless Music Series, New Jersey Symphony, Glimmerglass Opera, and the Juilliard FOCUS! Festival. In 2007, he was invited by Lorin Maazel to create the post of Apprentice Conductor for the Chateauville Foundation at the Maazel Estate in Virginia, assisting Maestro Maazel on a production of Britten’s “The Rape of Lucretia.”

In 2009, at the invitation of James Levine and the Tanglewood Festival, he served as one of Tanglewood’s Conducting Fellows. In 2008, he served as the Assistant Conduc- tor of the Aspen Music Festival. For more information, please visit http://www.ryan- mcadams.com PROGRAM NOTES BOSTON UNIVERSITY TANGLEWOOD INSTITUTE

The Boston University Tanglewood Institute is a program within the School of Music in CARLOS CHAVEZ (1899–1978) the College of Fine Arts at Boston University. Sinfonía India In 1966, educational programs at Tanglewood were extended to younger students of Chavez composed this work while in New York City in the winter of 1935–36. He high-school age, when Erich Leinsdorf invited the Boston University College of Fine conducted the premiere in a radio broadcast concert of the CBS Orchestra, on Arts to become involved with the Boston Symphony Orchestra’s activities in the Berk- January 23, 1936. shires.

The Mexican composer and conductor Carlos Chavez grew up during the tur- Today, the Boston University Tanglewood Institute, in its unique association with the bulent years of the Mexican Revolution, and his entire career was characterized Boston Symphony Orchestra and the Tanglewood Music Center, is recognized inter- nationally as an outstanding educational opportunity for young artists. Under the by a nationalistic consciousness. He began working as a journalist when he guidance of dedicated, established professionals, and in the constant presence of the was in his teens, writing passionately about Mexico’s own music, but also ex- Boston Symphony Orchestra, young people devote themselves each summer to an pressing interest in some of the new Modernist music of Europe and the United artistic experience without parallel. States. He and fellow composer Silvestre Revueltas began a series of concerts in 1924 that introduced Mexican audiences to avant garde styles. In 1928, he led in the creation of Mexico’s first permanent orchestra, and was the principal YOUNG ARTISTS PROGRAMS conductor of the Orquesta Sinfónica de México for over two decades. He is also renowned in Mexico for his leadership in music education, particularly for Young Artists Orchestra and Chamber Music Program his focus on Mexico’s own musical heritage. Young Artists Vocal Program Young Artists Composition Program Young Artists Piano Program As a composer, Chavez was influenced by Modernist works, but he was even Young Artists Wind Ensemble and Chamber Music Program more profoundly influenced by indigenous music. He saw this in nationalist Young Artists Harp Seminar terms. Most Mexican art music written before the end of the Revolution in 1921 reflects European Classical styles, but Chavez, Revueltas, and other young Mexican composers began to write works that expressed Mexican themes and INSTITUTE WORKSHOPS Mexican musical styles. At about the time of the Sinfonía India, Chavez wrote: “We have had to work for fifteen years in Mexico to free ourselves from the Flute Workshop Saxophone Workshop Tuba/Euphonium Workshop stuffy conservatory tradition, the worst kind of academic stagnation. We have Oboe Workshop Horn Workshop Percussion Workshop found ourselves by going back to the cultural traditions of the Indian racial Clarinet Workshop Trumpet Workshop Double Bass Workshop stock that still accounts for four-fifths of the people...” Though theSinfonía In- Bassoon Workshop Trombone Workshop String Quartet Workshop dia is a fairly rare example among Chavez’s works of actual quotation of Indian themes, many of his works were clearly written with the sound of Indian music in mind. For further information about auditions and program offerings, please contact the BUTI Sinfonía India, his second symphony, is a single-movement work completed in office, 855 Commonwealth Avenue, Boston, MA 02215, or visit our office on the Tan- early 1936. The scoring includes a large battery of percussion played by four glewood Main Grounds. Please call (617)353-3386 or (413)637-1430 (July-August). players. Though the percussion parts can be played on Western-style instru- You may also contact us via e-mail at [email protected]. ments, many of them are intended to substitute for indigenous percussion, and Website: http://www.bu.edu/tanglewood Chavez noted that whenever possible the work should be performed BOSTON UNIVERSITY TANGLEWOOD INSTITUTE UPCOMING EVENTS with authentic Indian instruments. For example, the bass drum is intended Monday, July 16, 7:30pm Ventfort Piano Recital Series for the tlapanhuehuetl, a large Aztec drum, and the xylophone is a stand-in for Young Artist Piano Program Students the teponaxtle, a hollow wooden slit-drum. Chavez’s score also calls for wa- Ventfort Hall Mansion ter gourds, a soft rattle made of butterfly cocoons, and a rattle of dried deer Tuesday, July 17, 7:00pm Faculty Recital Series hooves. Even melody instruments often fill in for Indian equivalents, as in the AXIOM BRASS QUINTET paired piccolos that represent the clay flutes played in many native cultures of Trinity Church Mexico.

