boston symphony orchestra summer 2012

Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate

131st season, 2011–2012

Trustees of the Symphony Orchestra, Inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Vincent M. O’Reilly, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Susan Bredhoff Cohen, ex-officio • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Aaron J. Nurick, ex-officio • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Stemberg • Theresa M. Stone • Caroline Taylor • Stephen R. Weiner • Robert C. Winters

Life Trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary† • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • William J. Poorvu • Irving W. Rabb† • Peter C. Read • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas

Other Officers of the Corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Susan Bredhoff Cohen, Co-Chairman • Peter Palandjian, Co-Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne Burke • Ronald G. Casty • Richard E. Cavanagh • Carol Feinberg Cohen • Richard F. Connolly, Jr. • Charles L. Cooney • Ranny Cooper • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. , Jr. • Peter Fiedler • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Robert P. Gittens • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • Robert Kleinberg • John L. Klinck, Jr. • Farla H. Krentzman • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Nancy K. Lubin • Jay Marks • Jeffrey E. Marshall • Linda A. Mason • Robert D. Matthews, Jr. • C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Maureen Miskovic •

Programs copyright ©2012 Boston Symphony Orchestra Cover photo by Stu Rosner Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Vincent Panetta, Jr. • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Joyce L. Plotkin • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Mrs. James C. Collias • Joan P. Curhan • • Tamara P. Davis • Mrs. Miguel de Bragança • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K. Kraft • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western ; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the inter- mission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives)

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to further sim- plify Saarinen’s plans, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collabora- tion between the acoustical consultant Bolt Beranek and Newman and archi- tect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expan- sion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied re- cital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the

Tanglewood Music Center’s Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individ- ual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The appears annually, and the season closes with a weekend-long Jazz Festival. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musi- cians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Alleluia for unaccompanied chorus, Then BSO music director Seiji Ozawa, with drum, lead- specially written for the ceremony, ing a group of Music Center percussionists during a rehearsal arrived less than an hour before the for Tanglewood on Parade in 1976 (BSO Archives/photo by event began; but it made such an Heinz Weissenstein, Whitestone Photo) impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic direc- tor from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal train- ing—participate in an intensive program encompassing chamber and orchestral music, , and art song, with a strong emphasis on music of the 20th and 21st cen- turies. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, , Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Osvaldo Golijov, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 21 through August 26. Hours are from 10 a.m. to 5 p.m. Monday through Friday, from 9 a.m. through intermission of the evening concert on Saturday, and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Archival Exhibits at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the BSO at Tanglewood

To mark the 75th anniversary of the Boston Symphony Orchestra’s first concerts at Tanglewood, the historical displays located in the Tanglewood Visitor Center have been completely refurbished. The historical displays in the Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information and artifacts docu- menting the history of Tangle- wood the place as well as the ori- gins and early years of the Tanglewood Music Festival, with special emphasis on how Tanglewood became the BSO’s summer home in 1937.

Serge Koussevitzky with Mrs. Gorham This year, visitors will also be able Brooks and her daughter Daphne to experience aspects of Brooks (later Daphne Brooks Prout), Tanglewood’s history with a new who donated the Tanglewood estate to the BSO (BSO Archives/courtesy Interactive Media Exhibit. Daphne Brooks Prout) Located in what was originally the Tappan House library, the Interactive Media Exhibit allows visitors to watch historical footage and other films about the history of Program book for the BSO's first Tanglewood, travel the Tanglewood Time Line, and learn Tanglewood concerts in August 1937 about the 75 archival audio (BSO Archives) downloads being made available this summer as part of the 75th-anniversary celebrations.

Leonard Bernstein, Aaron Copland, and Serge Koussevitzky at Tangle- wood in the late 1940s (BSO Erich Leinsdorf conducting the Berkshire Music Center Archives/photo by Ruth Orkin) Orchestra (now called the Tanglewood Music Center Orchestra) in the Theatre-Concert Hall, c.1967 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo)

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES can be obtained at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m., on Saturdays from 9 a.m. to 2:30 p.m., and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open from 5:30 p.m. through intermission on Fridays and Saturdays and from noon through intermission on Sundays. Visitors are invited to picnic before concerts. Meals to go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further informa- tion about Kids’ Corner is available at the Visitor Center. OPEN REHEARSALS by the Boston Symphony Orchestra take place each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. Seating in the Koussevitzky Music Shed is reserved and ticketed at $30 and $20 per ticket. General admission to the lawn is $10. Tickets are available at the Tanglewood box office. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm condi- tions. Readmission passes will be provided if you choose to take refuge in your vehi- cle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2012

First Violins Nicole Monahan* Catherine French* Mihail Jojatu Mary B. Saltonstall chair, Sandra and David Bakalar Malcolm Lowe endowed in perpetuity Jason Horowitz* chair Concertmaster Julianne Lee* Charles Munch chair, Wendy Putnam* Jonathan Miller* endowed in perpetuity Kristin and Roger Servison Ala Jojatu* Richard C. and Ellen E. chair Paine chair, endowed Tamara Smirnova in perpetuity Associate Concertmaster Xin Ding* Violas Helen Horner McIntyre Donald C. and Ruth Brooks Owen Young* chair, endowed in perpetuity Heath chair, endowed Steven Ansell John F. Cogan, Jr., and in perpetuity Principal Mary L. Cornille chair, Alexander Velinzon Charles S. Dana chair, endowed in perpetuity Assistant Concertmaster Glen Cherry* endowed in perpetuity Mickey Katz* Robert L. Beal, Enid L., Yuncong Zhang* and Bruce A. Beal chair, Cathy Basrak Stephen and Dorothy Weber endowed in perpetuity Assistant Principal chair, endowed in perpetuity Second Violins Anne Stoneman chair, Elita Kang endowed in perpetuity Alexandre Lecarme* Assistant Concertmaster Haldan Martinson Adam Esbensen* Edward and Bertha C. Rose Principal Edward Gazouleas chair, endowed in perpetuity Carl Schoenhof Family Lois and Harlan Anderson Blaise Déjardin* chair, endowed in perpetuity Bo Youp Hwang chair, endowed in perpetuity § John and Dorothy Wilson Vyacheslav Uritsky Robert Barnes Basses chair, endowed in perpetuity Assistant Principal Michael Zaretsky Charlotte and Irving W. Edwin Barker Lucia Lin Marc Jeanneret § Principal Dorothy Q. and David B. Rabb chair, endowed in perpetuity Harold D. Hodgkinson Arnold, Jr., chair, Mark Ludwig* chair, endowed in perpetuity endowed in perpetuity Sheila Fiekowsky Rachel Fagerburg* Shirley and J. Richard Lawrence Wolfe Ikuko Mizuno Assistant Principal Muriel C. Kasdon and Fennell chair, endowed Kazuko Matsusaka* in perpetuity Maria Nistazos Stata chair, Marjorie C. Paley chair Rebecca Gitter* endowed in perpetuity Ronald Knudsen Jennie Shames* Benjamin Levy Ruth and Carl J. Shapiro David H. and Edith C. Howie chair, endowed Cellos Leith Family chair, endowed chair, endowed in perpetuity in perpetuity in perpetuity Jules Eskin Valeria Vilker Ronan Lefkowitz Principal Dennis Roy Kuchment* Philip R. Allen chair, Joseph and Jan Brett Theodore W. and Evelyn Nancy Bracken* endowed in perpetuity Hearne chair Berenson Family chair Aza Raykhtsaum* Martha Babcock Joseph Hearne Tatiana Dimitriades* Robert Bradford Newman Assistant Principal Stephanie Morris Marryott James Orleans* chair, endowed in perpetuity Vernon and Marion Alden and Franklin J. Marryott chair, endowed in perpetuity Todd Seeber* chair Bonnie Bewick* Eleanor L. and Levin H. James Cooke* Sato Knudsen Campbell chair, endowed Si-Jing Huang* Mischa Nieland chair, Catherine and Paul in perpetuity Victor Romanul* endowed in perpetuity Buttenwieser chair Bessie Pappas chair John Stovall*

BERNARDHAITINK SEIJI OZAWA MUSICDIRECTOR THOMASWILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity Flutes Bass Clarinet Benjamin Wright Harp Arthur and Linda Gelb Elizabeth Rowe Craig Nordstrom chair Jessica Zhou Principal Nicholas and Thalia Zervas Walter Piston chair, Thomas Siders chair, endowed in perpetuity endowed in perpetuity Bassoons Assistant Principal by Sophia and Bernard Richard Svoboda Kathryn H. and Edward Gordon Clint Foreman M. Lupean chair Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, Michael Martin Voice and Chorus endowed in perpetuity Ford H. Cooper chair, Elizabeth Ostling endowed in perpetuity John Oliver Associate Principal Suzanne Nelsen Tanglewood Festival Marian Gray Lewis chair, John D. and Vera M. Chorus Conductor endowed in perpetuity MacDonald chair Trombones Alan J. and Suzanne W. Richard Ranti Toby Oft Dworsky chair, endowed in perpetuity Piccolo Associate Principal Principal Diana Osgood Tottenham/ J.P. and Mary B. Barger Cynthia Meyers Hamilton Osgood chair, chair, endowed in perpetuity Librarians Evelyn and C. Charles endowed in perpetuity Marran chair, endowed Stephen Lange Marshall Burlingame in perpetuity Contrabassoon Principal Bass Trombone Lia and William Poorvu Oboes Gregg Henegar chair, endowed in perpetuity James Markey Helen Rand Thayer chair William Shisler John Ferrillo John Moors Cabot chair, Principal endowed in perpetuity John Perkel Horns Mildred B. Remis chair, Douglas Yeo endowed in perpetuity ° James Sommerville Assistant Mark McEwen Principal Conductors James and Tina Collias Helen Sagoff Slosberg/Edna Tuba chair S. Kalman chair, endowed Mike Roylance Marcelo Lehninger in perpetuity Principal Anna E. Finnerty chair, Keisuke Wakao endowed in perpetuity Assistant Principal Richard Sebring Margaret and William C. Farla and Harvey Chet Associate Principal Rousseau chair, endowed Sean Newhouse Krentzman chair, endowed Margaret Andersen in perpetuity in perpetuity Congleton chair, endowed in perpetuity Personnel Timpani Managers English Horn Rachel Childers John P. II and Nancy S. Timothy Genis Lynn G. Larsen Robert Sheena Eustis chair, endowed Sylvia Shippen Wells chair, Beranek chair, endowed in perpetuity endowed in perpetuity Bruce M. Creditor in perpetuity Assistant Personnel (position vacant) Manager Elizabeth B. Storer chair, Percussion Clarinets endowed in perpetuity J. William Hudgins Stage Manager William R. Hudgins Jason Snider Peter and Anne Brooke chair, endowed in perpetuity John Demick Principal Jonathan Menkis Ann S.M. Banks chair, Jean-Noël and Mona N. Daniel Bauch endowed in perpetuity Tariot chair Assistant Timpanist Michael Wayne Mr. and Mrs. Edward H. Linde chair * participating in a system Thomas Martin Trumpets of rotated seating Associate Principal & (position vacant) E-flat clarinet Thomas Rolfs Peter Andrew Lurie chair, § on sabbatical leave Principal endowed in perpetuity Stanton W. and Elisabeth ° on leave K. Davis chair, endowed Roger Louis Voisin chair, endowed in perpetuity (position vacant) in perpetuity Barbara Lee chair A Brief History of the Boston Symphony Orchestra

Now in its 131st season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown. Today the BSO reaches millions through radio, television, the internet, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the most important training grounds for young professional- caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, is known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. The BSO gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, Boston Symphony Orchestra concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was Major Henry Lee Higginson, succeeded by the German-born and -trained conductors Wilhelm founder of the Boston Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating Symphony Orchestra in the appointment of the legendary Karl Muck, who served two (BSO Archives) tenures, 1906-08 and 1912-18. Meanwhile, in July 1885, the musi- cians of the Boston Symphony Orchestra had given their first “Promenade” concert, offering both music and refreshments, and fulfilling Major Higginson’s wish to give “concerts of a lighter kind of music.” These concerts, soon to be given in the spring- time and renamed first “Popular” and then “Pops,” fast became a tradition. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appoint- ments marked the beginning of a French tradition maintained, even during the

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. In 1929 free Esplanade concerts were inaugurated by Arthur Fiedler, a member of the orchestra since 1915 and who in 1930 became eighteenth conductor of the Boston Pops. Fiedler was Pops conductor for half a century, being followed by in 1980 and Keith Lockhart in 1995. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO Serge Koussevitzky arriving at in Boston, New York, at Tanglewood, and on tour in Tanglewood prior to a concert (BSO Archives) Europe, as well as recording with the orchestra. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, partic- ularly from significant American composers; issued a number of live concert per- formances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center, and in summer 2007 led the BSO in an acclaimed tour of European music festivals. Through its worldwide activities and more than 250 concerts annually, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson.

On the lawn at Tanglewood in 1941, with a sign promoting a gala benefit concert for the United Service Organizations and British War Relief (BSO Archives/courtesy The Berkshire Eagle)

Table of Contents

3 WELCOME TO TANGLEWOOD

Friday, August 24, 6pm (Prelude Concert) 4 BOSTON CELLO Music of Mozart, J. Strauss II, Verdi, Prokofiev, Popper, Giménez, Corea, Hoshii, Anderson, and Déjardin

Friday, August 24, 8:30pm 13 BOSTON POPS ORCHESTRA KEITH LOCKHART, conductor and violin; MAUREEN McGOVERN and BRIAN STOKES MITCHELL, special guests; ILYA YAKUSHEV, piano “A Gershwin Spectacular”

Saturday, August 25, 8:30pm 18 BOSTON SYMPHONY ORCHESTRA RAFAEL FRÜHBECK DE BURGOS, conductor; VOCAL SOLOISTS; NÚRIA POMARES ROJAS, flamenco dancer; TANGLEWOOD FESTIVAL CHORUS Music of Albéniz and Falla

Sunday, August 26, 2:30pm 38 BOSTON SYMPHONY ORCHESTRA CHRISTOPH VON DOHNÁNYI; LEAH CROCETTO, MEREDITH ARWADY, FRANK LOPARDO, and JOHN RELYEA, vocal soloists; TANGLEWOOD FESTIVAL CHORUS Music of Harbison and Beethoven

“This Week at Tanglewood” Once again this summer, Tanglewood patrons are invited to join us in the Koussevit- zky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, to close the season on Friday, August 24, are conductor Rafael Frühbeck de Burgos, composer John Harbison, and soprano Leah Crocetto.

Saturday-Morning Open Rehearsal Speakers July 7 and 21; August 4—Robert Kirzinger, BSO Assistant Director of Program Publications July 28; August 11 and 25—Marc Mandel, BSO Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY

TANGLEWOODWEEK 8 TABLEOFCONTENTS 1 A page from the 1937 program book for the Boston Symphony Orchestra’s first concerts at Tanglewood (BSO Archives)

2 Welcome to Tanglewood

On behalf of everyone affiliated with the Boston Symphony Orchestra and Tanglewood, it is my pleasure and privilege to welcome you here this summer as we celebrate the 75th anniversary of the BSO’s first Tanglewood concerts. In 1937, Serge Koussevitzky and the BSO played just six concerts, two of which we are replicating this year—the all-Beethoven opener, and the all-Wagner concert so famously interrupted by a severe thunderstorm. As it turned out, however, that storm provided an unanticipated bonus: it led ultimately to the construction of the Music Shed, which remains the venue for the BSO’s Tanglewood concerts to this day. The 1937 season was actually the second year that Koussevitzky and the orchestra played concerts in the Berkshires: they had first done so in 1936, making such a profound impression that the owners of the Tanglewood estate donated it to Koussevitzky as a place for the BSO to continue its summer music-making. Over the years, Tanglewood has since expanded its offerings to include an entire sum- mer’s worth of concerts encompassing music of all kinds, performed by a vast range of internationally celebrated artists, drawing audiences that today number consistently in the hundreds of thousands each year. Visitors to Tanglewood of course experience more than just world-class music- making: they share experiences that are immeasurably heightened by the beauti- ful and idyllic surroundings of Tanglewood and the Berkshire Hills—another reason patrons find themselves returning year after year. This summer we take further pride in our surroundings by marking the anniversary with the planting of 75 trees to enhance Tanglewood’s beauty even more. But even as we celebrate Tanglewood’s rich history, we also continue always to look to the future, and not just through an ever-increasing range of musical offer- ings. Since its founding by Koussevitzky in 1940 as the Berkshire Music Center, the Tanglewood Music Center has continued to train and nourish countless young musicians on the verge of professional careers. We are also continually increasing the range of offerings made possible by the most recent advances in media and technology, including, to mark the 75th anniversary this summer, an Interactive Media Center at the Tanglewood Visitor Center, an Interactive Time Line about the history of Tanglewood, and a series of 75 historic audio perform- ances from the BSO’s Tanglewood archives, being issued as downloads on the BSO’s website. In conclusion, I thank you on behalf of us all for your being at Tanglewood and by supporting us, and this historic festival, with your presence. We hope to see you here again soon, and often. Yours truly,

Mark Volpe Eunice and Julian Cohen Managing Director Boston Symphony Orchestra

TANGLEWOODWEEK 8 WELCOMETOTANGLEWOOD 3 Tanglewood 75 SUMMER 2012

Prelude Concert Friday, August 24, 6pm Gould Auditorium, Seiji Ozawa Hall

THE BOSTON CELLO QUARTET BLAISE DÉJARDIN, cello MIHAIL JOJATU, cello MICKEY KATZ, cello* ALEXANDRE LECARME, cello

MOZART Overture to “” (arr. Déjardin)

JOHANN STRAUSS II “Roses from the South” (arr. Déjardin)

VERDI Overture to “La forza del destino” (arr. Déjardin)

PROKOFIEV “Humoresque scherzo,” and (arr. D.B. Moore) March from “The Love for Three Oranges”

POPPER “The Dance of the Elves” (arr. Déjardin)

GIMÉNEZ “Intermedio” from “La boda de Luis Alonso” (arr. Déjardin)

* The Boston Cello Quartet is grateful to BSO cellist Mickey Katz, who is substituting for BCQ member Adam Esbensen in this concert.

Bank of America is proud to sponsor the 2012 Tanglewood season.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

4 COREA “Spain” (arr. Déjardin)

HOSHII “The Life of Birds” (world premiere) Flying Birds— Walking Birds— Dancing Birds

ANDERSON “Fiddle-Faddle” (arr. Déjardin)

DÉJARDIN “The LvB Sandwich” (world premiere)

NOTES ON THE PROGRAM

In what has become an annual event, the Boston Cello Quartet, which made its public debut here at Tanglewood in 2010, returns for a Prelude Concert of variety and verve. Two world premieres appear on the program, along with familiar and less-familiar music in this new all-cello context. BCQ founder Blaise Déjardin is the arranger for most of these pieces. The concert begins with four pieces from opera and operetta. The opener is one of the most familiar works by Wolfgang Mozart (1756-1791), the overture to his penulti- mate opera The Magic Flute (1791), a singspiel with a frequently funny and mysterious plot with themes of marriage, mettle-testing, Freemasonry, and universal brotherhood. The overture begins with a series of majestic chords before launching into a fast, contrapuntal allegro. There is plenty of opportunity for melody and countermelody to bounce back and forth in the ensemble. Roses from the South by the Waltz King Johann Strauss, Jr. (1825-1899) is, like many of his famous pieces, actually a chain of waltz episodes, each with its own particular melodic character and orchestration. In this case the melodies are drawn from the composer’s operetta The Queen’s Lace Handkerchief, composed in 1880. The coincidence-riddled plot of the Giuseppe Verdi (1813-1904) opera La forza del destino (“The Power of Fate”; 1862) is based on the very popular Romantic play Don Álvaro, or the Power of Fate by the Spanish writer Ángel de Saavedra, Duke of Rivas. After opening with three fateful unisons, the overture continues with unsettled music in a quick three-beat meter. The lyrical melodies are of course from various points in the opera, but fundamentally the overture underlines the turmoil of the opera’s narrative.

