Chamber Music Concert I Thursday, January 28, 6Pm in Symphony Hall Music of Schubert, Oliver Knussen, Alison Bauld, and David Lumsdaine

BSO “Insights” january 20-february 11, 2016 marking the 400th anniversary of shakespeare’s death

Chamber Music Concert I thursday, january 28, 6pm in symphony hall Music of Schubert, Oliver Knussen, Alison Bauld, and David Lumsdaine

Chamber Music Concert II thursday, february 4, 6pm in symphony hall Music of Strauss, Stravinsky, Ned Rorem, Beethoven, and Korngold BSO “INSIGHTS” Marking the 400th Anniversary of Shakespeare’s Death January 20–February 11, 2016

CHAMBER MUSIC CONCERT (beginning I on page 3) Thursday, January 28, 6pm in Symphony Hall Music of Schubert, Oliver Knussen, Alison Bauld, and David Lumsdaine

CHAMBER MUSIC CONCERT II (beginning on page 7) Thursday, February 4, 6pm in Symphony Hall Music of Strauss, Stravinsky, Ned Rorem, Beethoven, and Korngold

Without even delving into opera—simultaneously the tr ickiest and most natural musical genre- partner for Shakespeare’s plays—the Boston Symphony Orchestra’s three orchestral programs this winter marking the 400th anniversary of Shakesp eare’s death cover an enormous amount of territory in terms of composers’ grappling with this wealth of material. (The Boston Youth Symphony Orchestra, a BSO partner, performed Verdi’s Otello on January 24.) Music in the smaller genres, particularly song but also chamber music, has also had a lot to say regarding Shakespeare, both the plays and the poems. Like the BSO’s three Shakespeare-themed orchestra programs, these two concerts of chamber music similarly span some 200 years of music from the Classical era to the contemporary, and reflect many different perspectives, further proof of the timeless appeal of this greatest of writers.

BSO “INSIGHTS” Marking the 400th Anniversary of Shakespeare’s Death

CHAMBER MUSIC CONCERT I Thursday, January 28, 6pm in Symphony Hall

SARI GRUBER, soprano CAMERON STOWE, piano STEPHEN DRURY, piano LILIT HARTUNIAN, violin DAVID RUSSELL, cello

SCHUBERT An Sylvia Ms. GRUBER and Mr. STOWE Text and translation are on page 4.

OLIVER KNUSSEN Ophelia’s Last Dance Mr. DRURY

ALISON BAULD Banquo’s Buried Ms. GRUBER and Mr. STOWE Text begins on page 4.

DAVID LUMSDAINE Caliban Impromptu Mr. DRURY, Ms. HARTUNIAN, and Mr. RUSSELL

Steinway & and Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. 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 omits an audible signal, and anything that glows. Thank you for your cooperation. Please note that taking pictures—whether photographs or videos—is prohibited during concerts.

NOTES ON THE PROGRAM

Songs, understandably, make up a good portion of these programs. The earliest of these is An Syvia by FRANZ SCHUBERT (1797-1828), a setting of a German translation of a song from Two Gentlemen of Verona (Act IV, scene 2). Silvia is the beloved of Valentine; his friend Proteus also falls for her, and to further his amorous aims agrees to serenade her on behalf of yet a third suitor, Thurio. The poem would certainly have been presented as a song in the play’s original performances. Schubert made his delightf ul, standalone setting, which he titled simply “Gesang” (“Song”), in July 1826, one of three on translations from Shakespeare he wrote that month. The translator for An Sylvia was Schubert’s friend Eduard von Bauernfeld, who would become a major playwright in his own right. An Sylvia is in three entirely strophic verses of five lines apiece, and the text is similar enough to the English that Schubert’s melody fits it almost as well.

3 FRANZ SCHUBERT “An Sylvia,” D.891

Was ist Silvia, saget an, Who is Silvia? What is she, Daß sie die weite Flur preist? That all our swains commend her? Schön und zart seh ich sie nahn, Holy, fair, and wise is she; Auf Himmelsgunst und Spur weist, The heaven such grace did lend her, Daß ihr alles untertan. That she might admirèd be.

Ist sie schön und gut dazu? Is she kind as she is fair? Reiz labt wie milde Kindheit; For beauty lives with kindness. Ihrem Aug’ eilt Amor zu, Love doth to her eyes repair, Dort heilt er seine Blindheit To help him of his blindness, Und verweilt in süßer Ruh. And, being helped, inhabits there.

Darum Silvia, tön, o Sang, Then to Silvia let us sing, Der holden Silvia Ehren; That Silvia is excelling; Jeden Reiz besiegt sie lang, She excels each mortal thing Den Erde kann gewähren: Upon the dull earth dwelling: Kränze ihr und Saitenklang! To her let us garlands bring.