Friday, July 20, 3:00pm Young Artists Wind Ensemble Student Chamber Music Recital Chavez expressed three specific musical cultures in theSinfonía India—the Chamber Music Hall Yacqui and Seri peoples of the Sonoran desert in the northwest corner of the country, and the Huichol tribe of Nayarit on the western coast. The opening has Saturday, July 21, 11:00am Young Artists Piano Program the combination of duple and triple rhythms heard in much of Mexico’s music, Student Recital with piccolo and solo trumpet passing fragments of melody among themselves. West Street Theatre There is constant contrast in this compact work, from almost frantic motor- Monday, July 23, 7:00pm Ventfort Piano Recital Series driven energy, to a quiet inner section that gives a lyrical treatment to his CLARA SHIN with BUTI Faculty simple but beautiful Indian melodies. This section leads gradually to a broad Ventfort Hall Mansion climax, before returning to the energetic character of the opening.

Tuesday, July 24, 7:00pm Faculty Recital Series JENNIFER BILL saxophone –Michael Allsen Trinity Church

Wednesday, July 25, 7:00pm Faculty Recital Series Young Artists Orchestra Faculty Recital Trinity Church HECTOR BERLIOZ (1803-1869) Friday, July 27, 8:00pm Young Artists Wind Ensemble Symphonie Fantastique (“Fantastic Symphony”), op. 14 H. ROBERT REYNOLDS conductor AXIOM BRASS QUINTET Berlioz’s Symphonie Fantastique, which he subtitled “Episode in the Life of an Seiji Ozawa Hall Artist,” was written between 1829 and 1830. It was premiered on December 5, Saturday, July 28, 11:00am Young Artists Piano Program 1830 at the Paris Conservatoire, under the direction of François-Antoine Haba- Student Recital neck. West Street Theatre If we were to paint a picture of the archetypical Romantic Composer, we could Saturday, July 28, 2:30pm Young Artists Chorus and Orchestra ANN HOWARD JONES & PAUL HAAS conductors probably use Hector Berlioz as a model. Six feet tall, with huge mop of hair Seiji Ozawa Hall and a passionate personality, Berlioz was nearly always in a state of emotional upheaval—upheaval reflected in his copious writings and larger-than-life For more information on our events, please contact our office at (413) 637-1431. compositions. All of his compositions illustrated his passions, but none is more West Street Theatre, 45 West Street, Lenox, Massachusetts directly (and disturbingly) autobiographical than his Symphonie Fantastique. The Chamber Music Hall, Tanglewood Main Grounds story behind this work reads like a Hollywood screenplay.... Seiji Ozawa Hall, Tanglewood Main Grounds Trinity Church, 88 Walker Street, Lenox, Massachusetts Ventfort Hall Mansion, 104 Walker Street, Lenox, Massachusetts The Alabama Friends of BUTI Allen Morrison BUTI salutes the Alabama Friends, a dedicated group Michael Mucci Scene 1: Paris, 1827. Berlioz (Gerard Depardieu? Nicholas Cage in a red wig?), a of volunteers from the Montgomery Symphony, who Joan Nelsen passionate young composer, sees Shakespeare’s Hamlet for the first time. He demonstrate their passion for classical music and arts Eli Newberger education by providing annual BUTI scholarships to stu- Northeast Utilities Foundation is in ecstasy over the play, despite the fact that the performance was in Eng- dents from Alabama. BUTI is also honored to participate Jeanne and Michael Payne lish, a language he does not understand. What really makes an impression on annually in the Montgomery Symphony’s prestigious Plumb Family Blount-Slawson Young Artists Competition. Barbara Rosenfelt him, however, is Harriet Smithson, the English actress in the role of Ophelia (if Henry Salz contemporary descriptions of her are accurate, Rosie O’Donnell would be per- 2012 Alabama