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a first-come, first-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 5 Sergei Prokofiev (1891-1953) was early on recognized as a virtuoso pianist. He had his own personal technique, reflected in part in the quirky brilliance of much of his piano music. The Humoresque scherzo, Opus 12, No. 9, is from the relatively early Ten Pieces for solo piano (1906-13) and also exists in an arrangement by the composer for four bassoons. The piece features an angular, slightly askew melody over a chug- ging rhythmic figure. A chorale-like middle section changes the mood briefly in this two-minute piece. The Humoresque is linked in this performance to the March from Prokofiev’s second opera, The Love for Three Oranges. He wrote this absurdist piece in New York City in 1921 after emigrating (temporarily, it turned out) from revolution- ary Russia. In the opera, the March is a precursor to entertainments staged in hopes of curing, via laughter, the illness of the Prince, the work’s central character. This is one of the most familiar of Prokofiev’s pieces. David Popper (1843-1913) was a highly respected Prague-born cellist and composer. He wrote a great deal of music for his own instrument, including Elfentanz (“Dance of the Elves”), Opus 39, an 1881 piece that rivals Rimsky-Korsakov’s Flight of the Bumblebee. This was one of Mstislav Rostropovich’s favorite encores, and was required as a competition piece in the Rostropovich International Cello Competition. Déjardin’s arrangement shares the constantly fast bowed passages among all four of the players. La boda de Luis Alonso (“The Wedding of Luís Alonso”; 1898) by Géronimo Giménez (1854-1923), is a classic Spanish zarzuela, a peculiarly Spanish form of melodramatic operetta that thrived a century ago. The Intermezzo is a quick Spanish dance of familiar, almost Flamenco character. (The orchestral version prominently features castanets.) Déjardin was made aware of this piece when it was programmed in a BSO concert last summer led by Rafael Frühbeck de Burgos. It was BSO cellist Mickey Katz (filling in this evening for regular BCQ member Adam Esbensen) who suggest- ed that Déjardin make an arrangement, which Déjardin dedicates to Rafael Frühbeck de Burgos. Born in Chelsea, Massachusetts, a small city adjacent to Boston, Chick Corea (b.1941) is one of the most famous and innovative jazz keyboardists and composers of the post-bebop era. He joined Miles Davis’s group at the start of Davis’s fusion period, and went on to form the best-known of his own groups, Return to Forever. His music incorporates rock, jazz fusion, classical, and Latin elements. Spain (1972) is among his most familiar pieces, featuring an immediately recognizable syncopated motto. While studying at the Berklee College of Music in 2010, Chiba, Japan-born composer Tetsuro Hoshii (b.1986) was first inspired to write for cello quartet by one of the

6 BCQ’s very first concerts at the Longy School of Music in Cambridge. He sent his Waltz of the Black Ants to the group via email, and was delighted when they accepted the piece for their summer 2011 Tanglewood concert. Waltz of the Black Ants will appear on the Boston Cello Quartet’s forthcoming CD. The composer explains the title of his new BCQ piece in a short note: When my composition Waltz of the Black Ants had its world premiere with the Boston Cello Quartet last July, it was my first experience at Tanglewood. It struck me how much nature and music intermingled. Ozawa Hall was the perfect setting; the outdoors are brought into the experience on stage, just as the music spreads out into nature. The natural wood of the cellos echoes with the music, and echoes the beautiful, natural space as well. I knew I wanted my next composition for the BCQ to reflect that intimate connection to nature. In addition, although I am generally a jazz composer, I am first and foremost a music lover. What I love about jazz is that it rubs shoulders with all kinds of music. Gershwin brings classical music into jazz with Rhapsody in Blue; Ravel returns the favor and influences jazz harmonies with his compositions. The first movement of Life of the Birds is called “Flying Birds,” and is mainly classical; the second movement, “Walking Birds,” moves toward jazz with a touch of ragtime; in the third movement, “Dancing Birds,” you'll hopefully hear a little Charlie Parker himself. American composer Leroy Anderson (1908-75) had a long and fruitful relationship with the Boston Pops and Arthur Fiedler. His best-known song is probably the sea- sonal classic Sleigh Ride, but he wrote many other famous pieces too, including The Typewriter. He wrote Fiddle-Faddle for the Pops in the 1940s. Déjardin made this arrangement after playing it as part of the BSO’s Youth Concerts this past spring. Its frantic jazzy scampering is based on the rodent classic “Three Blind Mice.” Cellist-composer-arranger Blaise Déjardin founded the Boston Cello Quartet in 2010 and has since run through hundreds of liters of ink creating new repertoire for the group. His new piece LvB Sandwich was a mystery to scholars until a document con- taining the following comments was discovered in a little-used studio on the Tangle- wood grounds. The note has been definitively attributed to Déjardin, regardless of how stridently he may deny its authorship. After several years spent arranging the music of others for the Boston Cello Quartet, I felt it was about time that I write my own music. The LvB Sandwich is the first piece I ever wrote which features only original material, all created through hours and hours of hard work, laying notes down on parchment, using a quill and a bottle of ink that are said to have belonged to the late Larry van Beethoven. Larry was the first member of the Beethoven dynasty to emigrate to the , shortly after the price of beer reached new heights in Germany. The LvB Sandwich is dedicated to his memory. Finally, I would like to thank my three mentors, Pierre Boulez, Karlheinz Stockhausen, and for their continuous support and affection. Déjardin’s newfound seriousness has reportedly been embraced wholeheartedly by the other members of the BCQ.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 7 88 Artists

The Boston Cello Quartet was founded in January 2010 by four cellists of the Boston Symphony Orchestra: Blaise Déjardin, Adam Esbensen, Mihail Jojatu, and Alexandre Lecarme. With the wish to explore the limitless possibilities of the instrument they love, the cello, they perform a wide repertoire ranging from classical music to jazz, tango, contemporary works, and even comic medleys. Some pieces are written origi- nally for cello quartet, and others are arrangements written by cellists mostly over the last century. Cellist Blaise Déjardin also adds to the repertoire by constantly writing new arrangements for the BCQ. The members of the Boston Cello Quartet, originally from France, Romania, and the United States, met in 2008 when three of them joined the Boston Symphony Orchestra, of which the fourth was already a member. Although a tradition in Europe, the formation of a cello ensemble from among the members of the BSO is unique in the orchestra’s history. Unusually for such an ensemble, the Boston Cello Quartet rotates the role of leader for each piece. The group has enjoyed considerable success since its public debut at Tangle- wood’s Ozawa Hall in summer 2010. The Boston Cello Quartet gave its first Kousse- vitzky Music Shed performance at Tanglewood in August 2011, opening for the Grammy Award-winning band Train. They recently partnered with composer Olivier Derivière to record the soundtrack of the video game “Of Orcs and Men,” available this fall. The Boston Cello Quartet’s first CD is scheduled for release this coming winter. Born in Strasbourg, France, in 1984, Blaise Déjardin made his debut with orchestra at age fourteen performing Haydn’s C major concerto at the Corum in Montpellier, France. First-prize winner at the Maurice Gendron International Cello Competition (2005), Mr. Déjardin also became the youngest prizewinner at the 6th Adam Inter- national Cello Competition (2006) in New Zealand. As a soloist, he has performed with the Christchurch Symphony Orchestra, the Kuopio Symphony Orchestra, the French Camerata, and many others. His performances have been broadcast on vari- ous radio stations such as France-Musique, YLE, Radio New Zealand, VPR, and WGBH. An active performer of new music, Blaise Déjardin gave the U.S. premiere of French composer Édith Canat de Chizy’s Les Formes du vent in 2008. A passionate chamber musician, he has performed in many festivals in France, and was invited for two summers at the Steans Institute of the Ravinia Festival in Chicago. He shared the stage with musicians such as Ralph Kirshbaum, Miriam Fried, Malcolm Lowe, Donald Weilerstein, and Paul Katz. Mr. Déjardin was a member of the European Union Youth Orchestra and the Gustav Mahler Jugendorchester, on tours of Europe, Russia, and South America. He holds a First Prize of Cello with highest honors from the Conservatoire National Supérieur de Musique de Paris, as well as a master of music diploma and a graduate diploma from the New England Conservatory in Boston. His main teachers were Philippe Muller, Laurence Lesser, and Bernard Greenhouse. Blaise Déjardin is the recipient of awards and scholarships funded by the Gregor Piatigorsky Fund, the Adami, the Fulbright Foundation, the Singer- Polignac Foundation, and the CulturesFrance Foundation. He joined the Boston Symphony Orchestra in 2008. Romanian-born cellist Mihail Jojatu joined the Boston Symphony Orchestra in 2001 and became fourth chair of the orchestra’s cello section at the start of the 2003-04 season, occupying the Sandra and David Bakalar Chair. Mr. Jojatu studied at the Bucharest Academy of Music before coming to the United States in 1996. He then attended the Boston Conservatory of Music, where he studied with former BSO cel- list Ronald Feldman, and worked privately with Bernard Greenhouse of the Beaux

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 9 Arts Trio. Through Boston University, he also studied with BSO principal cellist Jules Eskin. Mr. Jojatu has collaborated with such prestigious artists as Yefim Bronfman, Sarah Chang, Glenn Dicterow, Peter Serkin, Gil Shaham, members of the Juilliard and Muir string , and Seiji Ozawa, who asked him to substitute for Mstislav Rostropovich in rehearsing the Dvoˇrák Cello Concerto with the Tanglewood Music Center Orchestra. A winner of the concerto competition at Boston University School for the Arts (subsequently appearing as soloist with Keith Lockhart and the Boston Pops Orchestra), he also won first prize in the Concerto Competition at the Boston Conservatory and was awarded the Carl Zeise Memorial Prize in his second year as a Tanglewood Music Center Fellow. He has performed as guest soloist with the Radio Symphony Orchestra of Bucharest and has won numerous awards in Romania for solo and chamber music performance. Recent performances have included chamber music with pianist Yefim Bronfman, Shostakovich’s Cello Concerto No. 1 with the Berkshire Symphony and Longwood Symphony, and the Dvoˇrák con- certo with the Radio Symphony Orchestra of Bucharest under and the Indian Hill Symphony Orchestra under Bruce Hangen. A faculty member at the Longy School of Music, Mihail Jojatu is also a member of the Triptych String Trio, which recently released its first compact disc. A native of Israel, cellist Mickey Katz joined the Boston Symphony Orchestra in September 2004, having previously been principal cellist of Boston Lyric Opera. Mr. Katz has distinguished himself as a solo performer, chamber musician, and contem- porary music specialist. His numerous honors include the Presser Music Award in Boston, the Karl Zeise Prize from the BSO at Tanglewood, first prizes in the Hudson Valley Philharmonic Competition and the Rubin Academy Competition in , and scholarships from the America Israel Cultural Foundation. A passionate per- former of new music, he premiered and recorded Menachem Wiesenberg’s Cello

10 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. A native of Grasse, France, Alexandre Lecarme joined the Boston Symphony Orches- tra at the start of the 2008-09 season. He graduated with the Premier Prix de Violon- celle from the Conservatoire National Supérieur de Musique de Paris in 1997. Mr. Lecarme holds an Artist Diploma and master of music degree from Boston University as a recipient of a Cohen Foundation grant and a dean’s scholarship. His most significant teachers have included Jean-Marie Gamard in Paris, David Soyer, and Andrés Díaz at Boston University. An avid chamber musician, Mr. Lecarme has appeared on the Rockport Chamber Music Festival, Hammond Performing Arts Series, Copley Society Series, Hebron and Thayer Academy Concert Series, Temple Emmanuel Chamber Music Series, and the chamber music series of the Boston Symphony Orchestra. As a founding member of the Tancrede Trio, he has per- formed extensively in the United States and Europe. Highlights include concerts at Shermetiev Palace in St. Petersburg for the 300th Anniversary of the city, Opéra de Nice, and Salle Olivier Messiaen in Grenoble, France. Mr. Lecarme has participated at the Pablo Casals, Domaine Forget, Kneisel Hall, and Norfolk Chamber Music festivals and collaborated with Roman Totenberg, Seymour Lipkin, and members of the Tokyo String Quartet. Since 2010 he has been a member of the Alianza String Quartet. Mr. Lecarme has released CDs for Hammond GMAC Performing Arts of works by Bach, Debussy, Schubert, and Beethoven. A CD of sonatas by Franck and Rachmaninoff was released in 2010. Mr. Lecarme performs on a cello made by José Contreras in 1746, generously on loan from the Boston Symphony Orchestra.

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 11 The Carol and Joe Reich Concert Friday, August 24, 2010 The performance on Friday evening is supported by a generous gift from Great Benefactors Carol and Joe Reich. Carol and Joe have delighted in the sights and sounds of Tanglewood for more than forty years. Lovers of both the beauty of the landscape and the wonder of the music, Carol and Joe have proudly shared the joy of Tanglewood with their children and grandchildren. “The first thing I think about Tanglewood is its great beauty,” says Carol. “Tanglewood is a gift, and it is still a gift to us when we attend today. It is an important gathering and listening place that we love to share.” True advocates for Tanglewood, Carol and Joe have graciously donated to the BSO and Tanglewood for many years and are members of the Koussevitzky Society at the Chairman’s level. Reflecting their shared dedication to education, they have gener- ously supported education initiatives including Days in the Arts (DARTS) and the Tanglewood Music Center. As leadership donors to many BSO fundraising initiatives, Carol and Joe hope to inspire others to support Tanglewood and its programs, regardless of giving level. “Whether it is $5 or $5,000, the idea is to give—it is all important,” says Carol. Carol and Joe have dedicated their other philanthropic efforts to ensuring that under- served children have access to high-quality education. In 1992, they launched an innovative new public school in Brooklyn which became one of the first charter schools in New York. They have written and published a book about the inspiring story of the school’s creation entitled Getting to Bartlett Street: Our 25-Year Quest to Level the Playing Field in Education. It will be released later this summer. Stu Rosner

Bank of America is proud to sponsor the 2012 Tanglewood season.

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. Steinway & Sons is the exclusive provider of pianos for Tanglewood. “A Symphonic Night at the Movies” is a production of PGM Productions, Inc. (New York) and appears by arrangement of IMG Artists. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

12 Tanglewood 75 SUMMER 2012

THE BOSTON POPS ORCHESTRA KEITH LOCKHART, Conductor JOHN WILLIAMS, Laureate Conductor

Friday, August 24, 8:30pm THE CAROL AND JOE REICH CONCERT

KEITH LOCKHART CONDUCTING with special guests MAUREEN MCGOVERN and BRIAN STOKES MITCHELL

A GERSHWIN SPECTACULAR

GERSHWIN Strike Up the Band

Presenting MAUREEN MCGOVERN Tedd Firth, piano Selections to be announced from the stage

GERSHWIN Rhapsody in Blue ILYA YAKUSHEV, piano

{Intermission}

GERSHWIN-RAMIN Love Is Sweeping the Country, from Of Thee I Sing

GERSHWIN-SEBESKY Prelude No. 2

Presenting BRIAN STOKES MITCHELL Tedd Firth, piano Selections to be announced from the stage

GERSHWIN An American in Paris ballet, from MGM’s An American in Paris Film courtesy of Warner Bros. Entertainment Inc. and Turner Entertainment Co. From “A Symphonic Night at the Movies,” John Goberman, producer, John Waxman, music consultant

TANGLEWOODWEEK 8 FRIDAYPROGRAM 13 Artists

Keith Lockhart Keith Lockhart became the twentieth conductor of the Boston Pops in 1995, adding his artistic vision to the Pops tradition established by his predecessors John Williams and Arthur Fiedler. Mr. Lockhart holds the Eunice and Julian Cohen Boston Pops Conductor Chair. He has worked with a wide array of established artists from virtually every corner of the entertainment world, while also promoting programs that focus on talented young musicians from the Tanglewood Music Center, Boston Conservatory, and Berklee College of Music. During his seven- teen-year tenure, he has conducted more than 1,400 Boston Pops concerts and introduced the innovative JazzFest and EdgeFest series featuring prominent jazz and indie artists performing with the Pops. Mr. Lockhart has also introduced concert performances of full-length Broadway shows, including Rodgers and Hammerstein’s Carousel and ’s A Little Night Music, and the PopSearch and High School Sing-Off competitions. Under his leadership, the Boston Pops has commissioned several new works—including The Dream Lives On, a tribute to the Kennedy brothers, which was premiered in May 2010 during the Pops’ 125th anniversary season—and dozens of new arrangements. Audiences worldwide love Keith Lockhart’s inimitable style, expressed not only through his consummate music-making, but also by his unique ability to speak directly to the audience about the music to which he feels so passionately committed. He and the Boston Pops have released four self-produced recordings—Sleigh Ride, America, Oscar & Tony, and The Red Sox —and also recorded eight with RCA Victor— Runnin’ Wild: The Boston Pops Play Glenn Miller, American Visions, the Grammy-nominated The Celtic Album, Holiday Pops, A Splash of Pops, Encore!, the Latin Grammy-nominated The Latin Album, and My Favorite Things: A Celebration. Keith Lockhart has made 73 television shows with the Boston Pops, including a 2009 concert featuring jazz trumpeter Chris Botti, and special guests Sting, John Mayer, and Steven Tyler, and the annual Boston Pops Fireworks Spectacular, broadcast nationally on CBS Television. He has also led many Holiday Pops telecasts, as well as 38 new programs for PBS’s Evening at Pops (1970-2004). He has led the Boston Pops on 35 national tours, as well as performances at and Radio City Music Hall, and brought the music of “America’s Orchestra” overseas in four tours of Japan and Korea. Mr. Lockhart has led the Boston Pops in the national anthem for numerous major sports events. Keith Lockhart currently serves as principal conductor of the BBC Concert Orchestra in London, and as artistic director of the Brevard Music Center summer institute and festival in North Carolina. He has appeared with virtually every major symphonic ensemble in North America, as well as several in Asia and Europe. He was music direc- tor of the from 1998 to 2009, and led that orchestra in performances at the 2002 Olympic Games, as well as on its first European tour in two decades. Prior to coming to Boston, he was the associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras, as well as music director of the Cincinnati Chamber Orchestra. Born in Poughkeepsie, NY, Keith Lockhart began his musical studies with piano lessons at the age of seven. He holds degrees from Furman University and Carnegie Mellon University, and honorary doctorates from several American universi- ties. Visit keithlockhart.com for further information.

14 Maureen McGovern The 2012-13 season finds Maureen McGovern celebrating the 40th anniversary of the release of her Oscar-winning, Gold Record, “The Morning After,” from The Poseidon Adventure and her first Grammy nomination for Best New Artist. Ms. McGovern’s performance on her current PS Classics CD, “” (a musical scrapbook of the 1960s to early ’70s), was highly praised. She was also a guest artist on the Grammy Award-winning CD/DVD “Songs from the Neighbor- hood: The Music of Mister Rogers.” Other hit recordings include the Oscar- winning “We May Never Love Like This Again” from The Towering Inferno, “Can You Read My Mind?” from Superman, and “Different Worlds” from the ABC TV series Angie. She has been called “The Stradivarius Voice” for her critically acclaimed songwriter tributes to George Gershwin, , Richard Rodgers, and Marilyn and Alan Bergman, and for her solo piano/voice albums, “” and “The Pleasure of His Company” (Grammy nomination for Best Traditional Pop Vocal) with jazz pianist Mike Renzi. In 2005 Maureen returned to the Broadway stage, originating her Drama Desk-nominated role of Marmee in Little Women, The Musical, and reprised her role in the 32-city first national tour. She has also starred on Broadway in The Pirates of Penzance (her Broadway debut), Nine, and 3 Penny Opera and Off-Broadway in Brownstone. She appeared in the Broadway national tour of The King and I and has been seen regionally in The Lion in Winter, Of Thee I Sing, Let ’Em Eat Cake, The Umbrellas of Cherbourg, One Red Flower (also under its original title, Letters from ’Nam), Elegies, The Sound of Music, South Pacific, Guys and Dolls, I Do, I Do, and her children’s musical The Bengal Tiger’s Ball. She recently performed in her one-woman musical memoir, “Carry It On,” in Rochester, New York, and Red Bank, New Jersey. The show premiered in Washington, D.C., and at Boston’s Huntington Theatre (for which she earned the IRNE Award for Best Solo Performance). Her feature film cred- its include The Towering Inferno, Airplane!, and Airplane!!: The Sequel. On television, she has appeared in One Life to Live, The Tracey Ullman Show, Pacific Blue, Duckman, and Beyond Belief. She also spent three seasons as a frequent special guest on Garrison Keillor’s American Radio Company of the Air. Maureen McGovern has been a guest with the Boston Pops in both spring and holiday seasons, most recently in May 2012. Honored by Irish America Magazine as one of the Top 100 Irish Americans, she received the Songs From The Heart Award from NARAS and the American Music Therapy Association, for which she is an artist spokesperson. She serves on the national board of the Muscular Dystrophy Association and has been an MDA volunteer for over thirty years. Visit www.maureenmcgovern.com for further information.

