Week 23 2016–17 Season Allemozart Program

2016–17 season andris nelsons music director

week 23 all-mozart program

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner INSPIRATION IS EVERYWHERE

MEMBERS SEE IT FREE

Through July 9 mfa.org/matisse

The exhibition is organized by the Museum of Fine Arts, Boston, and the Royal Academy of Arts, in partnership with the Musée Matisse, Nice. Sponsored by Bank of America. Presented with additional support from the Betty L. Heath Paintings Fund for the Art of Europe, and the Alexander M. Levine and Dr. Rosemarie D. Bria-Levine Exhibition Fund. This project is supported in part by an award from the National Endowment for the Arts. Media sponsor is WCVB Boston. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Henri Matisse, Interior with Egyptian Curtain, 1948. Oil on canvas. The Phillips Collection, Acquired 1950. © 2017 Succession H. Matisse / Artists Rights Society (ARS), New York. Table of Contents | Week 23

7 bso news 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 3 shifting keys to mozart by thomas may 3 2 this week’s program

Notes on the Program Wolfgang Amadè Mozart 34 The Program in Brief… 35 Piano Concerto No. 24 in C minor, K.491 42 “tuba mirum” or “tuba dirum”: mozart’s requiem and the trombone by douglas yeo 45 Requiem in D minor 59 To Read and Hear More…

Guest Artists

63 Radu Lupu 71 Morris Robinson 65 Lucy Crowe 73 Tanglewood Festival 67 Tamara Mumford Chorus 69 Ben Johnson 76 James Bagwell

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

the friday preview on april 21 is given by author/composer jan swafford.

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

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

trustees of the boston symphony orchestra, inc.

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

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

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

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

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

week 23 trustees and overseers 3

photos by Michael Blanchard and Winslow Townson

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

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

† Deceased

week 23 trustees and overseers 5 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. BSO News

New This Month on BSO Classics: “Brahms: The Symphonies” with Andris Nelsons and the BSO The Boston Symphony Orchestra and Andris Nelsons are pleased to announce the release this month of their latest recordings on BSO Classics—a three-disc set of the four Brahms symphonies, recorded live during concert performances at Symphony Hall this past November, engineered by the same in-house team that produced the BSO’s recent Grammy-winning Shostakovich recordings under Maestro Nelsons on Deutsche Grammophon. This new Brahms symphony cycle follows two others recorded previously by the BSO, under Erich Leinsdorf in the mid-1960s and Bernard Haitink in the early 1990s. “It makes me so proud and happy,” observes Andris Nelsons, “that the Boston Symphony Orchestra of today, filled with so many great musicians, will now have its own place in recorded history with this amazing music.” Priced at $34.99 for the three-CD set and $23.99-$30.99 for downloads (depending on format), the recordings—due for release on April 18—will be available at the Symphony Shop and online at bso.org, as well as from Amazon.com and iTunes.

Announcing the BSO’s 2017-18 Subscription Season Andris Nelsons leads twelve subscription programs in the BSO’s 2017-18 season, ranging from music of Haydn, Mozart, and Beethoven to the premieres of BSO co-commissions by American composer Sean Shepherd and German composer Jörg Widmann. Soprano Camilla Nylund and tenor Jonas Kaufmann take the title roles in concert performances of Wagner's Tristan und Isolde, Act II; pianists Thomas Adès, Kirill Gerstein, and Jean-Yves Thibaudet join forces for Bach’s Concerto in D minor for three pianos as part of the BSO’s first “Leipzig Week in Boston,” marking the orchestra’s new alliance with the Gewandhaus Orchestra of Leipzig; Susan Graham and the women of the Tanglewood Festival Chorus join Maestro Nelsons for Mahler’s life-affirming Symphony No. 3; and Maestro Nelsons continues his survey of Dmitri Shostakovich’s symphonies—being recorded live for future release by Deutsche Grammophon—with symphonies 4, 11 (The Year 1905), and 14, the latter featuring soprano Kristine Opolais and bass-baritone Sir Bryn Terfel. Maestro Nelsons’ programs also feature pianists Rudolf Buchbinder and Paul Lewis in concertos of Beethoven; violinists Leonidas Kavakos in Prokofiev and Gil Shaham in Tchaikovsky; Yo-Yo Ma and BSO principal violist Steven Ansell in Strauss’s Don Quixote, and such other favorite works as Haydn’s Symphony No. 103 (Drumroll), Mendelssohn’s Symphony No. 3 (Scottish), Bruckner’s Symphony No. 4 (Romantic), Mahler’s Symphony No. 1, Strauss’s An Alpine Symphony, and Rachmaninoff’s Symphony No. 2.

week 23 bso news 7 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . The 2017-18 season marks the centennial of the birth of Leonard Bernstein, who main- tained a career-long relationship with the Boston Symphony Orchestra at Symphony Hall and Tanglewood, dating back to his time as a protégé of Serge Koussevitzky. To begin the celebration on Opening Night in September, Andris Nelsons leads the BSO in a special all-Bernstein concert featuring BSO principal flute Elizabeth Rowe, soprano Julia Bullock, and mezzo-soprano Frederica von Stade. In March, Maestro Nelsons leads Bern- stein’s Symphony No. 2, The Age of Anxiety, with pianist Jean-Yves Thibaudet. Also to appear with the orchestra are the BSO’s Conductor Emeritus Bernard Haitink, Artistic Partner Thomas Adès, assistant conductors Moritz Gnann and Ken-David Masur, and, as the BSO’s first-ever artist-in-residence, pianist Jean-Yves Thibaudet, who is featured with both the BSO and the Boston Symphony Chamber Players. The BSO’s typically stellar roster of guest conductors for 2017-18 includes Herbert Blomstedt, Christoph von Dohnányi, Charles Dutoit, Alan Gilbert, Gustavo Gimeno, Giancarlo Guerrero, François-Xavier Roth, and Tugan Sokhiev. Among others, featured soloists also include pianists Pierre-Laurent Aimard and Emanuel Ax; soprano Camilla Tilling, tenor Paul Groves, and bass-baritone John Relyea; violinists Augustin Hadelich, Hilary Hahn, and Leila Josefowicz; and BSO principal oboe John Ferrillo. Complete programs and further information are available online at bso.org. Subscriptions for the BSO’s 2017-18 Symphony Hall season can be purchased online at bso.org via a secure credit card transaction; by phone at (617) 266-7575, or in person at the Symphony Hall box office.

Boston Symphony Chamber Players, Sunday, May 7, at 3 p.m. at Jordan Hall The final concert of the Boston Symphony Chamber Players’ 2016-17 four-concert series at Jordan Hall at New England Conservatory takes place on Sunday, May 7, at 3 p.m. Guest pianist Leif Ove Andsnes joins the chamber players for this program, which includes Stravinsky’s Octet for flute, clarinet, two bassoons, two trumpets, and two trombones; Sofia Gubaidulina’sGarden of Joys and Sorrows, for flute, viola, and harp; Weinberg’s Sonata for solo double bass, and Brahms’s Piano Quartet No. 3 in C minor, Op. 60. For single tickets at $38, $29, and $22, visit the Symphony Hall box office or bso.org, or call Sym- phonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets can only be purchased at the Jordan Hall box office.

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, Associate 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 April 21 is given by author/composer Jan Swafford. The final Friday Preview of the season on May 5 will be given by Marc Mandel. individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 99 of this program book.

week 23 bso news 9

The Catherine and Paul Buttenwieser mending the appointment of Andris Nelsons Concert, Thursday, April 20, 2017 as the BSO’s Ray and Maria Stata Music Thursday evening’s performance is support- Director. ed by a generous gift from Great Benefactors The Buttenwiesers support many arts orga- Catherine and Paul Buttenwieser. Elected a nizations in Boston and are deeply involved BSO Overseer in 1998 and Trustee in 2000, with the community and social justice. Paul Paul currently serves as President of the recently stepped down as chairman of the Board of Trustees. He served as a Vice-Chair Institute of Contemporary Art, Boston, after of the Board of Trustees from 2010 to 2013. a decade leading the Board of Trustees. He Paul’s interest in music began at a young is a trustee and former chair of the Ameri- age, when he studied piano, violin, clarinet, can Repertory Theater, trustee of Partners and conducting as a child and teenager. in Health, honorary trustee of the Museum He and Katie developed their lifelong love of Fine Arts, Boston, fellow of the American of music together; they have attended the Academy of Arts and Sciences, member of BSO’s performances at Symphony Hall and the President’s Advisory Council at Berklee Tanglewood for more than fifty years. The College of Music and the Director’s Advi- Buttenwiesers have generously supported sory Council of the Harvard University numerous BSO initiatives, including BSO Art Museums, and former overseer of commissions of new works, guest artist Harvard University. In 1988, Paul and Katie appearances at Symphony Hall and Tangle- founded the Family-to-Family Project, an wood, fellowships at the Tanglewood Music agency that works with homeless families Center, and Opening Nights at Symphony in Eastern Massachusetts. Katie, who is a and Tanglewood. They also endowed a social worker, spent most of her career in BSO First Violin Chair, currently held by early child development before moving into Aza Raykhtsaum. Paul and Katie, who have hospice and bereavement work. She is a served on many gala committees, chaired graduate of Mount Holyoke College and Bos- Opening Night at Symphony for the 2008- ton University School of Social Work. Paul 09 season. Paul serves on the Executive, is a psychiatrist who specializes in children Leadership Gifts, and Trustees Nominating and adolescents, as well as a writer. He is and Governance committees, and was a a graduate of Harvard College and Harvard member of the Search Committee recom- Medical School.

week 23 bso news 11 OYSTER PERPETUAL

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rolex oyster perpetual and yacht-master are ® trademarks. The Anne and Peter Brooke Audubon Society, and former board member Concert, Friday, April 21, 2017 of the Boston Arts Academy, among others. The concert on Friday afternoon has been “We were both introduced to the Symphony named with a gift from BSO Life Trustee and as children,” they have said, “and after years past Chair of the Board of Trustees Peter of exposure to its wonderful sound, we think A. Brooke, and his late wife, BSO Overseer it is appropriate to repay the BSO for all the Anne Brooke, who passed away in October pleasure it has given us.” 2016. As Great Benefactors, Peter and Anne have been generous supporters of the BSO since the late 1970s. The Brookes have been Ethan Ayer Vocal Soloist Fund, Friday-afternoon subscribers for thirty-eight Friday, April 21, 2017 years, and are members of the Higginson This Friday afternoon’s appearance by the Society Founders level and the Walter Piston vocal soloists in Mozart’s Requiem is made Society. Peter and Anne also named in per- possible in part by an endowment fund petuity a percussion chair in the orchestra, established in 1983 by the late Ethan Ayer. and were instrumental in the construction of The Ethan Ayer Vocal Soloist Fund provides Ozawa Hall at Tanglewood and renovations income for the appearance of guest artists to Symphony Hall in the late 1980s. for one subscription program each season. Peter was elected to the BSO Board of Over- Ethan Ayer was a multi-gifted man: an seers in 1981, a Trustee in 1989, Vice-Chair author, librettist, poet, and playwright. His in 1995, Chair in 1999, and Life Trustee in brother, Neil R. Ayer, described him as “a 2005. He served as co-chair of the BSO man of extraordinarily good taste when it 2OOO Campaign, helping to raise more than came to evaluating the arts, whether archi- $150 million for the BSO. During his last year tecture, music, painting, landscaping, or the as Chair of the Board, he and the Trustees human voice.” Mr. Ayer’s greatest success launched the Artistic Initiative, an endow- was his libretto for Wings of the Dove, an ment fundraising effort to support expanded opera based on the novel by Henry James; musical endeavors under Maestro James the opera opened with great success at New Levine, which Peter and Anne generously York City Opera. He was also a novelist (The supported. Peter is known worldwide as Enclosure), and wrote three plays (The Great a leader in the venture capital community, Western Union, Claude, and Nothing to Hide) having pioneered business practices in that and a musical entitled Nobody’s Earnest, field for decades. As part of the Artistic based on the famous play by Oscar Wilde. Initiative, the venture capital and private Mr. Ayer was a longtime resident of Cam- equity communities honored the Brookes by bridge and a BSO subscriber for many years. naming the Peter and Anne Brooke Corridor He established the Ethan Ayer Guest Artist at Symphony Hall. Fund—which in 2006-07 became the Ethan Anne energetically matched Peter’s service Ayer Vocal Soloist Fund—during his lifetime to non-profits in the community. She served as a testament to his love of the orchestra. as an honorary co-chair of the James Levine Inaugural Gala, and chaired and served on many other gala committees. She was elect- The Helen and Josef Zimbler Fund, ed to the BSO’s Board of Overseers in 2006. Saturday, April 22, 2017 Anne was chair of the Friends of the Public The guest artists’ appearances on Saturday Garden (Boston), the Concord Museum, night, April 22, are supported by the Helen and Historic Districts Commission in Con- and Josef Zimbler Fund in the BSO’s endow- cord; an honorary overseer of the Museum ment, established with a generous bequest of Fine Arts, Boston; an honorary director from the Estate of Helen Zimbler supporting and former vice-chair of the Massachusetts the artistic expenses of the BSO. A Cincin-