Friends Kevin Schmidt Teri A. Aronov Alan Schulman fect…). Berlioz is immediately obsessed with Smithson, and writes to her with a Barbara B. Britton Samuel Schulman marriage proposal almost immediately—the first of dozens of love letters. She Dorothy D. Cameron Barbara Shepetin Edith J. Crook Paul Shimer leaves Paris in 1829 without ever replying. Elizabeth B. Crump Barbara Simkin Dr. and Mrs. Benjamin J. Cumbus David Solomkin Dr. Dorothy M. DiOrio Hugh Taylor Scene 2: Paris, 1830. Berlioz has just completed the Symphonie Fantastique, an Eileene D. Griffith Harry Thomas enormous five-movement programmatic work, which details his obsession Mr. and Mrs. W. F. Joseph Jr. Marion Waleryszak Mr. and Mrs. James E. Klingler Henry Walker with Harriet, including a drug-induced dream sequence in which he kills her Dae H. Miller Stephen Wittenberg and goes to Hell. The work is controversial, but highly successful. Berlioz is Mr. and Mrs. Jerome T. Moore Jr. Samuel Zilka Beverly D. Ross happy for the time being, and has a new love interest, the pianist Camille Moke S. Adam Schloss Foundation, Inc. (Gwyneth Paltrow). Winifred and Charles Stakely *This list represents friends who supported the Helen J. Steineker Boston University Tanglewood Institute between Mr. and Mrs. Mose W. Stuart III July 2011 and June 2012. Scene 3: Paris, 1832. Berlioz, dumped by Camille, is despondent and consider- Elisabeth P. Thompson ing suicide. Harriet is in town again, and an English gossip columnist talks her If you are interested in joining the Friends of BUTI The Kenneth L. Broad Memorial Scholarship Fund please contact Emily Culler, Development, Alumni into attending a performance of the Symphonie Fantastique. (The inspiration for The Kenneth L. Broad Memorial Scholarship Fund awards Relations, and Outreach officer at 617-353-8995 or Berlioz’s symphony is an open secret, and her presence at the concert is sure to a half-scholarship each year to a promising young baritone in the Young Artists Vocal Program. Founded [email protected]. stir things up...). Harriet savors the attention, and begins to pay some serious by Laura Broad in 2009, in memory of her husband - a attention to Berlioz. The two are married a year later. gifted baritone and passionate supporter of the arts and arts education - the fund is replenished each year by gifts ADVISORY BOARD OF THE from members and friends of the Broad family. BOSTON UNIVERSITY Epilogue: Like all affairs based upon obsession, the real thing turns out to be 2012 Kenneth L. Broad Memorial Scholarship Donors TANGLEWOOD INSTITUTE not as good as the fantasy. Within a year of their marriage, Mr. and Mrs. Berlioz Esther-Ann Asch are miserable. They stick together for ten years, but are eventually divorced Leonard Atherton Babson Capital Management in 1844. Berlioz does not feel truly free of the relationship until 1854, when Robert Barnes Richard Balsam Harriet dies. He is married to his second wife a few weeks later. [Note: I’m not James Bobo Emily Borababy Laura Broad Chester Douglass, chair making any of this up! -M.A.] Herta Carlin Audrey Chereskin Wilbur Fullbright The work that grew out of this strange affair, the Symphonie Fantastique, is a Richard Coffey Richard Grausman Norma and Gilbert D’Oliveira Susan Grausman landmark in the history of Romantic music. Written for a huge orchestra, this William Davidson Ellen Highstein work uses orchestral effects and even instruments that had never been used in Rachel Donner Barbara Garvey Ellen Kazis-Walker a symphony. (This is, for example, the first appearance of the tuba—or rather Melvin Ginsberg Lucy Kim its ancestor the ophecleide—in a piece of orchestral music.) Even more striking Lynne and David Harding Randie