Brian Stokes Mitchell Dubbed “The Last Leading Man” by the New York Times, Brian Stokes Mitchell has enjoyed a career that spans Broadway, television, and film, as well as performances in the great American concert halls. His musical versatility has kept him in demand by some of the country’s finest conductors and orchestras. He has performed selections from Porgy and Bess with Michael Tilson Thomas and the San Fran- cisco Symphony at Carnegie Hall; works by Aaron Copland and various contem- porary composers at the Hollywood Bowl with the Los Angeles Philharmonic under Leonard Slatkin and John Mauceri; Broadway tunes at Carnegie Hall and the Kennedy Center in Washington,D.C., under Marvin Hamlisch; the premiere of David Del Tredici’s Rip Van Winkle with the National Symphony Orchestra and Slatkin; and at the White House for Presidents Clinton and Obama. He reprised his August 2004 Tanglewood performance in John Williams’s jazz version of My Fair Lady at Disney Hall in December of that year, and his most

TANGLEWOODWEEK 8 ARTISTS 15 recent Boston Pops appearance at Symphony Hall was under Keith Lockhart’s direction in the 2010 “Presidents at Pops” concert. Brian Stokes Mitchell earned both the New York Bistro and Nightlife awards for his cabaret debut at Feinstein’s at the Regency. His performance alongside Reba McEntire in Carnegie Hall’s presentation of South Pacific aired on PBS and was subsequently released on CD and DVD. His Broadway roles include Don Quixote in Man of La Mancha (Tony nomination and the Helen Hayes Award) and Fred Graham/Petruchio in Kiss Me, Kate (Tony, Drama Desk, and Outer Critics Circle awards). Other Broadway credits include Ragtime, King Hedley II, Kiss of the Spider Woman, Jelly’s Last Jam, Oh, Kay!, and Mail. At Encores he has starred in Do Re Mi, Carnival, and Kismet. In 2010 he returned to Broadway as Ivan in Lincoln Center Theater’s production of Women on the Verge of a Nervous Breakdown (based on the Pedro Almodóvar film) with Patti LuPone. His most recent feature film was 2011’s Jumping the Broom. Brian Stokes Mitchell’s long television career began with a seven- year stint on Trapper John, M.D., and has continued with recurring roles on Crossing Jordan and Frasier, and guest appearances ranging from PBS’s “Great Performances” to Glee. In December 2008 he was the musical guest for “Christmas with the Mormon Tabernacle Choir and Orchestra at Temple Square,” which was shown on PBS during Christmas 2009. His numerous albums include his own critically acclaimed eponymous solo CD on Playbill Records. He has worked with numerous charitable organizations from the March of Dimes to the USO, and has served for many years as Chairman of the Board of the Actors’ Fund. Visit Brianstokes.com for more information.

Ilya Yakushev Russian pianist Ilya Yakushev’s orchestral engagements in the 2011-12 season have included a return appearance with the Rhode Island Philharmonic as well as perform- ances with the Edmonton Symphony, Wichita Symphony, Fort Wayne Philhar- monic, Cheyenne Symphony, and Wisconsin Chamber Orchestra. He performed recitals in Tokyo, New York, Tennessee, and Minnesota, and returned to the Four Seasons series in Berkeley, California, and to the Gallagher-Bluedorn Performing Arts Center at the University of Northern Iowa in Cedar Falls. The highlights of his 2010-11 season included Rachmaninoff’s Second Piano Concerto with the BBC Concert Orchestra and Keith Lockhart in London and on tour (along with Mendelssohn’s First Concerto) in fifteen American cities. He also performed the Rachmaninoff Second with the Rhode Island Philharmonic, Syracuse Symphony, and Des Moines Symphony. In July 2011 he appeared with the Rochester Philharmonic and the Brevard Sinfonia at the Brevard Music Center. In March 2011 he made an extensive eighteen-city recital tour throughout the midwest; his other recital appearances included performances at the Mostly Mozart Festival at Lincoln Center’s Avery Fisher Hall and at Xavier University in Cincinnati. Mr. Yakushev made his debut in 2007 under Michael Tilson Thomas, performing Prokofiev’s piano concertos 1 and 4 as part of that orchestra’s Prokofiev Festival. His performances were included in the San Francisco Chronicle’s top ten classical music events of the year, and prompted a return there in 2009 for Prokofiev’s Third Piano Concerto under Tilson Thomas. His acclaimed recordings include “Prokofiev by Yakushev” and Bach’s Partitas Nos. 1, 2, and 3. Winner of the 2005 World Piano Competition in Cincinnati, Mr. Yakushev received his first award at age twelve as a prizewinner of the Young Artists Concerto Competition in his native St. Petersburg, where he attended the Rimsky-Korsakov College of Music. He subsequently came to New York City to attend Mannes College of Music, where he studied with Vladimir Feltsman. Since 2002 Mr. Yakushev has served as executive director of the International Keyboard Institute and Festival at Mannes, founded and directed by Jerome Rose.

16 The Boston Pops Orchestra (August 24, 2012)

KEITH LOCKHART Theresa Borsodi Trumpets Julian and Eunice Cohen William Rounds Benjamin Wright Boston Pops Conductor Alexei Gonzalez Michael Martin endowed in perpetuity Basses Bruce Hall Richard Kelley JOHN WILLIAMS Lawrence Wolfe Laureate Conductor Benjamin Levy Trombones Todd Seeber Toby Oft First Violins Joseph Holt Stephen Lange Tamara Smirnova Thomas Van Dyck Alexander Velinzon Randall Zigler Bass Trombone Bo Youp Hwang James Markey Flutes Ikuko Mizuno Tuba Jennie Shames Clint Foreman Aza Raykhtsaum Ann Bobo Mike Roylance Bonnie Bewick Piccolo Timpani Tatiana Dimitriades Cynthia Meyers Timothy Genis James Cooke Si-Jing Huang Oboes Percussion Victor Romanul Mark McEwen J. William Hudgins Catherine French Chikao Inomata Daniel Bauch James Gwin Second Violins English Horn Drums Ronan Lefkowitz Robert Sheena Richard Flanagan Nancy Bracken Nicole Monahan Clarinets Harp Wendy Putnam Michael Wayne Jessica Zhou Ian Greitzer Xin Ding Keyboard Glen Cherry Bass Clarinet Bob Winter Jason Horowitz Craig Nordstrom Julianne Lee Guitar Yuncong Zhang Saxophones Jonathan Finn Ala Jojatu Michael Monaghan Electric Bass Violas Gregory Floor Robert Bowlby Michael Rivard Cathy Basrak Dennis Cook Librarians Mark Ludwig Kenneth Reid Michael Zaretsky Marshall Burlingame Rachel Fagerburg Bassoons Principal Rebecca Gitter Richard Svoboda William Shisler Lisa Suslowicz Stevi Caufield Rehncy John Perkel Kathryn Sievers Personnel Managers Nathaniel Farny Contrabassoon Gregg Henegar Lynn Larsen Cellos Horns Bruce M. Creditor Martha Babcock Assistant Personnel Manager Sato Knudsen Richard Sebring Mickey Katz Rachel Childers Stage Manager Mihail Jojatu Jonathan Menkis John Demick Blaise Déjardin Jason Snider Jane Sebring

TANGLEWOODWEEK 8 ARTISTS 17 Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Saturday, August 25, 8:30pm

RAFAEL FRÜHBECK DE BURGOS conducting

ALBÉNIZ “Suite española” (orch. Rafael Frühbeck de Burgos) Castilla Granada Sevilla Asturias Aragon

{Intermission}

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives)

18 FALLA “La vida breve,” Lyric drama in two acts and four tableaux to a by Carlos Fernández Shaw (concert performance) NANCY FABIOLA HERRERA, mezzo-soprano (Salud) CHRISTINA FAUS, mezzo-soprano (Grandmother) CÁTIA MORESO, mezzo-soprano (Carmela) VICENTE OMBUENA, (Paco) GUSTAVO PEÑA, tenor (A Voice in the Forge) ALFREDO GARCÍA HUERGA, baritone (Uncle Sarvaor) JOSEP MIQUEL RAMÓN, baritone (Manuel) PEDRO SANZ, cantaor (Spanish folk singer) ANTONIO REYES, guitarist NÚRIA POMARES ROJAS, Flamenco dancer PABLO SÁINZ VILLEGAS, guitar TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Chorus soloists (Vendors): Yayra Sánchez, soprano Laura C. Sanscartier, soprano Lauren A. Boice, mezzo-soprano Guy F. Pugh, tenor

A synopsis of the opera is on page 22.

Supertitles courtesy of the New York Philharmonic SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA John Geller, supertitles caller David Latham, supertitles technician

Opera activities at Tanglewood are supported by a grant from the Geoffrey C. Hughes Foundation and the Tanglewood Music Center Opera Fund.

This evening’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Bank of America is proud to sponsor the 2012 Tanglewood season.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

TANGLEWOODWEEK 8 SATURDAYPROGRAM 19 NOTES ON THE PROGRAM

Isaac Albéniz (1860-1909) Five movements from “Suite española,” Opus 47 (orch. Frühbeck de Burgos) This is the first Tanglewood performance of this music from Albéniz’s “Suite española” as orchestrated by Rafael Frühbeck de Burgos. The Boston Symphony Orchestra previously performed the present sequence of movements in subscription concerts at Symphony Hall in November/ December 2006. The Catalán composer Isaac Albénzi wrote four movements—Granada, Cataluña, Sevilla, and Cuba—of what would become the Suite española for piano by 1886, and performed them together in that year. The remaining three movements came later: Cádiz, originally published as Serenata española, Opus 181, in 1890; Asturias in 1896 (this was published as the Prelude of Cantos de España, Opus 232), Aragón in 1889 (first published as Jota aragonesa in the Two Spanish Dances, Opus 164), and Castillas in 1896 (published as the fifth movement, Seguidillas, of the Cantos de España, Opus 232). The eight-movement Suite espãnola as we have it today was assembled after the composer’s death. In the mid-1960s Rafael Frühbeck de Burgos orchestrated seven movements of Opus 47, changing the standard order of performance, and replaced the “original” final movement, Cuba, with an orchestration of Córdoba, the fourth movement of the Opus 232 Cantos de España, to keep the geographic subject matter of the suite as a whole confined, as it were, to Spain. Five of the eight movements of the orchestrated suite are being performed in tonight’s concert: Castilla, Granada, Sevilla, Asturias, and Aragón. Albéniz was one of the most brilliant pianists of his day, and although he gave up concertizing by 1890 to concentrate on composing, his skill as a pianist informed most of his output. His important piano works are tone poems inspired by the music and culture of his native Spain, and his use of Lisztian advanced chromatic harmony in tandem with folk-music-inspired melodies and forms helped usher in a modern musical language at the end of the nineteenth century. Along with his younger con- temporaries Debussy and Dukas in France, and later Ravel, Albéniz was a significant figure in what came to be known as musical Impressionism. Having begun lessons at age three, Albéniz made his first public appearance at age four in Barcelona, where the family had settled in his first year. As a child he trav- eled frequently under both good conditions and bad. By age eight he had been taken to Paris by his mother for further study and an attempt to gain entrance to the Paris Conservatoire. (He was thought to be too young.) In 1868 his father arranged a tour of recital concerts for Isaac and his older sister Clementina. His family moved to Madrid in 1869 and he entered the conservatory there, but he ran away the fol- lowing year and for a time made a living as a touring virtuoso (at age ten). After returning to his father’s house he ran away again two years later, this time stowing away to South America and making stops throughout the Western Hemisphere. Albéniz was able to continue working with older teachers sporadically during his nomadic years, but finally spent time on scholarship in Brussels studying composition and piano in the years 1877-79. In the ensuing years he resumed touring, conducted a touring zarzuela troupe, and continued studying composition, all the while prolifi- cally turning out music for piano. He moved to London in 1890, virtually stopped giving public concerts, and concentrated on music drama, writing several operatic works including The Magic Opal and Pepita Jiménez. He moved to Paris in 1893 and lived most of the rest of his life in France. He suffered for some time from kidney

20 disease, and died just shy of his forty-ninth birthday in 1909. In his last years he undertook what would become his best-known and arguably most important work, the formidably difficult, kaleidoscopically colorful Iberia, a suite of impressionistic piano pieces in four books, which rivals Ravel’s most brilliant piano music. Like Ravel’s, Albéniz’s piano music contains within it an already surpassingly rich textural and harmonic palette, while at the same time offering a strong temptation for the would-be orchestrator. Even such relatively early pieces as those contained in the Suite española contain pianistic distillations of a variety of dances and instruments of Albéniz’s native country—dances perhaps first heard on guitar, with clapping accompaniment, or in some other impromptu collection of instruments. The emi- nent conductor Rafael Frühbeck de Burgos, orchestrating these pieces in the 1960s, draws on a Ravel-sized ensemble for these coloristic translations. Note that the per- cussion section includes many of the instruments one would expect to hear in the original forms of these dances and character pieces, such as castanets, tambourine, and drums. The first movement of the five-movement suite performed at these concerts is named for the Castile region of central Spain. This movement is a seguidilla, a type of dance with a quick triple-meter rhythm and short melodic phrases. Note the characteristic use of castanets here. Granada is a sweet serenata, or night-piece. The flute melodies central in the piece have a slightly exotic, ornamented quality redolent of Arab- influenced Andalusia. Listen also for the call-and-response trading of the melody between strings and brass. The Sevilla movement (from another Andalusian city, Seville) is another dance form, a sevillana, which is a relative of the seguidilla but with a quicker underlying pulse and a somewhat lustier quality here. The Asturias movement is named for the coastal province in the northwest corner of Spain. This music (labeled “leyenda,” or legend) is best-known in its transcription for guitar by Francisco Tarréga. Quick, dance-tempo sections are separated by melismatic, sus- pended melodies. Aragón is named for the region in northeast Spain, bordering Catalonia on the east and France on the north, with its northern area within the Pyrenees. This fantasia movement begins with another quick triple-meter dance, which alternates with a warmly orchestrated song of comfortable longing.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

TANGLEWOODWEEK 8 SATURDAYPROGRAMNOTES 21 “LA VIDA BREVE”: The Story of the Opera Act I Tableau 1: The setting is a gypsy colony, the Albaicín, in the city of Granada in 1900. At one side there is a forge, from which singing is heard from time to time, and at the back a gate leading to the street. The grandmother is feeding her birds. The smiths and the grandmother are full of foreboding. Street sellers are heard calling their wares. Salud comes in, anxiously awaiting her fiancé, Paco. Her grand- mother reassures her that he’ll come and goes out to watch for him. Alone, Salud sings a plaintive aria (“Vivan los que rien! Mueran los que lloran!”) about the pains of love and the certainty of death: “Life for the poor who suffer is bound to be short.” The grandmother returns to tell her that Paco is coming. He enters, and the lovers sing a duet vowing fidelity to each other. But old Uncle Sarvaor comes in muttering furiously that he is going to kill Paco, because he is to marry a girl of his own stand- ing—rich, too—the very next day. Voices from the forge are full of foreboding. Tableau 2: The scene opens up with a view of the city of Granada. Night falls. No words are sung, only distant vocal echoes over the evocative strains of the orchestra. Act II Tableau 1: At one side of a street is the house of Manuel and his sister Carmela, whose marriage to Paco is being noisily celebrated. A singer strums his guitar and sings an Andalusian song for the guests. A dance follows. Salud approaches and watches the dancing through the window in despair. She is determined to confront Paco and is about to go into the house when her grandmother and Uncle Sarvaor appear. They comfort Salud and pour curses upon Paco. Salud and Sarvaor are determined to go in, but the grandmother hangs back. Tableau 2: Over melancholy Spanish rhythms the scene changes to the patio of Manuel and Carmela’s house, where the guests are still singing and dancing. Paco is disturbed at having heard Salud’s voice. Salud and Sarvaor enter, Sarvaor insisting that he is there to sing and dance, while Salud protests that she is not there for that; she has come to tell Paco that he has betrayed her and caused her death. With a few despairing cries she staggers and falls dead, while her grandmother calls to her through the window grill.

A tangle of traffic at the Main Gate of Tanglewood in the 1950s (BSO Archives)

22 Manuel de Falla (1876-1946) “La vida breve,” Lyric drama in two acts and four tableaux to a libretto by Carlos Fernández Shaw First performance: (in French) April 1, 1913, Municipal Casino, Nice; (in Spanish) November 14, 1914, Madrid. Only previous BSO performances: March/April 2002 at Symphony Hall, Rafael Frühbeck de Burgos cond.; July 25, 2003, at Tanglewood, Rafael Frühbeck de Burgos cond. Of the group of composers that led the renaissance of Spanish music around 1900, Manuel de Falla was in many ways the most accomplished. Albéniz had an extraordi- nary career as a virtuoso pianist and composed magnificently for his instrument; Turina’s works, though fine, have fallen into sad neglect; Granados, his life tragically cut short by World War I, left too little to be considered alongside the great masters of the time, but nonetheless wrote a handful of precious, enduring pieces. Falla, too, composed relatively little, but he lived to a full age and was highly respected both inside and outside of Spain, particularly in France, which for many years he regarded as his second home. He was born into a well-to-do family in the port of Cadiz. From about age thirteen he traveled to Madrid to study piano at the Conservatory; the family moved to Madrid in 1896. Falla composed assiduously and in 1902 took his work to Felipe Pedrell, one of the leading musicians in Spain and certainly the foremost teacher; he also taught Albéniz and Granados. Pedrell gave Falla confi- dence in using Spanish, especially Andalusian, folk idioms in his music, and he also acquired an up-to-date technique based on the latest European models. By 1904, after a series of zarzuelas* and lighter pieces, most of which were never performed, he was ready to embark on his first opera in response to a competition organized by the Royal Academy of Arts. This was to be La vida breve, begun in August 1904 and completed in March 1905. The librettist was Carlos Fernández Shaw, who fashioned a text in two acts from his poem “El Chavalillo,” which had caught Falla’s attention in the magazine Blanco y negro shortly before. In November of the same year the Academy awarded Falla the first prize. In La vida breve Falla contributed to the current fashion for strong realistic drama in the manner of Mascagni and Puccini, but he also had a receptive ear for Wagner and Debussy. It was both a distinctively Spanish opera as well as an up-to-date cosmo- politan one. Unfortunately the prestigious award from the Spanish Royal Academy did not procure a performance, which was one of the disappointments that led to Falla’s decision to try his fortune elsewhere. He set out for Paris, encouraged by his friend and compatriot Joaquín Turina, who was already there. The seven years he spent there enormously enriched his musical language, and he became friendly with Debussy, Ravel, and many other French musicians. He was able to refine the scoring of his opera in the light of consultations with Debussy and Dukas, and he also won an opportunity to see it staged. This was in the Municipal Casino in Nice in April 1913, sung in French. Falla spent three months in Nice, full of anxiety about how the opera would actually sound. He had never heard any of his pieces played by an orchestra other than a sin- gle zarzuela many years before. In fact it went well and was well received. Falla was

*Zarzuela is a Spanish form of musical theater that employs singing, dancing, and spoken dialogue. It originated in the mid-seventeenth century as a purely Spanish genre but was later influenced by aspects of Italian operatic style and of the French opéra-comique.