The precocious OLIVER KNUSSEN (b.1952) was in his early twenties and at work on his third Symphony when he conceived the melody for Ophelia’s Last Dance. Several such ideas were collected as his Ophelia Dances, Book I, for mixed ensemble, but this unused melody stuck with him. Knussen recalled: “After the death of Sue Knussen [the composer’s ex-wife] in March 2003 it reminded me of happier times and eventually, on the occasion of Paul Crossley’s 60th Birthday Recital in 2004, I decided to give it a tiny frame of its own....” In 2010 he expanded the little waltzing tune for solo piano to a single-movement, nine-minute piece redolent, at times, of both jazz and Debussy.

The other text-setting on the first program is by Australian composer ALISON BAULD (b.1944). Born in Sydney, Bauld studied piano before earning her doctorate in composition from the University of York in England. She also studied theater and toured as an actress with a Shakespeare company; she has remained deeply involved in theater and especially Shakespeare throughout her career. Banquo’s Buried for soprano and piano is one of several dramatic scenes—virtually opera fragments for limited forces—in her catalog. The text, from Act V, scene 1, of Macbeth is constructed from Lady Macbeth’s monologue of madness; the piano’s complex textures are virtually orchestral in their scope, quickly establishing the manifold tensions of the scene. This is neither song nor aria: the phrasing of the text, with several spoken lines, is nearly an archetype of an actor’s delivery.

ALISON BAULD “Banquo’s Buried”

Yet here’s a spot. Out, damned spot! out, I say!—One: two: why, then, ’tis time to do’t. Hell is murky! Fie, my lord, fie! a soldier, and afeard? What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have had so much blood in him. The thane of Fife had a wife: where is she now? What, will these hands ne’er be clean? No more o’ that, my lord, no more o’ that: you mar all with this starting.

4 Here’s the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. Oh, oh, oh! Wash your hands, put on your nightgown; look not so pale. I tell you yet again, Banquo’s buried; he cannot come out on’s grave. To bed, to bed! there’s knocking at the gate: come, come, come, come, give me your hand. What’s done cannot be undone. I tell you yet again, Banquo’s buried; he cannot come out on’s grave. To bed, to bed, to bed!

DAVID LUMSDAINE (b.1931) is an Australian composer who, like Alison Bauld, studied in both Australia and England. He lived in England for several decades and through much of his career has divided his time between there and his home country. His output includes works in many mediums included many pieces for orchestra, and electronic music has been an important part of his output. Much of his work includes quotation, from Bach to birdsong. His 1972 piece Caliban’s Impromptu for violin, cello, piano, and electronics, significantly references Schubert’s Impromptu No. 1 in C minor. Premiered at England’s Cheltenham Festival by the Orion Trio in 1972, it of course alludes to the oppressed monster of Shakepeare’s The Tempest, the Schubert fragment evidently recalling one of Caliban’s few moments of lucid beauty in his Act III reference to “Sounds and sweet airs, that give delight.”

Robert Kirzinger Composer and annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

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617-266-1200 · bso.org BSO “INSIGHTS” Marking the 400th Anniversary of Shakespeare’s Death

CHAMBER MUSIC CONCERT II Thursday, February 4, 6pm in Symphony Hall

SARI GRUBER, soprano CAMERON STOWE, piano RANDALL HODGKINSON, piano CLINT FOREMAN, flute THOMAS MARTIN, clarinet WENDY PUTNAM, violin VICTOR ROMANUL, violin REBECCA GITTER, viola MICKEY KATZ, cello

STRAUSS Drei Lieder der Ophelia aus “Hamlet,” Opus 67 1. Wie erkenn’ ich mein Treulieb vor andern nun? 2. Guten Morgen, ’s ist Sankt Valentinstag 3. Sie trugen ihn auf der Bahre bloß Ms. GRUBER and Mr. STOWE Texts and translations begin on page 8.

STRAVINSKY Three Songs from William Shakespeare Music to hear Full fathom five When daisies pied Ms. GRUBER; Mr. FOREMAN, Mr. MARTIN, and Ms. GITTER Texts begin on page 10.

NED ROREM Selections from After Reading Shakespeare 1. Lear 4. Katharine 5. Caliban 7. Why hear’st thou music sadly 9. Iago and Othello Mr. KATZ

BEETHOVEN 2nd movement (Adagio affettuoso ed appassionato) of String Quartet in F, Opus 18, No. 1 Ms. PUTNAM, Mr. ROMANUL, Ms. GITTER, and Mr. KATZ

Program continues. . .

7 KORNGOLD Suite from the incidental music to Much Ado About Nothing, Opus 11 Overture Bridal Morning Dogberry and Verges Intermezzo (Garden Scene) Masquerade (Hornpipe) Messrs. ROMANUL and HODGKINSON

NOTES ON THE PROGRAM

This second program begins with the three Ophelia-Lieder of RICHARD STRAUSS (1864- 1949), composed in 1918 and published with three songs on Goethe texts as Opus 67, appar- ently to fulfill a nagging publisher’s contract. World War I was still going on. Two complicated, major projects with Hugo von Hofmannsthal—a version of Der Bürger als Edelmann as a ballet and a new opera, Die Frau ohne Schatten, were behind him (though Frau would premiere the following year)—and he took time to orchestrate a few older songs and to write several new ones. The three Ophelia-Lieder take their texts from Hamlet, Act IV, scene 5, Ophelia’s poignant descent into madness. Strauss’s expressionistic use of repeating patterns (like a domesticated Pierrot Lunaire) and chromatic harmonic shifts suggest Ophelia’s obsession and instability, veering between nursery-rhyme simplicity and allusions to death. In the third of the songs, another dimension of Ophelia’s madness is shown in sudden, brief manic flights.

RICHARD STRAUSS “Ophelia-Lieder,” Opus 67

I. Wie erkenn’ ich mein Treulieb How should I your true love know Vor andern nun? From another one? An dem Muschelhut und Stab By his cockle hat and staff, Und den Sandalschuh’n. And his sandal shoon.

Er ist tot und lange hin, He is dead and gone, lady, Tot und hin, Fräulein! He is dead and gone; Ihm zu Häupten grünes Gras, At his head a grass-green turf, Ihm zu Fuß ein Stein. Oho. At his heels a stone.

Auf seinem Bahrtuch, weiß wie Schnee, White his shroud as the mountain snow, Viel liebe Blumen trauern. Larded with sweet flowers Sie gehn zu Grabe naß, Which bewept to the grave did go O weh! vor Liebesschauern. With true-love showers.

8 II. Guten Morgen, ’s ist Sankt Valentinstag, To-morrow is Saint Valentine’s day, So früh vor Sonnenschein. All in the morning betime, Ich junge Maid am Fensterschlag And I a maid at your window, Will Euer Valentin sein. To be your Valentine. Der junge Mann tut Hosen an, Then up he rose, and donn’d his clothes, Tät auf die Kammertür, And dupp’d the chamber-door; Ließ ein die Maid, die als Maid Let in the maid, that out a maid Ging nimmermehr herfür. Never departed more.

Bei Sankt Niklas und Charitas! By Gis and by Saint Charity, Ein unverschämt Geschlecht! Alack, and fie for shame! Ein junger Mann tut’s wenn er kann, Young men will do’t, if they come to’t; Fürwahr, das ist nicht recht. By cock, they are to blame. Sie sprach: Eh Ihr gescherzt mit mir, Quoth she, before you tumbled me, Verspracht Ihr mich zu frein. You promised me to wed. Ich bräch’s auch nicht beim Sonnenlicht, So would I ha’ done, by yonder sun, Wärst du nicht kommen herein. An thou hadst not come to my bed.

III. Sie trugen ihn auf der Bahre bloß They bore him barefaced on the bier; Leider, ach leider, den Liebsten! Hey non nonny, nonny, hey nonny; Manche Träne fiel in des Grabes Schoß— And in his grave rain’d many a tear:— Fahr wohl, fahr wohl, meine Taube! Fare you well, my dove!

Mein junger frischer Hansel ist’s, For bonny sweet Robin Der mir gefällt Is all my joy —Und kommt er nimmermehr? And will he not come again? Er ist tot, o weh! No, no, he is dead: In dein Totbett geh, Go to thy death-bed: Er kommt dir nimmermehr. He never will come again.

Sein Bart war weiß wie Schnee, His beard was as white as snow, Sein Haupt wie Flachs dazu. All flaxen was his poll: Er ist hin, er ist hin, He is gone, he is gone, Kein Trauern bringt Gewinn: And we cast away moan: Mit seiner Seele Ruh God ha’ mercy on his soul! Und mit allen Christenseelen! And of all Christian souls, Darum bet ich! Gott sei mit euch! I pray God. God be wi’ ye.

IGOR STRAVINSKY (1882-1971) left Europe for the United States at the start of World War II, and after a short time in Boston moved to Los Angeles, where the weather was more inviting and where there was a community of ex-pat European artists, including the composers Arnold Schoenberg and Erich Korngold. Living in the U.S. began immediately to influence Stravinsky’s music, and by the end of the 1940s he was comfortable enough with English to write his opera The Rake’s Progress, following that with the Cantata and, soon after, the three Shakespeare songs, first performed as part of the “Evenings on the Roof” concerts in Los Angeles in 1954. The first song, “Music to hear,” sets Sonnet No. 8; the second, “Full Fathom Five,” is Ariel’s song to the shipwrecked Ferdinand in the first act of The Tempest; the third is sung as the dialogue between Spring and Winter at the close of Love’s Labour’s Lost. Stravinsky was beginning to explore a highly personal approach to the twelve-tone method at this time, resulting in some unexpected chromaticism and cyclic phrases. Pulse is straightforward, even square, and the expressive effect highly stylized and austere.