Harmon Maureen Meister is the programmatic idea behind Berlioz’s score. This is not the first program- Terence Heslin Joy McIntyre matic symphony—Berlioz himself credits Beethoven’s “Pastoral” symphony as John Lenard Beth Morrison Carol Lonero inspiration—but it is the first in which the extra-musical story line is so explicit. Salvatore Macchia Michael Nock Mazotas Family Charles A. Stakely Stephen Moore Winifred Stakely Lynn and Paul Morris FRIENDS OF THE BOSTON UNIVERSITY TANGLEWOOD INSTITUTE BUTI gratefully acknowledges the alumni, parents, friends, foundations, and corporations who provided full- and partial scholarships for our gifted young artists, as well as resources for new initiatives and special programs, for the 2012 season.* In a story that has echoes of Goethe’s dark Faust, Berlioz musically describes his obsession in great detail, even going to the extent of publishing a written $100,000 and above Anonymous John Hecht program as an aid to the audience’s imagination. To illustrate his affair, he cre- Jack Kent Cooke Foundation Gudjonson Hermannsson and Yingxing Wang ates a musical idée fixe (literally “fixed idea” or “obsession”) representing his Surdna Foundation Yumi Kendall Lucy Kim and Dr. Matthew Guerrieri changing view of his beloved. The program Berlioz wrote to accompany the $10,000 - $99,999 Phyllis and Harvey Klein Symphonie Fantastique is as follows: National Endowment for the Arts Robert Lea John Carey Dana and Yuri Mazurkevich Peter McCallion “Part I: Reveries—Passions. The author imagines that a young musician, afflicted $1,000 - $9,999 Maryjane Minkin with that moral disease that a well-known writer calls the vague des passions, ASCAP Foundation Irving Caesar Fund Roger Murray Bose Foundation Carl Nathan sees for the first time a woman who embodies all the charms of the ideal being Chester and Joy Douglass Sandra Nicolucci he has imagined in his dreams, and falls desperately in love with her. Through Mr. and Mrs. Peter Eliopoulos Pioneer Investments David Feigenbaum and Maureen Meister Andrew Price an odd whim, whenever the beloved image appears in the mind’s eye of the Ann and Gordon Getty Foundation Benjamin Rudnick artist, it is linked with a musical thought whose character, passionate but at Susan and Richard Grausman In honor of Kenneth D. Rudnick and in memory Phyllis and Robert Hoffman of Diane T. Rudnick, Ph.D. the same time noble and shy, he finds similar to the one he attributes to his Ellen Kazis-Walker Sherri Rudnick beloved. This melodic image and the model it reflects pursue him incessantly Elizabeth and Dean Kehler In honor of Kenneth D. Rudnick and in memory Margaret S. Lindsay Foundation of Diane T. Rudnick, Ph.D. like a double idée fixe. That is the reason for the constant appearance, in every Joy McIntyre Justine and Harvey Schussler movement of the symphony, of the melody that begins the firstAllegro . The Kenneth D. Rudnick Fenwick Smith In memory of Diane T. Rudnick, Ph.D. Christine Standish passage from this state of melancholy reverie, interrupted by a few fits of The Ushers & Programmers Fund Susan Thonis groundless joy, to one of frenzied passion, with its moments of fury, of jealousy, In honor of Robert and Dorothy Dandridge Mr. and Mrs. Craig Vickers Ellen and John Yates Linda Wildes its return of tenderness, its tears, its religious consolations—this is the subject Carol Woolman of the first movement. $100 - $999 Samuel Adler Up to $99 Lorraine and Curtis Anastasio Anthony Accinno “Part II: A Ball. The artist finds himself in the most varied situations—in the Daniel Balsam Leslie Boden midst of the tumult of a party, in the peaceful contemplation of nature; but Paul Bentel Katherine Canning Phyllis Biener