TANGLEWOODWEEK 8 SATURDAYPROGRAMNOTES 23 able to write both to Pedrell and to Fernández Shaw’s widow that it was a success. It was staged shortly after at the Opéra-Comique, Paris. After the staging of La vida breve, his most productive period followed. The ballet El amor brujo was staged in Madrid in 1915, where Falla had returned in 1914 at the outbreak of war, and his Nights in the Gardens of Spain for piano and orchestra was first performed there in 1916. The ballet El sombrero de tres picos appeared in London in 1919 with Diaghilev’s company, and his puppet opera El retablo de Maese Pedro was performed in Paris in 1923. During the Spanish Civil War, which caused him intense suffering, he lived in Granada, a city he had known nothing about when he chose it as the setting of La vida breve. Later he moved to Argentina to work for the Institu- ción Cultura Española in Buenos Aires, where he spent the duration of World War II and where he died. He left a great number of works unfinished, including a vast ora- torio Atlántida, on which he worked intermittently for twenty years. Falla was a highly fastidious composer who completed relatively few works. He was reticent in character and he kept his thoughts to himself. Stravinsky described Falla’s nature as “the most unpityingly religious I have ever known.” He was short and slight, with a heavy moustache (in early life), bald head, and bow tie. A friend described him as “a weak figure, with two broken teeth, always wearing a well-worn, but very

24 smart black suit, complimented by a black tie.” Falla did not have the look of an extraordinary person. If truth be told, he looked more like a domestic delivery boy or a monastery verger. He spoke little and about things of no interest, smiling once in a while, showing the gaps in his teeth. This man had a hard shell of timidity and coldness, inside which a great soul burned. He was a lonely individual who worked patiently and self-critically, and was not easily distracted by fads and fashions. It is often remarked that the rhythms and flavor of Spanish music are easy to imitate, which is one reason why they have had such strong appeal for non-Spanish com- posers from Glinka to Chabrier. But to blend the Spanish idiom with a sophisticated craft of composition takes much more skill, and in this domain Falla was a master. His harmony is far richer than the conventionally strummed chord sequences that lie so well on the guitar, and his orchestration is refined and subtle. Although he was never interested in forging a new language or overturning the traditions of the nine- teenth century, rich ninth-chords are reminiscent of Debussy or Puccini, and the detail in his scores repays intense listening and close study, as it might in a work by Ravel or Stravinsky. Falla explained that he had four aims in composing La vida breve. Firstly, to create a real Spanish opera, for which no tradition existed; second, to compose the music from a series of popular songs and dances; third, to try to evoke feelings of joy, hope, and torment linked to images of places, moments, and landscapes; fourth, to make enough money to live on! The dramatic elements of La vida breve are rather unusual. The opera’s two acts last about an hour, which does not endear it to opera companies who prefer either full- length works or short pieces that can make up a double bill. Carlos Fernández Shaw, the librettist, had some experience in zarzuela but not in more serious drama, and

TANGLEWOODWEEK 8 SATURDAYPROGRAMNOTES 25 he seems to have been unwilling to explore any characters in depth other than Salud, whose fate is certainly at the center of the drama. The men remain secondary characters, and the libretto leaves a great deal unsaid, whether intentionally or not. It was left to Falla to fill out the action with lengthy orchestral sections, most notably in the entire second tableau of Act I, which simply and poetically portrays nightfall over Granada. A great deal is sung offstage. From within the forge in Act I we hear the constant refrain “Malhaya el hombre que nace con negro sino. Malhaya quien nace yunque, en vez de nacer martillo!” (“Woe to those born under an evil star, woe to those who are born anvils not hammers!”). In the first scene of Act II, similarly, the wedding guests are heard but not seen. Falla’s inexperience in the field of opera is revealed in some slow pacing and in his reliance on unseen sounds. His technique, in short, relies a great deal on the imagination, which makes this a very suitable work for concert performance, where pace and location matter less. Being familiar with Charpentier’s evocation of the city of Paris in his Louise, first performed in 1902, Falla attempted something similar for the city of Granada in La vida breve with the intermittent cries of street singers and a musical representation of the city. There is an unmistakable nobility of purpose in Falla’s setting of this libretto, em- bodied in his desire to represent an image of Spain brought to life by music. Burnett James has summed this up well in his evaluation of La vida breve: “The simplicities of the ‘plot’ are in the end overridden by the totality of the creative force that went into the whole conception and its execution which, while it was unquestionably immature, was no less unquestionably authentic in feeling and intention.”

HUGH MACDONALD Hugh Macdonald is Avis Blewett Professor Emeritus of Music at Washington University in St. Louis and principal pre-concert speaker for the Saint Louis Symphony Orchestra. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO.

Guest Artists

Rafael Frühbeck de Burgos A regular guest with North America’s notable orchestras, Rafael Frühbeck de Burgos conducted the major ensembles of Boston, Cincinnati, Pittsburgh, Philadelphia, Los Angeles, St. Louis, and Montreal in the 2011-12 season, also returning to the New York Philharmonic for the fourth time since 2005. He appears annually at Tanglewood, where he conducts both the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, and regularly with the National Symphony, Chicago Symphony, and Toronto Symphony orchestras. Born in Burgos, Spain, in 1933, Rafael Frühbeck de Burgos studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid, and conducting at ’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic; in the 2012-13 season he will assume his post as chief conductor of the Danish National Orchestra. He has made extensive tours with such ensembles as the Philharmonia of London, the London Symphony Orchestra, the National Orchestra of Madrid, and the Swedish Radio Orches- tra, and has toured North America with the , the Spanish National

TANGLEWOODWEEK 8 GUESTARTISTS 27 Orchestra, and the Dresden Philharmonic. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, among them the Gold Medal of the City of Vienna, the Bundesverdienstkreutz of the Republic of Austria and Germany, the Gold Medal from the Gustav Mahler International Society, and the Jacinto Guerrero Prize, Spain’s most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Rafael Frühbeck de Burgos was appointed Emeritus Conductor by the Spanish National Orchestra. He has received an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando. Rafael Frühbeck de Burgos has recorded extensively for EMI, Decca, Deutsche Grammophon, Columbia (Spain), and Orfeo, including acclaimed releases of Mendelssohn’s Elijah and St. Paul, Mozart’s Requiem, Orff’s Carmina burana, Bizet’s , and the complete works of Manual de Falla. This summer, as well as conducting the Boston Symphony Orchestra’s last two concerts of the Tanglewood season this weekend, he was also on the Shed podium last Sunday afternoon for the Tanglewood Music Center Orchestra’s annual Leonard Bernstein Memorial Concert. He will return to the Symphony Hall podium for two weeks of BSO subscription concerts in February and March 2013, leading music of Stravinsky, Haydn, Hindemith, Rachmaninoff, and Bartók.

28 Nancy Fabiola Herrera Spanish mezzo-soprano Nancy Fabiola Herrera makes her Tanglewood and Boston Symphony Orchestra debuts in this concert. Ms. Herrera’s acclaimed performance of the title role in Carmen has taken her to the House in New York, Covent Garden in London, the Verona Arena, Deutsche Oper in Berlin, the Terme di Caracalla, , and to Tokyo, Tel Aviv, Dresden, Quincena Musical de San Sebastian, La Coruña, and Jerez, among other cities. Recent and upcoming engagements as Carmen include Las Palmas de Gran Canaria, the Masada Festival (under Daniel Oren), and the Bayerische Staatsoper in Munich. Other in her repertoire include Anna Bolena (Jane Seymour; with the Barcelona Opera Company), Il postino (in its world premiere in Los Angeles and soon in Santiago, Chile), Samson et Dalila (Manaos), Les Contes d’Hoffmann (Paris and Seattle), L’italiana in Algeri (Las Palmas, Jerez, and Kansas City), (Las Palmas and soon in Oviedo with José Bros), Norma (Adalgisa; Mont- pellier Opera), and (Metropolitan Opera and La Bastille in Paris), as well as lead roles in The Rake’s Progress, , I Capuleti ed i Montecchi, Die Fledermaus, and Pique Dame, among others. Also a proponent of zarzuela, she performs works in that genre and in recent seasons has recorded Luisa Fernanda (with Plácido Domingo) and La Bruja (with José Bros). She recently premiered her show Gitanas at the Pérez Galdós Theatre in Las Palmas, Gran Canaria, and at Madrid’s Teatro de La Zarzuela, featuring music from the operatic, zarzuela, and symphonic repertoire. Ms. Herrera trained at the Las Palmas Conservatory, the Madrid Royal Conservatory, the Juilliard School of Music in New York, and at the Academy of Vocal Arts in Philadelphia, where she is now on the board of directors. Her many honors include the 2010 Plácido Domingo Award for her performance of Carmen in Los Angeles. She has recorded for Detusche Grammophon, Opus Arte, Columna Música, ASV Living Era, Arte Nova, and Naxos.

Cristina Faus Making her Tanglewood and Boston Symphony Orchestra debuts with this concert, Cristina Faus was born in Valencia, Spain, and studied singing with Ana Luisa Chova, graduating with honors. She subsequently attended master classes with Elena Obratzowa, Renata Escotto, Montserrat Caballé, Bruno de Simone, Robert Expert, Miguel Zanetti, Alejandro Zabala, and Wolfgang Rieger, among others. First prize-winner at the Toti dal Monte International Singing Competition in Treviso, she has performed at the important Spanish concert halls and houses, and has participated in the Rossini Festival in Pessaro, and appeared at the Teatro de , and performed on a Japanese tour through Tokyo and Osaka. She has collaborated with such renowned conductors such as Lorin Maazel, , Antoni Ros Marbà, Manuel Galduf, Enrique García Asensio, Alberto Zedda, Maximiliano Stefanelli, Giancarlo Andretta, among others. Her varied operatic repertoire encompasses Alcina, Falstaff, Il barbiere di Siviglia, Martín y Soler’s L’arbore di Diana, Le nozze di Fígaro, Così fan tutte, Rigoletto, , and La sonnambula, among others. In her concerto and oratorio repertoire are multiple Bach cantatas as well as the Magnificat, Saint John Passion, and Saint Matthew Passion, Vivaldi’s Gloria, Buxtehude’s Membra Jesu Nostri, Pergolesi’s Stabat Mater, Mozart’s Requiem, Dvoˇrák’s Requiem, Saint-Saëns’s Christmas Oratorio, and Mahler’s Das Lied von der Erde, among many other works. Recent and upcoming engagements include Beethoven’s Ninth Symphony in Madrid, Rosina in Il barbiere di Siviglia in Murcia, Suzuki in Madama Butterfly with Opera de Colombia, La Chulapona in concert at Madrid’s Teatro de la Zarzuela, Carnicer’s Cristóforo Colombo in Seville’s Teatro de la Maestranza, La vida breve in concert at the Palau de la Música de Valencia

TANGLEWOODWEEK 8 GUESTARTISTS 29 under Yaron Traub, and with the Toronto Symphony Orchestra, Philarmonica Orches- tra, and Boston Symphony under Frühbeck. Cristina Faus has recorded for Deutsche Grammophon and NHK, and recently recorded a DVD of Luigi Boccherini’s zarzuela La clementina.

Cátia Moreso Born in , Cátia Moreso, who makes her Boston Symphony Orchestra and Tanglewood debuts with this concert, is a trainee of London’s National Opera Studio, supported by Lionel Antony, Maria Mateus, and the Gulbenkian Foundation. She graduated with distinction from the Guildhall School of Music and Drama under the tutelage of Susan Waters, supported by the Gulbenkian Foundation, Worshipful Company of Haberdashers, and Music Students’ Hostel Trust. She has been a prizewinner in such competitions as the Primeiro Concurso de Canto Lírico da Fundação Rotária Portuguesa, Concurso de Canto Luisa Todi, Segundo Concurso de Canto Lírico da Fundação Rotária Portuguesa, and Prémio José Augusto Alegria in . Concert performances include Vivaldi's Gloria and Magnificat, Pergolesi's Stabat Mater and Magnificat, Bach's Magnificat, Mozart’s Requiem, and Rossini’s Stabat Mater and Petite messe solennelle. Performances of contemporary works include the world premiere of Cristopher Boch- mann’s Cicero Dixit, Ligeti’s Aventures, and Berio’s Folksongs. Opera roles include Eva in Martin˚u’s Comedy on the Bridge, the Second Witch and Spirit in Purcell’s Dido and Aeneas, the Page in Strauss’s Salome (Teatro Nacional de São Carlos), Giovanna in Verdi’s Rigoletto (Óbidos), La Baronne in Massenet’s Cherubin, Elisa in Almeida’s La Spinalba, the Prioress in Poulenc’s Dialogues des carmélites (Guildhall School of Music and Drama), and Proserpina in Oliver’s Euridice (BYO). Recently she joined the Glyndebourne Opera Festival Chorus for Don Giovanni and Die Meistersinger. Recent and future engagements include Bruckner’s Mass No. 3 with the Gulbenkian Orchestra, and the role of Dianora in the first recording of La Spinalba.

Vicente Ombuena Born in Valencia, Spain, Vicente Ombuena began studying the piano and singing in Valencia’s Conservatory. In 1988 he won first prize in the XXVI Edition of the “Fran- cisco Viñas” International Singing Competition, as well as the award to the best tenor, given by Plácido Domingo. For two years Mr. Ombuena was a member of the Opera de Mainz, where he expanded his repertoire of opera, oratorio, and symphonic works. Since his 1994 debut at the Teatro alla Scala in Milan in Don Pasquale conducted by Riccardo Muti, he has performed in the world’s major opera houses, including the Staatsoper of Munich, Hamburg and Berlin, London’s Covent Garden, and in such cities as Amsterdam, Tel Aviv, Copenhagen, Chicago, Strasbourg, and Hong Kong. He has collaborated with prominent conductors in both opera and symphonic concerts, including Claudio Abbado, Daniel Barenboim, Riccardo Chailly, Sir Colin Davis, Rafael Frühbeck de Burgos, Luis Antonio García Navarro, Miguel Ángel Gómez-Martínez, Antoni Ros Marbà, , Marcello Viotti, Pedro Halffter, and Juanjo Mena, among others. Vicente Ombuena’s repertoire includes Don Pasquale, Rigoletto, La traviata, La bohème, Falstaff, Otello, Nabucco, and Simon Bocanegra, as well as Verdi’s Requiem, Beethoven’s Symphony No. 9, Rossini’s Stabat Mater, and Puccini’s Messa di Gloria. Career highlights include his performance of Falla’s La vida breve with the New York Philharmonic and Rafael Frühbeck de Burgos at Avery Fisher Hall, and his Boston Symphony performances of La vida breve, also with Rafael Frühbeck de Burgos, at Symphony Hall in March/April 2002 and at Tanglewood in July 2003, his only previous

30 BSO appearances. Among his many recordings are La traviata, Franchetti’s Cristoforo Colombo, Puccini’s La fanciulla del West, Verdi’s Requiem, and a CD of the “Gala de Jóvenes Cantantes. ”

Gustavo Peña Gustavo Peña makes his Boston Symphony Orchestra and Tanglewood debuts in this concert. Born in Las Palmas de Gran Canaria (Canary Islands), Gustavo Peña began his vocal studies in his city’s Superior Conservatory with Mario Guerra. Moving to Santa Cruz de Tenerife, he obtained degrees there under the direction of María Orán, subsequently studying with Miguel Zanetti, Alejandro Zabala, Félix Lavilla, and Wolfram Rieger. In 2002 he won first prize in the Cajacanarias Regional Singing Contest. Mr. Peña has sung at such important festivals as Music Festival of Canary Islands, Mozart Festival of La Coruña, Robecco Summer- festival (Amsterdam), and with Opera Bilbao, Teatro Real, Teatro Liceo, Teatro de la Zarzuela, and Teatro de la Maestranza in Sevilla, as well as concerts with the major orchestras of Spain. His wide repertoire encompasses early music to contemporary works, in opera (Monteverdi, Mozart, Bizet, Puccini, Strauss, Berg, Falla, Janáˇcek, and Halffter, among others), oratorio (Handel, Haydn, Mozart, Bruckner, Rossini, and Beethoven), symphonic works (Falla, Beethoven, Britten, Mendelssohn, Fauré, Schumann), and zarzuela. Career highlights include engagements with the Staatsoper unter den Linden in Berlin, his debut at the Teatro de la Zarzuela in leading roles in Leonardo Balada’s chamber operas Hangman, Hangman! and The Town of Greed, and recording Misereres with the Orquesta Ciudad de Granada. Gustavo Peña has collaborated with such international orchestras as the Freiburger Barokorches- ter, Dutch Radiokammer Orchester, Berlin Staatskapelle, Akademie für Alte Musik Berlin, New York Philharmonic, San Francisco Symphony, Danish National Orchestra, Israel Philharmonic, Dresden Philharmonic, Greece’s Orquesta Nacional, and the most important Spanish orchestras and chamber ensembles. He has performed under many prestigious conductors including Daniel Barenboim, Bertrand de Billy, René Jacobs, Rafael Frühbeck de Burgos, Semyon Bychkov, Charles Dutoit, and Günter Neuhold, among others, as well as most of the Spanish conductors. His recordings for Decca include Francisco Escudero’s opera Gernika with the Orquesta Sinfónica de Euskadi under José Ramón Encinar.

Alfredo García Madrid-born baritone Alfredo García makes his Boston Symphony Orchestra and Tanglewood debuts in this concert. Mr. García began his musical studies at the Real Conservatorio Superior de Música and at the Escuela Superior de Canto, obtaining an Honorable Mention Award of Extraordinary Careers. He completed his training at the prestigious Hochschule für Musik in Darstellende. He received scholarships in Spain and Austria to continue his studies in Vienna. His operatic repertoire includes important roles in operas by Verdi, Mozart, Britten, Falla, and Schubert, as well as zarzuelas by Barbieri, Sorozábal, and Chapí, among many others. He has performed in important European, American, and Asian theaters and concert halls, among them the Staatsoper and Karajan Centre in Vienna, Tokyo’s Suntory Hall, Frederic R. Mann Auditorium in Tel Aviv, Madrid’s Auditorio Nacional de Música, and Avery Fisher Hall in New York. Highlights of recent seasons include singing Mozart’s Missa Brevis for Pope Benedict XVI during his recent visit to Santiago de Compostela, Beethoven's Ninth Symphony in Lisbon with the Lisbon Metropolitan Orchestra under Cesario Costa, Falla’s Master Peter’s Puppet

TANGLEWOODWEEK 8 GUESTARTISTS 31

Show with the Orchestra Enigma, Dallapiccola’s Il prigionero at Seville’s Teatro de la Maestranza, a world tour of Falla’s La vida breve under Rafael Frühbeck de Burgos, recitals at the Wiener Festwochen, and Schubert’s Alfonso und Estrella with the Moscow Virtuosi. He has premiered operas by José Luis Turina (Don Quijote in Barcelona), Tomás Marco (El caballero de la triste figura), Gazzaniga (Don Giovanni), and Halffter (Lázaro). His concert repertoire ranges from Monteverdi to Bernstein, and includes such great Romantic composers as Mahler, Franck, and Brahms. Mr. García has worked under such acclaimed conductors as Josep Pons, Adrian Leaper, José Ramón Encinar, Anthony Beaumont, Semyon Bychkov, Rafael Frühbeck de Burgos, and Cristóbal Halffter, among others. He has collaborated with many international orchestras including the Savaria Symphony Orchestra, Dresden Philharmonic, New York Philharmonic, Israel Symphony Orchestra, and the major Spanish orchestras.

Josep Miquel Ramón Baritone Josep Miquel Ramón makes his Boston Symphony Orchestra and Tanglewood debuts in this concert. Born in Alboraia (Valencia), Mr. Ramón studied voice at the Conservatioro de Valencia under Ana Luisa Chova and later with Aldo Baladin, Juan Oncina, and Felisa Navarro. He is a member of such ensembles as Gerard Lesne’s II Seminario Musicale and Jordi Savall’s La Capella Reial de Catalunya, with which he has performed at the most prestigious European halls and festi- vals, as well as recorded on several occasions. He has performed with most of the leading Spanish symphony orchestras, and has also collaborated with such international ensembles as the Orchestra Santa Cecilia di Roma, Orchestra Nazionale de la RAI in , New York Philharmonic, and Israel Philharmonic, among others. He has worked under the batons of Harry Christophers, Robert King, Sir Neville Marriner, Andrew Parrott, and René Jacobs, among others, and most of the notable Spanish conductors. His operatic repertoire encompasses Purcell’s Dido and Aeneas, Pergolesi’s La serva padrona, Le nozze di Figaro, Die Zauberföte, Don Giovanni, La bohème, L’elisir d’amore, La Cenerentola, and Rodrigo’s El hijo fingido, among others. In addition, he has sung Handel’s Messiah, Judas Maccabaeus, and Alexander’s Feast, Mozart’s Requiem, Haydn’s Creation, Bach’s St. John Passion, and Beethoven’s Ninth Symphony. Mr. Ramón has appeared in such festivals as the International Music Festival in Santo Domingo and the Festival Internacional Cervantino, as well as in sea- sonal concerts all over Spain. He has toured the United States and Israel under the baton of Rafael Frühbeck de Burgos performing Falla’s La vida breve.

Pedro Sanz Pedro Sanz was born in Madrid into a family not connected to the world of flamenco, but this did not prove to be an obstacle to his success. At age sixteen he made his debut at Madrid’s Teatro Alcazar, soon undertaking vocal training with the Argentine singer Olga Manzano. Despite being basically self-taught in flamenco, Mr. Sanz entered Madrid’s flamenco circles, making contact with both great masters and fans of the art. Soon after, he made debuts in various Tablaos Flamenco, winning the 1995 Cante Flamenco “La silla de oro” in Madrid. As a result, he was given the opportunity to sing for such great figures as Blanca del Rey, Tomás de Madrid, Miguel Sandoval, La Tati, Joaquín Ruiz, Compañía El Flamenco Vive, María Juncal, Joselito Fernández, Soraya Clavijo, Inmaculada Ortega, José Barrios, Belén Lopez, Rafael Peral, and Juan Andrés Maya, and with promising newcomers in the flamenco dance community. Singing the antique forms and following the more traditional schools of flamenco, Mr. Sanz has shared the stage with such notable artists as José Menese, El Yunque, El Loreño,

TANGLEWOODWEEK 8 GUESTARTISTS 33 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives)

34 Capullo de Jerez, Chano Lobato, Chaquetón, Fosforito, and Arcángel. He was the spokesperson for the record company Flamenco en el Foro. His CD Yunque, martillo y estribo received favorable reviews, and he also collaborated in the recording of the educational CD/book Cante por cante and on a recording with Axivil Aljamia, a group specializing in ancient Andalucían music. With El Flamenco Vive, he collaborates on festival presentations and DVDs for children. With La Compañía de Blanca del Rey, he works throughout Spain and in the festivals “Veranos de la Villa” and “Flamenco pa’ tos.” With flamenco critic Manuel Moraga, he participates in the conference series titled “Introducción al sentir Flamenco” (“Introduction to feeling Flamenco”). Recently Mr. Sanz appeared in ’s Gypsy Festival, sharing the stage with the Gypsy Queen Esma of Macedonia. He regularly appears in Falla’s La vida breve under Rafael Frühbeck de Burgos in the United States and Europe.