9 IGOR STRAVINSKY Three Songs from Williams Shakespeare

Sonnet 8 (Music to hear) Music to hear, why hear’st thou music sadly? Sweets with sweets war not, joy delights in joy. Why lov’st thou that which thou receiv’st not gladly, Or else receiv’st with pleasure thine annoy? If the true concord of well-tuned sounds, By unions married, do offend thine ear, They do but sweetly chide thee, who confounds In singleness the parts that thou shouldst bear. Mark how one string, sweet husband to another, Strikes each in each by mutual ordering, Resembling sire and child and happy mother Who all in one, one pleasing note do sing: Whose speechless song, being many, seeming one, Sings this to thee: “Thou single wilt prove none.”

Full fathom five Full fathom five thy father lies; Of his bones are coral made; Those are pearls that were his eyes: Nothing of him that doth fade But doth suffer a sea-change Into something rich and strange. Sea-nymphs hourly ring his knell Ding-dong Hark now, I hear them. Ding-dong bell.

When daisies pied When daisies pied and violets blue And lady-smocks all silver-white And cuckoo-buds of yellow hue Do paint the meadows with delight, The cuckoo then, on every tree, Mocks married men; for thus sings he, Cuckoo; Cuckoo, cuckoo: O word of fear, Unpleasing to a married ear! When shepherds pipe on oaten straws And merry larks are ploughmen’s clocks, When turtles tread, and rooks, and daws, And maidens bleach their summer smocks The cuckoo then, on every tree, Mocks married men; for thus sings he, Cuckoo; Cuckoo, cuckoo: O word of fear, Unpleasing to a married ear!

NED ROREM (b.1923), often considered the greatest American composer of art song, has composed in nearly all genres, winning the Pulitzer Prize for his orchestral work Air Music in 1976. His latest opera, based on Thorton Wilder’s Our Town, was first produced in 2005. He wrote his solo cello suite After Reading Shakespeare in July 1979 for the cellist Sharon Robinson, who premiered it at Alice Tully Hall in New York City in March 1981. Rorem says he didn’t preconceive the music in response to Shakespeare, but that the characters and plays suggested a way to bring them together programmatically. Mickey Katz plays five of the nine movements.

10 “Lear” (the first of the two “Lear” movements; the other will not be performed this evening) begins and ends with an anguished wail; the bulk of the piece is an insistent development of a strongly rhythmic motif. “Katharine” is a brief and lovely song without words, and “Caliban” is surprisingly pretty (maybe his haunting “sweet airs”). “Why hear’st thou music sadly” is again from Sonnet 8, a strikingly frenetic movement less than a minute long. “Iago and Othello” opposes the latter’s rough, warlike character against his insinuating enemy.

Knowing he was inviting comparison with his great predecessors Mozart and Haydn, LUDWIG VAN BEETHOVEN (1770-1827) delayed completing and publishing in the genre of the string quartet until after he was sure he had mastered the medium. The first six string quartets, Opus 18, were composed between 1798 and 1800 and published as a group in 1801. The F major, published as No. 1, was the second written; he had sent a manuscript of that work to his friend, the violinist Karl Amenda, but after revising it thoroughly he warned Amenda not to let the original manuscript out of his possession. It is from Amenda that we learn that Beethoven’s inspiration for the second movement, Adagio affetuoso and appassionato, was the tomb scene from Romeo and Juliet. Beethoven was a lifelong devotee of Shakespeare, and owned and read many of the plays in translation. The movement’s “Adagio” marking gives s ome indication of the tragedy illustrated in its singing melodies, while the throbbing under- lying pulse hints at the scene’s apprehensive mood. The structure of the movement, with its stops and starts, has clear ties to the flow of a dramatic scene.

ERICH KORNGOLD (1897-1957) was an astonishingly talented Austrian composer, a child prodigy whose gifts were recognized and acclaimed by many of the leading musicians of Europe, including Richard Strauss, Mahler, and Puccini. He was invited to Hollywood in 1934 by the director Max Reinhardt and quickly became a pioneer of fully scored movie soundtracks. In 1938 a Hollywood visit to score Errol Flynn’s The Adventures of Robin Hood became a permanent exile with the onset of World War II. Korngold wrote incidental music for Shakespeare’s complex comedy Much Ado About Nothing for the Vienna Burgtheater in 1918, and created a five-movement suite from the original thirteen numbers. This music was originally scored for a small pit ensemble but exists in several different scorings adapted for various purposes, including the version for violin and piano being used here. The suite includes the inventive Overture as well as the gentle music of the Garden Scene and the Bridal Chamber; a mocking march for the Watch, and the celebratory, all’s-well-that-ends-well Hornpipe.

Robert Kirzinger Composer and annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

11 ARTISTS

Pianist and conductor STEPHEN DRURY has performed throughout the world with a repertoire that stretches from Bach to Liszt to the music of today. He has appeared at Carnegie Hall, the Kennedy Center, London’s Barbican Centre and Queen Elizabeth Hall, the Cité de la Musique in Paris, and the Leipzig Gewandhaus. A champion of contemporary music, he has taken the sound of dissonance into remote corners of Pakistan, Greenland, and Montana. Mr. Drury has performed or recorded with the American Composers Orchestra, the Cologne Radio Symphony Orchestra, Vienna Radio Orchestra, Brooklyn Philharmonic, BBC Scottish Symphony, and Romanian National Symphony. He has appeared at the Musik- Triennale Köln in Germany and the North American New Music Festival in Buffalo, as well as at Roulette, the Knitting Factory, and The Stone in New York City. He performed as both conductor and pianist at the Angelica Festival in Bologna and Spoleto USA, and returns to Spoleto this year as piano soloist in Lachenmann’s opera The Little Match Girl. He has conducted the Britten Sinfonia and the Santa Cruz New Music Works Ensemble. His performances of music written in the last hundred years—ranging from the piano sonatas of Charles Ives to works by György Ligeti, Frederic Rzewski, and John Cage—have received the highest critical acclaim. Mr. Drury has worked closely with such leading composers as Cage, Ligeti, Rzewski, Reich, Messiaen, Zorn, Berio, Lachenmann, Christian Wolff, Jonathan Harvey, Michael Finnissy, and Lee Hyla. In 1989 he was invited by John Cage to perform the solo piano part in the composer’s 1O1, premiered with the Boston Symphony Orchestra. In 2009 he performed the solo piano part in BSO performances of Ives’s Fourth Symphony, under Alan Gilbert. Stephen Drury has recorded music of Cage, Carter, Ives, Stockhausen, Zorn, and Rzewski, as well as works of Liszt and Beethoven. He is artistic director and conductor of the Callithumpian Consort, and he created and directs the Summer Institute for Contemporary Performance Practice at New England Conservatory, where he also teaches.

CLINT FOREMAN joined the Boston Symphony Orchestra as second flute at the start of the 2011-12 season, occupying the Myra and Robert Kraft Chair. Formerly a member of the New World Symphony, he has performed with the Houston Symphony, Austin Symphony, Houston Grand Opera, Houston Ballet, and Florida Grand Opera. Mr. Foreman was a Tanglewood Music Center Fellow in 2005 and 2006 while concurrently pursuing doctoral studies in the studio of former BSO flutist Leone Buyse at Rice University. He completed his master of music degree as a student of Linda Chesis at the Manhattan School of Music, and received bachelor’s degrees in both music and music education from the University of North Texas, where he studied with Mary Karen Clardy.

Born in Canada, violist REBECCA GITTER began studying Suzuki violin at seven and viola at thirteen; she received her bachelor of music degree in May 2001 from the Cleveland Institute of Music, where she was a student of Robert Vernon, having previously studied in Toronto, Ontario. While at CIM she was the recipient of the Institute’s Annual Viola Prize and the Robert Vernon Prize in Viola, and twice received honorable mention in the school’s concerto competition, resulting in solo performances. Among other honors, she was the 2000 recipient of Toronto’s Ben Steinberg Jewish Musical Legacy Award and, prior to her BSO appointment, was offered a position in the Detroit Symphony Orchestra. She was a summer participant in the Taos School of Music, the Marlboro Festival, Ravinia’s Steans Institute for Young Artists, and the National Academy and National Youth Orchestras of Canada. Ms. Gitter joined the viola section of the Boston Symphony Orchestra in August 2001.

Soprano SARI GRUBER is acclaimed on both U.S. and international stages, garnering praise for her performances as some of opera’s most beloved characters, among them Susanna in Le nozze di Figaro—which she has performed with New York City Opera, Opera Theatre of Saint Louis, Boston Lyric Opera, Pittsburgh Opera, Lyric Opera of Kansas City, and Opera Pacific— and Musetta in Puccini’s La bohème, which she has sung with Opera Colorado, Opera Company of Philadelphia, Pittsburgh Opera, and Austin Lyric Opera. This season’s engagements include the role of Despina in Così fan tutte at Pittsburgh Opera, a concert with New York Festival of

12 Song, and Handel’s Messiah with the Indy Chamber Orchestra. Highlights of past seasons include her return to Pittsburgh Opera for Zerlina in a new production of Don Giovanni; a return to Arizona Opera as Susanna in Le nozze di Figaro; Pamina in Die Zauberflöte with Opera Tampa; her role debut as Leïla in Les Pêcheurs de perles with Hawaii Opera Theater, and Mahler’s Symphony No. 4 with the Erie Chamber Philharmonic. Ms. Gruber has appeared with such ensembles as the Boston Symphony Orchestra, Houston Symphony, Handel & Haydn Society, Chamber Music Society of Lincoln Center, ProMusica Chamber Society, Boston Baroque, New York Festival of Song, New York’s Collegiate Chorale, the Pacific Symphony, Buffalo Philhar- monic, Pittsburgh Symphony, Cincinnati Symphony, and the Philharmonia Baroque Orchestra. With these and numerous other organizations she has performed as soloist in such works as Messiah, Mahler’s Symphony No. 4, Bach’s Mass in B Minor, Handel’s Israel in Egypt, Haydn’s The Creation, Barber’s Knoxville: Summer of 1915, Mozart’s Requiem, Telemann’s dramatic cantata Ino, Schubert’s Shepherd on the Rock, Villa-Lobos’s Bachianas Brasileiras No. 5, Vaughan Williams’s Serenade to Music, Handel’s Silete Venti, and, with New York City Ballet, Stravinsky’s Les Noces. Ms. Gruber holds a B.A. from Yale University in Music and Theater Studies and an M.M. in Voice from the Juilliard School, where she also participated in the Juilliard Opera Center for three years. Summer studies included the Aspen Opera Theater Festival, Tanglewood Music Center, and Ravinia Steans Institute.

Violinist LILIT HARTUNIAN performs at the forefront of contemporary music innovation in Boston and internationally. She is regularly heard on stage premiering works written for her by leading composers, and has appeared as soloist in the SEAMUS, NYCEMF, Open Sound, and Third Practice festivals. Ms. Hartunian is the creative director of the Museum of Fine Arts’ ensemble-in-residence, Vellumsound; in that role she conceives and performs chamber music programs celebrating the many rich intersections between visual art and music. She can also be heard performing with such contemporary ensembles as Boston Modern Orchestra Project, Sound Icon, Callithumpian Consort, Guerilla Opera, Equilibrium Ensemble, Boston Microtonal Society, and others. Her local performances have garnered critical acclaim, and internationally she was one of twelve violinists from the United States chosen to attend the Lucerne Festival Academy under the direction of Pierre Boulez. In addition to her performance career, Lilit Hartunian serves on the violin and chamber music faculty at the Rivers School Conservatory.

RANDALL HODGKINSON achieved recognition as a winner of the International American Music Competition for pianists sponsored by the Rockefeller Foundation. He has appeared frequently as recitalist and as soloist with major orchestras, including those of Philadelphia, Boston, Atlanta, Buffalo, and the American Symphony Orchestra, as well as with the Orchestra of Illinois, the New England Philharmonic, and the Newton Symphony Orchestra. Festival appearances have included Tanglewood, Blue Hill (ME), BargeMusic, Chestnut Hill Concerts (Madison, CT), the Seattle Chamber Music Festival, and the Santa Fe Music Festival. Mr. Hodgkinson studied at the Curtis Institute and the New England Conservatory and since 1983 has been a member of the Boston Chamber Music Society. While a member of Boston Musica Viva, he performed throughout the United States and Europe, and recorded for Nonesuch records. His solo CD “Petrouschka and Other Prophesies” received a double five-star rating from BBC Magazine. Other recordings include the live, world premiere performance of Gardner Read’s Piano Concerto with the Eastman Philharmonic Orchestra, Morton Gould’s Piano Con- certo with the Albany Symphony, and the complete works for cello and piano of Leo Ornstein with cellist Joshua Gordon. A member of the piano faculties of New England Conservatory and Wellesley College, Mr. Hodgkinson also performs four-hand and two-piano literature in duo- recitals with his wife Leslie Amper.

A native of Israel, MICKEY KATZ joined the Boston Symphony Orchestra in September 2004 and currently occupies the Stephen and Dorothy Weber Chair in the BSO’s cello section; before joining the BSO he was principal cellist of Boston Lyric Opera. Mr. Katz has distinguished himself as a solo performer, chamber musician, and contemporary music specialist. His numerous honors include the Presser Music Award in Boston, the Karl Zeise Prize from the BSO at Tangle- wood, first prizes in the Hudson Valley Philharmonic Competition and the Rubin Academy

13 Competition in Tel Aviv, and scholarships from the America Israel Cultural Foundation. A passionate performer of new music, he premiered and recorded Menachem Wiesenberg’s Cello Concerto with the Israel Defense Force Orchestra and has worked with composers Elliott Carter, György Kurtág, John Corigliano, Leon Kirchner, and Augusta Read Thomas in performing their music. A Tanglewood Music Center Fellow in 2001, he was invited back to Tanglewood in 2002 as a member of the New Fromm Players, an alumni ensemble-in-residence that works on challenging new pieces and collaborates with young composers. An active chamber musician, he has performed in important venues in the United States, Europe, and Israel, and has participated in the Marlboro Festival and Musicians From Marlboro tour, collaborating with such distinguished players as Pinchas Zukerman, Tabea Zimmermann, Kim Kashkashian, and Gilbert Kalish. A graduate of the New England Conservatory of Music, he completed his mandatory military service in Israel as a part of the “Distinguished Musician Program,” playing in the Israel Defense Force String Quartet, performing throughout Israel in classical concerts and in many outreach and educational concerts for soldiers and other audiences.