Joel Caverly everywhere, in the town, in the country, the beloved image appears before him George Borababy David Cohen and disturbs his peace of mind. David N. Burnham Donna Convicer Deborah Burton Bruce Creditor Mr. and Mrs. Salvatore Cania Laurence and Karen Dusold “Part III: Scene in the Country. Finding himself one evening in the country, he Emily and Michael Culler Jacqueline Fernandez Jane Carlson Lawrence Fullerton hears in the distance two shepherds piping a ranz de vaches [shepherd’s song] Bianca Carter John and Barbara Gordon in dialogue. This pastoral duet, the scenery, the quiet rustling of the trees gently Kimberly Cheiken Stephen Holzman Marjorie Clement Helen Holzwasser brushed by the wind, the hopes he has recently found reason to entertain—all Barbara Coburn Amy Kawa come together to afford his heart an unaccustomed calm, and in giving a more Mitchell Cohen Jane Knox John Connor Bruce Kozuma cheerful color to his ideas. He reflects upon his isolation; he hopes that his Robin Dull Michael Lascoe loneliness will soon be over. But what if she were deceiving him! This mingling Irma and Eli Etscovitz Christopher Lee Kathleen and Dennis Faleris Kathy Massa of hope and fear, these ideas of happiness disturbed by black presentiments, Renee Plessner Fishman, Esq. Marjorie Mendelsohn form the subject of the Adagio. At the end, one of the shepherds takes up the Paula Folkman Charles Overton ranz des vaches; the other no longer replies. Distant thunder—loneliness—si- Laurel Friedman Brenda Patterson Lorraine and Wilbur Fullbright Vicki M. and John R. Rezzo lence. Edward Goldstein Emma Shook Deborah Grausman Jean Stoutenborough Marian and Peter Hainsworth David Talley Lynne and David Harding Stephanie Trodello YOUNG ARTISTS ORCHESTRA Violins Cello Bassoon Joanna Duncan, concertmaster +, Jacob Calix, South Pasadena, CA Harrison Miller #, New Canaan, CT “Part IV: March to the Scaffold. Convinced that his love is unappreciated, the Tuscaloosa, AL James Cooper, principal #, Houston, TX Nicholas Ritter, Vienna, VA artist poisons himself with opium. The dose of narcotic, too weak to kill him, Jeeyoung Sung, concertmaster #, Eliot Haas, Shreveport, LA Arekson Sunwood +, Huntsville, AL Phoenix, AZ Alec Hon, Santa Ana, CA Jacob Thonis, Wellesley, MA plunges him into a sleep accompanied by the most horrible visions. He dreams Naomi D’Amato, principal 2nd +, Kang Huh, Nashville, TN that he has killed his beloved, that he is condemned to death and led to the Duncanville, TX Taylor Jensen, Bainbridge Island, WA Horn Jiayi Zheng, principal 2nd #, Erica Ogihara, principal +, Pinecrest, FL John Michael Adair +, scaffold, and that he is witnessing his own execution. The procession moves Natick, MA Mitzi Okou, Norcross, GA Birmingham, AL David Olson, Ashford, CT Valerie Ankeney, Dayton, OH forward to the sounds of a march that is sometimes somber and fierce, and Ana Barrett, Irvington, NY Jeremy Steele, Seattle, WA Rachel Boehl, sometimes brilliant and solemn, in which the muffled sound of heavy steps Emelyn Bashour, Leverett, MA Molly Steimle, Austin, TX Westhampton Beach, NY Sofia Basile,Marlborough, MA Xavier Wilson, Lancaster, TX Thea Humphries, Kanata, ON gives way without transition to the noisiest clamor. At the end, the idée fixe Annie Chabot, Rimouski, Quebec Brooke Nance #, Rochester, NY returns for a moment, like a final thought of love before the fatal blow. Shu-Chi Chang, Cypress, TX Bass Jeremy Odell, Austin, TX Hyunnew Choi, Waban, MA Jordan Calixto, Boston, MA Erin David, Miami, FL Moises Carrasco, Haverhill, MA Trumpet “Part V: A Witches’ Sabbath. He sees himself at the sabbath, in the midst of a Evan De Long, Newbury Park, CA Samuel Casseday, Jacksonville, FL Maria