week 23 bso news 13 7 1 1 26 17

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45 School Street, Old City Hall, Boston, MA 02108 T: 617.557.9800 | www.welchforbes.com nati native, Helen Rigby Zimbler pioneered consisting of BSO concert performances the place of women in American orchestras from the previous twelve months. Visit when, in 1937, she accepted a position in the classicalwcrb.org/bso. Current and upcom- double bass section of the Houston Sym- ing broadcasts include last week’s program phony. She was also an accomplished singer, under Andris Nelsons pairing Bruckner’s actor, and painter. In 1939 Helen married Symphony No. 6 and Mozart’s D minor Josef Zimbler, who was a BSO cellist from piano concerto, K.466, featuring soloist 1932 until his death in 1959. Mitsuko Uchida (encore April 24); Maestro Nelsons’ all-Mozart program this week Josef Zimbler, born in 1900 in Pilsen (now pairing the Requiem and the C minor piano part of the Czech Republic), was encouraged concerto, K.491, with pianist Radu Lupu by his first cousin, Arthur Fiedler, to come (April 22; encore May 1); and, with Maestro to Boston in 1927. During his tenure with the Nelsons and violin soloist Anne-Sophie Mut- BSO, Josef founded the Zimbler Sinfonietta, ter, music of Takemitsu, Tchaikovsky, and composed of approximately twenty BSO Shostakovich (April 29; encore May 8). string players and performing, in most cases, without a conductor. The Sinfonietta pioneered a renewed appreciation of 17th- and Those Electronic Devices… 18th-century repertoire and performance, As the presence of smartphones, tablets, championed contemporary music, made and other electronic devices used for com- numerous recordings, and in 1957 toured munication, note-taking, and photography Central and South America. Josef was held has increased, there have also been continu- in high esteem by his colleagues and always ing expressions of concern from concertgoers performed with them, but never in first chair. and musicians who find themselves distracted Helen remained in Boston until 1974 when not only by the illuminated screens on these she returned to Cincinnati, where, over the devices, but also by the physical movements years that followed, she gave numerous that accompany their use. For this reason, vocal recitals and was active as a freelance and as a courtesy both to those on stage and bass player. She passed away in 2005 at those around you, we respectfully request the age of 91. Josef Zimbler left to Helen his that all such electronic devices be completely entire estate, including a collection of corre- turned off and kept from view while BSO per- spondence, autographed photographs, and formances are in progress. In addition, please recordings documenting his many years with also keep in mind that taking pictures of the the BSO and the Zimbler Sinfonietta. This orchestra—whether photographs or videos— collection came to the BSO Archives in the is prohibited during concerts. Thank you very spring of 2006, through a bequest from the much for your cooperation. Estate of Helen Zimbler. Comings and Goings... BSO Broadcasts on WCRB Please note that latecomers will be seated BSO concerts are heard on the radio at by the patron service staff during the first 99.5 WCRB. Saturday-night concerts are convenient pause in the program. In addition, broadcast live at 8 p.m. with host Ron Della please also note that patrons who leave the Chiesa, and encore broadcasts are aired auditorium during the performance will not on Monday nights at 8 p.m. In addition, be allowed to reenter until the next conve- interviews with guest conductors, soloists, nientpause in the program, so as not to dis- and BSO musicians are available online, turb the performers or other audience mem- along with a one-year archive of concert bers while the music is in progress. We thank broadcasts. Listeners can also hear the BSO you for your cooperation in this matter. Concert Channel, an online radio station

week 23 bso news 15 ONE LIBERTY SQUARE

BOSTON, MA • 617-350-6070 ZAREHBOSTON.COM New England’s Largest Oxxford Dealer Serving the Financial District since 1933 on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

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

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

week 23 on display 17 Marco Borggreve

Andris Nelsons

In 2016-17, his third season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in fourteen wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in late February/early March, followed by two concerts in Montreal and Toronto. In the summer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. In addition, in February 2018 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GHO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, Maestro Nelsons and the BSO undertook a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany (including the BSO’s first performance in Leipzig’s famedGewandhaus), Austria, and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’sTannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in collaboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for

18 Hamlet, and which won the 2017 Grammy for Best Orchestral Performance—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. In August 2016, their disc of Shostakovich’s Symphony No. 10 won Gramophone Magazine’s Orchestral Award. April 2017 brings the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting the BSO, recorded live during performances at Symphony Hall in November 2016.

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

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

week 23 andris nelsons 19 Boston Symphony Orchestra 2016–2017

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

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

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

week 23 boston symphony orchestra 21 UnCommon consistency Commonwealth Worldwide has been the premier chauffeured transportation choice of discerning clientele - in Boston and beyond - for over 30 years; specializing in corporate executive travel, financial roadshows, private aviation, entertainment productions, five-star luxury hotels and meetings/special events in all 50 states and 79 countries worldwide. We’re proud to be the official provider of the Boston Symphony Orchestra and Boston Pops for yet another glorious year!

CommonwealthLimo.com 800-558-5466 • +1-617-787-5575 Shifting Keys to Mozart by Thomas May

Already this season, BSO audiences have heard two of Mozart’s piano concertos from his Vienna maturity: No. 27 in B-flat, K.595 (with soloist Menahem Pressler in November) and No. 22 in E-flat, K.482 (with Emanuel Ax in February). April’s programs under Andris Nelsons offer another pair of Mozart’s most revered works in the genre—his only two in minor keys: No. 20 in D minor, K.466 (April 13-15, with Mitsuko Uchida) and No. 24 in C minor, K.491 (April 20-22, with Radu Lupu), the latter paired with Mozart’s Requiem in D minor. Thomas May considers how these minor-mode masterpieces played a major role in the continually shifting images posterity has constructed of Mozart.

It may be the most widely known image of Mozart today: the portrait by his brother-in- law, the amateur painter/comic actor Joseph Lange, from the composer’s final decade in Vienna (see above). Thanks to its muted colors and unfinished state—apparently Lange intended to depict Mozart at his beloved keyboard—the painting has long been viewed as an unintentionally apt metaphor for the tragic brevity of its subject’s life. In 2009, however, musicologist Michael Lorenz discovered that the famously “unfinished” portrait in fact entails an enlargement: a miniature of Mozart’s head, which Lange had previously completed, was later transferred onto a larger canvas that remained unfinished.

This discovery naturally generated some fresh questions of its own. At the same time, it broadened the painting’s metaphoric richness, particularly as it applies to our understanding of Mozart’s legacy. For all the perfection we associate with Mozart’s oeuvre, posterity has been entrusted the task of completing the whole picture. The afterlife of the composer’s creations has been affected—and continually rewritten—to an almost shocking degree by the shifting contexts in which later generations have viewed his life and work.

Unfinished portrait of Mozart (1782/83) by his brother-in-law Joseph Lange

week 23 shifting keys to mozart 23 Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of the world’s greatest orchestras, the Boston Symphony and the Boston Pops.

For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston A ticket for a Mozart-Akademie, a concert self-produced by the composer for his own financial benefit

For example, about a century after his birth, an important musical reference singled out Mozart as the epitome of “the classical artistic ideal (in the sense of antiquity)” and of “its realization in a total unity including the reciprocal integration of form and content....” Our own era’s taste for demythologizing and deconstructing icons into something less exalted, by contrast, paved the way for the success of the late Peter Shaffer’s 1979 play Amadeus and the hit 1984 film directed by Miloš Forman.

Apart from its obvious fictitious context, Shaffer’s depiction of a fun-loving man-child with “an obscene giggle” spun out another sort of myth-making in the process of attempting to unravel other popular myths. Shaffer in fact drew on one of the longest- standing stereotypes of the composer: that of “the eternal child” (biographer May- nard Solomon’s words) whose very innocence allows him to operate as an angelic vessel for timeless beauty from beyond the material world.

Meanwhile, a crassly materialist image recently came to the forefront. As last year was winding down, entertainment news headlines gleefully proclaimed that in 2016, Mozart had outsold Beyoncé and Drake—which was true, by way of some marketing legerdemain, only if each of the 200 CDs contained in a single set of Universal Music’s “Mozart 225: The New Complete Edition” was counted as a separate “unit” (hence “1.25 million CDs sold”). Mozart as the savior of classical music by selling records: another variant on the present-day consumerist evaluation of the composer. An earlier, more utilitarian manifestation was the trend known as “The Mozart Effect”: the purported Mahler’s No. 4 or Mozart’s No. 40? enhancement of IQ and healing that result from listening to his music. No era, least of all our own—and despite all the efforts of the “historically informed practice” movement— At Fairmont Copley Plaza, we appreciate has been able to detach Mozart from the figure onto whom we project our current preoc- cupations. all our guests’ preferences. Two of the BSO’s April programs present works that figured prominently in the 19th century’s reception of Mozart: the D minor and C minor piano concertos (K.466 from its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of www.fairmont.com/copley-plaza-boston week 23 shifting keys to mozart 25

1785 and K.491 from 1786, respectively), plus the Requiem left unfinished by the composer in 1791. The fact that these are in minor keys has given them a special cachet. “I know of no composer who sounds so different in the minor key,” the pianist Alfred Brendel once remarked. “[Mozart’s] minor-key compositions are few in number, but they seem to me to balance out those in the major key by their own innate weight.”

The sense of weight to which Brendel refers is inevitably bound up with the perception of Mozart promulgated by the early generation of German Romanticism that flourished not long after his death, at the turn of the 18th century and into the first decades of the 1800s. Figures like the poet and critic Ludwig Tieck and E.T.A. Hoffmann—who incor- porated his esteem for Mozart into his name, explaining that the “A” stood for “Ama- deus”—constructed a new image of the late composer that made him into a kindred Romantic spirit.

Hoffmann himself was an extraordinary synthesis of artistic impulses, combining in one person a fantasy writer, composer, and caricaturist, as well as a keenly perceptive music critic (with a day job as a judicial civil servant). “Mozart leads us into the realm of the spirits,” he wrote in a famous 1810 essay comparing Haydn and Mozart with Beethoven. “Dread lies all about us, but withholds its torments and becomes more an intimation of infinity.”

Here Hoffmann was in fact writing about the Symphony No. 39 in E-flat major (the first in the final trilogy that includes the composer’s only mature minor-key symphony, No. 40

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Silverpoint drawing of Mozart by Doris Stock, 1789

in G minor), but he sharpened his Romanticizing vision of Mozartian longing and bound- lessness into an image of the “demonic” Mozart. In 1813 Hoffmann published Don Juan, a most unusual narrative fantasia that posits a sort of “decoding” of the true meaning of Don Giovanni, with its evocation of death and damnation in the foreboding key of D minor as the rake meets his divine punishment.

For Hoffmann, Mozart’s music probed below the surface of the episodic plot to convey “the insatiable, burning desire...to attain on earth that which dwells in our hearts as but a heavenly promise—the very longing for the infinite that directly joins us to the world above.” Hoffmann’s remarkable reading pointed the way toward Wagner’s curious appro- priation of Mozart’s legacy as essentially a master of dramatic music trammeled by the conventions of his time, but who achieved an “undreamed of capability of expression.” (Late in life Wagner referred to himself as “the last of the Mozartians.”) Hoffmann’s work helped generate a rich lineage of reinterpretations by (non-composing) writers and thinkers who cherished this “minor-key” Mozart and its hidden subjective implications, including Søren Kierkegaard and George Bernard Shaw (in his sprawling Man and Superman). with spacious rooms perfect for large group entertaining or intimate family gatherings. The owners’ The Romantic perspective on Mozart as a kind of fellow traveler of course entailed overlooking a vast amount of his output—another reason for the sense of greater roofing, copper gutters, oak floors, crown moldings, wainscoting, and decorative paneling. Ideal for “weight” the minor-key works seem to bear. In an essay on the topic of sacred music, a large active family that will enjoy the lower level entertainment room, game room, exercise room, Hoffmann expressed disappointment at Mozart’s Mass settings as “almost his weakest media room, wet bar and wine cellar, and walk out to multiple patios and a fire pit. works,” lamenting the “increasing enfeeblement and sickly sweetness” he associated with the triumph of the Enlightenment, “which killed every deeper religious impulse.” Yet Hoffmann singled out Mozart’s D minor Requiem as a work in which “he revealed 617-293-8209 | [email protected] 617-357-8930 | [email protected] his innermost feelings” to create “the sublimest achievement that the modern period has contributed to the church.” Hoffmann might almost be describing Beethoven’s (still to come) Missa solemnis when he calls the Requiem “a masterpiece that combines the

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By the time Hoffmann published these thoughts on Mozart, Beethoven had already long been grappling with the inheritance of his predecessor. He showed a special predilection for Mozart’s C minor and D minor piano concertos, even writing his own cadenzas for K.466. Yet much as Beethoven’s shadow would loom oppressively for his successors, Beethoven himself was hardly immune to “the anxiety of influence” when confronted by Mozart’s perfection of the piano concerto. The young German took his time before unveiling his own C minor piano concerto (No. 3), a score clearly haunted by the aura of the dark-hued K.491, Mozart’s only concerto to remain in the grim grip of the minor even—unlike Beethoven’s—in its finale.