THOMAS MARTIN served as principal clarinet of the Alabama Symphony Orchestra before joining the Boston Symphony in the fall of 1984. He occupies the Stanton W. and Elizabeth K. Davis Chair, endowed in perpetuity. Born in Oshkosh, Wisconsin, Mr. Martin graduated from the Eastman School of Music, where he was a student of Stanley Hasty and Peter Hadcock. He participated in master classes with Guy Deplus of the Paris Conservatory. Mr. Martin performs frequently as a recitalist and chamber musician and has been heard on “Morning Pro Musica” on WGBH radio. He has appeared in the Chamber Prelude series at Symphony Hall, in the Friday Preludes at Tanglewood, at the Longy School of Music, and at the Gardner Museum.

Born in Wisconsin, WENDY PUTNAM began her study of the violin at three and made her first concert hall appearance at nine, as a soloist with the Green Bay Symphony. By sixteen she enrolled at Louisiana State University, where she received both her bachelor’s and master’s degrees. She soon joined the New World Symphony, serving as concertmaster for two international tours and for a Grammy-nominated recording. Ms. Putnam has collaborated with such artists as Sir Georg Solti, Josef Swensen, Philippe Entremont, and Benjamin Pasternack in chamber concerts in the U.S. and abroad. She worked under the direction of Tilson Thomas, Ozawa, Bernstein, Eschenbach, and Rostropovich, also performing solo and chamber recitals throughout Italy, Switzerland, and Japan. In 1991, while working with Josef Gingold at Indiana University, she won the concertmaster position of the New Orleans Symphony; soon afterwards she was named concertmaster of that ensemble’s successor, the Louisiana Philharmonic Orchestra, with which she made several concerto appearances. The recipient of fellowships and awards from numerous organizations, Ms. Putnam was appointed to the violin section of the Boston Sym- phony Orchestra in 1996. She is founder and director of the Concord Chamber Music Society in Concord, Massachusetts, and has served on the faculty of the Tanglewood Music Center.

BSO violinist VICTOR ROMANUL, who holds the Bessie Pappas Violin Chair, has been performing professionally since he was seven. An active recitalist, teacher, and soloist, he has performed throughout the world. As a soloist, he was named in “Best of Boston” in 1997 by the Boston Globe. Mr. Romanul was concertmaster for three years of the Ars Poetica Chamber Orchestra, based in Detroit and made up of outstanding players from major U.S. orchestras. He has given master classes throughout the country at many schools, including Northwestern, Columbia, Oberlin, and SUNY Stony Brook. As a professor of violin at Boston Conservatory, he has taught violin, chamber music, and pedagogy. He has served as a coach for the Greater Boston Youth Symphony Orchestra and the New England Conservatory Preparatory Orchestras. He was the BSO’s assistant concertmaster from 1993 to 1995 and from 1981 to 1986 was associate concertmaster of the Pittsburgh Symphony. Mr. Romanul studied with Ivan Galamian, Joseph Silverstein, and Jascha Heifetz. As a member of the Boston Artists Ensemble and the Boston Conservatory Chamber Players, he has performed frequently at music festivals throughout New England. Career highlights include performances of Beethoven’s Violin Concerto with the Boston Pops and the New Hampshire Symphony; a three-concert series of the ten Beethoven violin sonatas at the Goethe Institute in Boston; Bach’s sonatas and partitas for solo violin

14 performed in a single recital; a recital of the complete solo sonatas of Eugène Ysaÿe, and recitals around the country featuring solo violin music of Paganini, Sauret, Ernst, Wieniawski, Vieuxtemps, and Ysaÿe.

Acclaimed cellist DAVID RUSSELL maintains a vigorous schedule both as a soloist and a collaborator in the United States and Europe. In 2005 he was appointed to the teaching faculty of Wellesley College, where he currently serves as Director of Chamber Music. A strong advocate of new music, he has performed with such ensembles as Boston Modern Orchestra Project, Fire- bird Ensemble, Callithumpian Consort, Music on the Edge, Dinosaur Annex, Collage, the Fromm Players at Harvard, and entelechron. Recent projects include recordings of works by Eric Moe, Lee Hyla, Tamar Diesendruck, Donald Crockett, Chen Yi, and Roger Zahab; premieres of chamber works by Barbara White, Daron Hagen, and Gilda Lyons; premieres of works for cello and orchestra by Sam Nichols and Laurie San Martin; and new works for solo cello by Andrew Rindfleisch, Nicholas Vines, Martha Horst, and John Mallia. Mr. Russell is a busy performer in the Boston area, making regular appearances with such ensembles as Odyssey Opera, Cantata Singers and Ensemble, the Worcester Chamber Music Society, and Emmanuel Music. He served as principal cello of Opera Boston from 2006 to 2011. David Russell has recorded for the Tzaddik, Albany, BMOPSound, CRI, Centaur, and New World labels.

Pianist CAMERON STOWE is a leading specialist in the study and performance of song recital repertoire. For more than two decades his work has been led by his passion for poetry and song, garnering critical praise and numerous awards for his commitment to this art form as a performer, scholar, and teacher. Mr. Stowe appears regularly in recital with many of the most prominent concert singers and opera stars of his generation. He has performed in the Far East, Europe, South America, and throughout the United States and Canada, with recital partners including Susan Graham, Measha Brueggergosman, Danielle DeNiese, Randall Scarlata, Faith Esham, Vinson Cole, and Sari Gruber. Also dedicated to his role as an educator, he is Chair of the Collaborative Piano department at New England Conservatory and a faculty member at the Juilliard School. He has taught at the Aspen Music Festival and Vancouver International Song Institute, and has given master classes for singers and pianists throughout the United States and abroad. Recent engagements include concerts and master classes in New York, Chicago, Beijing, London, Taipei, Vancouver, Baltimore, and Seville. Cameron Stowe holds a doctorate from Juilliard with a specialized focus in song and vocal chamber music. He earned a master’s degree from the Peabody Conservatory (Johns Hopkins) and a bachelor’s degree from Oberlin College Conservatory. He also studied at the North Carolina School of the Arts, the Académie de Musique de Sion, and the Tanglewood Music Center.

15 BSO “INSIGHTS,” JANUARY 20-FEBRUARY 11, 2016 MARKING THE 400TH ANNIVERSARY OF SHAKESPEARE’S DEATH In conjunction with the Boston Symphony Orchestra’s three weeks of Shakespeare-themed programs conducted by Andris Nelson (January 28-February 13; see page 73 for details), this season’s BSO “Insights” series offers a variety of lectures and additional concerts.

Wednesday, January 20, 5:30-6:45pm, Symphony Hall—BSO 101: “Shakespeare in Music”: BSO Director of Program Publications Marc Mandel and BSO bass player James Orleans discuss selected works from the BSO’s three weeks of Shakespeare-themed poetry. Free admission. Sunday, January 24, 3pm, Sanders Theatre, Harvard University—Verdi’s “Otello”: Conductor Federico Cortese leads the Boston Youth Symphony Orchestra in a semi-staged performance, directed by Edward Berkeley, of Verdi’s great opera, sung in Italian with English supertitles. Tickets are $35-$50; visit BYSOweb.org or call (617) 496-2222. Thursday, January 28, 6-7pm, Symphony Hall—Chamber Music Concert I:Musicof Schubert, Oliver Knussen, Alison Bauld, and David Lumsdaine, with soprano Sari Gruber, pianists Cameron Stowe and Stephen Drury, and additional performers. Free to ticket holders for the evening’s BSO concert at 8pm. Friday, January 29, 12:15-12:45pm, Symphony Hall—Friday Preview: Marc Mandel discusses that afternoon’s BSO program of Weber, Henze, and Mendelssohn, joined by Bill Barclay, stage director for the performance of Mendelssohn’s Midsummer Night’s Dream music using his adaptation of the text. Free to ticket holders for the afternoon’s BSO concert. Wednesday, February 3, 7-9pm, Symphony Hall—“Conversations With Creators” I: Professor Thomas Kelly of Harvard University moderates a discussion with Hans Abrahamsen, Paul Griffiths, and Barbara Hannigan, the composer, librettist, and soprano soloist for Abrahamsen’s let me tell you,beingperformedintheBSOconcertsofFebruary4,5,and6,andHarvardUniversity Humanities Professor Stephen Greenblatt. Free admission. Thursday, February 4, 6-7pm, Symphony Hall—Chamber Music Concert II: Music of Strauss, Stravinsky, Ned Rorem, Beethoven, and Korngold, with soprano Sari Gruber, pianists Cameron Stowe and Randall Hodgkinson, and BSO musicians Clint Foreman, Thomas Martin, Wendy Putnam, Victor Romanul, Rebecca Gitter, and Mickey Katz. Free to ticket holders for the evening’s BSO concert at 8pm. Friday, February 5, 12:15-12:45pm, Symphony Hall—Friday Preview:BSOAssistant Director of Program Publications Robert Kirzinger discusses that afternoon’s BSO program of Shostakovich, Abrahamsen, and Prokofiev, joined by Hans Abrahamsen and Paul Griffiths, composer and librettist of Abrahamsen’s let me tell you. Free to ticket holders for the afternoon’s BSO concert. Tuesday, February 9, 7-9pm, Symphony Hall—“Conversations With Creators II: Professor Thomas Kelly moderates a discussion with Andris Nelsons, composer George Tsontakis, and BSO English horn player Robert Sheena about Tsontakis’s Sonnets, Concerto for English horn and orchestra, a BSO commission written for Robert Sheena and being given its world premiere performances by the BSO on February 11, 12, and 13. Free admission. Thursday, February 11, 6-7pm, Williams Hall, New England Conservatory—“Do You Hear What I Hear?”: Robert Kirzinger moderates a discussion with composer George Tsontakis as part of a musical performance coordinated by NEC’s Stephen Drury of works by Tsontakis, Beethoven, and Debussy featuring NEC students. Free admission.

For additional information, please visit bso.org.