Currie +, Rochester, NY Alison Dooley, Cypress, TX Yi-Hsuan Chiu, principal #, Natick, MA Anthony Reyes, Toronto, ON frightful troop of ghosts, sorcerers, and monsters of every species, all gathered Samuel Durben, Minneapolis, MN Patrick Fowler, Potomac, MD Julie Tsuchiya-Mayhew #, Kathryn Drake, Burnet, TX Will Langlie-Miletich, principal +, St. Louis, MO for his funeral; strange noises, groans, bursts of laughter, distant cries which Dorian Elgers-Lo, Amherst, MA Seattle, WA other cries seem to answer. The beloved melody appears again, but it has lost Oliver Feng, Wayne, PA Joseph Newton, Dallas, TX Cornet Michele Gardiner, Mesa, AZ Kevin Thompson, Fairfax, VA Caitlin Williams #, Herndon, VA its character of nobility and shyness; it is now no more than a dance tune, Lia Hardy, Bainbridge Island, WA Peter Walsh, Dallas, TX Maria Currie, Rochester, NY mean, trivial and grotesque. It is she, coming to join the sabbath … a roar of Emma Hathaway, Rutherford, NJ Sebastian Zinca, Miami, FL Itsva Hernandez, Roslindale, MA Trombone joy at her arrival. She takes part in the devilish orgy—funeral knell—burlesque Melissa Ho, Miami, FL Flute Jasper Davis, Spring, TX parody of the Dies irae—sabbath round-dance—the sabbath round-dance and Minsoo Kim, Seoul, Korea Hae Jee Ashley Cho +, Demarest, NJ Joseph Dubas #, Falls Church, VA Brandon Lin, Kowloon Tong, Kowloon Margaux Filet, Davis, CA Michael Shayte +, Catonsville, MD the Dies irae combined.” James Lin, Bridgewater, NJ Madeline Naroff, William Lohrmann, Oslo, Norway Palm Beach Gardens, FL Tuba Keanu Mitanga, Atlanta, GA Rachel Rodgers #, South Salem, NY Colin Benton #, Peachtree City, GA –Michael Allsen Pio Molina, Miami, FL Andres Trujillo*, Spring, Texas Alexis Shambley, Dallas, TX Piccolo Harry Joo Hyung Song, Concord, NH Margaux Filet, Davis, CA Timpani Ray Anthony Trujillo, Elk Grove, CA Rachel Rodgers +, South Salem, NY Kyle Brightwell **, Allston, MA Emily Young, Bozeman, MT Gregory LaRosa, Downington, PA Michael Allsen is program annotator of the Madison Symphony Orchestra Oboe Joshua McClellen #, Bella Vista, AR and also writes program notes for other orchestras and ensembles around the Viola Jonathan Gentry +, Frisco, TX Lauren Brown, Boston, MA Russell Hoffman #, Percussion world. Program note copyright © 2012 J. Michael Allsen. Used by permission. Sean Byrne, Chesterfield, MO Mountain Lakes, NJ Kyle Brightwell **, Allston, MA Emilio Carlo, College Park, MD Mitchell Kuhn, Jacksonville, FL Grant Hoechst, McLean, VA Alexander Chao, Seattle, WA Joshua Lauretig, Beachwood, OH Harrison Honor, Westborough, MA Kenneth Chen, Needham, MA Greg LaRosa, Downington, PA Claudia Huang, Pittsfield, NY English Horn Joshua McClellen, Bella Vista, AR Bethany Lai, Temple City, CA Joshua Lauretig, Beachwood, OH Carol Lee, Dix Hills, NY Harp Katie Reinders, Portland, OR Clarinet Maria Ren +, Bedford, MA Ari Shaw, principal +, Andrew O’Donnell #, Tampa, FL Pamela Wilk #, Loudonville, NY West Palm Beach, FL Benjamin Tisherman, Katonah, NY Clara Wang, Cambridge, MA Sophia Sun, principal #, New York, NY Ayaka Yoshida +, Great Neck, NY Jeremy Tonelli-Sippel, Whitinsville, MA Bass Clarinet Derek Yeung, Dix Hills, NY Benjamin Tisherman, Katonah, NY + denotes principal in Chavez # denotes principal in Berlioz E-flat Clarinet * denotes BUTI staff member Peter Jalbert, Stafford, TX Andrew O’Donnell, Tampa, FL

**BUTI gratefully acknowledges the generous participation of Kyle Brightwell in the percussion section for this performance and salutes him as alumnus, faculty member and newly appointed member of the Boston Symphony Orchestra.

Several auxiliary instruments used in tonight’s concert are on generous loan from the Boston College Bands Program.