Núria Pomares Born in Madrid, Núria Pomares made her professional debut in 1991 at Lincoln Center in New York. She danced with the company of José Antonio and the Spanish Ballets in the show Aires de Villa y Corte and for four years appeared with Joaquín Cortés in several shows, including the acclaimed Gypsy Passion, dancing in such venues as London’s Royal Albert Hall, New York’s Radio City Music Hall, Luna Park in Buenos Aires, Tokyo Forum, and the Spoleto Festival. In 1992 she partic- ipated in the international conference “La Danza y lo Sagrado.” Núria Pomares has danced at several festivals, including the Gala de Estrellas of Madrid’s Autumn Festival and the Opera Festival in A Coruña, and as a soloist with the National Spanish Ballet. First dancer in Granados’s Goyescas and Falla’s La vida breve, she has also danced in Robert Gerhard’s La dueña at the Teatro de la Zarzuela and at the Gran Teatre del Liceu. In 2003 she created her own compa- ny with the show Al son de tí, which she also choreographed. Since 2003 she has danced

TANGLEWOODWEEK 8 GUESTARTISTS 35 in La vida breve under Rafael Frühbeck de Burgos in performances with the Boston Symphony Orchestra, Dresden Philharmonic, Oslo Philharmonic, Orchestra Della RAI, Orchestre de Paris, Israel Philharmonic, New York Philharmonic, and the DR SymfoniOrkestret of Copenhagen, and at the Mariinsky Theatre in St. Petersburg. She has also danced El sombrero de tres picos with the Kölner Philharmonie and Norway’s Kristiansand Symphony Orchestra. She appeared in Plácido Domingo’s 2009 show From my Latin Soul at Washington Opera, joining him again for a 2011 Valentine’s Day concert with the New York Philharmonic, performing also in Texas, Puerto Rico, and Peralada. In 2010 she participated in the 75th Anniversary Gala of the Israel Philhar- monic with Zubin Mehta. She participated in the closing concert of Festival Casals with the Orquesta Sinfónica de Puerto Rico and Maximiano Valdés and danced at Madrid’s Teatro Real in a tribute to García Lorca. Núria Pomares previously appeared with the Boston Symphony Orchestra at Symphony Hall in March/April 2002, also in Falla’s La vida breve under the direction of Rafael Frühbeck de Burgos.

Pablo Sáinz Villegas Making his Tanglewood and Boston Symphony Orchestra debuts with this concert, Spanish guitarist Pablo Sáinz Villegas quickly established himself as one of the world’s leading classical guitarists by winning the Gold Medal at the first Christopher Parkening International Guitar Competition in May 2006. His prizewinning per- formance with the Los Angeles Chamber Orchestra has led to concerts in more than thirty countries, including his four-performance debut with the New York Philharmonic under Rafael Frühbeck de Burgos and two subsequent engage- ments with that orchestra at Avery Fisher Hall. Mr. Sáinz Villegas made his Houston Symphony debut under Alondra de la Parra, with whom he again col- laborated for a Sony recording with the Philharmonic Orchestra of the Americas. In June 2009 he completed a twelve-concert tour with the Israel Philharmonic in Israel under Maestro Frühbeck. Among his other orchestral highlights are appearances with noted orchestras in the UK, Spain, Russia, Denmark, France, Brazil, Turkey, Mexico, Austria, and the United States. Worldwide recitals have earned him return engagements in Moscow’s Tchaikovsky Concert Hall and Philharmonic Hall in St. Petersburg. Recent and upcoming recital appearances take him to Europe, Central America, South America, North America, and Asia. Born in Spain, but now living in New York City, Pablo Sáinz Villegas recently won Spain’s prestigious “El Ojo Critico” Award (the Critics Eye). Only one per year is given in the field of classical music, and this is the first time the award has ever been presented to a guitarist. Prior to winning the Parkening Competition, Mr. Sáinz Villegas was already the recipient of more than thirty international awards, including the Andrés Segovia Award. Known for his out- reach programs, he is the founder of “The Music Without Borders Legacy,” a program that seeks to leverage the inspirational power of classical music to bridge communities across cultural, social, and political borders for the benefit of children and youth.

To read about John Oliver and the Tanglewood Festival Chorus, see pages 56-58.

36 Tanglewood Festival Chorus John Oliver, Conductor (Falla La vida breve, Saturday, August 25, 2012)

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

Carol Amaya • Michele Bergonzi # • Jeni Lynn Cameron • Catherine C. Cave • Stephanie Chambers • Sarah Dorfman Daniello # • Adrianne Fedorchuk • Kaila J. Frymire • Jean Grace • Julia Grizzell • Bronwen Haydock • Stephanie Janes • Polina Dimitrova Kehayova • Donna Kim • Sarah Kornfeld • Barbara Abramoff Levy § • Suzanne Lis • Sarah Mayo • Kathleen O'Boyle • Jaylyn Olivo • Nicole Marie Rodriguez • Melanie Salisbury # • Yayra Sánchez • Laura C. Sanscartier • Johanna Schlegel

Mezzo-Sopranos

Virginia Bailey • Betty Blanchard Blume • Betsy Bobo • Lauren A. Boice • Abbe Dalton Clark • Diane Droste • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman * • Irene Gilbride # • Betty Jenkins • Irina Kareva • Yoo-Kyung Kim • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Tracy Elissa Nadolny • Roslyn Pedlar # • Ada Park Snider * • Lelia Tenreyro-Viana • Michele C. Truhe • Martha F. Vedrine • Sara Weaver • Tibisay Zea

Tenors

Brad W. Amidon • John C. Barr # • Adam Kerry Boyles • Felix M. Caraballo • Chad D. Chaffee • Stephen Chrzan • Tom Dinger • Len Giambrone • J. Stephen Groff # • Stanley G. Hudson # • James R. Kauffman # • Thomas Kenney • Jordan King • Michael Lemire • Henry Lussier § • Dwight E. Porter * • Guy F. Pugh • Peter Pulsifer • Tom Regan • David Roth • Joshuah Rotz • Blake Siskavich • Peter L. Smith

Basses

Scott Barton • Daniel E. Brooks # • Stephen J. Buck • Marc DeMille • Mark Gianino • Alexander Goldberg • Jim Gordon • Jay S. Gregory # • Mark L. Haberman # • Geoffrey Herrmann • Marc J. Kaufman • Will Koffel • Bruce Kozuma • Devon Morin • Eryk P. Nielsen • Stephen H. Owades § • Dale Peak • Bradley Putnam • Sebastian Rémi • Peter Rothstein * • Jonathan Saxton • Kenneth D. Silber • Scott Street • Bradley Turner # • Terry L. Ward

Mark B. Rulison, Chorus Manager Martin Amlin, Rehearsal Pianist Matthew A. Larson, Rehearsal Pianist Felix M. Caraballo, Language Coach Abbe Dalton Clark, Language Coach Yayra Sánchez, Language Coach

TANGLEWOODWEEK 8 GUESTARTISTS 37 Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Sunday, August 26, 2:30pm SUPPORTED BY UNITED AIRLINES

RAFAEL FRÜHBECK DE BURGOS conducting

HARBISON “Koussevitzky Said:,” Choral Scherzo with Orchestra (2012) (world premiere; commissioned by the Boston Symphony Orchestra through the generous support of the New Works Fund established by the Massachusetts Cultural Council, a state agency) I. Presto (“The next Beethoven…”)— II. Maestoso (“I am an American citizen…”)— III. Tempo I (“If not in tune…”) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Text begins on page 45.

Serge Koussevitzky conducting the BSO at Tanglewood (BSO Archives)

38 BEETHOVEN Symphony No. 9 in D minor, Opus 125

Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo I— Presto—Tempo I Adagio molto e cantabile—Andante moderato— Tempo I—Andante—Adagio Presto—Allegro ma non troppo—Vivace— Adagio cantabile—Allegro moderato— Allegro—Allegro assai—Presto—Allegro assai—Allegro assai vivace, alla Marcia— Andante maestoso—Adagio ma non troppo, ma divoto—Allegro energico, sempre ben marcato—Allegro ma non tanto— Prestissimo

LEAH CROCETTO, soprano MEREDITH ARWADY, mezzo-soprano FRANK LOPARDO, tenor JOHN RELYEA, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Text and translation begin on page 50.

This evening’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Bank of America is proud to sponsor the 2012 Tanglewood season.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

TANGLEWOODWEEK 8 SUNDAYPROGRAM 39

NOTES ON THE PROGRAM

John Harbison (b.1938) “Koussevitzky Said:,” Choral Scherzo with Orchestra Receiving its world premiere performance in this concert, John Harbison’s “Koussevitzky Said:” was commissioned by the Boston Symphony Orchestra to mark the 75th Anniversary of the Tanglewood Music Festival. The duration of the piece is about 6 minutes. The illumination of the past by the present, or the illumination of the present via the past, is evidently at the root of John Harbison’s new “choral Scherzo” Koussevitzky Said:, commissioned by the Boston Symphony Orchestra to celebrate the 75th anniversary of the Tanglewood Festival. Harbison’s multifaceted familiarity with Tanglewood began in 1959 and 1960, when he was a member of the conducting class during the BSO music directorship of Serge Koussevitzky’s successor, Charles Munch. Seiji Ozawa was a classmate in that second season. Years later, in 1984, Ozawa conducted the Boston Symphony Orchestra in the premiere of Harbison’s Symphony No. 1, commissioned by the BSO in celebration of its centennial. The symphony was scheduled for a repeat per- formance at Tanglewood in July 1984 to be led by Edo de Waart, but de Waart canceled and Harbison, by that time known primarily as a composer (although he had been conducting all along), stepped in at short notice to make his BSO conducting debut. (Conductor/composer Stanislaw Skrowaczewski led the balance of the program.) In the past three decades, Harbison has become the BSO’s most-performed living composer and the most often commissioned. This past season the orchestra pre- miered his BSO-commissioned Symphony No. 6 as the culmination of a two-season survey of the composer’s complete symphonies; the BSO also commissioned his Fifth Symphony, as well as several other of his orchestral works, including his Requiem for soloists, chorus, and orchestra. Koussevitzky Said:, on a much smaller scale, is the second piece Harbison has written for the BSO and the Tanglewood Festival Chorus. Particularly in recent years, Harbison has also been deeply involved in the core mission of professional musical training at the Tanglewood Music Center, Serge Koussevitzky’s most inspired conception and perhaps his greatest legacy. As chairman of the TMC’s composition program, he is a hands-on member of the composition faculty and an ears-open adviser for both composers and performers. On several occasions he has directed the annual Festival of Contemporary Music, a demonstra- tion of his well-established advocacy of the work of other contemporary composers that goes along with his exploration of the musical timeline from Schütz and Bach through Stravinsky and Sessions. This part of Harbison’s musical life is entirely in sympathy with the philosophy of Koussevitzky, who mentored such phenomena as Leonard Bernstein and Lukas Foss and devotedly commissioned two generations of the best and brightest composers from Stravinsky and Bartók to Messiaen and Britten. Koussevitzky was also determined to help his adoptive country realize its own destiny in classical music, to that end making a point of performing music by American composers. The first and greatest of his successes in this sphere was Aaron Copland, who as a twenty-four-year-old unknown was one of the first composers Koussevitzky programmed in the early years of his BSO tenure. Fifteen years later in 1940, the first year of the Tanglewood Music Center (then called the Berkshire Music Center), Copland became the first head of the Tanglewood composition faculty, in turn nur- turing the careers of many a well-known name. He was succeeded impressively by such

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 41 composers as Gunter Schuller, Oliver Knussen, Michael Gandolfi, and John Harbison. The more one experiences Tanglewood the more one realizes that the continual change here results not so much in a sense of time gone by, but rather in the feeling that all this history accumulates into something endlessly rich and rewarding, and vital to the present and the future. Attendance to continuing tradition is different for each individual, but for those who return frequently, “recurring” events such as the almost-annual season-ending performances of Beethoven’s Ninth Symphony are never routine, nor by any means repetitive. When the impending hurricane forced the cancellation of the Ninth last summer, the BSO Tanglewood season ended, musi- cally at any rate, in rainy, windy anticlimax. The performance of Beethoven’s Ninth to end this season, with the addition of the world premiere of John Harbison’s Koussevitzky Said:, will add yet another unique and rewarding detail to this recurring Tanglewood experience. Koussevitzky Said: is a “Choral Scherzo with Orchestra” in three brief movements played without pause—two smaller scherzos, separated by a short Maestoso, “majes- tic” section. (The term “scherzo” is Italian for “joke,” and as a musical form it was conceived by Beethoven’s teacher Haydn as a higher-spirited replacement for the often-used minuet movement.) The title is a play on the text of Aaron Copland’s Lincoln Portrait, with its refrain of “This is what Abraham Lincoln said.”

FROM THE TANGLEWOOD AUDIO ARCHIVES A Tanglewood 75th Anniversary Celebration For 75 days this summer, from June 20 through September 2, Tanglewood celebrates its 75th anniversary with the release, at tanglewood.org, one each day, of 75 historic performances from its audio archives. These historic record- ings are being streamed free on the first day of release, and then released for purchase as downloads, with detailed program notes, as of the following day. THE FINAL RELEASES OF THE SERIES ARE: Friday, August 24: Strauss Don Quixote, Charles Munch conducting, Gregor Piatigorsky, cello, Joseph de Pasquale, viola (August 9, 1953) • Saturday, August 25: Stravinsky Symphony in Three Movements, Tanglewood Music Center Orchestra, Oliver Knussen, conductor (August 23, 1995) • Sunday, August 26: Lerner (arr. Williams) My Fair Lady, Boston Pops Orchestra, John Williams, conductor, Dianne Reeves and Brian Stokes Mitchell with guest instrumentalists (August 9, 2004) • Monday, August 27: Copland Orchestral Variations, Tanglewood Music Center Orchestra, Leon Fleisher, conductor (July 7, 1994) • Tuesday, August 28: Selection of speeches from past Tanglewood Music Center Opening Exercises • Wednesday, August 29: Bach Chorale and Magnificat, Seiji Ozawa, conductor, Tanglewood Festival Chorus (July 7, 1994) • Thursday, August 30: Brahms Alto Rhapsody and Ravel Daphnis and Chloé, Suite No. 2, Serge Koussevitzky, conductor, Carol Brice, contralto (July 27, 1946) • Friday, August 31: Berlioz Les Troyens: The Capture of Troy, James Levine, conductor, soloists including Anna Caterina Antonacci, Marcus Haddock, and Dwayne Croft, Tanglewood Festival Chorus (July 5, 2008) • Saturday, September 1: Berlioz Symphonie fantastique, Colin Davis, conductor (August 8, 1980) • Sunday, September 2: Bizet Symphony in C, Seiji Ozawa, conductor (August 16, 1964) and Thomson Alleluia, Tanglewood Music Center Fellows (July 14, 2002) For complete details, please visit tanglewood.org.

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 43 The piece aspires not to the fierce character of the scherzo second movement of Beethoven’s Ninth, but rather choral passages in the last movement, such as the march-scherzo (Allegro assai vivace, alla Marcia). Koussevitzky’s hard-won English— one can almost imagine his accent, too—and his own sense of humor infuse the text with both lightheartedness and an underlying current of his serious striving toward the goal of artistry and communication. The first and last movements of Koussevitzky Said: are highly contrapuntal. In the first, “The next Beethoven will from Colorado come,” choral sections pair up with orchestral sections in a highly intricate texture—for example piccolo or first violins doubling sopranos, clarinet or cello doubling basses, with the instrumental colors continuing to evolve through the movement. A brief homophonic section for the chorus illustrates unity in the line “We musicians must be first to stand by the com- poser,” a nod to the “Be embraced, you millions” passage in Beethoven’s Ninth. The Maestoso middle movement, “I am an American citizen,” is homophonic in the cho- rus with countering remarks in the orchestra. The last movement plays, in the cho- rus, with the idea of “tuning” in the chorus’s opening phrases; at “Let’s do it togeth- er” the parts begin at odds but finish in agreement. The final bars refer back to the opening of the piece and point optimistically to the future. John Harbison’s own comments on his new piece appear below.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is the Boston Symphony Orchestra’s Assistant Director of Program Publications.

44 When approached to write a piece to partner on a program with Beethoven’s Ninth the British composer Michael Tippett is reported to have said, “really, my dear boy, does my piece come before—or after?” Perhaps someday a conductor will assemble a full program of pieces “paired” with Beethoven 9, thus ensuring an unlikely but conceivably lively afterlife for these pesky gnats who once rode on an elephant. In the case of Koussevitzky Said:, I wanted the founder’s words to be a part of a piece for Tanglewood’s 75th. I began by working with some wonderfully inspiring passages from some of his early addresses to the Tanglewood community. Eventually I real- ized that their texture was taking the music to a hortatory place made unnecessary by the Beethoven that would follow. I also did not wish to let go of Koussevitzky. I began to think about some things he was reported to have said, very informally, and I began to hear a kind of choral Scherzo in which Koussevitzky’s ideas would be present but off the cuff—teaching, rehearsing, conversing. I found many choice remarks, some of the best of which I couldn’t fit: “What makes a Tradition? The Artist. Who follows it? The Kapellmeister.” “I must be a policeman to look for your nuances!” Koussevitzky’s most famous remark, “The next Beethoven will from Colorado come,” leads off this piece. I’ve become aware that some take this quite literally. “Did he know about some composer from Colorado,” “Did that composer ever arrive?” It seems clear that Koussevitzky meant no geographic precision, probably was very vague about Colorado’s where- abouts. However, already knowing Copland, and some of our other composers before he came, he was very sure of our country’s musical future, and his role in it. It is to Koussevitzky that we owe so much of Tanglewood’s durability, idealism, and singularity. It was an honor to add my six minutes of engagement with his unquenchable spirit.

JOHN HARBISON August 1, 2012

“Koussevitzky Said:”

I. The next Beethoven will from Colorado come. We musicians must be first to stand by the composer, because we owe him most. I will keep playing this music—until you hear it. II. I am an American citizen, but I still love Russia. I am depriving Europe of my art in order to give your town the best of my artistry, but this is where I carved out my career in life. III. If not in tune, all our tragedy goes to le diable. If not in tune, you play as if Government employees. If not in tune, it smells of office, as if price five cents. If not in tune, still we will arrive. Tanglewood: 4000 people, 8000 eyes are on you. You have to portray the music correctly; play it from your hearts. Let’s do it together for our own satisfaction.