The scholar John Daverio has suggested still another key to how Mozart has been understood though the ages: “As the bearer of messages from a bygone golden age, Mozart’s music offered a welcome relief from the crisis-torn present.” Mozart’s works entered their afterlife just as Western music was undergoing a sea change, prompted by social and economic forces, that produced the belief in enduring, permanent “masterpieces.” Aside from Handel in England, notes biographer Julian Rushton, “Mozart was the first composer to remain permanently lodged in the minds not only of practic- ing musicians but also of the musical public.” thomas may writes about the arts, lectures about music and theater, and blogs at memeteria.com.

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week 23 shifting keys to mozart 31 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 136th season, 2016–2017

Thursday, April 20, 8pm | the catherine and paul buttenwieser concert Friday, April 21, 1:30pm | the anne and peter brooke concert Saturday, April 22, 8pm | the sandy moose and eric birch concert

andris nelsons conducting

all-mozart program

piano concerto no. 24 in c minor, k.491 Allegro Larghetto Allegretto radu lupu

{intermission} Marco Borggreve

32 requiem in d minor, k.626 Requiem Domine Jesu Dies irae Hostias Tuba mirum Sanctus Rex tremendae Benedictus Recordare Agnus Dei Confutatis Lux aeterna Lacrimosa lucy crowe, soprano tamara mumford, mezzo-soprano ben johnson, tenor morris robinson, bass tanglewood festival chorus, james bagwell, guest chorus conductor Text and translation begin on page 55. friday afternoon’s performances by the vocal soloists are supported by a generous gift from the ethan ayer vocal soloist fund. saturday evening’s performances by the soloists are supported by the helen and josef zimbler fund. saturday evening’s performance of mozart’s piano concerto no. 24 in c minor, k.491, is supported by a gift from dr. susan hockfield and dr. thomas n.byrne. saturday evening’s performance of mozart’s requiem is supported by a gift from dr. and mrs. irving h. plotkin. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

The evening concerts will end about 10 and the afternoon concert about 3:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 23 program 33 The Program in Brief...

At the height of his popularity in Vienna, Mozart wrote a stunning series of piano concertos for himself to play, of which the darkly dramatic C minor, from March 1786, is arguably the most innovative. His only other minor-mode concerto, the D minor, from a year earlier, ends in a bright D major, in keeping with the expectations of Mozart’s audience. The C minor, on the other hand, finishes in the somber minor mode—which would surely have caught contemporary listeners by surprise. Also unusual is the fact that the last movement is in theme-and-variations form, a form not typically associated with the concerto genre. We have no idea why Mozart chose to write so atypical a work—it is also his only concerto to use both clarinets and oboes in the orchestra’s wind section— but since his big project at the time was his great opera The Marriage of Figaro, numerous commentators suggest he may have needed an outlet for some of the darker musical ideas that, brewing within him, gave rise to this minor-mode piece—which, like all his mature piano concertos, also strikes a perfect Classical balance in the varied juxtaposi- tions and interactions of the orchestral winds, orchestral strings, and solo instrument.

On December 5, 1791, Mozart died at age thirty-five, leaving incomplete the D minor Requiem he was writing in response to a rather peculiar commission. Neither he nor his wife Constanze knew the source of the commission, which was offered via an interme- diary acting on behalf of a certain Count von Walsegg, who wished to memorialize his recently deceased wife with a Requiem he could pass off as his own composition. When Mozart died, Constanze and the composer’s immediate circle were understandably in a panic: the only way to claim the rest of the desperately needed commissioning fee was to have someone else finish the work and to claim it was entirely Mozart’s. Ultimately it was Mozart’s student, Franz Xaver Süssmayr, who took on the task of editing and completing the eight movements Mozart left unfinished, as well as composing the other five, for which Mozart left nothing, or perhaps some notations on “scraps of paper.” Though Süssmayr was more diligent than inspired, and despite some more recent com- pelling completions, Süssmayr’s remains the version of the Requiem most frequently performed, if only because it has been familiar for more than two centuries. He did also have the advantage of discussing the Requiem with Mozart, and may have had access to those “scraps of paper” that no longer exist.

What is striking about Mozart’s Requiem is that it alternates stirring, dramatic, operatic music with music of startling personal intimacy, like the opening bars of the Lacrimosa, which tradition holds was the last music Mozart ever wrote. At the end, acting apparently on Mozart’s stated plan, Süssmayr brings back the glorious double fugue heard originally near the beginning at the “Kyrie eleison,” but this time on the prayerful text “[Let perpetual light shine on the dead], as with Your saints in eternity, because You are merciful”—leaving us, after a few movements of Süssmayr’s, safe in Mozart’s arms.

Marc Mandel (K.491)/Richard Dyer (Requiem)

34 Wolfgang Amadè Mozart Piano Concerto No. 24 in C minor, K.491

IN ADDITION TO THE SOLO PIANO, the score calls for an orchestra of one flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. No cadenzas by Mozart survive for this concerto; in these performances, Radu Lupu plays his own.

When we look at Mozart’s concertos and other piano music, we should remember that he achieved his legendary status as a child prodigy mainly at the keyboard from age six onward, largely playing his own work. From that point to the end of his life, most of Mozart’s keyboard music was written for himself. His Piano Concerto in C minor, K.491 comes from his peak performing years in Vienna.

By his teens, Mozart was one of the greatest keyboard players of his day. Like all composer-pianists, he made far more money as a performer than as a composer; publishers’ fees were skimpy, and he was able to sell half of what he wrote at best. Yet in practice Mozart considered himself a composer first, performer second. There’s an old story that he performed less in his last years because Vienna had gotten tired of him; but it’s just as likely that he intentionally pared back his playing in favor of composing.

For his first five or so years in Vienna, where he arrived from Salzburg in 1781, zartMo was tremendously in demand as a performer. When his father Leopold visited in 1785 he was astonished at his son’s relentless schedule, his servants trotting around town with his piano for nearly daily concerts—some public and some in private homes—to which were added teaching and composing. As part of that life Mozart wrote piano concertos, an extraordinary sixteen of them between 1782 and 1788. This was more

week 23 program notes 35 Program page for the first Boston Symphony Orchestra performance of Mozart’s C minor piano concerto, K.491, on December 1, 1959, in Cambridge, with Claude Frank as soloist and Charles Munch conducting (BSO Archives)

36 or less the practice of most virtuosos, who in those days tended also to be composers. You wrote a concerto, played it around, and, when it had gone the rounds, wrote a new one. Since most performers wrote their own, you didn’t expect a lot of attention for a given concerto once it was played out.

Yet in that situation, when concertos would seem mainly to be a practical matter to provide material for you to dazzle the crowds, Mozart produced not only some of his finest work, but some of the greatest and most influential concertos ever written.Much of the influence has to do with form. The old Baroque concerto had the simple pattern of tutti-solo-tutti-solo and so on. By Mozart’s time the outline we call “sonata form” had in some degree invaded nearly every genre. This formal outline of exposition (repeated), development, and recapitulation (the exposition resolved into the home key) now turned up everywhere. But when it came to concertos, which needed to be a dialogue between soloist and orchestra, the fit was awkward. Essentially what happened in the later 18th century was that the old Baroque alternation of tutti and solo was grafted onto the sonata-form outline. Mozart did not invent that process; rather he perfected it and showed composers of the future what kind of variety could be found in it. For the first time, he made concertos potentially the equal of symphonies in power and ambi- tion. He invented, in short, the modern idea of a concerto.

A Mozart concerto, and most of those in the generations he influenced (starting with Beethoven), will have a double exposition: the orchestra lays out the leading ideas in a sonata-like exposition section, then the soloist enters (with the orchestra’s main theme

week 23 program notes 37 ONE DAY UNIVERSITY® at Tanglewood register Sunday, August 27, 2017 today! at general registration: $159 One Day University, the acclaimed lifelong learning series, returns to Tanglewood for its seventh season. Join three award-winning event schedule for august professors as they each present their best lecture in Ozawa Hall. 27, 2017 Then join Andris Nelsons and the BSO for the 2017 season finale

• lectures take place in ozawa hall • performance of Beethoven’s Ninth Symphony. 9:30–9:35 am Introduction 9:35–10:35 am LOUIS MASUR, Understanding America Through Three Remarkable Photographs Rutgers University Louis Masur, Distinguished Professor of American Studies and History Rutgers University 10:35–10:45 am Break From its introduction in 1839, photography has transformed the ways in 10:45–11:45 am JEFFREY ROSEN, which we see the world. Photographs capture events and also transform them; George Washington they depict reality but tell a story. Professor Masur will examine the historical University context and content of three powerful images that have shaped American Break society and culture: Joe Rosenthal’s Flag Raising on Mt. Suribachi (1945); 11:45 am–12 pm Stanley Forman’s Pulitzer Prize-winning The Soiling of Old Glory (1976) and 12 pm–1 pm CRAIG WRIGHT, Thomas Franklin’s Raising the Flag at Ground Zero (2001). Yale University The Supreme Court: An Inside View • koussevitzky music shed • Jeffrey Rosen, Professor of Law, George Washington University 2:30 pm President, National Constitution Center Boston Symphony Orchestra Beginning in 1802 with the Landmark case with Marbury v. Madison, the Andris Nelsons, conductor Supreme Court has ruled on groundbreaking cases that have altered the course Katie Van Kooten, soprano of American history. Professor Rosen, one of the top experts on Constitutional Tamara Mumford, mezzo-soprano issues, will take us inside the Supreme Court, exposing little known facts and Russell Thomas, tenor covering the Court’s history, structure, and operation. Professor Rosen will John Relyea, bass-baritone also highlight major cases, where the Court might be headed next, and how IVES “The Housatonic at Stockbridge” from the interactions and personalities of the individual justices have created the Three Places in New England institution that we know today. BEETHOVEN Symphony No. 9

Registration includes: Music and the Brain: Why We Like What We Like Craig Wright, Professor of Music • All three professor presentations Yale University • One complimentary lawn Why do we listen to music? What does it do for us? Professor Wright will admission to the 2:30pm BSO introduce you to the reception, processing, and emotional response to music concert, or a 10% discount on a that we all experience in the brain, each in our own way. We have done this Shed ticket* since birth, but is our response to music natural and universal, or is it cultural, • VIP Parking a reflection of where we grew up and the kind of music that we heard at home? Professor Wright will also discuss how the music of different genres and • 10% off 8/27 Meals-to-Go composers may be processed differently in the brain, country music one way, rock in another, and classical music in yet another.

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*One Day University lawn admissions have no dollar value and may not be used to upgrade for a ticket inside the Shed. One Day University is a federally registered trademark of Educational Media LLC. It is not a degree granting institution and its programs are not offered for credit. Mozart’s family as painted in 1780/81 by Johann Nepomuk della Croce: Wolfgang’s sister Nannerl, Wolfgang, and Leopold, with a painting on the wall of Mozart’s mother, who had died in July 1778

or with a new idea) in a second exposition, and from there we hear an ongoing dialogue between orchestra and soloist. The soloist’s presence invariably changes the material in the second exposition. The development and recapitulation sections continue the dialogue, which can be anything from cooperative to playful to competitive.

Mozart completed his C minor concerto in March 1786, toward the end of his white-hot performing period. It is marked by two thumbprints of his. The first has to do with scoring. For his time Mozart was unusually interested in the wind section in general, and with clarinets in particular. Their entry into the standard late-Classical orchestra was more his doing than anyone else’s. The C minor is the only concerto of Mozart’s that uses the full contingent of winds—one flute and two each of clarinets, oboes, bassoons, and horns, plus trumpets and timpani. This makes for rich wind scoring and a steady trading of ideas between strings and winds.

The other thumbprint has to do with the key of C minor. Composers in that time tended to see keys as having individual personalities. For example, for Mozart as for many of his contemporaries, G minor was a key tragic unto demonic; compare the G minor symphony and G minor string quintet. C minor was in the same territory, tending to dark and intense. When we mention the “demonic” side of Mozart, the C minor concerto is one of the pieces we’re talking about. (C minor was of course Beethoven’s demonic key as well, as in the Pathétique Sonata and Fifth Symphony.)

The C minor concerto begins on a moaning unison theme, highly unsettled in harmony— all twelve chromatic notes are heard on the first page. That theme will be the seed of most of the themes to come in the concerto, and its mood will mark the whole as well. On the second page the theme explodes into a fierceforte . From that point in the movement the theme will trouble the music in the same way. A second theme is quiet and flowing, yet still uneasy. The soloist enters pensively, but that is wiped out by another

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(855) 886-4824 or visit www.firstrepublic.com New York Stock Exchange Symbol: FRC Member FDIC and Equal Housing Lender burst of the opening theme. There is the dialectic of the movement—quiet, sometimes hopeful phrases sooner or later slapped down. Again and again, the mood rises only to fall. The development is highly volatile. Another element of the movement is slithery chromatic lines that tend to appear in Mozart when things get sinister (as in the overture to and end of Don Giovanni).