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 45 From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

46 (1770-1827) Symphony No. 9 in D minor, Opus 125 First performance: May 7, 1824, Kärntnerthor Theater, Vienna, with the deaf composer on stage beating time, but Michael Umlauf cond.; Henriette Sontag, Karoline Unger, Anton Haitzinger, and Joseph Seipelt, soloists. First BSO performance: March 1882, Georg Henschel cond.; Mrs. Humphrey Allen, Mary H. How, Charles R. Adams, and V. Cirillo, soloists. First Tanglewood performance: August 4, 1938, to inaugurate the Music Shed, Serge Koussevitzky cond.; Jeannette Vreeland, Anna Kaskas, Paul Althouse, and Norman Cordon, soloists; Cecilia Society chorus, Arthur Fiedler cond. Most recent Tanglewood performance: August 29, 2010, Kurt Masur cond.; Nicole Cabell, Marietta Simpson, Garrett Sorenson, and John Relyea, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond. Last summer, Lorin Maazel led an Open Rehearsal on Saturday morning, August 27, 2011, but the performance scheduled for that Sunday afternoon, August 28, was cancelled due to Hurricane Irene. The soloists were Joyce El-Khoury, Margaret Gawrysiak, Garrett Sorenson, and Eric Owens; the chorus was the Tanglewood Festival Chorus. Beethoven’s Ninth Symphony in D minor is one of the most beloved and influential of symphonic works, and one of the most enigmatic. Partly it thrives in legends: the unprecedented introduction of voices into a symphony, singing Schiller’s “Ode to Joy”; the Vienna premiere in 1824, when the deaf composer could not hear the frenzied ovations behind him; the mystical beginning, like matter coalescing out of the void, that would be echoed time and again by later composers—Brahms, Bruckner, Mahler. Above all there is the choral theme of the last movement, one of the most familiar tunes in the world. On the face of it, that in his last years Beethoven would compose a paean to joy is almost unimaginable. As early as 1802, when he faced the certainty that he was going deaf, he cried in the “Heiligenstadt Testament”: “For so long now the heartfelt echo of true joy has been a stranger to me!” Through the next twenty years before he took up the Ninth, he lived with painful and humiliating illness. The long struggle to become legal guardian of his nephew, and the horrendous muddle of their rela- tionship, brought him to the edge of madness. The idea of setting Schiller’s Ode to music was actually not a conception of Beetho- ven’s melancholy last decade. The poem, written in 1785 and embodying the revolu- tionary fervor of that era, is a kind of exalted drinking song, to be declaimed among comrades with glasses literally or figuratively raised. Schiller’s utopian verses were the young Beethoven’s music of revolt; it appears that in his early twenties he had already set them to music. In old age we often return to our youth and its dreams. In 1822, when Vienna had become a police state with spies everywhere, Beethoven received a commission for a symphony from the Philharmonic Society of London. He had already been sketch- ing ideas; now he decided to make Schiller’s fire-drunk hymn to friendship, marriage, freedom, and universal brotherhood the finale of the symphony. Into the first three movements he carefully wove foreshadowings of the “Joy” theme, so in the finale it would be unveiled like a revelation. The dramatic progress of the Ninth is usually described as “darkness to light.” Scholar Maynard Solomon refines that idea into “an extended metaphor of a quest for Elysium.” But it’s a strange darkness and a surprising journey. The first movement begins with whispering string tremolos, as if coalescing out of

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 47 silence. Soon the music bursts into figures monumental and declamatory, and at the same time gnarled and searching. The gestures are decisive, even heroic, but the harmony is a restless flux that rarely settles into a proper D minor, or anything else. What kind of hero is rootless and uncertain? The recapitulation (the place where the opening theme returns) appears not in the original D minor but in a strange D major that erupts out of calm like a scream, sounding not triumphant but some- how frightening. As coda there’s a funeral march over an ominous chromatic bass line. Beethoven had written funeral marches before, one the second movement of the Eroica Symphony. There we can imagine who died: the hero, or soldiers in battle. Who died in the first movement of the Ninth? After that tragic coda comes the Dionysian whirlwind of the scherzo, one of Beetho- ven’s most electrifying and crowd-pleasing movements, also one of his most complex. Largely it is manic counterpoint dancing through dazzling changes of key, punctuated by timpani blasts. In the middle comes an astonishing Trio: a little wisp of folksong like you’d whistle on a summer day, growing through mounting repetitions into something hypnotic and monumental. So the second movement is made of com- plexity counterpoised by almost childlike simplicity—a familiar pattern of Beethoven’s late music. Then comes one of those singing, time-stopping Adagios that also mark his last period. It is alternating variations on two long-breathed, major-key themes. The variations of the first theme are liquid, meandering, like trailing your hand in water beside a drifting boat. There are moments of yearning, little dance turns, everything unfold- ing in an atmosphere of uncanny beauty. The choral finale is easy to outline, hard to explain. Scholars have never quite agreed on its formal model, though it clearly involves a series of variations on the “Joy” theme. But why does this celebration of joy open with a dissonant shriek that Richard Wagner called the “terror fanfare,” shattering the tranquility of the slow movement? Then the basses enter in a quasi-recitative, as if from an oratorio but wordless. We begin to hear recollections of the previous movements, each rebuffed in turn by the basses: opening of the first movement... no, not that despair; second movement... no, too frivolous; third movement... nice, the basses sigh, but no, too sweet. (Beethoven originally sketched a singer declaiming words to that effect, but he decided to leave the ideas suggested rather than spelled out.)This, then: the ingenuous little Joy theme is played by the basses unaccompanied, sounding rather like somebody (say, the composer) quietly humming to himself. The theme picks up lovely flowing accompaniments, begins to vary. Then, out of nowhere, back to the terror fanfare. Now in response a real singer steps up to sing a real recitative: “Oh friends, not these sounds! Rather let’s strike up something more agreeable and joyful.” Soon the chorus is crying “Freude!”—“Joy!”—and the piece is off, exalting joy as the god-engendered daughter of Elysium, under whose influence love could flour- ish, humanity unite in peace. The variations unfold with their startling contrasts. We hear towering choral proclamations of the theme. We hear a grunting, lurching mili- tary march heroic in context (“Joyfully, like a hero toward victory”) but light unto satiric in tone, in a style the Viennese called “Turkish.” That resolves inexplicably into an exalted double fugue. We hear a kind of Credo reminiscent of Gregorian chant (“Be embraced, you millions! Here’s a kiss for all the world!”). In a spine- tingling interlude we are exhorted to fall on our knees and contemplate the Godhead (“Seek him beyond the stars”), followed by another double fugue. The coda is boundless jubilation, again hailing the daughter of Elysium. So the finale’s episodes are learned, childlike, ecclesiastical, sublime, Turkish. In his

48 quest for universality, is Beethoven embracing the ridiculous alongside the sublime? Is he signifying that the world he’s embracing includes the elevated and the popular, West and East? Does the unsettled opening movement imply a rejection of the heroic voice that dominated his middle years, making way for another path? In a work so elusive and kaleidoscopic, a number of perspectives suggest themselves. One is seeing the Ninth in light of its sister work, the Missa Solemnis. At the end of Beethoven’s Mass the chorus is declaiming “Dona nobis pacem,” the concluding prayer for peace, when the music is interrupted by the drums and trumpets of war. Just before the choir sings its last entreaty, the drums are still rolling in the distance. The Mass ends, then, with an unanswered prayer. Beethoven’s answer to that prayer is the Ninth Symphony, where hope and peace are not demanded of the heavens. Once when a composer showed Beethoven a work on which he had written “Finished with the help of God,” Beethoven wrote under it: “Man, help yourself!” In the Ninth he directs our gaze upward to the divine, but ultimately returns it to ourselves. Through Schiller’s exalted drinking song, Beethoven proclaims that the gods have given us joy so we can find Elysium on earth, as brothers and sisters, husbands and wives. In the end, though, the symphony presents us as many questions as answers, and its vision of utopia is proclaimed, not attained. What can be said with some certainty is that its position in the world is probably what Beethoven wanted it to be. In an un- precedented way for a composer, he stepped into history with a great ceremonial work that doesn’t simply preach a sermon about freedom and brotherhood, but aspires to help bring them to pass. Partly because of its enigmas, so many ideologies have claimed the music for their own; over two centuries Communists, Christians, Nazis, and humanists have joined in the chorus. Leonard Bernstein conducted the Ninth at the celebration of the fall of the Berlin Wall, and what else would do the job? Now the Joy theme is the anthem of the European Union, a symbol of nations joining together. If you’re looking for the universal, here it is. One final perspective. The symphony emerges from a whispering mist to fateful proclamations. The finale’s Joy theme, prefigured in bits and pieces from the begin- ning, is almost constructed before our ears, hummed through, then composed and recomposed and decomposed. Which is to say, the Ninth is also music about music, about its own emerging, about its composer composing. And for what? “Be embraced, you millions! This kiss for all the world!” run the telling lines in the finale, in which Beethoven erected a movement of monumental scope on a humble little tune that anybody can sing, and probably half the world knows. The Ninth Symphony, forming and dissolving before our ears in its beauty and ter- ror and simplicity and complexity, is itself Beethoven’s embrace for the millions, from East to West, high to low, naive to sophisticated. When the bass soloist speaks the first words in the finale, an invitation to sing for joy, the words come from Beethoven, not Schiller. It’s the composer talking to everybody, to history. There’s something singularly moving about that moment when Beethoven greets us person to person, with glass raised, and hails us as friends.

JAN SWAFFORD A faculty member at the Boston Conservatory, and an alumnus of the Tanglewood Music Center, where he studied composition, Jan Swafford is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and The Vintage Guide to Classical Music. He is currently working on a biography of Beethoven for Houghton Mifflin.

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 49 Text to the finale of Beethoven’s Ninth Symphony, based on Schiller’s ode, “To Joy”

O Freunde, nicht diese Töne! O friends, not these tones; Sondern lasst uns angenehmere Rather, let us tune our voices anstimmen, Und freudenvollere. In more pleasant and more joyful song. —Beethoven

Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Wem der grosse Wurf gelungen, He who has won in that great gamble Eines Freundes Freund zu sein, Of being friend unto a friend, Wer ein holdes Weib errungen, He who has found a goodly woman, Mische seinen Jubel ein! Let him add his jubilation too! Ja—wer auch nur eine Seele Yes—he who can call even one soul Sein nennt auf dem Erdenrund! On earth his own! Und wer’s nie gekonnt, der stehle And he who never has, let him steal Weinend sich aus diesem Bund. Weeping from this company. Freude trinken alle Wesen All creatures drink of Joy An den Brüsten der Natur, At Nature’s breasts. Alle Guten, alle Bösen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Küsse gab sie uns und Reben, She gave us kisses and vines, Einen Freund, geprüft im Tod, And a friend who has proved faithful even in death. Wollust ward dem Wurm gegeben, Lust was given to the Serpent, Und der Cherub steht vor Gott. And the Cherub stands before God. Froh wie seine Sonnen fliegen As joyously as His suns fly Durch des Himmels prächt’gen Across the glorious landscape of the Plan, heavens, Laufet, Brüder, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, BSO Archives

50 Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Über Sternen muss er wohnen. Surely he dwells beyond the stars. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions! Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, Tochter aus Elysium! Joy, Daughter of Elysium! Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schöner Götterfunken! Joy, beauteous, godly spark!

Translation copyright ©Donna Hewitt-Didham; all rights reserved.

TANGLEWOODWEEK 8 TEXTANDTRANSLATION 51 Guest Artists

For a biography of Rafael Frühbeck de Burgos, see page 27.

Leah Crocetto Making her Boston Symphony Orchestra and Tanglewood debuts this afternoon, Leah Crocetto is a third-year Adler Fellow with San Francisco Opera, where she has been heard in productions of Aida, Il trittico, and Cyrano de Bergerac and has been fea- tured in the annual Opera in the Park concert. She represented the United States at the 2011 Cardiff BBC Singer of the World Competition, where she was a finalist in the Song Competition. A 2010 Grand Finals Winner of the Metro- politan Opera National Council Auditions, she was the First Place Winner, People’s Choice, and the Spanish Prize Winner of the 2009 José Iturbi Inter- national Music Competition and winner of the Bel Canto Foundation competi- tion. The 2011-12 season has included her role debut as Liù in Turandot with San Francisco Opera, the 32nd Annual Gala Concert of San Francisco Perform- ances, her Berlin Philharmonic debut in Poulenc’s Gloria under Nicola Luisotti, her Houston Grand Opera debut as the Female Chorus in The Rape of Lucretia, and her debut as Anna in Rossini’s Maometto II. Her 2010-11 season included her European debut as Leonora in Il trovatore with Opéra National de Bordeaux, and Verdi’s Requiem with the Columbus Symphony and Albany Symphony. She sang a gala concert of opera and musical theater with the Adrian Symphony Orchestra, was fea- tured in a Toronto Symphony gala, and finished the season with Mahler’s Symphony No. 2 at the Grand Teton Music Festival with Donald Runnicles, and Beethoven’s Symphony No. 9 with Rafael Frühbeck de Burgos and the Los Angeles Philharmonic at the Hollywood Bowl. Ms. Crocetto holds degrees from Siena Heights University in acting performance and Moody Bible Institute in vocal studies. She is a former mem-

52 ber of the Sarasota Opera Apprentice Artists Program, and of San Francisco Opera’s Merola Opera Program, where she performed scenes from Manon and Don Pasquale and sang from Luisa Miller and Il trovatore in the Grand Finale Concert.

Meredith Arwady During the 2011-12 season, contralto Meredith Arwady made role debuts at Oper Frank- furt as Erda in a new production of Siegfried and as the First Norn in Götterdämmerung. This spring she returned to Frankfurt for a second Ring cycle. In concert, she gave a recital at the Curtis Institute and joined the Boston Symphony for Beethoven’s Ninth Symphony under Bernard Haitink. Highlights of previous seasons include appearances with San Francisco Opera as the Abbess in Suor Angelica, Zita in Gianni Schicchi, and the Marquise of Berkenfield in La Fille du régiment, a role she also performed at the Metropolitan Opera; Messiah with the National Symphony, her Metropolitan Opera and English National Opera debuts as Pasqualita in John Adams’s Doctor Atomic, her Houston Grand Opera debut in the world premiere of André Previn’s Brief Encounter, Tippett’s A Child of Our Time as part of Jessye Norman’s Honor! Festival at Carnegie Hall, and recitals in New York and Chicago sponsored by the Marilyn Horne Foundation. Ms. Arwady was a Grand Finals winner of the 2004 Metropolitan Opera National Council Auditions. Other awards and grants include the 2005 Kirsten Flagstad Award, presented by the George London Foundation for a singer with a promising Wagnerian career; first prize in the 2004 Licia Albanese/Puccini Competition, the inaugural Marian Anderson Prize for Emerging Classical Artists in 2002, and a 2007 Richard Tucker Career Grant. As a member of Lyric Opera of Chicago’s Opera Center ensemble, she made her mainstage debut with Lyric Opera of Chicago in 2005. Born in Michigan, Meredith Arwady received a master of music degree from the Curtis Institute of Music, where she studied voice with Marlena Kleinman Malas. She has appeared on two previ- ous occasions with the Boston Symphony Orchestra, in Beethoven’s Ninth Symphony led by Lorin Maazel in November 2009, and in Beethoven’s Ninth Symphony under Bernard Haitink’s direction this past May.

Frank Lopardo One of today’s leading lyric , Frank Lopardo has sung regularly with the most prestigious operatic companies and orchestras around the world, collaborating with such conductors as Claudio Abbado, Bruno Bartoletti, Leonard Bernstein, James Conlon, Sir Andrew Davis, Sir Colin Davis, Charles Dutoit, Christoph Eschenbach, James Levine, Zubin Mehta, Riccardo Muti, Seiji Ozawa, Sir , , and Michael Tilson Thomas. Recent and upcoming engage- ments include a triumphant return to Lyric Opera of Chicago as Riccardo in Un ballo in maschera, Rachmaninoff’s The Bells with the BBC Symphony, Pinkerton in Madama Butterfly with the Atlanta Symphony, Verdi’s Requiem with the San Francisco Symphony and Sweden’s Malmö Symphony Orchestra, and, also with Lyric Opera of Chicago, Gabriele Adorno in . At the Metro- politan Opera he has sung the leading tenor roles in La bohème, La traviata, Lucia di Lammermoor, La Fille du regiment, Il barbiere di Siviglia, L’elisir d’amore, Don Giovanni, The Magic Flute, Rigoletto, Semiramide, Così fan tutte, Falstaff, and La clemenza di Tito. He has also sung with San Francisco Opera, Pittsburgh Opera, Opera Colorado, Seattle Opera, Cincinnati Opera, Opera Theatre of St. Louis, and Santa Fe Opera. Overseas he has appeared at the Royal Opera House–Covent Garden, Paris Opera, , Salzburg Festival, Grand Théâtre de Genève, Glyndebourne

TANGLEWOODWEEK 8 GUESTARTISTS 53

Festival, , Netherlands Opera, Teatro San Carlo Naples, Teatro Real Madrid, Teatro Comunale Florence, and the Aix-en-Provence Festival. In concert he has appeared with the Berlin Philharmonic, London Symphony Orchestra, Minnesota Orchestra, Cleveland Orchestra, Pittsburgh Symphony, Montreal Symphony, Orchestra of St. Luke’s, Danish Radio Orchestra, and at such festivals as Ravinia, Cincinnati May, and Grand Teton. Frank Lopardo made his Boston Symphony Orchestra debut in September 1989; with the BSO he has sung Berlioz’s Requiem, Orff’s Carmina burana, Verdi’s Falstaff (as Fenton), and Beethoven’s Ninth Symphony (at Tanglewood in 1994, and at Symphony Hall for the Opening Night concert of the 1998-99 season, his most recent appearance with the orchestra). His recordings include the Grammy-winning Berlioz Requiem with the Atlanta Symphony Orchestra.

John Relyea John Relyea’s current season included returns to Seattle Opera and Washington Con- cert Opera for the title role in Attila, to the Bayerische Staatsoper as the Four Villains in Les Contes d’Hoffmann, his Canadian Opera Company debut as the Four Villains, and concerts with the Berlin Philharmonic and the Bergen Festspiele. This summer brings concerts at Tanglewood and the Cincinnati May Festival and his debut as the Four Villains. Next season he returns to the Royal Opera–Covent Garden as Bertram in Robert le Diable and to the Metropolitan Opera as Méphistophélès in Faust, and makes his role debut as Zaccaria in Nabucco at Minnesota Opera. He has also appeared with San Fran- cisco Opera (where he is an alumnus of the Merola Opera Program and a former Adler Fellow), Lyric Opera of Chicago, Paris Opera, Vienna State Opera, and the Mariinksy Theater. His many roles include, among others, Mozart’s Figaro, Bartók’s Bluebeard, and Verdi’s Attila, Raimondo in Lucia di Lammermoor, Colline in La bohème, Don Basilio in Il barbiere di Siviglia, Giorgio in I puritani, Banquo in Macbeth, Méphistophélès in both Faust and La Damnation de Faust, Escamillo in Carmen, Marke in Tristan und Isolde, Nick Shadow in The Rake’s Progress, Collatinus in The Rape of Lucretia, and King René in Iolanta. In concert he appears regularly with the major orchestras of Boston, Philadelphia, New York, Pittsburgh, Cleveland, and Atlanta, as well as the Swedish Radio Symphony Orchestra, Scottish Chamber Orchestra, Phil- harmonia Orchestra, and Berlin Philharmonic. He has appeared at the Tanglewood, Ravinia, Blossom, Vail, Lanaudière, Salzburg, Edinburgh, , and Mostly Mozart festivals, and the BBC Proms. In recital he has been presented at New York’s Weill Hall and Metropolitan Museum of Art, London’s Wigmore Hall, the University Musical Society in Ann Arbor, and the University of Chicago Presents series. John Relyea has appeared on numerous occasions with the BSO since his Tanglewood debut in 1999, singing music of Beethoven (including the Ninth Symphony at Tanglewood in 2006, and again for his most recent BSO appearance, at Tanglewood in 2010), Mahler (the Symphony No. 8, with James Levine conducting at Symphony Hall and at Tanglewood), Mozart (the Great C minor Mass and the Requiem), Verdi (Requiem), and Walton (Belshazzar’s Feast).

TANGLEWOODWEEK 8 GUESTARTISTS 55 Tanglewood Festival Chorus John Oliver, Conductor

Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s sub- scription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering some 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first over- seas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s for- tieth anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent record- ings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival

56 Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 900 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. He has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distin- guished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s twenty-fifth anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s fortieth anniversary). This past February, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut in March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society,

TANGLEWOODWEEK 8 GUESTARTISTS 57 as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which per- formed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch Inter- national: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performanc- es of ’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding con- tributions to choral music.

58 Tanglewood Festival Chorus John Oliver, Conductor (Harbison Koussevitzky Said: and Beethoven Symphony No. 9, August 26, 2012)

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

Carol Amaya • Michele Bergonzi # • Joy Emerson Brewer • Alison M. Burns • Jeni Lynn Cameron • Catherine C. Cave • Stephanie Chambers • Anna S. Choi • Ann M. Dwelley • Adrianne Fedorchuk • Margaret Felice • Kaila J. Frymire • Hailey Fuqua • Bonnie Gleason • Jean Grace • Julia Grizzell • Bronwen Haydock • Eileen Huang • Stephanie Janes • Polina Dimitrova Kehayova • Donna Kim • Sarah Kornfeld • Barbara Abramoff Levy § • Farah Darliette Lewis • Suzanne Lis • Sarah Mayo • Kathleen O’Boyle • Jaylyn Olivo • Nicole Marie Rodriguez • Adi Rule • Melanie Salisbury # • Yayra Sánchez • Laura C. Sanscartier • Johanna Schlegel • Judy Stafford

Mezzo-Sopranos

Virginia Bailey • Betty Blanchard Blume • Betsy Bobo • Lauren A. Boice • Donna J. Brezinski • Abbe Dalton Clark • Sarah Dorfman Daniello # • Kathryn DerMarderosian • Diane Droste • Barbara Naidich Ehrmann • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman * • Irene Gilbride # • Denise Glennon • Lianne Goodwin • Betty Jenkins • Irina Kareva • Evelyn Eshleman Kern # • Yoo-Kyung Kim • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Tracy Elissa Nadolny • Fumiko Ohara # • Andrea Okerholm • Roslyn Pedlar # • Elodie Simonis • Ada Park Snider * • Amy Spound • Lelia Tenreyro-Viana • Michele C. Truhe • Martha F. Vedrine • Sara Weaver • Tibisay Zea

Tenors

Brad W. Amidon • Armen Babikyan • John C. Barr # • Oliver Bäverstam • Adam Kerry Boyles • Felix M. Caraballo • Chad D. Chaffee • Jiahao Chen • Stephen Chrzan • William Cutter • Tom Dinger • Ron Efromson • Keith Erskine • Len Giambrone • J. Stephen Groff # • William Hobbib • Stanley G. Hudson # • James R. Kauffman # • Thomas Kenney • Jordan King • Michael Lemire • Lance Levine • Henry Lussier § • Daniel Mahoney • Dwight E. Porter * • Guy F. Pugh • Peter Pulsifer • Tom Regan • Francis Rogers • David Roth • Joshuah Rotz • Blake Siskavich • Peter L. Smith • Stephen J. Twiraga

Basses

Nicholas Altenbernd • Scott Barton • Daniel E. Brooks # • Stephen J. Buck • George F. Coughlin • Marc DeMille • Arthur M. Dunlap • Mark Gianino • Alexander Goldberg • Jim Gordon • Jay S. Gregory # • Mark L. Haberman # • Geoffrey Herrmann • Robert Hicks • Marc J. Kaufman • Will Koffel • Bruce Kozuma • Timothy Lanagan # • Joseph E. Landry • Christopher T. Loschen • Devon Morin • Eryk P. Nielsen • Richard Oedel • Stephen H. Owades § • Dale Peak • Bradley Putnam • Sebastian Rémi • Peter Rothstein * • Jonathan Saxton • Charles F. Schmidt • Kenneth D. Silber • Scott Street • Samuel Truesdell • Bradley Turner # • Terry L. Ward

William Cutter, Rehearsal Conductor Mark B. Rulison, Chorus Manager Martin Amlin, Rehearsal Pianist Matthew A. Larson, Rehearsal Pianist

TANGLEWOODWEEK 8 GUESTARTISTS 59 From the 1937 program book for the Boston Symphony Orchestra's first concerts at Tanglewood (BSO Archives)

60 61 The Koussevitzky Society

The Koussevitzky Society recognizes gifts made since September 1, 2011, to the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals, foundations, and businesses for their annual support of $3,000 or more during the 2011-12 season. For further information on becoming a Koussevitzky Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Dr. Robert J. Mayer, Chair, Tanglewood Annual Fund

Chairman’s $100,000 and above

Roberta and George Berry • Sally † and Michael Gordon • Carol and Joe Reich • Caroline and Virtuoso $50,000 to $99,999

Linda J.L. Becker • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Dorothy and Charlie Jenkins • Joyce Linde • Mrs. Irene Pollin • Susan and Dan Rothenberg • Kitte † and Michael Sporn Encore $25,000 to $49,999

Berkshire Money Management • Blantyre • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Canyon Ranch in Lenox • Country Curtains • Elizabeth W. and John M. Loder • Kate and Al Merck • The Claudia & Steven Perles Family Foundation • Claudio and Penny Pincus • The Red Lion Inn • Ronald and Karen Rettner • Stephen and Dorothy Weber Benefactors $20,000 to $24,999

BSO Members’ Association • Joseph and Phyllis Cohen • Ginger and George Elvin • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Scott and Ellen Hand • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • James A. Macdonald Foundation • Jay and Shirley Marks • Jane and Robert J. Mayer, M.D. • Henrietta N. Meyer • Jonathan D. Miller and Diane Fassino • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Carole and Edward I. Rudman • Evelyn and Ronald Shapiro • Hannah and Walter Shmerler • The Ushers and Programmers Fund • Mr. Jan Winkler and Ms. Hermine Drezner Maestro $15,000 to $19,999

The Berkshires Capital Investors • Nancy J. Fitzpatrick and Lincoln Russell • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Millard H. Pryor, Jr. • Mr. and Mrs. Kenan E. Sahin Patrons $10,000 to $14,999

Robert and Elana Baum • Mr. and Mrs. George D. Behrakis • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Casablanca • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger • Jane Fitzpatrick • Robert and Stephanie Gittleman • Rhoda Herrick • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Robert and Luise Kleinberg • Mr. and Mrs. Jacques Kohn • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Rebecca and Nathan Milikowsky • Frank M. Pringle • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Maureen and Joe Roxe/The Roxe Foundation • Gloria Schusterman • Mr. and Mrs. Marvin Seline • Arlene and Donald Shapiro • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Carol and Irv Smokler • Margery and Lewis Steinberg • Suzanne and Robert Steinberg • Loet and Edith Velmans • Wheatleigh Hotel & Restaurant • June Wu

62 Prelude $7,500 to $9,999

Dr. Norman Atkin • Joan and Richard Barovick • Crane & Co., Inc. • Marion and Sig Dubrow • Dr Lynne B Harrison • Tanny and Courtney Jones • Arlene and Jerome Levine • Elaine and Ed London • Jerry and Mary Nelson • Joan and Michael Salke • Malcolm and BJ Salter • Mr. and Mrs. Ernest Schnesel • JoAnne and Joel Shapiro • Lois and David Swawite • Aso O. Tavitian • Mr. and Mrs. Edwin A. Weiller III • Anonymous Sponsors $5,000 to $7,499

Abbott’s Limousine & Livery Service, Inc. • Alli and Bill Achtmeyer • American Terry Co. • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch • Bayer Material Science • Berkshire Bank and Berkshire Insurance Group • Linda and Tom Bielecki • Hildi and Walter Black • Brad and Terrie Bloom • Jane and Jay Braus • Judy and Simeon Brinberg • Anne and Darrel Brodke • Lynn and John Carter • The Cavanagh Family • James and Tina Collias • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Cranwell Resort, Spa & Golf Club • Alan R. Dynner • Ursula Ehret-Dichter and Channing † Dichter • Dr. T. Donald and Janet Eisenstein • Eitan and Malka Evan • Mr. David Fehr • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Carolyn and Roger Friedlander • Myra and Raymond Friedman • Audrey and Ralph Friedner • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield • Dr. Donald and Phoebe Giddon • The Goldman Family Trust • Joe and Perry Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Corinne and Jerry Gorelick • Mr. David Haas • Joseph K. and Mary Jane Handler • Ann L. Henegan • In memory of D.M. Delinferni • Stephen and Michele Jackman • Liz and Alan Jaffe • Martin and Wendy Kaplan • Natalie Katz, in memory of Murray S. Katz • Mrs. Sarah K. Kennedy • Koppers Chocolate • William and Marilyn Larkin • Helaine and Marvin Lender • Phyllis and Walter F. Loeb • Carmine A. and Beth V. Martignetti • Janet McKinley • Judy and Richard J. Miller • Mr. and Mrs. Michael Monts • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Myriad Productions • The Netter Foundation • Mike, Lonna and Callie Offner • Mr. and Mrs. Chet Opalka • Dr. and Mrs. Simon Parisier • Wendy Philbrick • Jonathan and Amy Poorvu • Quality Printing Company, Inc. • The Charles L. Read Foundation • Ms. Deborah Reich and Mr. Frank Murphy • Mary and Lee Rivollier • Elaine and Bernard Roberts • Barbara and Michael Rosenbaum • Ruth and Milton Rubin • Suzanne and Burton Rubin • Sue Z. Rudd • Dr. Beth Sackler • Ms. Sherri Samuels • Dr. and Mrs. James Satovsky • Marcia and Albert Schmier • Mr. Daniel Schulman and Ms. Jennie Kassanoff • The Shields Family • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Noreene Storrie and Wesley McCain • Norma and Jerry Strassler • Jerry and Nancy Straus • Roz and Charles Stuzin • Bill and Adrienne Taft • Jerry and Roger Tilles • Jacqueline and Albert Togut • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Mr. and Mrs. Barry Weiss • Robert and Roberta Winters • Patricia Plum Wylde • Anonymous (6) Members $3,000 to $4,999

Abbott Capital Management, LLC • Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Arthur Appelstein and Lorraine Becker • Apple Tree Inn • Barrington Associates Realty Trust • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Dr. Burton and Susan Benjamin • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Mr. and Mrs. Richard Berkowitz • Berkshire Co-op Market • Berkshire Landmark Builders, Inc. • Biener Audi • Big Y Supermarkets • Mr. and Mrs. James L. Bildner • Gail and Stanley Bleifer • Birgit and Charles Blyth • Mr. and Mrs. Nat Bohrer • Marlene and Dr. Stuart H. Brager • Jim and Linda Brandi • Carol and Bob Braun • Sandra L. Brown • Samuel B. and Deborah D. Bruskin • Mr. and Mrs. Jon E. Budish • Rhea and Allan Bufferd • Bonnie and Terry Burman • Careers Through Culinary Arts Program (C-CAP) • Phyllis H. Carey • David and Maria Carls • Susan and Joel Cartun • Dr. Antonia Chayes • Frederick H. Chicos • Chocolate Springs Café • Lewis F. Clark, Jr. • Cohen Kinne Valicenti & Cook LLP • Carol and Randy Collord • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Ernest Cravalho and Ruth Tuomala • Mrs. Ann Cummis • Richard H. Danzig • Leslie and Richard Daspin • Mr. and Mrs. Jerome A. Deener • Arthur and Isadora Dellheim • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass •

TANGLEWOODWEEK 8 THEKOUSSEVITZKYSOCIETY 63 Dresser-Hull Lumber & Building Supply Company • Terry and Mel Drucker • The Dulye Family • Mrs. Harriett M. Eckstein • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Monroe B. England • Gwenn Earl Evitts • Mr. and Mrs. Sanford P. Fagadau • Dr. and Mrs. Gerald D. Falk • Marie V. Feder • Eunice and Carl Feinberg • Dr. Jeffrey and Barbara Feingold • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • Laura and Philip Fidler • Joseph and Marie Field • Doucet and Stephen Fischer • John M. and Sheila Flynn • Betty and Jack Fontaine • Herb and Barbara Franklin • Ms. Adaline Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Mr. David Friedson and Ms. Susan Kaplan • Mr. and Mrs. Robert L. Gable • Genatt Associates, Inc. • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. Melvin Y. Gershman • Drs. Anne and Michael Gershon • Mr. and Mrs. James W. Giddens • Stephen Gilbert and Geraldine Staadecker • Glad Rags • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • Sondra and Sy Goldman • Judi Goldsmith • Gorbach Family Foundation • Goshen Wine & Spirits, Inc. • Jud and Roz Gostin • Mrs. Roberta Greenberg • Mr. Harold Grinspoon and Ms. Diane Troderman • Charlotte and Sheldon Gross • Carol B. Grossman • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mr. and Mrs. Jonathan Halpern • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki T. and Michael S. Helfer • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Jim Hixon • Enid and Charles Hoffman • Richard Holland • Howard Johnson Inn, Lenox • Iredale Mineral Cosmetics, LTD. • Madeline Brandt Jacquet • Lola Jaffe • Mr. and Mrs. Daniel R. Johnson • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Charlotte Kaitz and Family • Carol and Richard Kalikow • Adrienne and Alan Kane • Cathy M. Kaplan • Marcia Simon Kaplan • Mr. Chaim and Dr. Shulamit Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Robert E. Koch • Margaret and Joseph Koerner • Dr. Samuel Kopel and Sari Scheer • Dr. and Mrs. David Kosowsky • Margaret and Richard Kronenberg • J. Kenneth and Cathy Kruvant • Norma and Sol D. Kugler • Dr. and Mrs. Stephen Kulvin • Shirley and Bill Lehman • Cynthia and Robert J. Lepofsky • Mr. and Mrs. Bill Lewinski • Marjorie Lieberman • Murray and Patti Liebowitz • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Diane H. Lupean • Gloria and Leonard Luria • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • The Marketplace Kitchen • Suzanne and Mort Marvin • Mary and James Maxymillian • Dr. and Mrs. Malcolm Mazow • Drs. Gail and Allen Meisel • The Messinger Family • Wilma and Norman Michaels • Peter and Yvette Mulderry • Paul Neely • Linda and Stuart Nelson • Mr. Richard Novik • John and Mary Ellen O’Connor • Onyx Speciality Papers • Mr. and Mrs. Gerard O’Halloran • Patten Family Foundation • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Ms. Joyce Plotkin and Bennett Aspel, M.D. • Ted Popoff and Dorothy Silverstein • Walter and Karen Pressey • Mary Ann and Bruno A. Quinson • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber • Robert and Ruth Remis • Mr. and Mrs. Albert P. Richman • Lucinda and Brian Ross • Mr. and Mrs. Stanley Ross • Mr. Robert M. Sanders • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Pearl and Alvin Schottenfeld • Jane and Marty Schwartz • Sol Schwartz Productions • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Seven Hills Inn • Lois and Leonard Sharzer • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Beverly and Arthur T. Shorin • Susan and Judd Shoval • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Maggie and Jack Skenyon • Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn and Ken Stark • Mr. and Mrs. Lewis Stein • Mr. and Mrs. Daniel S. Sterling • Mrs. Pat Strawgate • Mr. and Mrs. Edward Streim • The Studley Press, Inc. • Michael and Elsa Daspin Suisman • Marjorie and Sherwood Sumner • Mr. and Mrs. George A. Suter, Jr. • Mr. and Mrs. Gerald E. Swimmer • Mr. and Mrs. Richard Taylor • John Lowell Thorndike • David J. Tierney, Jr., Inc. • Bob Tokarczyk • Diana O. Tottenham • Barbara and Gene Trainor • Myra and Michael Tweedy • Mr. and Mrs. Howard J. Tytel • Mr. Antoine and Mrs. Emily B. Van Agtmael • Ron and Vicki Weiner • Stephen M. Weiner and Donald G. Cornuet • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Michelle Wernli and John McGarry • Ms. Carol Andrea Whitcomb • Carole White • Peter D. Whitehead Builder, LLC • Mr. Robert G. Wilmers • The Wittels Family • Sally and Steve Wittenberg • Pamela and Lawrence Wolfe • Ira and Shirley Yohalem • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (8) † Deceased

64

August at Tanglewood

Thursday, August 2, 8pm Friday, August 10, 8:30pm GERALD FINLEY, baritone BSO—PINCHAS ZUKERMAN, conductor JULIUS DRAKE, piano and violin Songs by Loewe, Schubert, Ravel, and Britten ELIZABETH ROWE, flute JOHN FERRILLO, oboe Friday, August 3, 6pm (Prelude Concert) MALCOLM LOWE, violin BSO BRASS, TIMPANI, AND PERCUSSION JOHN GIBBONS, harpsichord Music of Britten, Tippett, Stravinsky, ALL-J.S. BACH PROGRAM Bach/Kreines, Vierdanck, and Tomasi Brandenburg Concertos Nos. 3 and 5 Concerto in C minor for violin, oboe, and Friday, August 3, 8:30pm strings, BWV 1060 BSO—LORIN MAAZEL, conductor Concerto in D minor for two violins and GERALD FINLEY, baritone strings, BWV 1043 Violin Concerto No. 1 in A minor, BWV 1041 MOZART Symphony No. 38, Prague; Arias from Così fan tutte, Le nozze di Figaro, and Saturday, August 11, 10:30am Don Giovanni RAVEL Alborada del gracioso; Don Quichotte à Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Dulcinée, for baritone and orchestra; Daphnis BSO program of Sunday, August 12 et Chloé, Suite No. 2 Saturday, August 11, 8:30pm Saturday, August 4, 10:30am BOSTON SYMPHONY ORCHESTRA Open Rehearsal (Pre-Rehearsal Talk, 9:30am) STÉPHANE DENÈVE, conductor BSO program of Sunday, August 5 YO-YO MA, cello PREVIN Music for Boston (world premiere; Saturday, August 4, 8:30pm BSO commission) BSO—CHRISTOPH VON DOHNÁNYI, ELGAR Cello Concerto conductor SHOSTAKOVICH Symphony No. 5 YEFIM BRONFMAN, piano SCHUMANN Symphony No. 4 Sunday, August 12, 2:30pm BRAHMS Piano Concerto No. 2 BSO—CHRISTOPH VON DOHNÁNYI, conductor Sunday, August 5, 2:30pm PAUL LEWIS, piano BSO—LORIN MAAZEL, conductor BEETHOVEN Symphony No. 4 JEAN-YVES THIBAUDET, piano MOZART Piano Concerto No. 23 in A, K.488 GANDOLFI Night Train to Perugia (world STRAUSS Till Eulenspiegel’s Merry Pranks premiere; BSO commission) SAINT-SAËNS Piano Concerto No. 5, Egyptian Thursday, August 16, 8pm BERLIOZ Symphonie fantastique ÉBÈNE STRING QUARTET String quartets of Mozart and Tchaikovsky, Sunday, August 5, 8pm plus jazz improvisations CHRIS BOTTI, trumpet, and his band Friday, August 17, 6pm (Prelude Concert) Tuesday, August 7, 8:30pm (Gala Concert) MEMBERS OF THE BSO Tanglewood on Parade VYTAS BAKSYS, piano (Grounds open at 2pm for music and activities Music of John Williams throughout the afternoon.) BSO, BOSTON POPS ORCHESTRA, and Friday, August 17, 8:30pm TMC ORCHESTRA BSO—BRAMWELL TOVEY, conductor STÉPHANE DENÈVE, CHRISTOPH VON AUGUSTIN HADELICH, violin DOHNÁNYI, KEITH LOCKHART, LORIN MAAZEL, and JOHN WILLIAMS, conductors COPLAND Suite from Appalachian Spring BARBER Violin Concerto Music of Beethoven, Stravinsky, Grofé, BEETHOVEN Symphony No. 7 Williams, and Tchaikovsky Saturday, August 18, 10:30am Friday, August 10, 6pm (Prelude Concert) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) MEMBERS OF THE BSO Boston Pops program of Saturday, August 18 VYTAS BAKSYS, piano Music of Previn and Harbison

Saturday, August 18, 8:30pm Saturday, August 25, 10:30am John Williams’ 80th Birthday Celebration Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BOSTON POPS ORCHESTRA BSO program of Sunday, August 26 KEITH LOCKHART, LEONARD SLATKIN, and SHI-YEON SUNG, conductors Saturday, August 25, 8:30pm, Shed YO-YO MA, cello BSO—RAFAEL FRÜHBECK DE BURGOS, ANTHONY MCGILL, clarinet conductor GABRIELA MONTERO, piano NANCY FABIOLA HERRERA, CRISTINA JESSYE NORMAN, soprano FAUS, CÁTIA MORESO, VICENTE GIL SHAHAM, violin OMBUENA, GUSTAVO PEÑA, ALFREDO U.S. ARMY HERALD TRUMPETS GARCÍA HUERGA, JOSEP MIQUEL RAMÓN, MIKE ROYLANCE, tuba and PEDRO SANZ, vocal soloists JAMES SOMMERVILLE, horn NÚRIA POMARES ROJAS, Flamenco dancer KEISUKE WAKAO, oboe PABLO SÁINZ VILLEGAS, guitar Plus surprise guests ALBÉNIZ Suite española (orch. Frühbeck) FALLA La vida breve (concert performance; Sunday, August 19, 2:30pm, Shed sung in Spanish with English supertitles) The Leonard Bernstein Memorial Concert TMC ORCHESTRA—RAFAEL FRÜHBECK Sunday, August 26, 2:30pm, Shed DE BURGOS, conductor BSO—RAFAEL FRÜHBECK DE BURGOS, GIL SHAHAM, violin conductor BEETHOVEN Violin Concerto LEAH CROCETTO, MEREDITH ARWADY, FRANK LOPARDO, and JOHN RELYEA, BARTÓK Concerto for Orchestra vocal soloists TANGLEWOOD FESTIVAL CHORUS, Monday, August 20, 8pm JOHN OLIVER, conductor WYNTON MARSALIS QUINTET HARBISON Koussevitzky Said: for chorus and CHRISTIAN MCBRIDE TRIO orchestra (world premiere; BSO commission) with CHRISTIAN SANDS & BEETHOVEN Symphony No. 9 ULYSSES OWENS, JR. Sunday, August 26, 8pm Wednesday, August 22, 8pm CHICK COREA AND GARY BURTON BOSTON SYMPHONY CHAMBER PLAYERS HOT HOUSE TOUR KARINA GAUVIN, soprano with HARLEM STRING QUARTET JOHN GIBBONS, harpsichord VYTAS BAKSYS, piano Friday, August 31, 7pm Music of Foss, J.S. Bach, Hindemith, Bruch, TRAIN and Mozart MATT KEARNEY and ANDY GRAMMER, special guests Friday, August 24, 6pm (Prelude Concert) BOSTON CELLO QUARTET Saturday, September 1, 7pm Music of Mozart, J. Strauss II, Verdi, Prokofiev, EVANESCENCE Popper, Gimenez, Corea, Hoshii, Anderson, and Déjardin CHEVELLE

Friday, August 24, 8:30pm, Shed Sunday, September 2, 2:30pm BOSTON POPS—KEITH LOCKHART, BOSTON POPS—THOMAS WILKINS, conductor conductor MAUREEN MCGOVERN and MICHAEL FEINSTEIN, BETTY BUCKLEY, BRIAN STOKES MITCHELL, vocalists and CHRISTINE EBERSOLE, special guests ILYA YAKUSHEV, piano A program celebrating the Great American Songbook Gershwin and Friends: A celebration of George Gershwin and the creators of the Great American Songbook; program also to include Gershwin’s Rhapsody in Blue

Programs and artists subject to change. 2012 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium, Seiji Ozawa Hall. * indicates that tickets are only available through the Tanglewood Box Office, SymphonyCharge, or online at bso.org.  indicates that admission is free, but restricted to that evening’s concert ticket holders.