The second movement is a Larghetto in E-flat whose opening theme is an ingenuous and consoling little tune. The form is ABA, with a middle section, mostly in winds, that recalls the chromatic lines and the unease that marked the first movement. The finale is not in a hopeful C major but instead returns to C minor for an elaborate, march-like theme followed by six variations and a coda. The theme echoes the fraught opening of the concerto, but this C minor is not so much tragic or demonic, but rather quietly driving, elusive. For most of the finale the troubles of the first movement are neither picked up nor quite resolved—the C minor remains unsettled. The final word is a racing coda in 6/8 that seems to mingle bits of hope with breathless apprehension. The curt ending is a final explosion in C minor: the demon persists.

Jan Swafford jan swafford is a prizewinning composer and writer whose books include biographies of Johannes Brahms and Charles Ives, “The Vintage Guide to Classical Music,” and, most recently, “Beethoven: Anguish and Triumph.” An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart.

THE FIRST AMERICAN PERFORMANCE OF MOZART’S C MINOR CONCERTO took place in St. Louis on March 19, 1868, with Egmont Froelich conducting the Philharmonic Society (soloist unknown). The first Boston performance took place on February 13, 1874, with Carl Zerrahn conducting the Harvard Musical Association and soloist Hugo Leonhard.

THE FIRST BOSTON SYMPHONY PERFORMANCES of this concerto took place in December 1959 in Cambridge, Boston, Brooklyn, and New York; Charles Munch conducted, with soloist Claude Frank. Later BSO performances featured Gabriel Tacchino and Claude Frank with Erich Leinsdorf conducting; Robert Casadesus with William Steinberg; André Watts with Riccardo Muti; Vladimir Ashkenazy as soloist/conductor; Alicia de Larrocha with Hiroshi Wakasugi and Leonard Slatkin; André Previn as soloist/conductor on several occasions; András Schiff with Charles Dutoit; Horacio Gutiérrez with Previn conducting; Malcolm Frager with Yuri Temirkanov; Murray Perahia with Andrew Davis; Peter Serkin with Seiji Ozawa; Richard Goode with Edo de Waart; Imogen Cooper with Sir Colin Davis; Gerhard Oppitz with Ken-David Masur (the most recent Tanglewood performance, on July 22, 2012), and Lars Vogt with Andris Nelsons (the most recent subscription performances, in January 2015).

week 23 program notes 41 “Tuba mirum” or “Tuba dirum”: Mozart’s Requiem and the Trombone by Douglas Yeo

Written in the last months of his life, Mozart’s Requiem has achieved almost mythic status as one of classical music’s greatest works, despite the fact that he did not live to see it to completion. Today we take for granted the near universal praise of the Requiem, and any criticism is usually reserved for discussion about the perceived inadequacies of those who completed the work from Mozart’s sketches. Trombone players have special reason to be grateful to Mozart, since he has provided them with one of the orchestral repertoire’s finest trombone solos, one that stands alongside those found in Maurice Ravel’s Bolero and Gustav Mahler’s Symphony No. 3. Yet Mozart’s trombone solo in the Tuba mirum has been a subject of controversy since its first performances and has not always been held in high esteem.

Mozart’s manuscript for the Tuba mirum contains only the most basic of outlines, con- taining parts for the vocal soloists, solo trombone, and cellos/basses. He wrote no dynamic marking for the opening solo, and he offered only scant articulation markings to guide performers stylistically. Mozart’s trombone solo extends to the end of the opening text that is sung by the bass soloist; the trombone’s music staff continues throughout the entire movement but those measures were never filled by the composer’s pen.

It is the trombone, rather than the trumpet, that introduces the sound of the Biblical “last trumpet,” a quite logical decision when one understands that the word “trombone” literally means “large trum- First page of the “Tuba mirum” from the manuscript of Mozart’s Requiem (1791), pet.” Banish any thought that the upper, circled lines of music for violins and viola not being by Mozart the Latin word “tuba” has anything to do with today’s large brass instrument of that name. Unlike the trombone, the natural (valveless) trumpet of Mozart’s time was not capable of playing fully chromatically. Mozart, at age eleven, had written an exceptional trombone solo in his Die Schuldigkeit des ersten Gebotes (The Obligation of the First Commandment), K.35, and was well acquainted with the instrument’s capabilities. After the Tuba mirum’s opening measures, the trombone writing changes character, and it accompanies the bass soloist with florid lines and arpeggios until the tenor soloist enters (Mors stupebit) with a minor-key version of the trombone’s opening motif. This is all well and good until one considers whether Mozart’s trombone writing actually reflects the character of the vocal text.

42 After the drama of the Dies irae, the Tuba mirum text continues with an evocative image of the dead rising from their graves to face the judgment of God. While Hector Berlioz (1843) famously complained that Mozart’s single trombone was inadequate to the task— “Why just one trombone to sound the terrible blast that should echo round the world and raise the dead from the grave? Why keep the other two trombones silent when not three, not thirty, not three hundred would be enough?”—other commentators have objected to the character of the solo. Many have echoed Alfred Einstein’s assessment (1945) that “one cannot shake off the impression that the heavenly [trombone] player is exhibiting his prowess instead of announcing terribly the terrible moment of the Last Judgment.” More recently, John Rosselli, in The Life of Mozart (1998), opines that the trombone solo “strains after majesty and fails.” Perhaps the harshest cut came from Cecil Forsyth in his Orchestration (1914) where he wrote, sardonically, “Only the first three bars appear to have been written by one who under- First page of the "Tuba mirum" from the first edition of Mozart’s stood the instrument. The rest might be Requiem (Breitkopf & Härtel, 1800), showing the trombone solo given better described as Tuba dirum spargens to bassoon (courtesy Handel & Haydn Society and Boston Public Library) sonum.” The text’s reference to the amazing (“mirum”) sound of the last trumpet became, in Mozart’s allegedly inept hands, simply “awful” (“dirum”).

Yet missing from all of this harsh commentary is an understanding of not only the use of the trombone in late 18th-century Vienna, but also how composers at that time and place addressed the subject of death. It is true that many of Mozart’s contemporaries, including Antonio Salieri, Michael Haydn, and Luigi Cherubini, treated the Tuba mirum in dramatic fashion with loud brass and timpani. But others, like Georg Reutter and Franz Joseph Aumann, wrote gentle trombone solos (and trombone duets) in the Tuba mirum movement of their Requiems. Why did some composers treat this text with dramatic effect while others, like Mozart, took a more gentle approach? We do well to note that in Vienna from the mid- 18th century, the idea of “eine schöne Leich” (“a beautiful funeral”) was very much in play. Hermann Abert, in his early biography of Mozart (1855), explains “that Mozart pictures the Lord not as a strict and implacable judge but as a lenient, albeit just and serious, God.” Edward Young’s poem “Night Thoughts” (1742), which was translated and widely distributed in Austria, also encouraged this view of “a good death.” If one has led a life according to God’s commands, what, then, is there to fear when the trumpet of God calls one to account?

If we accept that Mozart was fully aware of the implications of using the trombone to re- flect a more gentle view of the judgment of God, today’s musicians still need to address

week 23 mozart’s requiem and the trombone 43 other important issues of performance practice. While Mozart’s manuscript clearly shows the meter of the Tuba mirum as cut time (2/2), the first published edition (1800) changed that to common time (4/4). This confusion led to a host of conductors leading the movement at an exceptionally slow tempo despite the Andante tempo marking. Many editions, starting with the first edition, gave some or all of the trombone solo over to a bassoon (see image on page 43), or even viola and cello, a concession to the lack of competent trombone players in many countries in the 19th century. But Mozart’s trombone solo in the Tuba mirum is a superb example of late 18th-century Viennese writing for the instrument. Its character is consistent with Mozart’s view of death, a view he shared with his father, Leopold, in a letter from 1787: As death, when we come to consider it closely, is the true goal of our existence, I have formed during the last few years such close relations with this best and truest friend of mankind that his image is not only no longer terrifying to me, but it is indeed very soothing and consoling! And I thank my God for graciously granting me the opportunity. . .to learn that death is the key that unlocks the door to our happiness.

douglas yeo (www.thelasttrombone.com) was bass trombonist of the Boston Symphony Orchestra from 1985 to 2012 and was Professor of Trombone at Arizona State University from 2012 to 2016; his latest book is “The One Hundred: Essential Works for the Symphonic Bass Trombonist” (Encore Music Publishers). He lives in the foothills of Arizona’s Sierra Estrella and is currently writing “The Trombone Book” (Oxford University Press) and “Homer Rodeheaver: Gospel Music’s ‘Reverend Trombone’” (University of Illinois Press).

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44 Wolfgang Amadè Mozart Requiem in D minor, K.626

JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART—who began calling himself Wolfgango Amadeo about 1770 and Wolfgang Amadè about 1777 (he used “Amadeus” only in jest)—was born in Salzburg, Austria, on January 27, 1756, and died in Vienna on December 5, 1791. He worked on the Requiem during the last five months of his life but left it unfinished; the version typically heard (as is the case in these concerts) was completed by his pupil Franz Xaver Süssmayr, to fulfill the commission specified below. Therst fi complete performance was given on December 14, 1793, in the new monastery church at Wiener Neustadt, though it was billed as a work by Franz, Count Walsegg-Stuppach, who had commissioned the piece anony- mously with the intention of passing it off as his own, to be used on the occasion of a solemn Mass in memory of his wife. However, well before that, the first movement (in two sections, “Requiem aeternam” and “Kyrie eleison”) was sung at a Requiem Mass for Mozart on December 10, 1791, five days after his death, in Saint Michael’s Church in ienna;V and Mozart’s old friend, the Baron Gottfried van Swieten, performed a Requiem—presumably Mozart’s—on January 2, 1793, in a Vienna concert given to support the composer’s widow and two surviving children.

THE SCORE OF MOZART’S REQUIEM suits the expressive needs of such a piece: he omits the brighter woodwind instruments (flutes and oboes) and replaces the clarinet with its darker relative, the basset horn. He also omits horns from the brass section. The resulting ensemble consists of solo vocal quartet (soprano, alto, tenor, bass), mixed chorus, and an orchestra of two basset horns, two bassoons, two trumpets, three trombones, timpani, strings, and organ (as con- tinuo instrument). The organist at these performances is James David Christie.

The myths and mysteries that swirl around Mozart’s Requiem began virtually the day he died and were given new life in recent decades by the play and movie Amadeus. But there’s little real mystery around the piece or about Mozart’s death. The actual story of his final masterpiece, however, is still unlikely, given the mysteriouscircumstance of its commission, and its position as one of the greatest and most beloved of sacred works, despite being finished by other and lesser hands.

week 23 program notes 45 Program page for the first Boston Symphony performances of Mozart’s Requiem on April 10 and 11, 1888, Wilhelm Gericke conducting, given, as specified in a prior announcement for those concerts, “in MUSIC HALL...to aid in erecting a Monument in Vienna to the memory of MOZART” (BSO Archives)

46 Did Mozart know he was near the end when he began the Requiem? Probably not, though he knew he was ill and exhausted. His pace in his last months would be incredible for a man in the peak of health: he wrote two operas, Die Zauberflöteand La clemenza di Tito, finished the Clarinet Concerto, and wrote theKleine Freimaurer-Kantate (Little Masonic Cantata) and most of the Requiem.

As for his death, the likely cause is sadly pedestrian. The rumors of Mozart’s being poisoned began immediately, but in fact he probably died of rheumatic fever, which he had had before and which was going around Vienna at the time. Though years later his wife Constanze claimed that near the end he told her he thought he had been poisoned, what she actually believed was close to the truth: at not quite thirty-six, her husband worked himself to death. That tragedy of December 5, 1791, is not compounded, as the old stories have it, by his poverty and neglect, but rather the opposite: he died when he was at the peak of his creativity and on the threshold of serious prosperity.

The story of the Requiem’s commission is the one element that approaches the bizarre, though again there’s no mystery about it. It had to do with the musical and eccentric Count Franz von Walsegg. His wife had died the year before and he wanted to commission a Requiem in her memory. So far, simple enough. But the count had a little game he liked to play: he would commission pieces secretly, have them played for friends, and, with a smug smile, ask who they thought wrote them. The friends were expected to guess him as the composer, and they usually played along, though no one was fooled.

Did Mozart know who the commission came from? We have no evidence one way or the other. But he really didn’t care who was going to pay him. He wasn’t planning to die, and he was enthusiastic about writing a Requiem, for two reasons. First, though he had produced stacks of sacred music, most of it Masses, during his youthful Salzburg years, he had never written a Requiem, and it would be a useful item in his portfolio. (The count had exclusive use of the piece for a given time, but then Mozart would be free to use and claim it.) But there was another matter in the offing.

The Kapellmeister of St. Stephen’s Cathedral in Vienna was apparently on his last legs, and Mozart had succeeded in being named his assistant and eventual successor. This was as prestigious and well-paying a musical job as existed in Europe’s capital of music. Besides its handsome salary of 2000 florins a year, Mozart also had in hand 800 fl. as court chamber composer and had been promised a yearly stipend of over 2000 more from two benefactors, to which would be added a potentially lavish income from pub- lishing and performing.

So Mozart expected shortly to be quite comfortable and busy writing sacred music as cathedral Kapellmeister, and he was giving a lot of thought to how he would approach it. From various clues in and out of the music, it is clear he was looking for a new sacred voice, avoiding the usual operatic-style sacred music that marked, for one example, Haydn’s Masses and oratorios. Mozart wanted something simple, direct, communica- tive, spiritual. The Requiem was his first and last major essay in that new style. It had a

week 23 program notes 47

A 1782 oil painting of Mozart’s wife Constanze

predecessor, though: the little Ave verum corpus that he wrote in June 1791. That piece is an incomparable example of art hiding under artlessness, a gentle and tuneful outing that somehow works powerfully on the heartstrings. From that point flowed the Requiem.

Of course, Mozart didn’t finish it. He completed and scored the opening movement and, of the rest, drafted about 2/3 of the final piece. Much of that was skeletal, but still essentially there: it was his habit to write out the vocal parts, bass, and maybe the leading string part of a movement, then go back and fill it in. So it was with much of the Requiem. His last effort seems to have been the Lacrimosa, which breaks off after eight bars.

Constanze Mozart said her husband picked his student Franz Xaver Süssmayr to finish the piece if he couldn’t, and with him went over sketches and ideas for the completion. If so, why did Constanze first ask another student of her husband’s to finish it, and hand it to Süssmayr only when that one gave up on it? Süssmayr claimed that the Osanna and last three movements were his, but in fact they’re based on earlier material in the piece. And it’s worth mentioning that Mozart was not all that impressed with Süssmayr, teased him relentlessly, called him “Snai,” “Sauermeier” (“sour farmer”), “Sauerbier” (“sour beer”), etc.

Exactly how all this played out remains a bit vague, because it was incumbent on Con- stanze, once she recovered from her devastation at Wolfgang’s death, to obscure the fact that the piece was finished by somebody else, since otherwise the commission would have been in danger. For his part Süssmayr worked directly on Mozart’s incomplete score; it helped that his hand was nearly indistinguishable from his teacher’s, and he could also do a good forgery of Mozart’s signature. (All of this was figured out years later.) Yet it can only be said that this composer otherwise doomed to obscurity, mostly known in his day for stage comedies, did a more than adequate job of completion. It isn’t all Mozart, there are mistakes in scoring and part-writing that are certainly

week 23 program notes 49

The Mozart memorial in Vienna

not Mozart’s, but as a whole the Requiem still glows with the enchanted voice Mozart arrived at in his late music.

Its uniqueness is heard from the first page of theIntroitus (Requiem eternam): the dis- tinctive sound of strings plus two basset horns (a sort of tenor clarinet that Mozart loved) and bassoons. Later trumpets and timpani turn up, and throughout there are elaborate parts for trombones, though they are usually involved in doubling the chorus.

After a quiet introduction the chorus enters forte with a darkly intense, unforgettable opening. On the whole the Classical period that Mozart exemplified was not at its best in tragic music, or for that matter in sacred music. In the opening Mozart finds a tragic sacred voice of a power that had rarely been heard since the Baroque. Appropri- ately enough, a leading influence on the piece is Handel; Mozart was acquainted with several of his oratorios and did an updated arrangement of Messiah that is still often heard. Again, the keynote of the whole is simplicity and directness. The orchestra part is restrained, often simply doubling the chorus. What follows the first movement is a work of enormous strength and variety, steeped in the history of religious music but still strikingly fresh, and with moments of the kind of magical voice Mozart found in Die Zauberflöte.

The second movement Kyrie is a robust fugue, which like much of the Requiem is greatly energetic, contrasting with the limpid beauty of other sections. There is too much in the piece to examine in detail, but mention can be made of a few of the memorable and characteristic moments. The Dies irae is a ferocious evocation of judgment day, but the Tuba mirum that follows is magisterial, its trombone solo representing the Last

week 23 program notes 51 ©2016 Bose Corporation. CC018258 P We invite you to experience what our passion brings to t to brings passion our what experience to you invite We what inspires all we do at Bose. Bose. at do we all inspires what To learn more or to order: to or Tomore learn ht rae mc o wa w lv aot ui. n it’s And music. about love we what of much creates that Each musician reads from the same score, but each brings brings each but score, same the from reads musician Each including how you can hear Bose hear can youhow including performance of our products. Visit our website to learn mor learn to website our Visit products. our of performance his or her own artistry to the performance. It’s their passion passion their It’s performance. the to artistry own her or his assion Bose.com It’s at the heart heart the at hearttheat It’s

performanc ® sound for yourself. of their their of And our And s. e— he he e . Trumpet. The Recordare, Jesu pie (“Remember, merciful Jesus”) begins with gentle wafting lines in the strings. Finally there is the stunning Confutatis maledictis (“When the damned are confounded”) that begins in the men’s voices with appropriate ferocity but is then contrasted, almost negated, by the heartrending sotto voce setting for the women of “Voca me cum benedictus” (“Call me with the blessed”).

Mozart’s Requiem, then, is not a mystery but a marvel. That a man in the process of working himself to death could write music of such sure-handed power and imagination is barely conceivable. That is shown equally by the notes on the manuscript, which at the door of death still have the absolute sureness and clarity of all Mozart’s scores. And like all of his scores there are few strikeouts, virtually nothing but certainty.

Jan Swafford

THE FIRST AMERICAN PERFORMANCE OF MOZART’S REQUIEM took place on February 22, 1835, at the City Hotel in New York with the Italian Singers and soloists Clementina Fanti, Julia Wheatley, Sig. Ravaglia, and Sig. Porto. The first Boston performance was given by the Handel & Haydn Society, Carl Zerrahn conducting, on January 18, 1857, with soloists Mme. D’Angri, Mrs. Long, Sig. Morelli, and Mr. Arthurson.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF MOZART’S REQUIEM—in special non-subscription concerts to help raise funds for the erection of a Mozart monument in Vienna— were given on April 10 and 11, 1888; Wilhelm Gericke conducted, with soloists Lilli Lehmann, Louise Meisslinger, Paul Kalish, and Emil Fischer and a “Grand Chorus of 300” (see page 46). Subsequent BSO performances were given by Serge Koussevitzky on several occasions between December 1931 and December 1941 (including the first subscription performances in December 1931 and the first Tanglewood performance in August 1941), Robert Shaw, Charles Munch, Erich Leinsdorf (including a January 1964 performance in memory of John Fitzgerald Kennedy, at Boston’s Cathedral of the Holy Cross), Colin Davis, Michael Tilson Thomas, Christopher Hogwood, Seiji Ozawa, Robert Spano, Robert Shaw, Bernard Haitink, Hans Graf, James Levine, Shi-Yeon Sung, and Michael Tilson Thomas. The Tanglewood Festival Chorus, John Oliver, conductor, participated in all of the BSO’s performances between August 1986 (when the work was led at Tanglewood by Hogwood in the edition of C.R.F. Maunder, the only occasion when the BSO has not employed the familiar Süssmayr edition) and July 2010. The most recent subscription performances were in September 2009; James Levine led the first and then BSO assistant conductor Shi-Yeon Sung (substituting for Levine) the second of the two, with soloists Grazia Doronzio, Anke Vondung, Michael Schade, and Eric Owens, Levine having previously led a July 2006 Tanglewood performance as part of a BSO all-Mozart weekend marking the 250th anniversary of the composer’s birth, with soloists Soile Isokoski, Susan Graham, Kenneth Tarver, and John Relyea. The most recent Tanglewood performance was on July 17, 2010; Michael Tilson Thomas conducted, with soloists Soile Isokoski, Kristine Jepson, Russell Thomas, and Jordan Bisch.

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INTROITUS Requiem Requiem aeternam dona eis Domine: Grant them eternal rest, O Lord: and et lux perpetua luceat eis. Te decet let everlasting light shine on them. To hymnus, Deus, in Sion, et tibi reddetur thee, O God, praise is meet in Sion, votum in Jerusalem. Exaudi orationem and unto thee shall the vow be per- meam: ad te omnis caro veniet. formed in Jerusalem. Hearken unto my prayer: unto thee shall all flesh come.

KYRIE Kyrie eleison; Lord, have mercy upon us; Christe eleison; Christ, have mercy upon us; Kyrie eleison. Lord, have mercy upon us.

SEQUENCE Dies irae Dies irae, dies illa The day of wrath, that day shall Solvet saeclum in favilla dissolve the world in ashes, as Teste David cum Sibylla. witnesseth David and the Sibyl. Quantus tremor est futurus What trembling shall there be when Quando judex est venturus the Judge shall come who shall thresh Cuncta stricte discussurus! out all thoroughly!

Tuba mirum Tuba, mirum spargens sonum The trumpet, scattering a wondrous Per sepulchra regionum, sound through the tombs of all lands, Coget omnes ante thronum. shall drive all unto the Throne. Mors stupebit et natura Death and Nature shall be astounded Cum resurget creatura when the creature shall rise again to Judicanti responsura. answer to the Judge. Liber scriptus proferetur A written book shall be brought forth In quo totum continetur in which shall be contained all for Unde mundus judicetur. which the world shall be judged. Judex ergo cum sedebit And therefore when the Judge shall sit, Quidquid latet apparebit: whatsoever is hidden shall be manifest; Nil inultum remanebit. and naught shall remain unavenged. Quid sum miser tunc dicturus, What shall I say in my misery? Whom Quem patronum rogaturus, shall I ask to be my advocate, when Cum vix justus sit securus? scarcely the righteous may be without fear?

Please turn the page quietly.

week 23 text and translation 55 Rex tremendae Rex tremendae majestatis King of awful majesty, who freely Qui salvandos salvas gratis; savest the redeemed; save me, O fount Salva me, fons pietatis. of mercy.

Recordare Recordare, Jesu pie, Remember, merciful Jesus, that I am Quod sum causa tuae viae the cause of thy journey, lest thou lose Ne me perdas illa die. me in that day. Quaerens me sedisti lassus; Seeking me didst thou sit weary: thou Redemisti crucem passus. didst redeem me, suffering the cross: Tantus labor non sit cassus. let not such labor be frustrated. Juste Judex ultionis O just Judge of vengeance, give the Donum fac remissionis gift of remission before the day of Ante diem rationis. reckoning. Ingemisco tanquam reus: I groan as one guilty; my face blushes Culpa rubet vultus meus. at my sin. Spare, O God, me, thy Supplicanti parce, Deus. suppliant. Qui Mariam absolvisti Thou who didst absolve Mary, and Et latronem exaudisti, didst hear the thief’s prayer, hast given Mihi quoque spem dedisti. hope to me also. Preces meae non sunt dignae, My prayers are not worthy, but do Sed tu bonus fac benigne, thou, good Lord, show mercy, lest I Ne perenni cremer igne. burn in everlasting fire. Inter oves locum praesta Give me place among thy sheep and Et ab haedis me sequestra, put me apart from the goats, setting Statuens in parte dextra. me on the right hand.

Confutatis Confutatis maledictis When the damned are confounded Flammis acribus addictis, and devoted to sharp flames, call thou Voca me cum benedictis. me with the blessed. Oro supplex et acclinis, I pray, kneeling in supplication, a heart Cor contritum quasi cinis, contrite as ashes, take thou mine end Gere curam mei finis. into thy care.

Lacrimosa Lacrimosa dies illa Lamentable is that day on which guilty Qua resurget ex favilla man shall arise from the ashes to be Judicandus homo reus. judged. Huic ergo parce, Deus, Spare then this one, O God, Pie Jesu Domine: merciful Lord Jesus: Dona eis requiem. Amen. give them peace. Amen.

56 OFFERTORIUM Domine Jesu Domine Jesu Christe, Rex gloriae, libera O Lord, Jesus Christ, King of glory, animas omnium fidelium defunctorum deliver the souls of all the departed de poenis inferni et de profundo lacu; faithful from the torments of hell and libera eas de ore leonis, ne absorbeat from the bottomless pit; deliver them eas Tartarus, ne cadant in obscurum. from the mouth of the lion; lest Sed signifer sanctus Michael reprae- Tartarus swallow them; lest they fall sentet eas in lucem sanctam: quam into the darkness. But let Saint Michael olim Abrahae promisisti et semini eius. the standardbearer bring them forth into the holy light: which thou didst once promise unto Abraham and his seed.

Hostias Hostias et preces tibi, Domine, laudis To thee, O Lord, we render our offerimus. Tu suscipe pro animabus illis offerings and prayers with praises. Do quarum hodie memoriam facimus: quam thou receive them for those souls which olim Abrahae promisisti et semini eius. we commemorate today: which thou didst once promise unto Abraham and his seed.

SANCTUS Sanctus, sanctus, sanctus, Domine Deus Holy, holy, holy, Lord God of Sabaoth. Sabaoth. Pleni sunt coeli et terra gloria Heaven and earth are full of thy glory. tua. Hosanna in excelsis. Hosanna in the highest.

BENEDICTUS Benedictus qui venit in nomine Domini. Blessed is he that cometh in the name Hosanna in excelsis. of the Lord. Hosanna in the highest.

AGNUS DEI Agnus Dei qui tollis peccata mundi; Lamb of God, that takest away the sins dona eis requiem. Agnus Dei qui tollis of the world; give them rest. Lamb of peccata mundi; dona eis requiem God, that takest away the sins of the sempiternam. world: give them eternal rest.

COMMUNIO Lux Aeterna Lux aeterna luceat eis, Domine, cum Let everlasting light shine on them, O sanctis tuis, quia pius es. Lord, with thy saints for ever; for thou art merciful. Requiem aeternam dona eis, Domine, Grant to the departed eternal rest, O et lux perpetua luceat eis. Lord: and let everlasting light shine on them.

week 23 text and translation 57

To Read and Hear More...

The important modern biography of Mozart is Maynard Solomon’s Mozart: A Life (HarperPerennial paperback). Peter Gay’s wonderfully readable Mozart is a concise, straightforward introduction to the composer’s life, reputation, and artistry (Penguin paperback). John Rosselli’s The life of Mozart is one of the compact composer biographies in the series “Musical Lives” (Cambridge paperback). Christoph Wolff’s Mozart at the Gateway to his Fortune: Serving the Emperor, 1788-1791 takes a close look at the realities, prospects, and interrupted promise of the composer’s final years (Norton). For further delving, there are Stanley Sadie’s Mozart: The Early Years, 1756-1781 (Oxford); Volkmar Braunbehrens’s Mozart in Vienna, 1781-1791, which focuses on the composer’s final decade (HarperPerennial paperback); Julian Rushton’sMozart: His Life and Work, in the “Master Musicians” series (Oxford), and Robert Gutman’s Mozart: A Cultural Biography (Harcourt Brace Jovanovich/Harvest paperback). Peter Clive’s Mozart and his Circle: A Biographical Dictionary is a handy reference work with entries on virtually anyone you can think of who figured in Mozart’s life (Yale University Press).The Mozart Compendium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon, includes an entry by Robert Levin on the concertos and an entry by David Humphreys on the sacred music, including the Requiem (Schirmer). A Guide to the Concerto, edited by Robert Layton, includes a chapter by Denis Matthews on “Mozart and the Concerto” (Oxford paperback). The Compleat Mozart: A Guide to the Musical Works of Wolfgang Amadeus Mozart, edited by Neal Zaslaw with William Cowdery, includes discussion of the Requiem in the chapter “Music for the Catholic Church” (Norton). Alfred Einstein’s Mozart: The Man, the Music is a classic older study (Oxford paperback). Other older books still worth knowing are Cuthbert Girdlestone’s Mozart and his Piano Concertos (Dover paperback) and Arthur Hutchings’s A Companion to Mozart’s Piano Concertos (Oxford paperback). Michael Steinberg’s program note on Mozart’s C minor piano concerto, K.491, is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s note on K.491 is among his Essays in Musical Analysis (Oxford). Steinberg’s essay on the Requiem is in his compilation volume Choral Master- works–A Listener’s Guide (also Oxford). For in-depth reading about the Requiem, there are Christoph Wolff’s Mozart’s Requiem: Historical and Analytical Studies, Documents, Score (University of California paperback) and Simon P. Keefe’s recent Mozart’s Requiem: Reception, Work, Completion (Cambridge University paperback).

Recordings of Mozart’s C minor piano concerto, K.491, include—listed alphabetically by soloist, who also doubles as conductor unless otherwise noted—Géza Anda’s with

week 23 read and hear more 59 R

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60 the Camerata Academica of the Salzburg Mozarteum (Deutsche Grammophon), Daniel Barenboim’s with the English Chamber Orchestra (Warner Classics), Alfred Brendel’s with Sir Charles Mackerras and the Scottish Chamber Orchestra (Philips), Imogen Cooper’s with Bradley Creswick and the Northern Sinfonia (Avie), Angela Hewitt’s with Hannu Lintu and the National Arts Centre Orchestra (Hyperion), Jen˝o Jandó’s with András Ligeti and the Concentus Hungaricus (budget-priced Naxos), Murray Perahia’s with the English Chamber Orchestra (Sony), Maurizio Pollini’s live with the Vienna Philharmonic (Deutsche Grammophon), and Mitsuko Uchida’s live with the Cleveland Orchestra (Decca).

Noteworthy among the many recordings of Mozart’s Requiem in the familiar Süssmayr edition are (listed alphabetically by conductor) Claudio Abbado’s with the Berlin Phil- harmonic (Deutsche Grammophon), Daniel Barenboim’s with the English Chamber Orchestra (Warner Classics), Colin Davis’s with the BBC Symphony Orchestra (Philips) or, more recently, the London Symphony Orchestra (LSO Live), John Eliot Gardiner’s period-instrument account with the Monteverdi Choir and English Baroque Soloists (Philips), Philippe Herreweghe’s with the Orchestre des Champs-Élysées (Harmonia Mundi), Herbert von Karajan’s with the Berlin Philharmonic (Deutsche Grammophon), and Robert Shaw’s with the Atlanta Symphony Orchestra (Telarc). For those wishing to investigate other completions of the Requiem, the edition by Harvard-based musician/ scholar Robert Levin has been recorded by Donald Runnicles with the Atlanta Symphony Orchestra (Telarc), Charles Mackerras with the Scottish Chamber Orchestra (Linn), and Martin Pearlman with Boston Baroque (Telarc); Roy Goodman recorded H.C. Robbins Landon’s edition with the Hanover Band (Nimbus); Bruno Weil recorded Robbins Landon’s edition with Tafelmusik (Sony/Vivarte); Christopher Hogwood recorded Richard Maunder’s edition with the Academy of Ancient Music (Oiseau Lyre); Sir Roger Norrington recorded English composer Duncan Druce’s completion with the London Classical Players (Warner Classics), and Masaaki Suzuki recorded with the Bach Collegium Japan a specially commissioned edition by the conductor’s son, Masato Suzuki (Bis). The Boston Symphony Orchestra’s performance of Mozart’s Requiem led by Erich Leinsdorf on January 19, 1964, at a Mass in memory of John Fitzgerald Kennedy at the Cathedral of the Holy Cross in Boston, was issued first on LP and later on CD (RCA).

Marc Mandel

week 23 read and hear more 61 familymatters

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goulstonstorrs.com Guest Artists

Radu Lupu Firmly established as one of the most important musicians of his generation, Radu Lupu is widely acknowledged as a leading interpreter of Beethoven, Brahms, Mozart, Schumann, and Schubert. Since winning both the 1966 Van Cliburn and 1969 Leeds piano competitions, he has performed regularly in the musical capitals and major festivals of Europe and the United States. He has appeared many times with the Berlin Philharmonic since his debut with that orchestra at the 1978 Salzburg Festival under Herbert von Kara- jan, and with the Vienna Philharmonic, including the opening concert of the 1986 Salzburg Festival under Riccardo Muti. He is also a frequent visitor to Amsterdam’s Royal Concertgebouw Orchestra, all the major London orchestras, and most of the notable music festivals, including Salzburg and Lucerne. This season Mr. Lupu performs with the Munich Philharmonic, Staatskapelle Berlin, the Orchestra della Santa Cecilia di Roma, the Helsinki Philharmonic, the Philadelphia Orchestra (including a Carnegie Hall concert), the Boston Symphony Orchestra, the Chicago Symphony Orchestra, and the Concertgebouw Orchestra. Recital appearances take him to Leipzig, Frankfurt, Munich, Stuttgart, Amsterdam, Vienna, and Berlin. His 2015-16 engagements included the Gewand- hausorchester Leipzig, Cleveland Orchestra, Santa Cecilia Orchestra, Stockholm Philharmonic, Orchestre de Paris, the Concertgebouw, and Zurich’s Tonhalle Orchestra. He gave recitals in Paris, Berlin, Vienna, Amsterdam, and at the Lucerne Festival. Radu Lupu’s first major Ameri- can appearances were in 1972 with the Cleveland Orchestra under Daniel Barenboim in New York and with the Chicago Symphony led by Carlo Maria Giulini, followed by concerts with the New York Philharmonic and subsequently with all of the foremost American orchestras. His more than twenty recordings for London/Decca include the complete Beethoven concertos with the Israel Philharmonic and Zubin Mehta, the complete Mozart violin sonatas with Szymon Goldberg, and numerous solo recordings of Beethoven, Brahms, Schumann, and Schubert. His recording of Schubert’s sonatas D.664 and D.960 won a Grammy; his recording of Schumann’s Kinderszenen, Kreisleriana, and Humoresque won an Edison Award. He has also made two recordings with pianist Murray Perahia (CBS), two albums of Schubert Lieder with soprano Barbara Hendricks (EMI), and, with Daniel Barenboim, a disc of Schubert pieces for piano four-hands (Teldec). Born in Romania, Mr. Lupu began studying the piano at age six with Lia Busuioceanu. He made his public debut with a complete program of his own music at twelve and continued his studies for several years with Florica Muzicescu and Cella Delavrancea. In 1961 he won a scholarship to the Moscow State Conservatory, where he studied with Galina Eghyazarova, Heinrich Neuhaus, and the latter’s son, Stanislav Neuhaus. During his seven years there he won first prize in the 1967 Enescu International Competition in addition to the Van Cliburn and Leeds International competitions. In 1989 and again in

week 23 guest artists 63

2006, he was awarded the prestigious “Abbiati” prize given by the Italian Critics’ Associa- tion. He is also the recipient of the 2006 Premio Internazionale Arturo Benedetti Michelangeli award. Radu Lupu made his Boston Symphony Orchestra debut in December 1977 with Mozart’s A major piano concerto, K.488. Since then, his BSO appearances have also included subscription performances of Mozart’s piano concertos in A (K.414), C (K.503), B-flat (K.595), D minor (K.466), and A (K.488, his most recent appearances with the orchestra, in February 2013); Beethoven’s First, Third, and Emperor piano concertos; and Schumann’s Piano Concerto.

Lucy Crowe Born in Staffordshire, soprano Lucy Crowe studied at the Royal Academy of Music. Her operatic roles include Adele (Die Fledermaus) and Servilia (La clemenza di Tito) for the Metropolitan Opera; Eurydice (Gluck’s Orphée et Eurydice), Adina (L’elisir d’Amore), Susanna (Le nozze di Figaro), Gilda (Rigoletto), and Belinda (Dido and Aeneas) for the Royal Opera House–Covent Garden; Sophie (Der Rosenkavalier) for Deutsche Oper Berlin, Munich’s Bayerische Staatsoper, and Covent Garden; Gilda for Deutsche Oper Berlin; Pamina (Die Zauberflöte), Rosina (The Barber of Seville), Dona Isabel (The Indian Queen), Poppea (Agrippina), and Drusilla (The Coronation of Poppea) for English National Opera; Merab (Saul), Micaela (Carmen), The Fairy Queen, and the title role in The Cunning Little Vixen for Glyndebourne Festival Opera; and Dorinda (Orlando) in Lille, Paris, and at the Opéra de Dijon. She made her United States

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week 23 guest artists 65 Commonwealth Lyric Theater Presents

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66 opera debut as Iole in Handel’s Hercules at Chicago Lyric Opera and has since sung the role for the Canadian Opera Company. In concert she has performed with the Accademia Santa Cecilia Orchestra under Pappano; the Los Angeles Philharmonic under Dudamel; the Orchestre National de France under Gatti; the Philharmonia under Esa-Pekka Salonen; Aus- tralian Chamber Orchestra under Tognetti; the Philadelphia Orchestra under Nézet-Séguin; the Boston Symphony Orchestra at Tanglewood under Denève; the London Symphony under Harding and Elder; the City of Birmingham Symphony under Andris Nelsons, Edward Gardner, Emanuelle Haim, and Sakari Oramo; the Konzerthausorchester Berlin under Iván Fischer; the Zurich Chamber Orchestra under Sir Roger Norrington; the Orchestra of the Age of Enlightenment under Sir Charles Mackerras and Richard Egarr; the Scottish Chamber Orchestra under Mackerras and Nézet-Séguin; the English Concert under Trevor Pinnock, Andrew Manze, Laurence Cummings, and Harry Bicket; the Sixteen under Harry Chris- tophers; the Gabrieli Consort under Paul McCreesh; and the Monteverdi Orchestra under Sir John Eliot Gardiner. Ms. Crowe has performed at such festivals as Aldeburgh, Edinburgh, Mostly Mozart, and Salzburg. A regular recitalist at London’s Wigmore Hall, she made her U.S. recital debut at Carnegie Hall in 2014 and her Concertgebouw recital debut earlier this season. Recent and upcoming engagements include the title role in Rodelinda at the Teatro Real Madrid; Gilda and Ismene in Mitridate at the Royal Opera House; Janáˇcek’s Vixen with the Berlin Philharmonic under Sir Simon Rattle; and concerts with the Philadelphia Orches- tra and Nézet-Séguin, the LSO and Gardiner, the Czech Philharmonic and Jiˇrí Bˇelohlávek, and the Accademia Santa Cecilia Orchestra and Pappano. Lucy Crowe has recently been appointed a Fellow of the Royal Academy of Music. Making her BSO subscription series debut this week, she made her BSO debut in August 2013 at Tanglewood, as soloist in Poulenc’s Stabat Mater for soprano, chorus, and orchestra.

Tamara Mumford Highlights of mezzo-soprano Tamara Mumford’s current season include a return to the Metropolitan Opera for the new production of Kaija Saariaho’s L’Amour de loin and concert appearances with the New York Philharmonic, Boston Symphony, San Francisco Symphony, Berlin Philharmonic, and the Simón Bolívar Orchestra on tour in Europe. This summer she returns to the Britt and Tanglewood festivals; next season brings return engagements with the Metropolitan Opera for Die Zauberflöte, and with the Los Angeles Philharmonic, Chamber Music Society of Lincoln Center, and National Symphony. A graduate of the Metropolitan Opera’s Lindemann Young Artist Devel- opment Program, she made her debut there as Laura in Luisa Miller, subsequently appearing in productions of Anna Bolena, Rigoletto, Ariadne auf Naxos, Il trittico, Parsifal, Idomeneo, Cavalleria rusticana, Nixon in China, The Queen of Spades, the complete Ring cycle, The Magic Flute, A Midsummer Night’s Dream, and Wozzeck, many of them broadcast in the Met’s “Live in HD” series. Other opera engagements have included the first American performances of Rossini’s Aureliano in Palmira at the Caramoor Festival, L’Amour de loin at the Festival d’opéra de Québec, Iolante at Dallas Opera, the title role in the American premiere of Henze’s Phaedra, Lucretia in Britten’s The Rape of Lucretia, and the world premiere of Daniel Schnyder’s Yardbird at Opera Philadelphia; Dido in Dido and Aeneas at Glimmerglass, Ottavia in L’incoronazione di Poppea at the Glyndebourne Opera Festival and BBC Proms, Orsini in Lucrezia Borgia at Caramoor, Isabella in L’italiana in Algeri at Palm Beach Opera, Lucretia

week 23 guest artists 67 AUCTION APPRAISALS INQUIRIES Amy Corcoran Chinese Works of Art Director, New England Wednesday April 26 617-742-0909 Bonhams specialists will be visiting Boston [email protected] on April 26 to provide complimentary 121 Mt. Vernon Street auction estimates of Chinese Works of Art Boston, MA 02108 with a view to selling at upcoming auctions By appointment only in New York.

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68 under Lorin Maazel at the Castleton Festival, the title role in Carmen at the Crested Butte Music Festival, the Principessa in Suor Angelica and Ciesca in Gianni Schicchi with the Or- chestra Sinfonica Giuseppe Verdi di Milano in Italy, and the title role in La Cenerentola at Utah Festival Opera. She toured the United States and Europe in the premiere performances of John Adams’s oratorio The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic, later touring with the same forces in Mahler’s Symphony No. 3. Follow- ing her Carnegie Hall debut in 2005 as part of the “Richard Goode and Friends” concert series in Zankel Hall, she also appeared there with James Levine and the Met Chamber Ensemble. She has also made multiple appearances in the Musicians From Marlboro’s summer festivals and U.S. tours. Her recordings include Handel’s Messiah with the Mormon Tabernacle Choir, Beethoven’s Cantata on the Death of Emperor Joseph II, and Adams’s The Gospel According to the Other Mary. Tamara Mumford makes her BSO subscription series debut this week, having appeared with the orchestra at Tanglewood in August 2013 in Beethoven’s Ninth Symphony, and the following August in both the Ninth Symphony and Beethoven’s Choral Fantasy.

Ben Johnson Making his Boston Symphony Orchestra debut this week, acclaimed tenor Ben Johnson represented England in BBC Cardiff Singer of the World 2013 and won the Audience Prize. He is a former BBC Radio 3 New Generation Artist, 2008 winner of the Kathleen Ferrier Award, 2011 Wigmore Hall Emerging Talent, and a 2013-2015 English Nation- al Opera Harewood Artist. Founder and chief conductor of the Southrepps Sinfonia and joint artistic director of the Southrepps Classical Music Festival, he is professor of singing at the Royal Academy of Music in London. Highlights of his 2016-17 season include Jaquino in Fidelio with the London Philharmonic and Vladimir Jurowski, Mozart’s Requiem with the Rundfunk-Sinfonieorchester Berlin as well as with Andris Nelsons and the Boston Symphony Orchestra, the title role in Mozart’s Idomeneo with the City of Birmingham Symphony Orchestra, Britten’s Serenade for Tenor, Horn, and Strings with the Orchestra of Scottish Opera, and Bliss’s The Beatitudes with the BBC Symphony Orchestra. He sings the Evangelist in Bach’s St. Matthew Passion with the

week 23 guest artists 69 2016-17

Our upcoming APRIL concerts Salem Time Regained Friday Evenings Salem 4/21 8:00 Brookline 4/23 3:00 at 8:00 In Historic Quartet for the Hamilton Hall Messiaen End of Time Brookline Piano Quintet in A, Sunday Afternoons Schubert D. 667, “The Trout” at 3:00 In Beautiful St. Paul’s Church Sharan Leventhal – violin, Jessica Bodner – viola, Jonathan Miller – cello, Edwin Barker – bass, Thomas Hill – clarinet, Randall Hodgkinson – piano You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

70 RTÉ National Symphony in Dublin and gives recitals at the Oxford Lieder Festival with pianists Sholto Kynoch and Graham Johnson, as well as at London’s Wigmore Hall. Current and forthcoming releases include Szymanowski’s Love Songs of Hafiz and Symphony No. 3 with Edward Gardner and the BBC Symphony Orchestra (Chandos), a recording of sonnet settings with Graham Johnson (Champs Hill), and a collection of Victorian English songs with James Baillieu for Rosenblatt Recitals (Opus Arte). Recent operatic highlights include Eisenstein in Die Fledermaus, Alfredo in La traviata, Tamino in The Magic Flute, Nemorino in The Elixir of Love, Don Ottavio in Don Giovanni, Lysander in Britten’s A Midsummer Night’s Dream, Oronte in Alcina, Bénédict in Béatrice et Bénédict, Carlo in Giovanna d’Arco, the Novice in Billy Budd, and Copland’s The Tender Land. Recent concert highlights include Nielsen’s Springtime in Funen at the BBC Proms, Britten’s War Requiem on Remembrance Sunday under Marin Alsop at Royal Festival Hall, Tippett’s A Child of Our Time with the Royal Liverpool Philharmonic, Schumann’s Das Paradies und die Peri for Festival de Saint-Denis, Beethoven’s Symphony No. 9 with the CBSO, Royal Scottish National Orchestra, and Royal Northern Sin- fonia, Berlioz’s Roméo et Juliette with the Bergen Philharmonic, Bach’s Christmas Oratorio with the BBC Scottish Symphony, the Evangelist in Bach’s St. John Passion with the RTÉ National Symphony, and Britten’s St. Nicolas, Bach’s St. John Passion, and Pärt’s Passio with the Choir of King’s College, Cambridge. He has worked with such conductors as Sir Mark Elder, Andris Nelsons, Esa-Pekka Salonen, Jiˇrí Bˇelohlávek, François-Xavier Roth, Nicholas Kraemer, Paul McCreesh, Jérémie Rhorer, Robin Ticciati, Rory Macdonald, Leo Hussain, Stuart Stratford, Harry Bicket, and Richard Egarr. A dedicated recitalist, Ben Johnson regularly performs with Graham Johnson (with whom he has also recorded Poulenc songs for Hyperion), James Bail- lieu, Roger Vignoles, and Tom Primrose.

Morris Robinson Morris Robinson regularly appears at the Metropolitan Opera and is a graduate of the Met’s Lindemann Young Artist Program. Having made his Met debut in Fidelio, he has since appeared there as Sarastro in The Magic Flute (in both the full production and the English-language children’s version), Ferrando in Il trovatore, and the King in Aida, as well as roles in Nabucco and Tannhäuser and new productions of Les Troyens and Salome. He has also appeared with the opera companies of San Francisco, Chicago, Dallas, Houston, Boston, Pittsburgh, Philadelphia, Seattle, Los Angeles, Cincinnati, St. Louis, and Vancouver, as well as at Wolf Trap Opera, Opera Australia, and the Aix-en-Provence Festival. His many roles also include Osmin in Die Entführung aus dem Serail, Ramfis inAida , Zaccaria in Nabucco, Sparafucile in Rigoletto, the Com- mendatore in Don Giovanni, the Grand Inquisitor in Don Carlo, Timur in Turandot, the Bonze in Madama Butterfly, Padre Guardiano in La forza del destino, and Fasolt in Das Rheingold. The current season brings his debut at Teatro alla Scala as Porgy in Porgy and Bess and return engagements with the Metropolitan Opera as Sarastro, Los Angeles Opera as Osmin, and Opera Philadelphia as Timur. Upcoming are his debut with the New York Philharmonic in Das Rheingold, return visits to Tanglewood and Ravinia, and return engagements with Los Angeles Opera for both Nabucco and Rigoletto and Dallas Opera for Don Giovanni. Also a prolific concert singer, Mr. Robinson recently made his BBC Proms debut in Verdi’s Requiem with Marin Alsop and the Orchestra of the Age of Enlightenment. He has also appeared with the symphony orchestras of Chicago, Atlanta (where he was the 2015-16

week 23 guest artists 71 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. Artist-in-Residence), Baltimore, Montreal, Houston, Nashville, and São Paulo, the National Symphony Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, Met Chamber Ensemble, New England String Ensemble, and at the Ravinia, Mostly Mozart, Tanglewood, Cincinnati May, Verbier, and Aspen festivals. He appeared in Carnegie Hall as part of Jessye Norman’s HONOR! Festival and has been presented in recital by Spivey Hall in Atlanta, the Savannah Music Festival, the National Academy of Sciences in Washington, D.C., the Philadelphia Chamber Music Society, and New York’s Metropolitan Museum of Art. His first album, “Going Home,” was released on Decca. He appears as Joe in the DVD of San Francisco Opera’s Show Boat and in DVDs of the Metropolitan Opera’s Salome and the Aix-en- Provence Festival’s production of Mozart’s Zaïde. An Atlanta native, Morris Robinson is a graduate of The Citadel and received his musical training from the Boston University Opera Institute. He makes his BSO subscription series debut this week, having previously appeared at Tanglewood in July 2006 as the Commendatore in Tanglewood Music Center performances of Mozart’s Don Giovanni; in July 2010 as Osmin in a BSO concert performance of Mozart’s Die Entführung aus dem Serail; in July 2014 as Ramfis in a BSO concert performance of the Triumphal Scene from Verdi’s Aida; and in August 2016 as the King of Egypt in the BSO’s concert performance of Aida, Acts I and II.

Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate James Bagwell, Guest Chorus Conductor

This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances of Richard Strauss’s Der Rosenkavalier, Brahms’s Ein deutsches Requiem, Bach’s B minor Mass, and Mozart’s Requiem under BSO Music Director Andris Nel- sons, Holst’s The Planets under Charles Dutoit, Busoni’s Piano Concerto under Sakari Oramo, and Debussy’s Nocturnes under BSO Conductor Emeritus Bernard Haitink. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the

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Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! end of the 2014 Tanglewood season. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center. In February 2017, the British-born James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the new position of BSO Choral Director.

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

week 23 guest artists 75 with James Levine conducting, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long Inter- national Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can also be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

James Bagwell James Bagwell maintains an active international schedule as a conductor of choral, operatic, and orchestral music; previously he prepared the Tanglewood Festival Chorus for its October 2015 performances under Andris Nelsons in Symphony Hall and Carnegie Hall of Prokofiev’sAlexander Nevsky cantata. Recently named associate conductor of The Orchestra Now, Mr. Bagwell was appointed principal guest conductor of the American Symphony Orchestra in 2009, leading them in concerts at both Carnegie Hall and Lincoln Center. As music director of the Collegiate Chorale from 2009-15, he conducted such wide-ranging works as Bellini’s Beatrice di Tenda, Rossini’s Möise et Pharaon, Boito’s Mefistofele, Philip Glass’s Another Look at Harmony, Golijov’s Oceana, and the New York premiere of Glass’s Toltec Symphony, and also prepared the ensemble for performances at the Verbier and Salzburg festivals. His live recording of Kurt Weill’s Knickerbocker Holiday for Gaslight Records is the only complete recording of that musical. James Bagwell has trained choruses for the New York Philharmonic, San Francisco Sym- phony, Los Angeles Philharmonic, NHK Symphony (Japan), St. Petersburg Symphony, Buda- pest Festival Orchestra, Mostly Mozart Festival Orchestra, American Symphony Orchestra, Cincinnati Symphony Orchestra, Cincinnati Pops Orchestra, and Indianapolis Symphony Orchestra. He has worked with such noted conductors as Charles Dutoit, Alan Gilbert, Gia- nandrea Noseda, Valery Gergiev, Yannick Nézet-Séguin, Lorin Maazel, Zubin Mehta, Riccardo Muti, Esa-Pekka Salonen, Michael Tilson Thomas, Louis Langrée, Leon Botstein, Iván Fischer, Vladimir Ashkenazy, Raymond Leppard, James Conlon, Jésus López-Cobos, Erich Kunzel, Leon Fleisher, and Robert Shaw. Since 2003 Mr. Bagwell has been director of choruses for the Bard Music Festival. Other conducting appearances include the San Francisco Symphony, Seattle Symphony, Light Opera Oklahoma, Little Opera Theatre of New York, the Dessoff Choirs of New York, Jerusalem Symphony, Tulsa Symphony, Interlochen Music Festival, and Indianapolis Chamber Orchestra. James Bagwell holds degrees from Birmingham-Southern College, Florida State University, and Indiana University. He is Professor of Music at Bard College, and Director of Performance Studies in the Bard College Conservatory.

76 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate James Bagwell, Guest Chorus Conductor 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

Natalie Aldrich • Emily Anderson • Deborah Coyle Barry • Joy Emerson Brewer • Norma Caiazza • Jeni Lynn Cameron • Catherine C. Cave # • Anna S. Choi • Lorenzee Cole # • Sarah Dorfman Daniello# • Bridget Dennis • Emilia DiCola • Margaret Felice • Karen Ginsburg • Bonnie Gleason • Beth Grzegorzewski • Cynde Hartman • Kathy Ho • Donna Kim # • Nancy Kurtz # • Barbara Abramoff Levy§ • Deirdre Michael • Ebele Okpokwasili-Johnson • Jaylyn Olivo • Laurie Stewart Otten • Kimberly Pearson • Laura Stanfield Prichard • Livia M. Racz # • Melanie Salisbury # • Johanna Schlegel • Sandra J. Shepard • Nora Anne Watson • Lauren Woo mezzo-sopranos

Kristen S. Bell • Martha Reardon Bewick • Betsy Bobo • Lauren A. Boice • Donna J. Brezinski • Janet L. Buecker • Sarah Cohan • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste# • Barbara Durham • Barbara Naidich Ehrmann# • Debra Swartz Foote • Dorrie Freedman§ • Irene Gilbride* • Mara Goldberg • Betty Jenkins • Susan L. Kendall • Yoo-Kyung Kim • Gale Tolman Livingston* • Kristen McEntee • Louise-Marie Mennier • Ana Morel • Tracy Elissa Nadolny • Kendra Nutting • Maya Pardo • Kathleen Hunkele Schardin • Ada Park Snider* • Julie Steinhilber* • Celia Tafuri • Christina Wallace Cooper # • Karen Thomas Wilcox tenors

Brent Barbieri • James Barnswell • John C. Barr# • Jiahao Chen • Stephen Chrzan • John Cunningham • Ron Efromson • Carey D. Erdman • Keith Erskine • Len Giambrone • J. Stephen Groff* • David Halloran # • David J. Heid • Stanley G. Hudson # • James R. Kauffman# • Michael Levin • Lance Levine • Justin Lundberg • David Norris* • Dwight E. Porter* • Guy F. Pugh • Peter Pulsifer • Tom Regan • Brian R. Robinson • Peter L. Smith • Don P. Sturdy # • Martin S. Thomson • Hyun Yong Woo basses Nicholas Altenbernd • Scott Barton • Daniel E. Brooks* • Eric Chan • Michel Epsztein • Jeff Foley • Jay S. Gregory # • Marc J. Kaufman • David M. Kilroy • Paul A. Knaplund • Bruce Kozuma # • Carl Kraenzel • Timothy Lanagan # • Ryan M. Landry • David K. Lones* • Christopher T. Loschen • Martin F. Mahoney II • Lynd Matt • Stephen H. Owades§ • Donald R. Peck # • Steven Rogers • Peter Rothstein§ • Jonathan Saxton • Charles F. Schmidt • Karl Josef Schoellkopf# • Kenneth D. Silber • Scott Street • Stephen Tinkham • Samuel Truesdell • Bradley Turner # • Thomas C. Wang # • Terry Ward# • Andrew S. Wilkins • Lawson L.S. Wong

Martin Amlin, Rehearsal Pianist Jennifer Dilzell, Chorus Manager Micah Brightwell, Assistant Chorus Manager

week 23 guest artists 77

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79 The Great Benefactors

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

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

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

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

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

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

80 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane •

Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ •

Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ •

Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • 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 ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan ‡ Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (11)

‡ Deceased

week 23 the great benefactors 81 NEWS. INTERVIEWS. BLOGS. PODCASTS.

A perspective you can’t get anywhere else. YOUR WORLD. IN A NEW LIGHT. The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2016-17 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Roberta and George ‡ Berry • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Mrs. Irene Pollin • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Anonymous

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds peter c. andersen, vice-chair, symphony annual funds

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by November 28, 2016. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders Peter and Anne ‡ Brooke • Barbara and Amos Hostetter • Ted and Debbie Kelly • Wendy Shattuck and Samuel Plimpton virtuoso Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2) encore Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Mrs. Philip W. Bianchi ‡ • Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix •

week 23 the maestro circle 83 program book re-use initiative

The BSO is pleased to continue its program book re-use initiative as part of the process of increasing its recycling and eco-friendly efforts. We are also studying the best approaches for alternative and more efficient energy systems to reduce our dependency on fossil fuels. If you would like your program book to be re-used, please choose from the following: 1) Return your unwanted clean program book to an usher following the performance. 2) Leave your program book on your seat. 3) Return your clean program book to the program holders located at the Massachusetts Avenue and Huntington Avenue entrances.

Thank you for helping to make the BSO more green! John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Paul and Sandy Edgerley • Deborah and Philip Edmundson • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • The Grossman Family Charitable Foundation • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Josh and Jessica Lutzker • Sandra Moose and Eric Birch • Megan and Robert O’Block • William and Lia Poorvu • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan ‡ Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. William N. Booth • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • William David Brohn • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • Katherine Chapman and Thomas Stemberg ‡ • Ernest Cravalho and Ruth Tuomala • David and Victoria Croll • Sally Currier and Saul Pannell • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Mr. and Mrs. Mark Goldweitz • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Rebecca Henderson and James Morone • Mr. ‡ and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Albert A. Holman III and Susan P. Stickells • Ms. Emily C. Hood • Intercontinental Real Estate Corporation, Peter Palandjian • Anne and Blake Ireland • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Steve Kidder and Judy Malone • Paul L. King • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Jane and Robert J. Mayer, M.D. • Jack and Elizabeth Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • John O’Leary • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Rita and Norton Reamer • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Sean Rush and Carol C. McMullen • Darin S. Samaraweera • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Marillyn Zacharis • Anonymous (6)

week 23 the higginson society 85 YOU LOVE A GREAT ENCORE. Compose the future you imagine at the Harvard Institute for Learning in Retirement. Explore intellectually stimulating subjects with a dynamic community of post-career professionals. Our academic curriculum allows you to choose from over 60 peer-led seminars each semester— spanning history, literature, social theory, science and technology, and more. HARVARD INSTITUTE FOR LEARNING IN RETIREMENT. YOU BELONG HERE. Learn more: hilr.dce.harvard.edu/bso

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86 sponsor Helaine B. Allen • Dr. Ronald Arky • Liliana and Hillel Bachrach • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • James Catterton ‡ and Lois Wasoff • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Dr. Frank Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Arthur Clarke and Susan Sloan • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner • Jill K. Conway • Albert and Hilary Creighton • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Eve and Philip D. Cutter • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Joe and Susan Fallon • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Jody and Tom Gill • Jordan and Sandy Golding • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Mrs. Winifred P. Gray • Raymond and Joan Green • Marjorie and Nicholas Greville • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Carol and Robert Henderson • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Mimi and George Jigarjian • Nancy and G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • The Karp Family Foundation • Mrs. Thomas P. King • Mr. John L. Klinck, Jr. • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. ‡ Benjamin H. Lacy • Mr. and Mrs. David S. Lee • Rosemarie and Alexander Levine • Betty W. Locke • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Ann Merrifield and Wayne Davis • Jo Frances and John P. Meyer • Dale and Robert Mnookin • Kyra and Jean Montagu • Anne M. Morgan • Betty Morningstar and Jeanette Kruger • Annette and Vincent O’Reilly • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Peggy Reiser and Charles Cooney • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • William and Kathleen Rousseau • Norma and Roger A. Saunders • Mary and William Schmidt • Lynda Anne Schubert • Robert and Rosmarie Scully • Betsy and Will Shields • Marshall Sirvetz • Gilda Slifka • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Anne-Marie Soullière and Lindsey C.Y. Kiang • Sharon and David Steadman • Tazewell Foundation • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Marc and Nadia Ullman • Sandra A. Urie and Frank F. Herron • Mark and Martha Volpe • Linda and Daniel Waintrup • Matthew and Susan Weatherbie • Mr. and Mrs. David Weinstein • Sally and Dudley Willis • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Michael J. Yaremchuk • Dr. and Mrs. Nicholas T. Zervas • Anonymous (8)

week 23 the higginson society 87

Administration

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

Bridget P. Carr, Director of Archives and Digital Collections • Sarah Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Orchestra Management Assistant • Jennifer Dilzell, Chorus Manager • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

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

week 23 administration 89 Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!

necmusic.edu/orchestras

90 development

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

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

week 23 administration 91 Ce e atin l br g

APRIL 29, 2017 8 PM A Fanfare and Fireworks Peter Child Fanfare WORLD PREMIERE Aaron Copland Orchestral Variations David Rakowski Violin Concerto No. 2 NEP COMMISSION, TICKETS ON SALE WORLD PREMIERE Danielle Maddon, violin NEPhilharmonic.org Sebastian Currier Microsymph Zoltan Kodaly Peacock Variations TSAI PERFORMANCE CENTER BOSTON UNIVERSITY Liliya Ugay Oblivion BOSTON PREMIERE Winner, NEP Call for Scores

Great kids. Great music. Listen to the future.

Tune in to NPR’s From the Top with Host Christopher O’Riley at www.fromthetop.org/podcast

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

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

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

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

week 23 administration 93

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

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

7TH ANNUAL GALA & AUCTION

TUESDAY MAY 9, 2017 AT 6:30PM

MUSEUM OF FINE ARTS, BOSTON Tickets $250 Visit www.BYSOweb.org/gala • Call 617-358-6119

week 23 administration 95 Next Program…

Thursday, April 27, 8pm Friday, April 28, 8pm Saturday, April 29, 8pm Tuesday, May 2, 8pm

andris nelsons conducting

shostakovich “festive overture,” opus 96

tchaikovsky violin concerto in d, opus 35 Allegro moderato—Moderato assai Canzonetta: Andante Finale: Allegro vivacissimo anne-sophie mutter

{intermission}

takemitsu “nostalghia—in memory of andrei tarkovskij,” for violin and strings ms. mutter

shostakovich symphony no. 6 in b minor, opus 54 Largo Allegro Presto

Andris Nelsons and the BSO continue their traversal of the complete Shostakovich symphonies with his Symphony No. 6, composed on the eve of World War II and following upon the unmiti- gated success of his Symphony No. 5. Though overshadowed by the Fifth and Seventh (Leningrad), the Sixth is unmistakably Shostakovich in its sardonic humor and melancholy slow movement. Opening the program is Shostakovich’s celebratory Festive Overture, which he wrote for the Bolshoi Theatre to mark the 37th anniversary of the Soviet Revolution. In between the two pieces by Shostakovich, German violinist Anne-Sophie Mutter is featured in two works, starting with Tchaikovsky’s evergreen Violin Concerto. Known for her exploration of contemporary repertoire, Ms. Mutter also performs Japanese composer Toru Takemitsu’s 1987 homage to the great Rus- sian film director Andrei Tarkovsky. Takemitsu, himself a celebrated film composer, titled this atmospheric piece for violin and strings after one of Tarkovsky’s late masterpieces.

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.

Thursday ‘C’ April 27, 8-10:10 Sunday, May 7, 3pm Friday Evening April 28, 8-10:10 Jordan Hall, New England Conservatory

Saturday ‘B’ April 29, 8-10:10 BOSTON SYMPHONY CHAMBER PLAYERS Tuesday ‘B’ May 2, 8-10:10 with LEIF OVE ANDSNES, piano ANDRIS NELSONS, conductor STRAVINSKY Octet for flute, clarinet, two ANNE-SOPHIE MUTTER, violin bassoons, two trumpets, SHOSTAKOVICH Festive Overture and two trombones WEINBERG TCHAIKOVSKY Violin Concerto Sonata for solo double bass, Op. 108 TAKEMITSU Nostalghia—In Memory of Andrei Tarkovskij, for violin GUBAIDULINA Garden of Joys and Sorrows, and orchestra for flute, viola, and harp BRAHMS SHOSTAKOVICH Symphony No. 6 Piano Quartet No. 3 in C minor, Op. 60

Thursday, May 4, 10:30am (Open Rehearsal) Thursday ‘C’ May 4, 8-10:10 Friday ‘A’ May 5, 1:30-3:40 Saturday ‘A’ May 6, 8-10:10 ANDRIS NELSONS, conductor LEIF OVE ANDSNES, piano KRISTINE OPOLAIS, soprano (Mahler) SHOSTAKOVICH Suite from incidental music to King Lear RACHMANINOFF Piano Concerto No. 4 MAHLER Symphony No. 4

The BSO’s 2016-17 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

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

week 23 coming concerts 97 Symphony Hall Exit Plan

98 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For 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, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are 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. 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.

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 23 symphony hall information 99 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening 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 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further 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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Bank of America applauds the Boston Symphony Orchestra for bringing the arts to all When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence.

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