Thursday, June 28, 8pm * Saturday, July 14, 6pm  Friday, June 29, 8pm * Prelude Concert MARK MORRIS DANCE GROUP TANGLEWOOD MUSIC CENTER FELLOWS Saturday, July 14, 8:30pm (Shed) * LUCY SHELTON and MARK MORRIS, Tanglewood 75th Anniversary Celebration reciters BSO, BOSTON POPS ORCHESTRA, and Choreography by Mark Morris to music of TMC ORCHESTRA WALTON, SCHUBERT, and HUMMEL KEITH LOCKHART, JOHN WILLIAMS, Sunday, July 1, 10am STEFAN ASBURY, and ANDRIS NELSONS, BRASS EXTRAVAGANZA conductors EMANUEL AX, YO-YO MA, ANNE-SOPHIE Sunday, July 1, 8pm MUTTER, PETER SERKIN, JAMES TAYLOR, Monday, July 2, 10am & 1pm TANGLEWOOD FESTIVAL CHORUS, and STRING QUARTET MARATHON SPECIAL GUESTS One ticket provides admission to all three concerts. Sunday, July 15, 10am Chamber Music Thursday, July 5, 2:30pm Opening Exercises Monday, July 16, 2pm (Chamber Music Hall) (free admission; open to the public; perform- STEPHEN DRURY, piano ances by TMC faculty) Free recital Saturday, July 7, 6pm  Monday, July 16, 6pm  Prelude Concert Vocal Prelude Sunday, July 8, 10am Monday, July 16, 8pm * Chamber Music The Daniel Freed and Shirlee Cohen Freed Memorial Concert Sunday, July 8, 6pm  TMC ORCHESTRA—MARCELO Vocal Prelude LEHNINGER and TMC CONDUCTING Sunday, July 8, 8pm FELLOWS, conductors The Phyllis and Lee Coffey Memorial Concert Music of BRAHMS, SCHUBERT, and TMC ORCHESTRA—MIGUEL HARTH- STRAUSS BEDOYA and TMC CONDUCTING Saturday, July 21, 6pm  FELLOWS, conductors Prelude Concert Music of RESPIGHI, DVORÁˇ K, and Sunday, July 22, 10am PROKOFIEV, plus SCHULLER Dreamscape (world premiere; TMC commission) Chamber Music Sunday, July 22, 8pm Tuesday, July 10, 8pm Vocal Concert Vocal Concert

TICKETS FOR ALL TMC PERFORMANCES are available through Tanglewood Box Office, SymphonyCharge, or online at bso.org. For TMC concerts other than TMC Orchestra con- certs, tickets at $11 are available one hour before concert time at the Gate closest to Ozawa Hall (cash or check only). Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orchestra concerts of July 8, 16, 23, and 30 can be purchased in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at bso.org. Please note that availability of seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, the Fromm Concert, and TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music Concerts are available for $11. FOR INFORMATION ABOUT BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 of visit tanglewood.org. Thursday, August 9—Monday, August 13 Monday, July 23, 6pm  2012 FESTIVAL OF CONTEMPORARY Vocal Prelude MUSIC Monday, July 23, 8pm * Oliver Knussen, Festival Director TMC ORCHESTRA—STEFAN ASBURY and Directed by composer/conductor/TMC TMC CONDUCTING FELLOWS, conductors alumnus Oliver Knussen, the 2012 Festival EMANUEL AX, piano highlights the work of Niccolò Castiglioni, Music of IVES, SCHOENBERG, and a 20th century composer almost unknown STRAVINSKY in this country, and four rising stars: Saturday, July 28, 6pm  English composers Luke Bedford and Prelude Concert Helen Grime, and Americans Sean Shepherd and Marti Epstein. Knussen's Sunday, July 29, 10am own work is represented by his one-act Chamber Music opera Higglety Pigglety Pop!, written in col- Monday, July 30, 8pm * laboration with the late Maurice Sendak. TMC ORCHESTRA—CHARLES DUTOIT and The 2012 Festival of Contemporary Music TMC CONDUCTING FELLOWS, conductors is made possible by grants from the Aaron TANGLEWOOD FESTIVAL CHORUS Copland Fund for Music, the Fromm Music Music of LINDBERG, VARÉSE, MESSIAEN, Foundation, the National Endowment for the and STRAVINSKY Arts, the Ernst von Siemens Music Founda- tion, the Helen F. Whitaker Fund, and by Wednesday, August 1, 7pm the generous support of Dr. Raymond and Vocal Concert Hannah H. Schneider. Saturday, August 4, 6pm  Thursday, August 9, 8pm Prelude Concert Music of BIRTWISTLE, CARTER, BED- Sunday, August 5, 10am FORD, CASTIGLIONI, and SHEPHERD Chamber Music Friday, August 10, 2:30pm Tuesday, August 7 * GLORIA CHENG, piano TANGLEWOOD ON PARADE Music of BIRTWISTLE, BENJAMIN, 2:30pm: TMC Chamber Music KNUSSEN, HARBISON, RANDS, and 3:30pm: TMC Piano Music SALONEN 5pm: TMC Vocal Music Saturday, August 11, 6pm  8pm: TMC Brass Fanfares (Shed) (Prelude Concert) 8:30pm: Gala Concert (Shed) An all-CHARLES IVES program, pre- TMC ORCHESTRA, BSO, and BOSTON POPS pared and conducted by GUNTHER ORCHESTRA SCHULLER STÉPHANE DENÈVE, CHRISTOPH VON DOHNÁNYI, KEITH LOCKHART, LORIN Sunday, August 12, 10am MAAZEL, and JOHN WILLIAMS, conductors The Fromm Concert at Tanglewood STEFAN ASBURY and OLIVER Wednesday, August 15, 8pm KNUSSEN, conductors Vocal Concert—Stephanie Blythe and TMC Music of BENJAMIN, BIRTWISTLE, Fellows (songs on Emily Dickinson texts) CASTIGLIONI, EPSTEIN(world pre- Saturday, August 18, 11am miere; TMC commission), DEL TREDICI, COMPOSER PIECE-A-DAY PERFORMANCE GRIME, and SHEPHERD Free admission Sunday, August 12, 8pm Saturday, August 18, 6pm  CASTIGLIONI Inverno In-Ver Prelude Concert KNUSSEN Higglety Pigglety Pop! (concert Sunday, August 19, 10am performance, including live video with Chamber Music images from the Sendak book by video artist Netia Jones) Sunday, August 19, 1pm  Vocal Prelude Concert Monday, August 13, 8pm The Margaret Lee Crofts Concert Sunday, August 19, 2:30pm (Shed) TMC ORCHESTRA The Leonard Bernstein Memorial Concert OLIVER KNUSSEN and STEFAN Supported by generous endowments established in ASBURY, conductors perpetuity by Dr. Raymond and Hannah H. PETER SERKIN, piano Schneider, and Diane Lupean Music of BIRTWISTLE, GRIME, TMC ORCHESTRA—RAFAEL FRÜHBECK SCHULLER (TMC commission), DE BURGOS, conductor BENJAMIN, BEDFORD, and GIL SHAHAM, violin DEL TREDICI Music of BEETHOVEN and BARTÓK

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participat- ed in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Sym- phony Orchestra and the Tanglewood Music Center. Now in its 47th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its interaction (photo: Michael J. Lutch) with the Boston Symphony Orchestra and the Tanglewood Music Center makes BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administra- tors. The Institute includes Young Artists Programs for students age fourteen to nineteen (Instrumental, Vocal, Piano, Harp, and Composition) as well as Institute Workshops (Clari- net, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the Institute’s students receive financial assistance from funds contributed by individuals, foundations, and corporations to the Boston University Tanglewood Institute Scholarship Fund. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

2012 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRAPROGRAMS: Saturday, July 14, 2:30pm, Ryan McAdams conducts Berlioz’s Symphonie fantastique and Chávez’s Sinfonia india. Saturday, July 28, 2:30pm, Ann Howard Jones and Paul Haas conduct Beethoven’s Mass in C featuring the BUTI Vocal Program and Bernstein’s Jeremiah Symphony with TMC Vocal Fellow Tammy Coil. Saturday, August 11, 2:30pm, Paul Haas conducts Mahler’s Symphony No. 6.

WIND ENSEMBLE PROGRAMS: Friday, July 13, 8pm, David Martins conducts Williams, Mackey, Stout, Nelhybel, and Reineke. Friday, July 27, 8pm, H. Robert Reynolds con- ducts Maslanka, Shapiro, Gandolfi, Daugherty, and Bernstein featuring BUTI Faculty Axiom Brass Quintet.

VOCAL PROGRAMS: Saturday, July 28, 2:30pm, Ann Howard Jones conducts Beetho- ven’s Mass in C.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 30; Tuesday, July 31; Wednesday, August 1.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1431.

Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, Chief Financial Officer Kim Noltemy, Chief Marketing and Communications Officer Bart Reidy, Director of Development—Institutional Giving, Events, and Administration Elizabeth P. Roberts, Director of Development—Campaign and Individual Giving Ray F. Wellbaum, Orchestra Manager

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Cara Allen, Development Communications Coordinator • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Donor Information and Data Coordinator • Laura Duerksen, Donor Ticketing Associate • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Donor Acknowledgment Writer and Coordinator • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Benjamin Spalter, Annual Funds Coordinator, Friends Program • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research

Education and Community Programs Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager, Berkshire Education and Community Programs

Facilities C. Mark Cataudella, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Michael Maher, HVAC Technician ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • 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

For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange |Lange Media Sales |781-642-0400 |[email protected] Information Technology Timothy James, Director of Information Technology Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist

Public Relations

Kathleen Drohan, Associate Director of Public Relations • Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Louisa Ansell, Marketing Coordinator • Susan Beaudry, Manager of Tanglewood Business Partners • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Theresa Condito, Access Services Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Christina Malanga, Subscriptions Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, Subscriptions Associate • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Corporate Partnerships • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager Box Office Representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House Manager • Thomas Cinella, Business Office Manager • Edward Collins, Logistics Operations Supervisor • Thomas Finnegan, Parking Supervisor • David Harding, TMC Concerts Front of House Manager • Matthew Heck, Manager of Visitor Center • Peggy and John Roethel, Seranak Innkeepers FAVORITE RESTAURANTS OF THE BERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Boston Symphony Association of Volunteers

Executive Committee Chair Aaron J. Nurick Chair-Elect and Vice-Chair, Boston Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller

Co-Chairs, Boston Mary C. Gregorio • Ellen W. Mayo • Natalie Slater

Co-Chairs, Tanglewood Roberta Cohn • Augusta Leibowitz • Alexandra Warshaw

Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Ken Singer

Tanglewood Project Leads 2012 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Off-Season Educational Resources, Norma Ruffer • Exhibit Docents, Maureen O'Hanlon Krentsa and Susan Price • Friends Office, David Galpern and Anne Hershman • Newsletter, Sylvia Stein • Recruit, Retain, Reward, Toby Morganstein and Carole Siegel • Seranak Flowers, Diane Saunders • Talks and Walks, Joyce Kates and Rita Kaye • Tanglewood Family Fun Fest, Margery Steinberg • Tanglewood for Kids, Judy Benjamin, Dianne Orenstein and Mark Orenstein • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman and Pam Levit Beiderman, Robert Braun and Carol Braun • Tour Guides, Mort Josel and Sandra Josel

Tanglewood Business Partners

The BSO gratefully acknowledges the following for their generous contributions of $650 or more during the 2011-12 fiscal year. An eighth note  denotes support of $1,250-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Allegra Murray, Assistant Manager of Corporate Partnerships, at (617) 638-9270 or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Preparation  Cherry Bekaert & Holland, CPA in honor of Alfred & Phyliss Schneider •  Joseph E. Green, CPA • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, PC, CPA •  Warren H. Hagler Associates Advertising/PR/Market Research/Professional Business Services/Consulting  Barry Beyer •  The Cohen Group • Ed Bride Associates •  General Systems Company, Inc. • LA Communication • The Nielson Healthcare Group •  Pilson Communications, Inc. •  R.L. Associates • Robert Gal, LLC Alarm Services Alarms of Berkshire County Antiques/Art Galleries Charles Flint Fine Art & Antiques • DeVries Fine Art International, Inc. • Elise Abrams Antiques •  Hoadley Gallery • Paul Kleinwald Art & Antiques, Inc. Architects/Designers Barbara Rood Interiors • Christian C. Carey, Architect, P.C. •  edm – architecture . engineering . management • Hill Engineers, Architects, Planner, Inc. • Pamela Sandler, AIA, Architect Automotive BIENER AUDI Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • Lenox National Bank • Salisbury Bank • TD Bank Beverage/Food Sales/Consumer Goods/Specialty Foods  Barrington Bites • Barrington Coffee Roasting • BIG Y SUPERMARKETS • CHOCOLATE SPRINGS CAFÉ • BERKSHIRE CO-OP MARKET •  Crescent Creamery, Inc. •  Edible Adventures, LLC – Biscotti Babies and Yummy Gluten Free Cookies • GOSHEN WINE & SPIRITS, INC. • Guido’s Fresh Marketplace • KOPPERS CHOCOLATE •  Price Chopper/Golub Corporation Catering  International Polo Club Catering powered by Aaron’s Catering of the Palm Beaches • THE MARKETPLACE KITCHEN Contracting/Building Supplies BERKSHIRE LANDMARK BUILDERS • DAVID J. TIERNEY, JR., INC. • Dettinger Lumber Co., Inc. • DRESSER-HULL LUMBER & BUILDING SUPPLY COMPANY • Great River Construction Co., Inc. • PETER D. WHITEHEAD BUILDER, LLC •  R.J. Aloisi Electrical Contractors Incorporated Education Belvoir Terrace – Visual and Performing Arts and Sports Camp • Berkshire Country Day School • Berkshire Children and Families offering El Sistema through Kids 4 Harmony • CAREERS THROUGH CULINARY ARTS PROGRAM (C-CAP) • Marty Rudolph’s Math Tutoring Service • Massachusetts College of Liberal Arts •  Thinking in Music • Westfield State University Energy/Utilities VIKING FUEL OIL CO., INC. Engineering  Foresight Land Services Environmental Services MAXYMILLIAN TECHNOLOGIES, INC. - J.H. MAXYMILLIAN, INC. • Nowick Environmental Associates Finance ABBOTT CAPITAL MANAGEMENT, LLC •  American Institute for Economic Research •

BERKSHIRE MONEY MANAGEMENT •  Berkshire Wealth Advisors of Raymond James • THE BERKSHIRES CAPITAL INVESTORS • MR. AND MRS. ROBERT HABER • Kenneth R. Heyman, CFP •  Kaplan Associates L.P. • TD Wealth • True North Financial Services Insurance Bader Insurance Agency, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. • Keator Group, LLC •  Lawrence V. Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • Jay M. Cohen, PA • COHEN KINNE VALICENTI & COOK, LLP • Michael J. Considine, Attorney at Law • Deely & Deely, Attorneys • Doris T. Friedman, Esq. • Hochfelder & Associates, PC • Jonas & Welch, P.C. •  Lazan Glover & Puciloski, LLP •  Ms. Linda Leffert • Norman Mednick, Esq. •  Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lighting ESCO Energy Service Company •  Limited Edition Lighting Lodging 1804 Walker House Inn •  1850 Windflower Inn • APPLE TREE INN •  Applegate Inn •  Berkshire Comfort Inn & Suites •  Berkshire Days Inn • BERKSHIRE HOLIDAY INN EXPRESS & SUITES HOTELS •  Birchwood Inn • BLANTYRE •  Briarcliff Motel •  Brook Farm Inn •  Chesapeake Inn of Lenox •  The Cornell • CRANWELL RESORT, SPA & GOLF CLUB • DAYS INN, LENOX •  Devonfield Inn •  An English Hideaway Inn •  Federal House Inn •  The Garden Gables Inn •  Gateways Inn • Hampton Terrace Bed and Breakfast Inn •  The Historic Merrell Inn • HOWARD JOHNSON INN, LENOX •  Inn at Green River •  The Inn at Stockbridge • THE PORCHES INN AT MASSMOCA • THE RED LION INN •  The Rookwood Inn • SEVEN HILLS INN • TRAVELODGE SUITES, GREAT BARRINGTON • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Industrial AMERICAN TERRY CO. • BAYER MATERIAL SCIENCE Photography  Edward Acker, Photographer Printing/Publishing QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS • THE STUDLEY PRESS, INC. Real Estate Barb Hassan Realty, Inc. •  Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST •  Brause Realty, Inc. •  Cohen & White Associates •  Barbara K. Greenfeld, Broker Associate at Roberts & Associates Realty • Hill Realty, LLC • Michael Sucoff Real Estate • PATTEN FAMILY FOUNDATION • Pennington Management Co. • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties, LLC Restaurant  Alta Restaurant & Wine Bar •  Baba Louie’s Pizza • Brava •  Café Lucia • Chez Nous •  Cork ‘N Hearth •  Firefly • Prime Italian Steakhouse & Bar Retail  Arcadian Shop • Bare Necessities • Ben’s •  Carr Hardware and Supply Co., Inc. • CASABLANCA • COUNRTY CURTAINS • CRANE & CO., INC. • Garden Blossoms • The Gifted Child • GLAD RAGS • IREDALE MINERAL COSMETICS, LTD. •  Onyx Specialty Papers, Inc. •  Paul Rich & Sons Home Furnishings & Design • Wards Nursery & Garden Center • Windy Hill Farm, Inc. Science/Medical  510 Medical Walk-In • Berkshire Health Systems • Stanley E. Bogaty, M.D. • Chelly Sterman Associates •  Lewis R. Dan, M.D. •  Eye Associates of Bucks County • Dr. and Mrs. Steven Gallant • Fred Hochberg, M.D. • Dr. William E. Knight •  Livingstone Dental Excellence • Dr. Charles Mandel/Optical Care Associates • Dr. Joseph Markoff • Northeast Urogynecology •  Dr. Donald Wm. Putnoi, M.D. • Dr. Robert Rosenthal •  Royal Health Care Services of N.Y. and L.I. •  Suburban Internal Medicine Services  Aladco Linen Services • Camp Wagalot •  SEVEN salon.spa •  Shear Design Storage  Security Self Storage Technology  New Yorker Electronics Co., Inc. Tourism/Resorts CANYON RANCH IN LENOX •  Eastover Resort •  Jiminy Peak Mountain Resort Travel & Transportation ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • AllPoints Drivers Video MYRIAD PRODUCTIONS 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 Elizabeth P. Roberts, Director of Development— Campaign and Individual Giving, at 617-638-9269 or [email protected].

Ten Million and above

Julian Cohen † • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous

Seven and One Half Million

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

Five Million

Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

Two and One Half Million

Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole † • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack † Fitzpatrick • Sally † and Michael Gordon • Susan Morse Hilles † • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • National Endowment for the Arts • Lia and William Poorvu • Miriam and Sidney Stoneman † • Elizabeth B. Storer † • Samantha and John Williams • Anonymous (2)

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell † • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. † and Mrs. William H. Congleton • William F. Connell † and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis † • Mary Deland R. de Beaumont † • William and Deborah Elfers • Elizabeth B. Ely † • Nancy S. † and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty † • The Ann and Gordon Getty Foundation • Marie L. Gillet † • Sophia and Bernard Gordon • Mrs. Donald C. Heath † • Francis Lee Higginson † • Major Henry Lee Higginson † • Edith C. Howie † • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. † Kaye • Nancy D. and George H. † Kidder • Farla and Harvey Chet † Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith † • Vera M. and John D. MacDonald † • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • Andrew W. Mellon Foundation • Kate and Al Merck • 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 • Cecile Higginson Murphy • Mary S. Newman • Mrs. Mischa Nieland † and Dr. Michael L. Nieland • Mr. † and Mrs. Norio Ohga • P&G Gillette • John S. and Cynthia Reed • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. † • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Wilhemina C. (Hannaford) Sandwen † • Hannah H. † and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot † • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler † • Anonymous (9)

† Deceased Stu Rosner Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall