Boston Symphony Orchestra Concert Programs, Summer, 2007, Tanglewood

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Photo: Teresa Rishel James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 126th Season, 2006-2007

Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman

John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Diddy Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer

Behrakis George D. Cynthia Curme Robert J. Mayer, M.D. Arthur I. Segel Gabriella Beranek William R. Elfers Nathan R. Miller Thomas G. Sternberg Borden P. Mark G. Nancy J. Fitzpatrick Richard Morse Wilmer J. Thomas, Jr. Alan Bressler Charles K. Gifford Ann M. Philbin, Stephen R. Weber Jan Brett Thelma E. Goldberg ex-qfficio Stephen R. Weiner Samuel B. Bruskin Stephen Kay Carol Reich Robert C. Winters

Paul Buttenwieser George Krupp Edward I. Rudman Eric D. Collins Shari Loessberg, ex-offick Hannah H. Schneider

Life Trustees Harlan E. Anderson James F. Cleary Avram J. Goldberg Irving W. Rabb Vernon R. Alden Abram T. Collier Edna S. Kalman Peter C. Read

David B. Arnold, Jr. Mrs. Edith L. Dabney George H. Kidder Richard A. Smith Barger J.P. Nelson J. Darling, Jr. R. Willis Leith, Jr. Ray Stata Leo L. Beranek Nina L. Doggett Mrs. August R. Meyer John Hoyt Stookey Deborah Davis Berman Mrs. John H. Fitzpatrick Mrs. Robert B. Newman John L. Thorndike Peter A. Brooke Dean W. Freed William J. Poorvu Dr. Nicholas T Zervas Helene R. Cahners

Other Officers of the Corporation

Mark Volpe, Managing Director Thomas D. May, ChiefFinancial Officer Suzanne Page, Clerk of the Board Board of Overseers of the Boston Symphony Orchestra, Inc Shari Loessberg, Chairman

William F. Achtmeyer Pamela D. Everhart Douglas A. Kingsley Dr. Tina Young Poussaint Diane M. Austin Joseph F. Fallon Robert Kleinberg James D. Price

Lucille M. Batal Thomas E. Faust, Jr. Farla H. Krentzman Claire Pryor

Maureen Scannell Judith Moss Feingold Peter E. Lacaillade Patrick J. Purcell Bateman Steven S. Fischman Renee Landers John Reed

Linda J.L. Becker John F. Fish Robert J. Lepofsky Donna M. Riccardi

George W. Berry Lawrence K. Fish Christopher J. Lindop Susan Rothenberg James L. Bildner Myrna H. Freedman John M. Loder Alan Rottenberg Bradley Bloom Carol Fulp Edwin N. London Joseph D. Roxe Anne F. Brooke Dr. Arthur Gelb Jay Marks Kenan Sahin Gregory E. Bulger Stephanie Gertz Jeffrey E. Marshall Ross E. Sherbrooke William Burgin Robert P. Gittens Carmine Martignetti Gilda Slifka Ronald G. Casty Michael Gordon Joseph B. Martin, M.D. Christopher Smallhorn Rena F. Clark Paula Groves Thomas McCann John C. Smith Carol Feinberg Cohen Michael Halperson Joseph C. McNay Charles A. Stakely Mrs. James C. Collias Carol Henderson Albert Merck Patricia L. Tambone

Charles L. Cooney Brent L. Henry Dr. Martin C. Mihm, Jr. Samuel Thorne Ranny Cooper Susan Hockfield Robert Mnookin Albert Togut James C. Curvey Osbert M. Hood Paul M. Montrone Diana Osgood Tottenham

Tamara P. Davis Roger Hunt Robert J. Morrissey Joseph M. Tucci Mrs. Miguel de William W. Hunt Evelyn Stefansson Nef Paul M. Verrochi Braganca Ernest Jacquet Robert T O'Connell Robert S. Weil Disque Deane Everett L. Jassy Susan W. Paine David C. Weinstein Paul F. Deninger Charles H.Jenkins, Jr. Joseph Patton James Westra Ronald M. Druker Darlene Luccio Ann M. Philbin Mrs. Joan D. Wheeler

Alan J. Dworsky Jordan, Esq. May H. Pierce Richard Wurtman, M.D. Alan Dynner Paul L. Joskow Claudio Pincus Dr. Michael Zinner Ursula Ehret-Dichter Stephen R. Karp Joyce L. Plotkin D. Brooks Zug

John P. Eustis II Brian Keane Dr. John Thomas Potts, Jr. Overseers Emeriti

Helaine B. Allen Peter H.B. Frelinghuysen David I. Kosowsky Roger A. Saunders Marjorie Arons-Barron Mrs. Thomas Robert K. Kraft Lynda Anne Schubert Caroline Dwight Bain Galligan, Jr. Benjamin H. Lacy Mrs. Carl Shapiro Sandra Bakalar Mrs. James Garivaltis Mrs. William D. Larkin L. Scott Singleton Mrs. Levin H. Jordan Golding Hart D. Leavitt Mrs. Micho Spring

Campbell Mark R. Goldweitz Frederick H. Lovejoy, Jr. Patricia Hansen Earle M. Chiles John Hamill Diane H. Lupean Strang Joan P. Curhan Deborah M. Hauser Mrs. Charles P. Lyman Robert A. Wells Phyllis Curtin Mrs. Richard D. Hill Mrs. Harry L. Marks Mrs. Thomas H. P. Betsy P. Demirjian Marilyn Brachman Barbara Maze Whitney JoAnne Walton Hoffman John A. Perkins Margaret Williams- Dickinson Lola Jaffe Daphne Brooks Prout DeCelles Phyllis Dohanian Michael Joyce Robert E. Remis Mrs. Donald B.

Goetz B. Eaton Martin S. Kaplan Mrs. Peter van S. Rice Wilson

Harriett Eckstein Mrs. S. Charles Kasdon John Ex Rodgers Mrs. John J. Wilson George Elvin Mrs. Gordon F. Kingsley Mrs. Jerome Rosenfeld

J. Richard Fennell

Officers of the Boston Symphony Association of Volunteers

Ann M. Philbin, President William S. Ballen, Executive Richard Dixon, Executive Vice-President/Tanglewood Vice-Presiden t/Adm in istratio n Sybil Williams, Secretary Howard Cuder, Executive Gerald Dreher, Treasurer Vice-President/Fundraising Leah Weisse, Nominating Chair

Mark Volpe, Managing Director Eunice andJulian Cohen Managing Directorship, fullyfunded in perpetuity

Anthony Fogg, Artistic Administrator Peter Minichiello, Director ofDevelopment Marion Gardner-Saxe, Director ofHuman Resources Kim Noltemy, Director of Sales, Marketing, Ellen Highstein, Director ofTanglewood Music Center and Communications Tanglewood Music Center Directorship, Caroline Taylor, Senior Advisor to the endowed in honor ofEdward H. Linde Managing Director by Alan S. Bressler and Edward I. Rudman Ray F. Wellbaum, Orchestra Manager Bemadette M. Horgan, Director ofMedia Relations

Thomas D. May, ChiefFinancial Officer ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Senior Archivist-Position endowed by Caroline Dwight Bain • Vincenzo Natale, Chauffeur/

Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Benjamin

Schwartz, Assistant to the Artistic Administrator ADMINISTRATIVE STAFF/ PRODUCTION

Christopher W. Ruigomez, Director of Concert Operations

Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra PersonnelAdministrator • Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production and Touring Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Leslie D. Scott, Concert Operations Coordinator

BOSTON POPS •>.-..' Dennis Alves, Director ofArtistic Planning

Sheri Goldstein, PersonalAssistant to the Conductor • MargO Saulnier, Assistant Director of'Artistic Planning

BUSINESS OFFICE

Sarah J. Harrington, Director ofPlanning and Budgeting Joseph Senna, Director ofInvestments Pam Wells, Controller

• Michelle Green, Executive Assistant to the ChiefFinancial Officer • Karen Guy, Accounts Payable Supervisor Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Theany Uy, StaffAccountant • Teresa Wang, StaffAccountant • Audrey Wood, Senior Investment Accountant DEVELOPMENT

Alexandra Fuchs, Director ofAnnual Funds Nina Jung, Director ofDevelopment Events and Volunteer Outreach Bart Reidy, Director ofDevelopment Communications Mia Schultz, Director ofDevelopment Administration

Stephanie Baker, Major and Planned Giving Coordinator • Cullen Bouvier, Executive Assistant to the Director of Development • Diane Cataudella, Associate Director of Stewardshipfor Donor Relations • Kerri Cleghom, Associ- ate Director, BSO Business Partners • Marcy Bouley Eckel, Annual Funds Membership Manager • Joseph Gaken, Associate Director ofStewardshipfor Donor Recognition • Kara Gavagan, Development Special Events Coordinator • Emily Gonzalez, Donor Information and Data Coordinator • David Grant, Manager of Gift Processing and Donor Records • Laura Hahn, Annual Fund Projects Coordinator • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Assistant Manager of Friends Membership • Andrea Katz, Coordinator of Special Events • Nicole Leonard, Manager ofPlanned Giving * Ryan Losey, Associate Director ofFoundation and Government Relations • Pamela McCarthy, Manager ofProspect Research • Jennifer Raymond, Associate Director, Friends Membership • Yong-Hee Silver, Manager, Higginson and Fiedler Societies • Kenny Smith, Acknowledgment and Gift Processing Coordinator • Mary E. Thomson, Associate Director ofDevelopment Corporate Events • Laura Wexler, Assistant Manager ofDevelopment Communications EDUCATION AND COMMUNITY PROGRAMS

Myran Parker-Brass, Director ofEducation and Community Programs

Claire Carr, Coordinator ofEducation and Community Programs • Gabriel Cobas, Manager ofEducation Programs * Emilio Gonzalez, Coordinator of Curriculum Research and Development • Darlene White, Manager, Berkshire Education and Community Programs EVENT SERVICES Cheryl Silvia Lopes, Director ofEvent Services

Tony Bennett, Cafe Supervisor • Sean Lewis, Assistant to the Director ofEvent Services • Cesar Lima, Steward • Shana Metzger, Special Events Sales Manager • Kyle Ronayne, Food and Beverage Manager • James Sorrentino, Bar Manager

FACILITIES

Mark Cataudella, Director ofFacilities

Tanglewood David P. Sturma, Director ofTanglewood Facilities and BSO Liaison to the Berkshires

Ronald T. Brouker, Supervisor ofTanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head Carpenter

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber HUMAN RESOURCES

Kathleen Sambuco, Benefits Manager Mary Pitino, Human Resources Manager

Susan Olson, Human Resources Recruiter INFORMATION TECHNOLOGY David W. Woodall, Director ofInformation Technology

Guy W. Brandenstein, User Support Specialist • Andrew Cordero, Manager of User Support • Timothy James, Applications Support Specialist • Brian Van Sickle, User Support Specialist PUBLIC RELATIONS

Kathleen Drohan, Associate Director ofMedia Relations • Marni Glovinsky, Media Relations Coordinator • Joseph Heitz, Senior Media Relations Associate • Whitney Riepe, Media Relations Associate PUBLICATIONS Marc Mandel, Director ofProgram Publications

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Manager, Subscription Office Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front ofHouse Manager James Jackson, Call Center Manager Roberta Kennedy, Buyerfor Symphony Hall and Tanglewood Sarah L. Manoog, Director ofMarketing Programs Michael Miller, SymphonyCharge Manager

Duane Beller, SymphonyCharge Representative • Gretchen Borzi, Marketing Production Manager • Rich Bradway, Associate Director ofE-Commerce and New Media • Lenore Camassar, SymphonyCharge Assistant Manager • Theresa ConditO, SymphonyCharge Representative • John Dorgan, Group Sales Coordinator • Paul Ginocchio,

Manager, Symphony Shop and Tanglewood Glass House • Erin Glennon, Graphic Designer • Julie Green, Subscription

Representative • Susan Elisabeth Hopkins, Senior Graphic Designer • Aaron Kakos, Subscription Representative •

Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Senior Subscription Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge

Representative • Michael Moore, E-Commerce Marketing Analyst • Clint Reeves, Graphic Designer • Doreen Reis,

Marketing Coordinatorfor Advertising • Andrew Russell, Manager, Major Corporate Sponsor Relations • Robert Sistare, SymphonyCharge Coordinator • Megan E. Sullivan, Senior Subscription Associate

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

• • • Box Office Representatives Mary J. Broussard Cary Eyges Mark Linehan Arthur Ryan TANGLEWOOD MUSIC CENTER

Rachel Cipro tti, Coordinator • Karen Leopardi, Associate Directorfor Faculty and Guest Artists • Michael Nock, Associate Directorfor Student Affairs • Gary Wallen, Manager ofProduction and Scheduling TANGLEWOOD SUMMER MANAGEMENT STAFF

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, TMC Concerts Front ofHouse Manager • Randie Harmon, Front ofHouse Manager • Marcia Jones, Manager of Visitor Center VOLUNTEER OFFICE Nina Jung, Director ofDevelopment Events and Volunteer Outreach

Kris DeGraw Danna, Associate Director of Volunteers • Sabine Chouljian, Assistant Managerfor Volunteer Services TANGLEWOOD

The Tanglewood Festival

In August 1934 a group of music-loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philharmonic under the direction of Henry Hadley The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer. The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted,

and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, drawing a total of nearly 15,000 people. In the winter of 1936 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, and on

August 5, 1937, the festival's largest crowd to that time 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 "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour.

At the intermission, 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 had been 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 immediate needs of the festival and, more important, went

well beyond the budget of $100,000. His second, simplified plans were still too expensive; 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 turned to Stockbridge engineer Joseph Franz to make further simplifications in Saarinen's plans in

order to lower the cost. The building he erected was inaugurated on the

evening of August 4, \ & I L 3Hp 1938, when the first concert of that year's festival was given, and KT

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 its reputation for ex-

cellence that it attracted nearly 100,000 visitors. With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion 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 outmod- ed Theatre-Concert Hall (which was used continuously with only minor modifications since 1941, and which with some modification has been used in recent years for the Tangle- wood Music Center's opera productions), and for improved Tanglewood Music Center facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall—designed by the architectural firm William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- gaard 6c Associates of Downer's Grove, Illinois, and representing the first new concert facil- ity to be constructed at Tanglewood in more than a half-century—now provides a modern venue for TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein

Campus, as described below. Also at Tanglewood each summer, the Boston University Tanglewood Institute sponsors a variety of programs that offer individual and ensemble instruction to talented younger students, mostly of high school age.

A "Special Focus" Exhibit at the Tanglewood Visitor Center The Festival of Contemporary Music at Tanglewood: A Photographic Retrospective

Since 1964, the Tanglewood Music Center has organized an intensive five-day festival—the TMC's annual Festival of Contemporary Music (FCM)—dedicated to the work of both established and up-and-coming contemporary composers. This summer's "special focus" exhibit traces the origins of FCM in the mid-1950s through its formal establishment in 1964 (under the leadership of Erich Leinsdorf and Gunther Schuller in conjunction with the Fromm Music Foundation)

I and into the late 1980s. Drawing primarily on the

/vj™ I BSO Archives' extensive collection of Tanglewood

. '. -Si HW photographs, the exhibit documents the musicians and composers who have played an active role in the Festival's continued artistic success, including Theodore Antoniou, Elliott Carter, Aaron Copland, John Harbison, Oliver Knussen, Bruno Maderna, Gunther Schuller, and Charles Wuorinen, to name just a few. In the photo above, Paul Fromm, Aaron Copland, Lukas Foss, and Gunther Schuller discuss contemporary music activities at Tanglewood, c.1963.

Preserving FCM in Sound: In the summer of 2006, the BSO Archives was awarded a grant from the Association for Recorded Sound Collection (ARSC) to preserve a collection of forty- nine FCM programs recorded on reel-to-reel tape between 1969 and 1981. At the completion of this project, performances of works by Milton Babbitt, Arthur Berger, Pierre Boulez, Elliott Carter, John Harbison, Olivier Messiaen, Gunther Schuller, and Charles Wuorinen, among others, will be available to researchers in the BSO Archives. Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Contempo- rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra 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 regard for artistic excellence that makes the festival unique.

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 Kous- sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the Center with the intention of creating a premier 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 Orchestra musicians 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, specially written for the ceremony, arrived less than an hour before the event began but made such an impression that it continues to be performed at the opening ceremonies each summer. The TMC was Kousse- vitzky 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 the BSO's music director. Charles Munch, his successor in that position, 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 served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized 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 was appointed Director 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 training—participate in an intensive program including chamber and orchestral music, opera, and art song, with a strong emphasis on music of the twentieth and twenty-first centuries. All participants receive full fellowships that underwrite tuition, room, and board. TMC Orchestra highlights this summer include a concert performance in the Koussevitzky Music Shed of Verdi's Don Carlo conducted by James Levine with a guest cast of internationally renowned singers; a TMCO concert led by Stefan Asbury in Ozawa Hall, and Beethoven's Ninth Symphony led by Rafael Friihbeck de Burgos in the Shed—the latter representing Tanglewood's traditional season-ending performance of that work. The season also includes a fully staged Tanglewood GLASS HOUSE

EXCITEMENT of Discovery

Visit the Glass House and experience our

newly-remodeled store, filled with apparel,

recordings, and unique gifts for the home.

Shop for yourself, or for someone special,

and savor the spirit of Tanglewood.

Main Gate: Highwood Gate: -Thursday ioam-4pm Performance Hours Monday ; Friday, 10am - 30 minutes post concert Saturday, 9am - 30 minutes post concert Sunday, noon - 6pm TMC production of Mozart's Costfan tutte conducted by James Levine (August 11-14 in the Theatre) and a third collaboration between the TMC Vocal Program and Keith Lockhart and the Boston Pops Orchestra—a concert performance of Rodgers 6c Hammerstein's classic musical Carousel (July 10 in the Shed). The TMC season opens with a residency by the Mark Morris Dance Group, culminating in two performances by the company (June 28 and 29) of Mark Morris's choreography to Purcell's Dido and Aeneas, conducted by Stefan Asbury and featuring TMC singers and instrumentalists. All TMC Fellows participate in the TMC's ongoing chamber music programs in Ozawa Hall (Sunday mornings at 10 a.m., and on Saturdays at 6 p.m. prior to BSO concerts). The 2007 Festival of Contemporary Music—a five-day celebration of the music of our time—will be directed by John Harbison, and will focus on "The Generation of '38," highlighting the remarkable quality and diversity of music written by composers born in or near that year. The Fromm Concert at Tanglewood, the penultimate event of the Festival, will feature the Julius Hemphill Sextet and improvi- sations with Musica Elettronica Viva. The start of the TMC season again includes an intensive string quartet seminar; and a highlight of the Composition Program is the now regular collaboration with Shakespeare 6c Company on writing incidental music for the theater—this season a condensed version of Macbeth, featuring Tina Packer and actors from the company, on stage with TMC musicians in Ozawa Hall as part ofTanglewood on Parade on August 15.

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. Besides Seiji Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, the late Leonard Bernstein, Stephanie Blythe, David Del Tredici, Christoph von Dohnanyi, the late Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who headed the TMC faculty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, 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 Kousse- vitzky 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 as one of the world's most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

BSO Music DirectorJames Levine, who works with the TMC Fellows in classes on orchestral repertoire, Lieder, and opera, shown here with TMC Vocal Fellows in a July 2005 session devoted to Mozart's "Don Giovanni" TO: STOCKBRIDGE

TO: LENOX hawthorne entrance (reserved)

2] RESTROOMS RESTROOMS (ACCESSIBLE TO handicapped) D TELEPHONES

FIRST AID

FOOD & BEVERAGES

VISITOR CENTER

ATM

TICKETS

SMOKING PERMITTED (OUTSIDE OF ENTRANCE GATES) HIGHWOOD NORTH TO: LENOX (RESERVE PITTSFIELD LEE MASS PIKE \ ROUTES 7 & 20 MAHKEENAC LOT

ST BARN

TO: GREAT BARRINGTON ROUTE 102

Tanglewood LENOX, MA BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS TANGLEWOOD ADMINISTRATIVE COMMITTEE 2007 Nina Jung, Director ofDevelopment Events and Volunteer Outreach

President DEVELOPMENT MEMBERSHIP Ann Philbin Howard Arkans, Ken Singer, Executive Chair Executive Chair Executive Vice-President Membership Events Bill Ballen Annual Fund Marsha Burniske Immediate Past Executive Mary Jane Handler Roz Mancher Vice-President Joseph Handler Database Ursula Ehret-Dichter Friends Office Ned Dana Vice-President Judy Benjamin Newsletter Margery Steinberg Carol Kosakoff Sylvia Stein Secretary Seranak Gardens and Flowers Personnel Wilma Michaels Jack Adler Alexandra Warshaw Nominating, Executive Chair Tent Club Ready Team Mel Blieberg Carolyn Corby Jessica Mormann Helen Kimpel Retired Volunteers Club Judith Cook COMMUNITY/ AUDIENCE SERVICES EDUCATION Gus Leibowitz, Midge Sandlin, TMC Executive Chair Executive Chair Bob Gittleman, Executive Education and Community Joys ofTanglewood Chair Outreach (Berkshire Museum Series) TMC Lunch Program Norma Ruffer Gabe Kosakoff Sue Arkans Tour Guides Elena Winter Transportation Coordinator Marita Renner Talks & Walks Carol Maynard Ron Winter Ivan Kates Ellen Tremblay Opening Exercises Brochure Distribution Mary Mary Blair Sharon Shepard-Ballen Tanglewoodfor Kids Karen Rita Blieberg Methven Ushers and Programmers Tanglewood on Parade Picnic Mary Papa Stephanie Gittleman J. Rosalie Beal Bob Rosenblatt Youth Activities Arline Breskin Brian Rabuse Transportation Bus Greeters Roberta Cohn Exhibition Docents Susan Price Michael Geller Carole Siegel

For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books please contact: STEVE GANAK AD REPS

(617) 542-6913, in Boston. IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS PLEASE NOTE: TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE ENVIRONMENT. WE ASK THATYOU REFRAIN FROM SMOKING ANYWHERE ON THE TANGLEWOOD GROUNDS. DESIGNATED SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES.

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. Please do not bring food or beverages into the Music Shed 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 OFYOUR FELLOW PATRONS, PLEASE NOTE THAT COOKING, OPEN FLAMES, SPORTS ACTIVITIES, BIKES, SCOOTERS, SKATEBOARDS, AND TENTS OR OTHER STRUCTURES ARE PROHIBITED FROM THE TANGLEWOOD GROUNDS, AND THAT BALL PLAYING IS NOT PERMITTED ON THE SHED LAWN AT ANY TIME WHEN THE GROUNDS ARE OPEN FOR A SHED CONCERT. 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. THANKYOU FORYOUR 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) 637-5165. 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 www.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 www.tanglewood.org provides information on all Boston Sym- phony and Boston Pops 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 purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431.

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes will be provided.

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the intermission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go may be ordered several days in advance at www.tanglewood.org or by phone at (413) 637-5240. Instantly arresting beauty..." Financial limes

The Unknown

PASTELS AND DRAWINGS

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June 24 -September 16

Williamstown, MA 413 458 2303 clarkart.edu

Lead sponsorship of this exhibition is provided by Bank of America _

This exhibition has been organized by the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, in association with the Royal Academy ofArts, London. 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 often. 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.

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under the age of twelve 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 beginning at 12 noon before Sunday-afternoon concerts.

Further information about Kids' Corner is available at the Visitor Center.

OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $17 and available at the Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge to ticket holders, beginning at 9:30 in the Shed.

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive a 50% discount on lawn tickets for Friday-night BSO concerts. Tickets are available only at the Main Gate box office, and only on the night of the performance. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- WAYS are located in the area of the Main Gate and many of the parking areas.

THE 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 closed during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

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. Staffed by volunteers, 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 Tangle- wood and the Tanglewood Music Center, as well as the early history of the estate. You are cordially invited to visit the Center on the first floor of the Tanglewood Manor House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the concert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until twenty minutes after the concerts on these evenings, as well as during concert intermissions. In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 a.m. to 4 p.m. There is no admission charge. a

JAMES LEVINE James Levine became Music Director of the Boston Sym-

phony Orchestra in the fall of 2004. He is the orchestra's fourteenth music director since the BSO's founding in 1881 and the first American-born conductor to hold that position. Highlights of Mr. Levine's 2007 Tanglewood season with the BSO include an Opening Night program of Mendelssohn

and Tchaikovsky; Mahler's Symphony No. 3; a concert pair- ing Bartok's Bluebeard's Castle with Brahms's First Symphony; and Berlioz's La Damnation de Faust, as well as works by Beethoven, Carter, Harbison, Mozart, Ives, and Ravel. He also leads a concert performance with the Tanglewood Music Center Orchestra of Verdi's Don Carlo and a staged TMC production of Mozart's Costfan tutte, and continues to work with the TMC's Conducting and Vocal Fellows in classes devoted to orchestral repertoire, Lieder, and opera. In late August/early September, he and the BSO make their first European tour together, to include the Lucerne Festival, the Schleswig-Holstein Festival (in Hamburg), Essen, Diisseldorf, the Berlin Festival, Paris, and the BBC Proms in London. Highlights of Maestro Levine's 2007-08 BSO season will include an Opening Night all-Ravel program; premieres of new works by Elliott Carter, John Harbison, William Bolcom, and Henri Dutilleux; Mahler's First and Ninth symphonies and Das Lied von der Erde; Smetana's complete Ma Vlast, the two Brahms piano concertos with soloist Evgeny Kissin; season-ending concert performances of Berlioz's Les Troyens, and (with Mr. Levine as pianist) Schubert's Winterreise with Thomas Quasthoff. Highlights of his 2006-07 BSO programs included an American-themed Opening Night concert; the conclusion of his two-season Beethoven/Schoenberg project with the orchestra; Bartok's Bluebeards Castle, Mahler's Third Symphony, and Berlioz's La Damnation de Faust, and a BSO 125th-anniversary commission from Charles Wuorinen. Maestro Levine made his BSO debut in April 1972; he has since led the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of Babbitt, Cage, Carter, Gershwin, Harbison, Lieberson, Ligeti, Perle, Schuller, Sessions, and Wuorinen.

James Levine is also Music Director of the Metropolitan Opera, where, in the thirty- five years since his debut there, he has developed a relationship with that company unparalleled in its history and unique in the musical world today. All told at the Met he has led more than 2,000 performances of 80 different operas. In 2006-07 Maestro Levine led new Met productions of Puccini's Madama Butterfly, Puccini's II trittico, and Gluck's Orfeo ed Euridice; revivals of Mozart's Idomeneo and Die Zauberflote, Verdi's Don Carlo, and Wagner's Die Meistersinger von Nurnberg, and three concerts each at Carnegie Hall with the MET Orchestra and MET Chamber Ensemble. Mr. Levine inaugurated the "Metropolitan Opera Presents" television series for PBS in 1977, founded its Young Artist Development Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house— former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world.

Outside the United States, Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, especially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its founding in 2000 and, before coming to Boston, was chief conductor of the Munich Philhar- monic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrendy, was music director of the Cincinnati May Festival (1973-1978). Besides his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendelssohn's D minor piano concerto. He was a participant at the Marlboro Festival in 1956 (including piano study with Ru- dolf Serkin) and at the Aspen Music Festival and School (where he would later teach and con- duct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Balti- more Symphony Orchestra and Alfred Wallenstein, Max Rudolf, and Fausto Cleva. As a direct result of his work there, he was invited by George Szell, who was on the jury, to become an assistant conductor (1964-1970) at the Cleveland Orchestra—at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72).

James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and in 1986 was presented with the Smetana Medal by the Czechoslovak government, following performances of the composer's Ma Vlast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documentary in PBS's "American Masters" series. He holds numerous honorary doctorates and other international awards. In recent years Mr. Levine has received the Award for Distin- guished Achievement in the Arts from New York's Third Street Music School Settlement; the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden- Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal Award from the World Economic Forum in Davos, Switzerland; America's National Medal of Arts and Kennedy Center Honors, and the 2005 Award for Distinguished Service to the Arts from the American Academy of Arts and Letters.

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Summer Retail Hours: Mon.-Sat. 10:00 AM-5:30 PM (June 28-August 29) BERKSHIRE RECORD OUTLET Rte. 102, Lee, MA Website: www.berkshirerecordoutlet.com (413) 243-4080 *Aza Raykhtsaum Robert Barnes Theodore W. and Evelyn Berenson Ronald Wilkison Family chair Michael Zaretsky *Bonnie Bewick Marc Jeanneret Stephanie Morris Marryott and *Mark Ludwig Franklin J. Marryott chair *James Cooke * Rachel Fagerburg Catherine and Paul Buttenwieser *Kazuko Matsusaka chair * Rebecca Gitter *Victor Romanul *Marvin Moon TANGLEWOOD Bessie Pappas chair 2007 * Catherine French Cellos Mary B. Saltonstall chair, Jules Eskin James Levine in perpetuity fullyfunded Principal Music Director *Kelly Barr Philip R. Allen chair, endowed Ray and Maria Stata Kristin and Roger Servison chair in perpetuity in 1969 Music Directorship, *Polina Sedukh Martha Babcock fullyfunded in perpetuity Donald C and Ruth Brooks Heath Assistant Principal Bernard Haitink chair, fullyfunded in Vernon and Marion Alden chair, Conductor Emeritus perpetuity endowed in perpetuity LaCroix Family Fund, *Jason Horowitz in 1977 fullyfunded in perpetuity Sato Knudsen Second Violins Mischa Nieland chair, Seiji Ozawa fullyfunded in perpetuity Music Director Laureate Haldan Martinson Principal Mihail Jojatu Carl SchoenhofFamily chair, Sandra and David Bakalar chair First Violins fullyfunded in perpetuity Luis Leguia Malcolm Lowe Vyacheslav Uritsky Robert Bradford Newman chair, Concertmaster Assistant Principal fullyfunded in perpetuity Charles Munch chair, Charlotte and Irving W. Rabb *Jerome Patterson fullyfunded in perpetuity chair, endowed in perpetuity Lillian and Nathan R. Miller chair Tamara Smirnova in 1977 *Jonathan Miller Associate Concertmaster Ronald Knudsen Charles andJoAnne Dickinson chair Helen Horner Mclntyre chair, Edgar and Shirley Grossman chair *Owen Young endowed in perpetuity in 1976 Joseph McGauley John F Cogan,Jr, and Mary L. Alexander Velinzon Shirley andJ. Richard Fennell chair, Cornille chair, fullyfunded in perpe- Assistant Concertmaster fullyfunded in perpetuity tuity Robert L. Beal, Enid L., and Bruce Ronan Lefkowitz *Andrew Pearce A. Beal chair, endowed in perpetuity David H. and Edith C Howie Stephen and Dorothy Weber chair in 1980 chair, fullyfunded in perpetuity *Mickey Katz Elita Kang * Sheila Fiekowsky Ellen E. Paine Assistant Concertmaster Richard C and in perpetuity Edward and Bertha C Rose chair *Jennie Shames chair, fullyfunded Bo Youp Hwang * Valeria Vilker Kuchment Basses John and Dorothy Wilson chair, *Tatiana Dimitriades Edwin Barker fullyfunded in perpetuity *Si-Jing Huang Principal Lucia Lint * Nicole Monahan Harold D. Hodgkinson chair, Forrest Foster Collier chair *Wendy Putnam endowed in perpetuity in 1974 Ikuko Mizuno Lawrence Wolfe Dorothy Q. and David B. Arnold, *Xin Ding Assistant Principal Jr., chair, fullyfunded in *Glen Cherry Maria Nistazos Stata chair, perpetuity Lee *Julianne funded in perpetuity Amnon Levy fully Joseph Hearnet Muriel C Kasdon and Violas Leith Family chair, Marjorie C Paley chair Steven Ansell fullyfunded in perpetuity *Nancy Bracken Principal Dennis Roy Ruth and Carl Shapiro chair, fully Charles S. Dana chair, J. Joseph andJan Brett Hearne chair funded in perpetuity endowed in perpetuity in 1970 John Salkowski Cathy Basrak Erich and Edith Heymans chair Assistant Principal *James Orleans * Anne Stoneman chair, Participating in a system EdwardM. Lupean chair perpetuity ofrotated seating fullyfunded in On leave Edward Gazouleas X On sabbatical leave Lois and Harlan Anderson chair, ^Substitute player fullyfunded in perpetuity *Todd Seeber Bassoons fullyfunded in perpetuity Eleanor L. and Levin H. Campbell Richard Svoboda chair, fullyfunded Principal Tuba in perpetuity Edward A. Taft chair, endowed Mike Roylance *John Stovall in perpetuity in 1974 Principal *Benjamin Levy Suzanne Nelsen Margaret and William C. Rousseau John D. and Vera M. cha ir, fullyfunded Flutes MacDonald chair in perpetuity Richard Ranti Elizabeth Rowe Timpani Principal Associate Principal Walter Piston chair, endowed Diana Osgood Tottenham/ Timothy Genis in perpetuity in 1970 Hamilton Osgood chair, Sylvia Shippen Wells chair, endowed fullyfunded in perpetuity in perpetuity in 1974

Myra and Robert Kraft chair, Contrabassoon Percussion endowed in perpetuity in 1981 Frank Epstein Elizabeth Ostling Gregg Henegar Peter andAnne Brooke chair, Associate Principal Helen Rand Thayer chair fullyfunded in perpetuity Marian Gray Lewis chair, fullyfunded in perpetuity Horns J. William Hudgins Peter Andrew Lurie chair, § Linda Toote James Sommerville Principal fullyfunded in perpetuity Piccolo Helen SagoffSlosberg/Edna S. Kalman chair, endowed Barbara Lee chair Cynthia Meyers in perpetuity in 1974 Evelyn and C. Charles Marran Richard Sebring Assistant Timpanist chair, endowed in perpetuity in 1979 Associate Principal Mr. and Mrs. Edward H. Linde Margaret Andersen Congleton chair, chair Oboes fullyfunded in perpetuity Daniel Katzen Harp John Ferrillo Elizabeth B. Storer chair, Pilot Principal Ann Hobson fullyfunded in perpetuity Principal Mildred B. Remis chair, endowed in perpetuity in 1975 Jay Wadenpfuhl Nicholas and Thalia Zervas chair Mark McEwen John P. II and Nancy S. Eustis chair, fullyfunded in perpetuity Voice and Chorus James and Tina Collias chair Keisuke Wakao Jason Snider John Oliver Gordon and Mary Ford Kingsley Festival Assistant Principal Tanglewood Chorus Family chair Conductor Alan and Suzanne Dworsky English Horn Jonathan Menkis J. W Jean-Noel and Mona chair, fullyfunded in perpetuity Robert Sheena N Tariot chair Beranek chair, fullyfunded Librarians in perpetuity Trumpets Marshall Burlingame Clarinets Thomas Rolfs Principal Principal Lia and William Poorvu chair, William R. Hudgins Roger Louis Voisin chair, fullyfunded in perpetuity Principal endowed in perpetuity in 1977 William Shisler Ann S.M. Banks chair, endowed Peter in perpetuity in 1977 Chapman John Perkel Ford H. Cooper chair, endowed in perpetuity in 1984 Thomas Sternberg chair Assistant Conductors Thomas Martin Jens Georg Bachmann Assistant Principal Associate Principal & Anna E. Finnerty chair, E-flat clarinet Benjamin Wright fullyfunded in perpetuity Stanton W. and Elisabeth K. Davis Ludovic Morlot chair, fullyfunded in Trombones perpetuity Ronald Barron Personnel Managers Principal Lynn G. Larsen Bass Clarinet P. and Mary B. Barger chair, J. Bruce M. Creditor Craig Nordstrom fullyfunded in perpetuity Far/a Harvey Norman Bolter and Chet Krentzman Stage Manager chair, fullyfunded Arthur and Linda Gelb chair in perpetuity John Demick Bass Trombone Douglas Yeo John Moors Cabot chair, FOR RESERVATIONS CALL: 413,298.5545 www.redlioninn.com. stockbridge, mass, since 1773

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Exhibitions

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Village Ca^At*ci Routes 20 and 41, Pittsfield, 413.443.0188 800.817.1137 A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Now in its 126th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the busi- nessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higgin- son, for well over a century. The Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, South America, and

China; in addition, it reaches audiences numbering in the

millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer

season at Tanglewood is regarded as one of the world's most

important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involving the entire Boston

community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conduc- Major Henry Lee Higgin- tors, instrumentalists, and vocalists. The orchestra's virtuosi-

son, founder ofthe Boston ty is reflected in the concert and recording activities of the Symphony Orchestra Boston Symphony Chamber Players, one of the world's most distinguished chamber ensembles made up of a major symphony orchestra's principal players, and the activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, govern- mental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881. The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music

Thefirst photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882 director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the centennial of Symphony Hall, and the rich history of music performed and introduced to the world at Symphony Hall since it opened over a century ago. Georg Henschel was succeeded by a series of German-born and -trained conductors—Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston

Symphony had given their first "Promenade" concert, offering both music and refresh- ments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in

the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

In 1915 the orchestra made its first trans- Rush ticket line at Symphony Hall, continental trip, playing thirteen concerts at probably in the 1930s the Panama-Pacific Exposition in San Fran- cisco. Recording, begun with the Victor Talking Machine Company (the predecessor to RCA Victor) in 1917, continued with increasing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeeded the following year by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty- five years. The BSO's first live concert broadcasts, privately funded, ran from January 1926 through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, regular five Boston Symphony broadcasts being initiated in October 1935. In 1936

Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. 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). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orches- tra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Koussevitzky as music director of the Boston Symphony Orchestra in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began his seven-year term as music director in 1962. Leins- dorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full- tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the midwest. Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a year as music adviser and three years as an artistic director at Tangle- .^jS^ wood. His historic twenty-nine-year tenure, from 1973 to 2002, exceeded that of any previous BSO conductor; in the summer of 2002, at the completion of his tenure, he was named Music Director Laureate. Besides maintaining the orchestra's reputation worldwide, Ozawa reaffirmed the BSO's commitment to new music through the commissioning of Symphony Hall in the early 1940s, with the main many new works (including com- entrance still on Huntington Avenue, before the intersection Massachusetts and Huntington missions marking the BSO's centen- of avenues was reconstructed so the Green Line could nial in 1981 and the TMC's fiftieth run underground anniversary in 1990), played an active role at the Tanglewood Music Center, and further expanded the BSO's recording activities. In 1995 he and the BSO welcomed Bernard Haitink as Principal Guest Conductor. Named Conductor Emeritus in 2004, Mr. Haitink has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, and has also recorded with the orchestra.

In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music director. Maestro Levine began his tenure as the BSO's fourteenth music director—and the first American-born conductor to hold that position—in the fall of 2004. His wide- ranging programs balance great orchestral, operatic, and choral classics with equally significant music of the 20th and 21st centuries, including newly commissioned works from such important American composers as Milton Babbitt, Elliott Carter, John Harbison, Peter Lieberson, and Charles Wuorinen. He also appears as pianist with the Boston Symphony Chamber Players, conducts the Tanglewood Music Center Orchestra, and works with the TMC Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston. South Mountain Concerts BERKSHIRE HISTORICAL SOCIETY AT Pittsfield, Massachusetts JJERMAN J^JELVILLE'S 89th Season of Chamber Music ARROWHEAD ^TOUM Sundays at 3 P.M. September 2 S" edo, Robinson Trio September 9 XZAcJ^uAyOb: String Quartet September 16 String Quartet September 30 String Quartet October 7 tring Quartet me-mi and Merfehem Pressler, piano 780 Holmes Road, Pittsfield, MA For Brochure and Ticket Information Write 413-442-1793 South Mountain Concerts, Box 23 www.berkshirehistory.org Pittsfield, MA 01 202 Phone 41 3 442-21 06 Open daily except Thursdays www.southmountainconcerts.com May 26 - Oct 8

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Bard SummerScape 2007 explores the cultural milieu of that most British of composers, Edward Elgar, through opera, theater, music, dance, and the 18th annual Bard Music Festival, "Elgar and His World."

SummerScape takes place in the visually stunning and acoustically superb Fisher Center, designed by Frank Gehry, and other venues on campus, including the unique Spiegeltent.

BARD MUSIC FESTIVAL SPECIAL EVENTS Two Operas by Eighteenth season SPIEGELTENT Alexander von Zemlinsky ELGAR AND HIS WORLD July 5 -August 19

A FLORENTINE TRAGEDY August 10-12, 17-19 The Spiegeltent is the very essence of a festival club and THE DWARF Two weekends of concerts, panels, and other events bring July 27, 29, August 2, 4, 5 It's the perfect venue for the musical world of Edward rollicking late-night American Symphony Orchestra Elgar vividly to life Conducted by Leon Botstein performances and intimate dining. Directed by Olivier Tambosi FILM FESTIVAL Sets and costumes by McDermott & McGough BRITISH POSTWAR CLASSICS Thursdays and Sundays, THE SORCERER July 8- August 9 August 3-5, 8-12 Offering such masterpieces By Gilbert and Sullivan as The Third Man and Black Conducted by James Bagwell Narcissus and the madcap Directed by Erica Schmidt romps produced by Ealing Studios THEATER SAINT JOAN

July 12-15, 19-22 By George Bernard Shaw Directed by Gregory Thompson

DANCE DOUG VARONE AND DANCERS

July 5-8

SUSAN MARSHALL & COMPANY 6-° " * July Seven weeks of cultural delight! —International Herald Tribune

For tickets: 845-758-7900 or www.fishercenter.bard.edu

H*. EIGHTEENTH ANNUAL BARD MUSIC FESTIVAL

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. . AND HIS WORLD , f*P^ August 10-12 and August 17-19, 2007

The Bard Music Festival's 18th season explores the musical world of Edward Elgar (1857-1934), an outsider to the world of Victorian society whose works nevertheless came to embody the essence of English classical music. Through concerts, panels, and special events in the Fisher Center, designed by Frank Gehry, and other venues, this year's

Bard Music Festival promises to bring Elgar and his world vividly to life.

©Hulton-Deutsch Collection/CORBIS

WEEKEND ONE SUNDAY, AUGUST 12 PROGRAM EIGHT PROGRAM FOUR THE GREAT WAR AND AUGUST 10-12, 2007 ELGAR AND THE VICTORIAN MODERN MUSIC SPIRIT Works by Elgar, Debussy, Ireland, FRIDAY, AUGUST 10 Works by Elgar, Smyth, Somervel, Bliss, Butterworth, Curney PROGRAM ONE Parry, Stanford ELGAR: FROM AUTODIDACT TO PROGRAM NINE "MASTER OF THE KING'S PROGRAM FIVE ELGAR: THE IMPERIAL MUSICK" IMPERIAL POMP AND PASTORAL SELF-PORTRAIT Works by Elgar NOSTALGIA: BRITISH MUSIC FOR Works by Elgar BRASS AND STRINGS American Symphony Orchestra SATURDAY, AUGUST 11 Works by Elgar, Bantock, Strauss, Leon Botstein, conductor PROGRAM TWO Vaughan Williams, Hoist, Ireland, MUSIC IN THE ERA OF Grainger SUNDAY, AUGUST 19 QUEEN VICTORIA PROGRAM TEN Works by Elgar, Cramer, Bennett, ELGAR AND MODERNISM Mendelssohn-Bartholdy, Walmisley, WEEKEND TWO Works by Elgar, Delius, Hoist, Stainer, Horn, Lehmann, Hatton, Scott, Howells, Walton AUGUST 17-19, 2007 Sullivan, Wesley, Ouseley PROGRAM ELEVEN

SPECIAL EVENT FRIDAY, AUGUST 17 THE CULTURE OF RELIGION: PIANISTIC ANGLOPHILIA: ELGAR, PROGRAM SIX THE DREAM OF GERONTIUS IRELAND, AND GRAINGER ELGAR AND THE SALON Works by Elgar Performance with commentary Works by Elgar, Faure, Bridge, American Symphony Orchestra White, Smyth, Parry, Quilter Leon Botstein, conductor PROGRAM THREE ELGAR AND THE "ENGLISH SATURDAY, AUGUST 18 MUSICAL RENAISSANCE" PROGRAM SEVEN THE RICHARD B. Works by Elgar, Parry, Stanford "GOD BLESS THE MUSIC HALLS": FISHER American CENTER Symphony Orchestra VICTORIAN AND EDWARDIAN FOB THE Leon Botstein, conductor PERFORMING ARTS POPULAR SONG IN AMERICA AT BARD COLLEGE AND BRITAIN Performance with commentary Annandale-on-Hudson, N.Y.

Tickets are $25 to $55. Panels and symposia are free.

For tickets call 845-758-7900 or visit www.fishercenter.bard.edu i A Table of Contents

Prelude Concert of Friday, August 17, at 6 (Ozawa Hall) 3 Members of the Boston Symphony Orchestra MUSIC OF MARTINU, MOZART, COPLAND, AND WILLIAMS

Boston Symphony concert of Friday, August 17, at 8:30 11 James Levine conducting; Michelle DeYoung and Samuel Ramey, vocal soloists; Ors Kisfaludy, speaker MUSIC OF BARTOK AND BRAHMS

Boston Symphony concert of Saturday, August 18, at 8:30 22 James Levine conducting; Yvonne Naef, Marcello Giordani, Jose van Dam, and Patrick Carfizzi, vocal soloists; Tanglewood Festival Chorus, John Oliver, conductor; PALS Children's Chorus, Johanna Hill Simpson, conductor BERLIOZ "LA DAMNATION DE FAUST"

Tanglewood Music Center Orchestra concert of Sunday, August 19, at 2:30 37 Rafael Friihbeck de Burgos conducting; Melanie Diener, Mary Phillips, Marcus Haddock, and Raymond Aceto, vocal soloists; Tanglewood Festival Chorus, John Oliver, conductor BEETHOVEN SYMPHONY NO. 9

**>

THIS WEEK'S ANNOTATORS

Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Robert Kirzinger is Publications Associate of the Boston Symphony Orchestra.

Steven Ledbetter, program annotator of the Boston Symphony Orchestra from 1979 to 1998, now writes program notes for orchestras and other ensembles throughout the country, and for such concert venues as Carnegie Hall.

Hugh Macdonald is Avis Blewett Professor of Music at Washington University in St. Louis; principal pre-concert lecturer for the Saint Louis Symphony Orchestra; general editor of the New Berlioz edition, and a frequent guest annotator and speaker fortheBSO.

Jan Swafford is an award-winning composer and author who teaches at Tufts University.

He has written biographies ofJohannes Brahms and Charles Ives, and is currently working on a biography of Beethoven.

SATURDAY-MORNING OPEN REHEARSAL SPEAKERS

July 7, 21, 28; August 18 — Marc Mandel, BSO Director of Program Publications July 14; August 4, 11 — Robert Kirzinger, BSO Publications Associate <*

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of the larger events and milestones in the rise and fall of the classical music recording industry, for diehard record collectors and the more casually interested alike."

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Tanglewood c\ SEIJI OZAWA HALL Prelude Concert

Friday, August 17, at 6

VICTOR ROMANUL, violin MICHAEL ZARETSKY, viola

MARTINU Three Madrigals for violin and viola (1947)

Poco allegro Poco andante Allegro

MOZART Duo in G for violin and viola, K.423 Allegro Adagio Rondeau. Allegro

COPLAND Elegies for violin and viola

WILLIAMS Duo concertante for violin and viola (2006; world premiere)

I. Maestoso

II. Cadenza-Adagio

III. Allegro

State Street Global Advisors is proud to sponsor the 2007 Tanglewood season.

Steinway and Sons Pianos, selected exclusively for Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and other audience members. Note that the use of audio or video recording equipment during performances in the Koussevitzky Music Shed or Ozawa Hall is prohibited.

Notes

In a little town named Policka, north of Brno and east of Prague in what's now called the Czech Republic, Bohuslav Martinu s father was the Town Watcher. He lived with the family in a tower in the St. James Church, responsible for winding the church clock,

Week 7 tolling the bells, and keeping lookout for fires like the one that had destroyed the town center in 1845. Bohuslav was born in the tower and, being a sickly child, rarely left it in the first six years of his life. Although his talent was recognized at an early age, Martinu (1890-1959) was a disappointment in his formal musical training. All he wanted to do was compose. He learned his craft by performing in the violin section of the Czech Philharmonic, becoming familiar with an expanded European repertoire that included the music of Debussy and Stravinsky. A move to Paris in 1923 broadened his horizons and increased his sphere of musical acquaintance; in his first years there he studied privately with Albert Roussel. Once he had gained confidence as a composer, he was very prolific in a wide range of genres, including the smallest chamber music works all the way up to symphonies and operas. He became acquainted with Stravinsky and Les Six and experienced jazz, imported from the U.S. after World War I, which had a major impact on his musical language. By the later 1920s he had achieved a great deal of local and international success. His compositional style has the clarity and rhythmic vitality of neoclassicism, with, later, specific reference to Baroque models such as the concerto grosso. In the 1930s Martinu's love for his homeland resulted in greater identification with the indigenous music of Bohemia, including rhythms based on traditional dances and certain scale and melodic patterns. Martinu moved to the United States from Paris during World War II, fleeing Europe before the advance of the German Army after being blacklisted by the Third Reich for providing assistance to his countrymen that remained in Bohemia. Lacking English and introverted since childhood, Martinu (and his wife) had a difficult time adjusting to the United States, but, along with other help, Serge Koussevitzky's commissions for the composer's First Symphony for the Boston Symphony and a later invitation to teach at Tanglewood helped keep his career afloat. Serge Koussevitzky had

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Monday-Friday 10-4 / Sunday 11-4 / 413-256-4QOO WWW.YIDDISHBOOKCENTER.ORC conducted the BSO in the premiere of Martinus tone-poem La Bagarre ("Tumult") in 1927, which was the start of the composer's long relationship with the orchestra, leading to the BSO's ultimately giving the first performances of nine of his orchestral works. His Fantaisies symphoniques (Symphony No. 6) was a BSO 75th anniversary commission premiered by the BSO and Charles Munch in 1955. In his last decade he divided his time between Europe (mostly France and Switzerland) and the U.S. While atTanglewood as an instructor in 1946, Martinu suffered a head injury during a fall from a height, with damage extensive enough to delay a planned return to Prague. (Political upheaval and the resultant seizure of government power by the Soviets in early 1948 put an end to his plans.) When he began to compose again, he was as prolific as ever. The first piece he wrote during his convalescence was his String Quartet

No. 6; the Three Madrigals followed a bit later. The title references a genre of Renais- sance polyphonic vocal music, one distinctive characteristic of which is dramatic word- painting. In these neoclassical instrumental works, the fluid narrative drama and contrapuntal textures of Martinus nominal model probably suggested the interplay of personalities between the violin and viola parts in these three movements.

Wolfgang Amade Mozart (1756-1791) and his wife Constanze traveled from Vienna to Salzburg in the summer of 1783 to visit the composer's father Leopold. Wolfgang had completed three of his six Haydn string quartets in the preceding months, the first of his mature quartets, inspired by the work of his greatest contemporary, Joseph Haydn. While in Salzburg, Mozart learned that his old friend Michael Haydn, Joseph's younger brother, was in trouble with Archbishop Colloredo of Salz- burg, Mozart's former employer, who had commissioned a set of six duos for violin and viola, of which Haydn had produced only four before being taken ill (the constant pres- sure of his job in Salzburg had driven him to the bottle). The Archbishop was with- holding his salary as an incentive for the completion of the set. Mozart, having heard of this plight (and having no love for the Archbishop, who a few years before had had the young Mozart kicked down the stairs and shown roughly to the door), promptly composed two duos (the present piece and the Duo No. 2 in B-flat, K.424), giving them to

Michael Haydn to pass off as his own. They are so far superior to Haydn's work that it is a wonder the Archbishop didn't suspect something, although the fact that he didn't is a further proof of his own musical philistinism. In any case, Mozart clearly enjoyed tackling a new and unfamiliar medium, and the warmth and lyric grace of the two duos reflect the generous impulse that brought about their composition.

When Aaron Copland (1900-1990) wrote his two Elegies for violin and viola in

Mexico in 1932 (apparently in response to the suicide of the poet Hart Crane), he still had a reputation as a rather fearsome avant-gardist who wrote spiky, challenging music (though it was on that same visit to Mexico that he was taken by Carlos Chavez to a

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 5:30 p.m. 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 con-

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.* night spot called El Salon Mexico, which provided the germ for his first "popular" piece, the orchestral work El Salon Mexico, premiered in Mexico City in 1937 with Chavez conducting). The Elegies were performed in New York in April 1933 by Charlotte and Ivor Karman, then revised by the composer in November of that year. Always immensely practical, Copland reused some of the material from the first of the Elegies in his State-

ments for orchestra (1935), where it is to be found in the movement headed "Subjective." He called this the "final resting place" of the Elegies, and then, after a fashion, he "withdrew" the original work. The word "withdrew" actually appears in the first volume of Copland's autobiography, Copland to 1942, written with Vivian Perlis, but Perlis notes that it is not meant to suggest that he wanted to forbid performances of Elegies, simply that it had been, in his mind, superseded by Statements. But, of course, it is always stim- ulating to hear a gifted composer's first thoughts, even if they were later elaborated in a different way; the experience can cast a very illuminating light on the composer's mind and work. In this performance, Victor Romanul and Michael Zaretsky play from a score copy of the Elegies that contains some discrepancies (notably added textures) when compared to the parts for the instruments printed individually.

In a little town named Lenox, Massachusetts, south of Pittsfield and west of Spring- field, John Williams (b.1932) first heard Bohuslav Martinus Three Madrigals in a Prelude Concert at Seiji Ozawa Hall at Tanglewood, in August 1997. The performers were two members of the Boston Symphony Orchestra and Boston Pops, violinist Victor Romanul and violist Michael Zaretsky, with whom Williams had worked in orchestral concerts for many years as Conductor of the Boston Pops. In that context, their individual musical personalities had necessarily blended with those of the other

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NEWLY RESTORED INTERIORS OF THE 30s AND 40s RECREATED FROM ARCHIVAL PHOTOGRAPHS players in their respective sections. Hearing them play the Madrigals together, Williams was delighted at their musicianship in this chamber-music setting, and met them backstage after the performance to congratulate them. It was then that Michael Zaretsky suggested he write something for the same duo combination. Naturally, given his schedule as the most sought-after film composer in the world, Williams didn't immediately act on the idea. He had, in the meantime, to write scores for Minority Report, Munich,

The Terminal, three Harry Potter movies, two Star Wars films, Catch Me ifYou Can, War ofthe Worlds, and the Academy Award-winning music to Memoirs ofa Geisha, among many other projects. The thought of writing a duo germinated and finally came to fruition in 2006 as the present Duo concertante, one ofJohn Williams's very few chamber-music scores and his only work for this combination of instruments. He dedicated the piece to Michael

Zaretsky, since it was the violist's suggestion that planted the seed. As a pianist and primarily orchestral composer, Williams didn't recall knowing any of the (admittedly rather limited) repertoire for violin and viola duo prior to hearing Romanul and Zaretsky s 1997 performance of Martinu's Three Madrigals; and the interwoven, give-and-take textures of that piece, as well as the particular performance, acted as a spur to his imagination once he began to write in earnest. He deliberately decided to write it in a late- Romantic idiom that wouldn't have been out of place alongside much of Martinu's music, although Williams's lush score has less of the neoclassical about it. Williams's primary purpose, he says, was "to offer a vehicle to show off the two instruments and these marvelous players."

The piece is in three movements, totaling almost thirteen minutes. In the first, which the composer describes as a balance between "competition and cooperation," Williams explores the capability of these two primarily melodic instruments to combine to play big chords of as many as eight notes at a time. The opening chordal passage can be considered the main motivic gesture of the movement, which is in opposition to the rapid scales played by both instruments. The second movement features "mini-solilo- quies" for the two players, introduced by one and imitated by the other, increasing in intensity and having the character of improvisation. This leads to a more relaxed, beau- tifully lyrical passage for the two instruments in conversation; this also builds in intensity, leading, after a series of trills, directly into the active finale, which Williams describes as emphasizing the two instruments' "theatrical and athletic roles." A passage before the final coda refers briefly but unmistakably back to the first movement, and the final cadence also features the two instruments in big, full chords.

This evening's performance ofJohn William's Duo concertante is the public world premiere of the piece. A private reading took place on the stage of Symphony Hall in Boston this past April 11, during a meeting of the Boston Symphony Orchestra's Trustees and Overseers. —Notes by Robert Kirzinger (Martinu, Williams) and Steven Ledbetter (Copland, Mozart) ARTISTS

Violinist Victor Romanul, who holds the Bessie Pappas Violin Chair, has been performing professionally since he was seven. An active recitalist, teacher, and soloist, he has performed throughout the world. As a soloist, he was named in "Best of Boston" in 1997 by the Boston Globe. Mr. Romanul recently completed a three-year tenure as concertmaster of the Ars Poetica Chamber Orchestra, based in Detroit and made up of outstanding players from major U.S. orchestras. He has given master classes throughout the country at many schools, including Northwestern, Columbia, Oberlin, and SUNY Stony Brook. As a professor of violin at Boston Conservatory, he has taught violin, chamber music, and pedagogy. He has served as a coach for the Greater Boston Youth Symphony Orchestra and the New England Conservatory Preparatory orchestras. He served as the BSO's assistant concertmaster from 1993 to 1995 and from 1981 to 1986 was associate concertmaster of the Pittsburgh Sym- phony. Mr. Romanul studied with Ivan Galamian, Joseph Silverstein, and Jascha Heifetz. As a member of the Boston Artists Ensemble and the Boston Conservatory Chamber Players, he has performed frequently at music festivals throughout New England. Recent career highlights have included performances of Beethoven's Violin Concerto with the Boston Pops and the New Hampshire Symphony, a three-concert series of the ten Beethoven violin sonatas at the Goethe Institute in Boston, performances of Bach's sonatas and partitas for solo violin in one recital, a recital of the complete solo sonatas of Eugene Ysaye, during the 2006-07 season, recitals around the country featuring solo violin music of Paganini, Sauret, Ernst, Wienawski, Vieuxtemps, and Ysaye.

Born in the former Soviet Union, violist Michael Zaretsky graduated from the Moscow State Conservatory cum laude. He began his career as a member of the Moscow Philharmonic String Quartet and the Moscow Radio and TV Symphony Orchestra. In 1972, he immigrated to Israel and became principal viola of the Jerusalem Broadcasting Symphony Orchestra and a soloist of Radio Israel. The following year he played for Leonard Bernstein, who brought him to Tanglewood, where he successfully auditioned for the Boston Symphony Orchestra. Besides being a member of the BSO for the past thirty-three years, Mr. Zaretsky regularly plays solo recitals and chamber music; he has appeared with such leading artists as Yuri Bashmet, Yefim Bronfman, Emanuel Ax, and Vadim Repin. As a soloist, he has appeared with the Boston Pops, Rhode Island Philharmonic, and Atlantic Symphony Orchestra. A faculty member at Boston University and the Longy School of Music, he regularly performs in Israel, Japan, and Mexico. In the summer of 2003 he was soloist with the Georgian Chamber Orchestra at the International Music Festival directed by Liana Issakadze in Borjomi, Georgia. In November 2005, at the invitation of the American College of Greece, he performed and discussed the six Bach cello suites in Athens, Greece. In January 2007 he performed Jakov Jakoulov's Viola Concerto No. 2 with the New England String Ensemble. Mr. Zaretsky has made four acclaimed recordings for ARTONA: "Black Snow," an album of Russian music for viola and piano with pianist Xak Bjerken; "Bach, Bach 8c Bach," with harpsichordist Marina Minkin; "Singular Voices: Brahms, Schumann, and the Viola," with Mr. Bjerken and mezzo-soprano Pamela Dellal; and an album of Bach's six cello suites performed on viola. Besides the traditional viola repertoire, Mr. Zaretsky performs an extensive repertoire of new music. His collaboration with composer Jakov Jakoulov has resulted in many works for viola with piano, harpsichord, or orchestra, including Jakoulov's Viola Concerto No. 2, Sonata for Viola and Piano, Chant IIITor viola and cello, and Chant IVTor viola and violin. In 2006, film composer and Boston Pops Laureate Conductor John Williams wrote

his Duo concertante for Mr. Zaretsky and Victor Romanul, dedicating it to Mr. Zaretsky. May^ctober 2007 Lenox, MA &Company

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10 Tanglewood BOSTON SYMPHONY ORCHESTRA 126th Season, 2006-2007

Friday, August 17, at 8:30

JAMES LEVINE conducting

BARTOK Duke Bluebeard's Castle, Opus 11 MICHELLE DeYOUNG, mezzo-soprano (Judith) SAMUEL RAMEY, bass (Bluebeard) ORS KISFALUDY, speaker (Prologue)

SuperTide System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA John Geller, supertitles caller

INTERMISSION

BRAHMS Symphony No. 1 in C minor, Opus 68 Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Piu Andante—Allegro non troppo ma con brio—Piu Allegro

State Street Global Advisors is proud to sponsor the 2007 Tanglewood season.

Steinway and Sons Pianos, selected exclusively for Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and other audience members. Note that the use of audio or video recording equipment during performances in the Koussevitzky Music Shed or Ozawa Hall is prohibited.

11 Week 7 ART /MUSIC /FILM DANCE/THEATER

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12 NOTES ON THE PROGRAM

Bela Bartok (1881-1945) Duke Bluebeard's Castle {A Kekszakdllu herceg vara), Opus 11

First performance: May 24, 1918, Royal Hungarian Opera House, Egisto Tango cond. Only previous performances by the Boston Symphony Orchestra: November 1980, Sejii Ozawa cond., Yvonne Minton, mezzo-soprano, Gwynne Howell, bass-baritone; Novem- ber 2006, James Levine cond., Anne Sofie von Otter, mezzo-soprano, Albert Dohmen, bass-baritone, Ors Kisfaludy, speaker. This is thefirst performance of "Bluebeard's Castle" at Tanglewood.

Even before its rejection in a national competition, Bartok knew that chances for performances of Duke Bluebeards Castle were slim. With his compatriot Zoltan Kodaly, he had years earlier faced the difficulty of being recognized as a composer in Budapest. "With the Hungarian oxen—that is to say, the Hungarian public, I shall not bother any more," he wrote his mother in 1907. "Kodaly rightly says that pheasant

isn't for asses; if we cram them with it, it will make them sick.'

So let's leave these asses alone and take our serious production to foreign countries." Even when his music began to be published, Bartok did not aim at a home market; composer and publisher were content to recognize interest abroad. Of course, Bartok was not about to leave his native land. Together with L Kodaly he had already begun the studies of Hungarian folk music that would have such a profound effect upon his own compositional style and remain a continuing interest throughout his life. And in 1907 he accepted an appointment to the Academy of Music in Budapest, teaching piano. His tenure at the Academy, which remained a principal means of support, would last some thirty years. Very early on, it offered something more: in 1909 he married the sixteen-year-old Marta Ziegler, who had entered his piano class two years earlier, to whom several of his compositions, including Duke Bluebeards Castle, would be dedicated, and with whom he would remain until their divorce in 1923, when he would marry Ditta Pasztory, who had become a piano student of his a year or so before. In 1911, the year Bluebeard was composed and rejected, Bartok and Kodaly founded the New Hungarian Music Society as an outlet for their own music and that of their contemporaries; but, for lack of interest and support, the project soon proved a failure. And despite concerts on their behalf by the Waldbauer-Kerpely Quartet, formed two years earlier by friends of the two composers, there was still no headway to be made in their own country. In 1912 Bartok withdrew from public musical life, keeping his position at the Academy but otherwise devoting himself to his ethnomusicological studies. That year he wrote his Four Pieces for orchestra (though they remained unorchestrated until 1921), and it was not until 1916 that he would complete another large-scale orchestral work. This was The Wooden Prince, 3. one-act ballet begun in 1914 and, like Duke Bluebeards Castle, based upon a libretto by the Hungarian poet- novelist- dramatist Bela Balazs.

Bartok had specific reason for attempting another stage work: he was still hoping to see Duke Bluebeard's Castle performed. Musical considerations aside, he attributed its rejection at least partly to its rather abstract subject matter and lack of stage action. The new Balazs libretto offered a chance to surmount these problems, as well as a story more clearly related than Bluebeards to Hungarian folklore: a prince uses a puppet to attract the attentions of a princess with whom he has fallen in love, only to have a mischievous

13 Week 7 fairy divert the princess's attentions from the prince to the puppet. Bartok also had in mind that the ballet and the opera might be performed together in a single evening, the scenery and plot of the one offsetting the prevailing sobriety of the other. Balazs himself oversaw stage rehearsals, and in Italian conductor Egisto Tango, who was active at the Budapest Opera from 1913 to 1919, Bartok found an advocate unlike any he had known before. The premiere of The Wooden Prince on May 12, 1917, was a critical and public success, and a bit more than a year later, on May 24, 1918, Tango conducted the first performance of Duke Bluebeard's Castle—on a double bill with The Wooden Prince, as the composer had envisioned. The story of Bluebeard and his wives—or at least the story's several ingredients, viz. the locked door or doors, the curious bride, the bride's rescue or punishment once the hidden secrets have been revealed—may be found in the folklore of many lands, and in different versions. It was first printed in Charles Perrault's 1697 Histoires et contes du temps passe avec des moralites, also known as Contes de ma mere Voie (an English translation appeared in 1729 as Tales ofTime Past, by Mother Goose). There may have been two real-life antecedents to the Bluebeard story in France, though they seem not to have confined their murderous activities to their wives: one was a 6th-century Briton chief

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known as Comorre the Cursed. The other, Gilles de Retz, was a marshal of France who fought the English alongside Joan of Arc at Orleans and allegedly enticed women and children to his castle, where he used them in "multiple experiments" and/or sacrificed them to the devil; he was hanged and burned in 1440 at Nantes, convicted of murder, sodomy, and sorcery. A more immediate predecessor to the Balazs/Bartok Bluebeard was Maurice Maeter- linck's drama Ariane et Barbe-Bleue (1901), conceived as a libretto, set to music by Paul Dukas, and premiered in Paris on May 10, 1907. In Maeterlinck's version of the Blue- beard story, Ariane discovers Bluebeard's five previous wives, frightened and bewildered, within the seventh locked chamber of his castle. Obeying laws "other than Bluebeard's," Ariane attempts to restore their sense of identity, but even after joining with them to protect Bluebeard from mob violence, she cannot convince them to leave. She departs alone, leaving her fears behind her (as one interpreter would have it) in the form of the previous wives. Balazs's one-act "mystery play'Vlibretto brings the story even further into the realm of symbolism and allegory by confining itself to the characters of and relationship between the two protagonists, Bluebeard and his latest wife, here called Judith. Following a spoken "minstrel's prologue" typically omitted from performance (but retained in this one), Bluebeard and Judith enter the cold, dark, windowless hall, where Judith will insist upon opening the seven locked doors she discovers there: she has come to him out of love, she will dry the damp, weeping walls, she will warm the cold stone, she will bring light into his castle and so into his life. To do this, she will ignore Bluebeard's protests, Wm she will ignore the rumors she has heard. At first he tries to discourage her, but in handing over the keys to the third,— fourth, and fifth doors, his attitude has changed: "Judit, nefe'lj, most mar mindegy" "Judith, do not be afraid, it is all the same now." He even encourages her to open the fourth and fifth doors, though he does try to keep her from the sixth and seventh. But now the situation is hopeless. Judith's curiosity has driven her from the general to the particular: "Tell me Bluebeard, whom did you love before Ay me?. . . Was she more beautiful than I? Was she different?. . . Open the seventh door!. . There are all the past women, murdered, lying in blood. O, the rumors, the whispered rumors are true." The seventh door is opened, and Bluebeard's three former wives emerge, still living, the wives of his dawn, his noon, and his evening. Now Judith, his fourth, the bride he found at night, must join them behind the seventh door, leaving Bluebeard in perpetual darkness.

Though there is virtually no stage action, Balazs's text specifies a range of theatrical effects which contribute to the emotional and psychological drama. The opera begins and ends in darkness; light and color play crucial roles. But the work lends itself to concert performance, since Bartok's music is so strikingly apt from the standpoints of drama, psychology, and aural imagery that it more than makes up for the absence of staging and lighting.

Bartok's opera is thoroughly Hungarian in mood and manner. The composer was determined to create an idiomatically Hungarian work, and he did this by letting the text itself determine the flow of his music, working in the so-called "parlando rubato" style (a sort of "flexible speech-rhythm") that he arrived at through his studies of Hungarian folk music. The late Budapest-born American musicologist Paul Henry

Lang has written that "Hungarian, like its nearest relative, Finnish, is an agglutinative language: The modifiers are attached to the ends of the words, with the stress invariably on the first syllable. Thus, the rhythms and inflections characteristic of the Magyar language, as well as its sound patterns, are wholly different from anything we are used to in English, German, French, or Italian. Bluebeard cannot be successfully sung in translation,

15 Week 7 because the foreign words' rhythms and accents are constandy at odds with the music."

As to the music itself, we are in an impressionistic world where the orchestra unerr- ingly supports the mood, imagery, and language of the text. In the opening measures,

Bartok sets out the crucial musical intervals, fourths and seconds, which fix in our ears the modal quality of his music. With the first entry of oboes and clarinets we hear a lin- early stated minor second, which, in its dissonant vertical formulation, is the pervasive "blood-motif" of the opera, sounding with increasingly insistent intensity as Judith discovers the extent to which blood has tainted Bluebeard's possessions, and piercing through the crescendo and crashing discord accompanying her final demand that the seventh door be opened. By way of contrast, there is music of utmost resignation, most tellingly employed when Bluebeard hands over the seventh key. Striking individual effects abound: shrill outbursts of winds and xylophone over tremolo violins for the first-door torture chamber; martial brass, notably solo trumpet, for the armory; soft trumpet and flute chords, celesta, and then two solo violins for the gleam of the treasure chamber; impressionistic string chords and solo horn for the garden (with momentary suggestions of Wagner and Strauss); an awing and majestic chordal passage for full orchestra and organ for Bluebeard's domains; hushed, dark-hued arpeggios from celesta,

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harp, and winds, with timpani undercurrent, for the lake of tears. And, overall, the music mirrors the subtle psychology of Bluebeard's and Judith's relationship, echoing and enforcing their changes of mood and attitude, ultimately emphasizing the degree to which they have grown apart. At the end, Bluebeard addresses his former wives "as if in a dream," virtually heedless of Judith's presence, and when he adorns her with robe, crown, and necklace, her protestations are distant and hopeless. Finally, when the seventh door closes behind her, the music returns to the ominous texture of the opening; darkness once more envelops the stage. —Marc Mandel

Johannes Brahms (1833-1897) Symphony No. 1 in C minor, Opus 68

First performance: November 4, 1876, Karlsruhe, Otto Dessoff cond. First BSO performance: December 1881, Georg Henschel cond. First Tanglewood performance: August 15, 1937, Serge Koussevitzky cond. Most recent Tanglewoodperformance: July 22, 2005, James Levine cond.

When Brahms finished his First Symphony in September 1876, he was forty-three years old. (Beethoven was twenty-nine, Schubert fifteen, Schumann twenty-two, Mahler twenty-eight at the completion of their respective first symphonies; Mozart was nine, but that's another story alto- . gether.) As late as 1873, the composer's publisher Simrock feared that a Brahms symphony would never happen ("Aren't you doing anything any more? Am I not to have a symphony from you in '73 either?" he wrote the composer on February 22), and Eduard Hanslick, in his review of the first Vienna

performance, noted that "seldom, if ever, has the entire musi- r-Vr cal world awaited a composer's first symphony with such tense anticipation." Brahms already had several works for orchestra behind him: the Opus 11 and Opus 16 serenades, the D minor piano concerto (which emerged from an earlier attempt at a symphony), and that masterwork of orchestral know-how and control, the Variations on a Theme by Haydn. But a symphony was something different and had to await the sorting out of Brahms's complicated emotional relationship with Robert and Clara Schumann (only after Robert's death in 1856 could Brahms finally begin to accept that his passion for the older Clara needed to remain unrequited), and, more important, of his strong feelings about following in Beethoven's footsteps.

Beethoven's influence is certainly to be felt in Brahms's First Symphony: in its C minor-to-major progress; in the last-movement theme resembling the earlier composer's Ode to Joy—a relationship Brahms himself acknowledged as something that "any ass could see" (perhaps less obvious is the relationship between the theme itself and the slow-moving violin phrase of the last movement's opening measures); and, perhaps most strikingly, in the rhythmic thrust and tight, motivicaUy based construction of the work in some ways quite different from the melodically expansive Brahms we encounter in the later symphonies. But at the same time, there is really no mistaking the one composer for the other: Beethoven's rhythmic drive is very much his own, whereas Brahms's more typical expansiveness is still present throughout this symphony, and his musical language is unequivocally 19th-century-Romantic in manner.

Following its premiere at Karlsruhe on November 4, 1876, and its subsequent ap- pearance in other European centers, the symphony elicited conflicting reactions. Brahms

17 Week 7 himself had already characterized the work as "long and not exactly amiable." Clara

Schumann found the ending "musically, a bit flat. . . merely a brilliant afterthought stem- ming from external rather than internal emotion." Hermann Levi, court conductor at Munich and later to lead the 1882 Bayreuth premiere of Wagner's Parsifal, found the two middle movements out of place in such a sweeping work, but the last movement he decreed "probably the greatest thing [Brahms] has yet created in the instrumental field." The composer s close friend Theodor Billroth described the last movement as "overwhelming," but found the material of the first movement "lacking in appeal, too defiant and harsh." One senses in these responses an inability to reconcile apparently conflicting elements within the work, and the two inner movements do indeed suggest a world quite different from the outer ones. At the same time, these reactions also point to the seeming dichotomy between, as Hanslick put it, "the astonishing contrapuntal art" on the one hand and the "immediate communicative effect" on the other. But the two go hand in hand: the full effect of the symphony is dependent upon the compositional craft that binds the work together in its progress from the C minor struggle of the first movement through the mediating regions of the Andante and the Allegretto to the C major triumph of the finale. The first Allegro's two principal motives—the three eighth-notes followed by a long er value, suggesting an abstraction of the opening timpani strokes, and the hesitant, three-note chromatic ascent across the bar, heard at the start in the violins—are already suggested in the sostenuto introduction, which seems to begin in mid-struggle. The movement is prevailingly somber in character, with a tension and drive again suggestive of Beethoven. The second idea's horn and wind colorations provide only passing relief: their dolce and espressivo markings will be spelled out at greater length in the symphony's second movement.

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18 The second and third movements provide space for lyricism, for a release from the tension of the first. The calmly expansive oboe theme of the E major Andante is threat- ened by the G-sharp minor of the movement's middle section (whose sixteenth-note figurations anticipate the main idea of the third movement), but tranquility prevails when the tune returns in combined oboe, horn, and solo violin. The A-flat Allegretto is typical of Brahms in a grazioso mood—compare the Second Symphony's third movement, or the finale of the Piano Concerto No. 2—and continues the respite from the main battle. And just as the middle movements of the symphony are at an emotional remove from the outer ones, so too are they musically distant, having passed from the opening C minor to third-related keys: E major for the second movement and A-flat major for the third. At the same time, the third movement serves as preparation for the finale: its ending seems unresolved, completed only when the C minor of the fourth movement, again a third away from the movement that precedes it, takes hold. As in the first movement, the sweep of the finale depends upon a continuity between the main Allegro and its introduction. This C minor introduction gives way to an airy C major horn call (originally conceived as a birthday greeting to Clara Schumann in 1868) which becomes a crucial binding element in the course of the movement. A chorale in the trombones, which have been silent until this movement, brings a canonic buildup of the horn motto and then the Allegro with its two main ideas: the broad C major tune suggestive of Beethoven's Ninth, and a powerful chain of falling intervals, which crystallize along the way into a chain of falling thirds, Brahms's musical hallmark. The movement drives to a climax for full orchestra on the trombone chorale heard earlier and ends with a final affirmation of C major—Brahms has won his struggle. —Marc Mandel

GUEST ARTISTS Michelle DeYoung In the past few seasons, Michelle DeYoung has appeared with many of the world's leading orchestras throughout America and Europe, working with such conductors as Daniel Barenboim, Pierre Boulez, Sir Colin Davis, Stephane Deneve, Christoph von Dohnanyi, Christoph Eschenbach, Bernard Haitink, James Levine, Zubin Mehta, Seiji Ozawa, Antonio Pappano, Andre Previn, Donald Runnicles, Esa-Pekka Salonen, Leonard Slatkin, Mariss Jansons, and Michael Tilson Thomas. She has also appeared with many of the world's finest opera houses including the Metropolitan Opera, Lyric Opera of Chicago, Houston Grand Opera, Seattle Opera, Glim- merglass Opera, the Bayreuth Festival, the Staatsoper Unter den Linden, Opera National de Paris, the Theatre du Chatelet, and Tokyo Opera. Her many roles include Fricka, Sieglinde, and Waltraute in Wagner's Ring, Kundry in Parsifal, Venus in Tannhauser, Brangane in Tristan und Isolde, Dido in Les Troyens, Marguerite in Le Damnation de Faust, Gertrude in Hamlet, Jocasta in Oedipus Rex, and Lucretia in Britten's The Rape ofLucretia. In recital she has been presented by the "University of Chicago Presents" series, the Ravinia Festival, Weill Recital Hall, Alice Tully Hall, San Francisco Symphony's "Great Performances" series, Cal Performances in Berkeley, SUNY Purchase, Calvin College, the Pittsburgh Symphony, the Theatre du Chatelet, the Gulbenkian Foundation (Lisbon), the Edinburgh Festival, London's Wigmore Hall, and La Monnaie in Brussels. Her recording of Mahler's Kindertotenlieder and Symphony No. 3 with Michael Tilson Thomas and the San Francisco Symphony for SFS Media was awarded the 2004 Grammy Award for Best Classical Album. She was also awarded the 2001 Grammy Awards for Best Classical Album and Best Opera Recording for Les Troyens with Sir Colin Davis and the London Symphony on LSO Live. Her growing discography

19 also includes a new recording of Mahler Symphony No 3 with Bernard Haitink and the Chicago Symphony, Bernstein's Jeremiah Symphony with the BBC Symphony and Leonard Slatkin, Mahler's Das klagende Lied with. Tilson Thomas and the San Francisco Symphony, and Das Lied von der Erde with the Minnesota Orchestra. Her first solo disc was released on the EMI label. This season, Ms. DeYoung returned to the Metropolitan Opera for the world premiere ofTan Dun's The First Emperor and made her debut at the Tokyo Opera as Venus. She also made appearances with the Los Angeles Philharmonic, Chicago Symphony, San Francisco Symphony (on tour in Europe), the Met Chamber Ensemble in Zankel Hall, the Met Orchestra in Carnegie Hall, and the Berlin Staatskapelle. Appearances this summer include her debuts at the Cincinnati May Festival in concert performances of Gluck's Orfeo ed Euridice and Rossini's Stabat Mater, and at the Sao Paulo Symphony in Berlioz's Romeo et Juliette. She made her Tanglewood debut last month as soloist in Ravel's Sheherazade with the BSO under Andre Previn, and she rejoins James Levine and the BSO for further performances of Bluebeards Castle on tour in Lucerne and Hamburg immediately following the current Tanglewood season. In 2007-08 she makes her debut at La Scala in the season-opening production of Tristan und Isolde and returns to the Metropolitan Opera as Fricka and Brangane. She also tours in Japan with the Berliner Staatsoper in Tristan und Isolde. Her many concert appearances next season include returns to the Cleveland Orchestra, the Saint Louis Symphony, and the London Symphony Orchestra. Michelle DeYoung made her Boston Symphony debut at Symphony Hall in January 1996 in Mahler's Symphony No. 2 with Seiji Ozawa conducting, followed by BSO tour performances in Chicago, San Fran- cisco, and Cerritos (CA).

Samuel Ramey For almost three decades, Samuel Ramey has been one of the foremost interpreters of bass and bass-baritone operatic and concert repertoire, commanding an impressive breadth of repertoire encompassing virtually every musical style from the fioratura of Argante in Handel's Rinaldo, the vehicle of his acclaimed Metropolitan Opera debut in 1984, to the dramatic proclamations of the tide role in Bartok's Bluebeard's Castle, which he sang in a new production at the Metropolitan Opera televised by PBS. His interpretations embrace the bel canto of Bellini, Rossini, and Donizetti; the lyric and dramatic roles of Mozart and Verdi; and the heroic roles of the Russian and French repertoire. His acclaimed characterizations include Mozart's Figaro and Don Giovanni, the title role of Verdi's Attila, King Philip in Verdi's Don Carlo, Mussorgsky's Boris Godunov, Olin Blitch in Carlisle Floyd's Susannah, Field Marshal Kutuzov in Prokofiev's War and Peace, Puccini's Gianni Schicchi, Giorgio in Ipuritani, Raimondo in Lucia di Lammermoor, Mephistopheles in Gounod's Faust (his most performed role, with over 200 performances in more than twenty productions), Boito's Mejistofele (including more than 70 performances in the Robert Carsen production created specifically for him), and Berlioz's La Damnation de Faust, Nick Shadow in Stravinsky's The Rake's Progress, and the tour de force of all four villains in Offenbach's Les Contes d'Hoffmann (including the Met's Opening Night performance in 1992). In 1996 he presented a sold-out concert at New York's Avery Fisher Hall titled "A Date with the Devil," in which he sang fourteen arias representing the core of his "demonic" repertoire, a program he continues to tour throughout the world, and which was preserved on a Naxos CD recorded in 2000 at Munich's Gasteig Concert Hall. Samuel Ramey has appeared on the stages of the Metropolitan Opera, La Scala, the Royal Opera- Covent Garden, the Vienna Staatsoper, Opera de Paris, Arena di Verona, Deutsche Oper Berlin, San Francisco Opera, Lyric Opera of Chicago, Houston Grand Opera, and the opera companies of Munich, Hamburg, Geneva, Florence, Zurich and Amsterdam, among others. In concert, he has sung with the great European and American orchestras, working with every major conductor. Mr. Ramey holds the distinction of being the most recorded bass in history. His more than eighty recordings, which have garnered nearly every major award, include complete operas, arias, symphonic works, solo recital programs, and popular crossover

20 albums on every major label. His video recordings include the Met's Carmen, Bluebeard's Castle, Semiramide, Nabucco, and the compilation "The Met Celebrates Verdi"; San Francisco

Opera's Mefistofele; The Rake's Progress from the Glyndebourne Festival; Attila from La Scala, and the Salzburg Festival's Don Giovanni. He is seen frequently in "Live from the Met," "Live from Lincoln Center," and other productions taped for PBS. Mr. Ramey's sold-out Carnegie Hall recital in 1987 added a fourth dimension—as an acclaimed recitalist in America and Europe —to his extraordinary career. A native of Colby, Kansas, Samuel Ramey was active in music throughout high school and college. In 1995 he was named "Kansan of the Year"; in 1998 the French Ministry of Culture awarded him the rank of Commander in the Order of Arts and Letters. Making his Boston Symphony and Tanglewood debuts in tonight's performance of Bluebeard's Castle, Mr. Ramey now makes his home in Chicago and, through appearances in venues worldwide, maintains a non-stop schedule of more than seventy performances each season.

Ors Kisfaludy Born in 1948 in Budapest, Ors Kisfaludy was a refugee in Belgium and Ethiopia before arriving in Switzerland in 1961, where he has lived ever since. In 1963, at fifteen, he was a pupil at the music academy and the Romande School of Dramatic Art in Lausanne. The following year he began a career as an actor in theater, radio, and television. From 1968 to 1970 he taught dramatic art at the Academy of Kinshasa (The Congo). His piece Lejeu des vivants was presented at the World Festival of the University Theatre of Nancy (France) in 1970. As an actor he has worked extensively in theater in Switzerland, France, and Belgium. From 1985 to 1990 he also produced a music show on "Space 2," the cultural broadcast of Radio Suisse Romande (French- speaking Swiss radio). Mr. Kisfaludy s great theatrical roles included Sganarelle in Moliere's Don Juan and Kazantzakis's Zorba the Greek. More recently he has devoted himself to a career as narrator, taking part in numerous concerts in Switzerland, France, Portugal, Spain, Germany, and the United States, working with such conductors as Erich Leinsdorf, Michel Corboz, Jesus Lopez-Cobos, Helmuth Rilling, Heinz Rogner, Hans Drewanz, Marcello Viotti, and James Levine in such works as Honegger's Le Roi David 2xvA Jeanne d'Arc au bucher, Debussy's The Martyrdom ofSaint Sebastian, Stravinsky's Oedipus Rex, Prokofiev's Peter and the Wolf, and Bartok's Bluebeard's Castle (which he has recorded with James Levine and the Munich Philharmonic). He has appeared in speaking roles or as an actor on several CDs, most recently a recording of Ibsen's Peer Gynt, with Grieg's music, with the Orchestre de la Suisse Romande under Guillaume Tourniere, which received the Diapason d'Or in 2005. Ors Kisfaludy collaborates regularly as an author and a librettist in musical creations with the young Swiss composer Thierry Besancon; their works include Le Prince des tenebres;

Le Coq, la mouche, et I'autour, Dame Helvetia; Landwehrland; the "anterequiem" Et natus es, and, most recently, Missa Ludus in 2006. He made his BSO debut with performances of Bluebeard's Castle in Boston and New York in November 2006, makes his Tanglewood debut with tonight's performance, and rejoins James Levine and the BSO for further performances, immediately after the BSO's Tanglewood season, in Lucerne and Hamburg.

21 Tanglewood BOSTON SYMPHONY ORCHESTRA 126th Season, 2006-2007

Saturday, August 18, at 8:30

JAMES LEVINE conducting

BERLIOZ The Damnation ofFaust, Dramatic legend in four parts, Opus 24

Parti

Part II

INTERMISSION

Part III Part IV

YVONNE NAEF, mezzo-soprano (Marguerite) MARCELLO GIORDANI, tenor (Faust) JOSE VAN DAM, bass-baritone (Mephistopheles) PATRICK CARFIZZI, bass-baritone (Brander) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor PALS CHILDREN'S CHORUS, JOHANNA HILL SIMPSON, conductor

Supertitles by Hugh Macdonald SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA John Geller, supertides caller

Tonight's concert is supported by a generous gift to the Artistic Initiative from Wilmer and Douglas Thomas. I

This evening's Tanglewood Festival Chorus performance is supported by

the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

State Street Global Advisors is proud to sponsor the 2007 Tanglewood season.

22 .

HECTOR BERLIOZ, "La Damnation de Faust" SYNOPSIS

Part I. The plains of Hungary. Faust, alone at daybreak, rejoices in the warmth of spring and the peace of a solitary life. But his soul is heavy, and the dancing and merriment of a group of peasants give him no cheer. He moves to another part of the plain where an army passes, eager for battle (Hungarian March). Not even this vision of glory can rouse Faust from his misery.

Part II. Northern Germany. Alone in his study, Faust despairs of ever finding happiness and resolves to die. As he raises a cup of poison to his lips, he hears bells and the Easter Hymn sung in a nearby church. He draws back from the brink. Mephistopheles suddenly appears, offering everything the heart can desire. He briskly transports them both to Auerbach's cellar in Leipzig, where general carousing is in full swing. Brander sings the Song of the Rat and they all sing an "Amen" in mock-ecclesiastical style. Mephistopheles sings the Song of the Flea, but Faust begs to be led to calmer pleasures. They ride through the air to the bosky banks of the Elbe, where Faust is laid to sleep on a bed of roses. A chorus of spirits and sylphs provides enchantment. In his dreams he sees a vision of Marguerite and calls out her name. The Ballet of the Sylphs completes the spell.

Faust awakes with a start and asks where he can find the angel of his dream. Mephis- topheles agrees to lead him to her dwelling, and they join some students heading her way, their singing mingling with that of a troop of soldiers.

INTERMISSION

Part III. Soldiers are still heard in the distance as Faust enters Marguerite's room and sings of his expectant delight. Mephistopheles enters, conceals Faust behind the curtains, and leaves. Faust watches Marguerite come in. She has seen her lover in a dream and distracts herself by singing the Ballad of the King ofThule. Meanwhile, in the street outside, Mephistopheles summons his will-o'-the-wisps. They dance at his bid- ding (Minuet of the Will-o'-the-Wisps). Mephistopheles sings his mocking Serenade, then dismisses his attendant spirits.

Back in Marguerite's room, Faust steps from his hiding place and is at once recognized as the object of Marguerite's dreams. They sing a rapturous duet and fall into each other's arms. But Mephistopheles breaks in to warn them that the neighbors have been aroused. Mephistopheles tears Faust away (Trio).

Synopsis continues. .

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24 Part IV. Abandoned by Faust, Marguerite sings with despair of her lost love (Romance). The soldiers and students are again heard in the distance.

Faust is lost in admiration for the mighty works of nature which alone can soothe his broken heart (Invocation to Nature). Mephistopheles again appears and reports that Marguerite has been condemned to death for poisoning her mother with a sleeping draught. He can save her if Faust signs an oath to serve him as his master. Faust signs, and they set off on two black horses not to her rescue, as he imagines, but into the abyss of hell. As Faust falls into the pit, Mephistopheles roars in triumph.

The chorus of the damned greet Faust in Pandaemonium. A first epilogue, on Earth, records the closing of Hell's gate. In a second epilogue, in Heaven, the seraphim beg redemption for Marguerite; pardoned, she rises to her apotheosis in heaven. —Hugh Macdonald NOTES ON THE PROGRAM

Hector Berlioz (1803-1869) La Damnation de Faust, Dramatic legend in four parts. Opus 24

First performance: December 6, 1846, Opera-Comique, Paris, Berlioz cond. First complete BSO performance: November 1934, Serge Koussevitzky cond.; Beata Malkin, Ivan Ivantzoff, Alexis Tcherkassky, and John Gurney, soloists; Cecilia Society Chorus, Arthur Fiedler, cond. First Tanglewoodperformance: July 10, 1954, Charles Munch cond.; Eleanor Steber, David Poleri, Martial Singher, and Donald Gramm, soloists; Harvard- Radcliffe

Choruses. Most recent Tang/ewoodperformance: July 3, 1998, Seiji Ozawa cond.; Frederica von Stade, Vinson Cole, Philippe Rouillon, and David Wilson-Johnson, soloists; Tangle- wood Festival Chorus, John Oliver, cond.; PALS Children's Chorus, Johanna Hill Simpson, cond.

The theme of Faust runs through Berlioz's creative life like a thread, interwoven with those of Shakespeare and Virgil. Shakespeare's spell worked on him longer and deeper, and surfaced in a variety of works (an overture on King Lear, a symphony on Romeo andJuliet, a comic opera on Much Ado About Nothing, and others). Goethe provided inspiration through one work only, his Faust, which reached defini- tive form in The Damnation ofFaust in 1846 at the mid-point of Berlioz's career. When Berlioz began to set Goethe's words to music, he had no intention of making a musical drama out of Faust but of simply allowing the poetry to take on musical form. He had encountered Faust in Gerard de Nerval's French translation in 1828 (the same year he conceived of his Romeo and

Juliet and Symphoniefantastique) . The translation was in prose, but with certain scenes, ballads, hymns, and songs in verse. It was these that Berlioz singled out for setting, beginning with the "Ballad of the King of Thule," sketched in a carriage on a visit to his parents near Lyon. Seven more settings followed swiftly, and by 1829 he had these Eight Scenesfrom Faust engraved and published at his own expense. But he soon withdrew the work in a fit of revulsion. With hindsight it is easy enough to perceive that the work was immature, not in the sense that Berlioz was not a proficient composer, but in the lack of maturation he had given the subject. Themes as grand as that of Faust were not to be set down on paper in instantaneous response; they needed years of organic growth. Romeo andJuliet took twelve years to ripen; the Trojans, his great Virgilian opera,

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26 was completed over forty years after he had acknowledged his passion for the Aeneid. So he came back to Goethe in 1845 and recast his music in a much more sophisticated and searching form. In the uncomfortable conditions of a long tour of Germany,

Austria, Hungary, and Bohemia, Berlioz composed the work on his knee, as it were, and completed it in Paris in time for a premiere at the Opera-Comique in December 1846. The eight settings from 1829 were all saved for the new work, now fashioned into a dramatic narrative that more closely represents the character and fate of Faust, from his unattainable longings for youth, love, and the fount of knowledge to his dismal end in the abyss of hell. Berlioz called the piece a "concert opera" or "dramatic legend" and always had the concert hall, not the theater, in mind. The premiere was not a success. In fact, Berlioz regarded the Parisians' hostile recep- tion of it as a bitter blow, confirming what had gradually been becoming obvious to him: Paris had lost its taste for fine music and its faith in art. He never offered The raw! Damnation ofFaust there again, but played it only on his travels abroad, in Germany, in England, and in Russia. The success of the work when it was once again heard in Paris eight years after Berlioz's death would have astonished the composer. It became the Berlioz work the French loved most, parallel with the prodigious popularity of Gounod's Faust. A famous staging of the work in Monte Carlo by Raoul Gunsbourg in 1903 extended its success to the theater, a precedent that has been taken up by many stages in recent years. The Damnation ofFaust grasps both the spirit and the feeling of Goethe—the thirst in Faust's soul, the fatal allure of Mephistopheles's charm, Marguerite's innocence, the immensity of nature. Marguerite's two solos, the Ballad in Part III and the Romance in Part IV (both salvaged from the original Eight Scenes) are as poignant and expressive as anything Berlioz wrote; the alliance of drama and symphony works peculiarly well, a

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27 melange that he had already perfected in Romeo andJuliet and hinted at in the Fantastic Symphony; here he has stage directions and ballet (for the sylphs and the will-o'-the- wisps) to bring the work closer to the world of opera; his writing for the human voice is not, of course, of a kind that admirers of Italian opera like to hear, but it puts meaning and lyrical expression first and coloratura display last. As for his orchestration, there can be nothing but astonished admiration for the extrovert force of the Hungarian March, for the coarseness of the brass in support of Leipzig's drunken carousers, for the sheer masculine energy of the chorus of soldiers and students at the close of Part II, or for the expansive breadth of Faust's "Invocation to Nature" in Part IV. Mephistopheles's evocation of the will-o'-the-wisps in Part III calls for three flickering piccolos, and his serenade to Marguerite is accompanied by pizzicato strings acting like a giant guitar. His choice of viola solo for Marguerite's first song and English horn for her second is exemplary. Berlioz regarded the ophicleide, his standard brass bass instrument (being used in this performance), as essential but vulgar, so it serves perfectly for the drunken chorus in Auerbach's cellar, alongside the tuba which was just coming into service in those years. Even in Heaven, where a blanket of harp sound might be regarded as a mere cliche, Berlioz's taste and imagination could

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Berlioz felt free to interpret Goethe in his own way. He introduced the Hungarian

March, for example, because it makes a superb finale to his first scene, and he saw no difficulty in imagining Faust to be in Hungary. In Auerbach's cellar he introduced his own musical joke into Goethe's vivid carousings: the death of a rat, as recounted in

Brander's song, is mourned in a choral fugue on the word "Amen." Berlioz regarded such things as anti-musical and hoped that audiences would catch the irony. We must not look in The Damnation ofFaust for a close reflection of Goethe's many philosophical themes; there is nothing, for example, about the regeneration of mankind.

Faust is conclusively damned, not left free for later salvation and expiation. Marguerite is unequivocally saved, and Mephistopheles is more than a cardboard devil with horns.

His presence is strong, especially when announced by a rasp from three trombones and piccolo, but he never upstages Faust. When singing a song of enchantment, inviting Faust to the delights of the sylphs' scene on the banks of the Elbe in Part II, his duplicity is made plain to us, if not to Faust, by the suave elegance of the trombones that accom- pany him: trombones pretending to be strings are wolves in sheep's clothing. Goethe, like Shakespeare, satisfied Berlioz's requirement of a great poet: that he should be a mirror in which everything, whether graceful or ugly, brilliant or somber, calm or agitated, intimate or grandiose, is reflected with burning truthfulness. No setting of Faust can match Goethe's range, although each one adds something that music alone can offer. Almost every composer in Berlioz's time tried his hand, with results that vary from the sublime to the ridiculous. Wagner's Faust Overture and Liszt's Faust Symphony are unarguably fine; Schumann's Faust-Szenen, Gounod's Faust, and Boito's Mefistofele have received both cheers and brickbats over the years. In the category of truly successful Faust settings we can safely place his own "dramatic legend" and enjoy it as the response of one great artist to another's work, creating one of the most penetrat- ing collaborations of the Romantic Age. —Hugh Macdonald

GUEST ARTISTS Yvonne Naef

Yvonne Naef 's recent appearances as Didon in Les Troyens with Opera National de Paris, as Kundry in Parsifal with Hamburg State Opera, and m in Verdi's Requiem with the Bavarian Radio Symphony Orchestra have enhanced her reputation as one of today's most sought-after mezzo- sopranos. Other recent engagements have brought her to Zurich Opera for II trovatore and to the Metropolitan Opera as Amneris in Aida. She

also joined the Met on its Japan tour as Fricka in Wagner's Die Walkure. A regular guest on the world's foremost operatic and concert stages, the Swiss mezzo-soprano has also appeared with Zurich Opera in Un ballo in maschera, Khovan- shchina, Don Carlo, and Ariane et Barbe-Bleue; with Hamburg Opera in Boris Godunov, Berio's La vera storia, II trovatore, and Carmen; in Metropolitan Opera and Bayreuth Festival Ring cycles; at the Salzburg Festival in Les Troyens and Don Carlo; at the Theatre de la Monnaie in Oedipus Rex; at La Scala in The Tales ofHoffmann; at Vienna State Opera in Tannhauser and Don Carlo; at Deutsche Oper Berlin in Aida and 77 trovatore; and at Monte Carlo Opera in Anna Bolena, as well as at Nederlandse Opera, the Theatre du Capitole de Toulouse, and London's Royal Albert Hall {Das Rheingold in concert with Sir Simon Rattle and Mahler's Das Lied von derErde with Christoph Eschenbach). Future engagements include Wagner's Ring with the Metropolitan Opera, Kundry and Carmen in Hamburg, Eboli in Don Carlo with Opera National de Paris, and Kundry in Zurich, as well as concert engagements with the Munich Philharmonic, Orchestre de la Suisse Romande, Orchestre de Paris, the SWR,

29 WDR, Ensemble InterContemporain, and the symphony orchestras of Boston, Philadelphia, and Cleveland. Yvonne Naef has sung a wide range of repertoire under the world's great conductors, at the major European concert halls and at such festivals as Salzburg, Schleswig- Holstein, Lucerne, and Tanglewood. She has appeared on numerous radio and television broadcasts and on CD and DVD, including II trovatore from Covent Garden (BBC), Mahler's Second Symphony from the Schleswig-Holstein Festival, Das Rhelngold from the Baden-Baden Festival, Schoenberg's Moses undAron (DG), Bach's Christmas Oratorio (Philips), Rossini's Petit Messe solennelle (Edel BC), Schoeck's Penthesilea (PAN Classics), Beethoven's Ninth Symphony (Euroarts), songs by Berlioz and Wagner (Claves Records), and Brahms's Alto Rhapsody. Yvonne Naef made her BSO debut at Tanglewood in 2003 in Verdi's Requiem under Rafael Fruhbeck de Burgos, subsequently singing in the BSO performances under James Levine of Mahler's Eighth Symphony at Symphony Hall, Carnegie Hall, and Tangle- wood. She appeared most recently with the BSO in The Damnation ofFaust at Symphony Hall this past February, and rejoins Mr. Levine and the orchestra for European tour performances following the Tanglewood season.

Marcello Giordani In demand by the world's major opera houses and symphony orchestras, Marcello Giordani opened the Metropolitan Opera's 2006-07 season singing Pinkerton in the company's new production of Madama Butterfly directed by Anthony Minghella and returned for performances of La gio- conda, La boheme (which he also performed at the Deutsche Oper Berlin), and Simon Boccanegra. He will open the Met's 2007-08 season as Edgardo in Donizetti's Lucia di Lammermoor in a new production by Tony Award- winning director Mary Zimmerman, and will also appear in Puccini's

Manon Lescaut and make his role debut in the title role of Verdi's Ernani. The Manon Lescaut performance of February 16th will be shown live in movie theaters throughout the United States, Europe and Japan, as part of the Met's new series of live performance transmissions "Metropolitan Opera: Live in HD." Last season Mr. Giordani gave a recital at the U.S. Supreme Court at the invitation of Justice Ruth Bader Ginsburg. Other recent highlights include II trovatore at the Opera Festival Avenches, Tosca at the Festival Puccini in Torre del Lago, Turandot at the Teatro dell'Opera di Roma, and a concert performance of Simon Boccanegra at the Verbier Festival under James Levine. He has performed in the major opera houses of Italy and Europe, as well as at Houston Grand Opera, Washington Opera, and San Francisco Opera, and La Damnation de Faust with the Munich Philharmonic led by

TANGLEWOOD 2007 TALKS & WALKS

"Talks 6c Walks" is a series of informal conversations presented by guest artists and members of the Tanglewood family in the Tent Club on Thursday afternoons. The Tent Club opens at noon; the talks begin at 1 p.m. and are followed by guided walks at 1:45 p.m. led by Tanglewood Association tour guides. Subject to availability, individual tickets are sold between 12:30 and 1 p.m. on the day of the talk for $15 at the Tent Club ($10 for Friends of Tanglewood). Bring along a picnic lunch; beverages and dessert are available for purchase. This year's series takes place on the following Thursdays:

July 12 Thomas Hampson, Baritone July 19 Christine Brewer, Soprano July 26 Kurt Masur, Conductor August 2 Thomas Rolfs, BSO Principal Trumpet August 9 Emanuel Ax, Pianist August 16 Keith Lockhart, Conductor, Boston Pops Orchestra August 23 Marc Mandel, BSO Director of Program Publications

30 James Levine. Mr. Giordani has been a frequent guest artist on the nationally televised Richard Tucker Gala and a guest artist at St. Patrick's Cathedral for their nationally televised Christmas midnight mass. On compact disc, Marcello Giordani sang in the first studio recording of Verdi's Jerusalem for Philips and has released two solo recordings—tenor arias by Bellini, Bizet, Donizetti, Mascagni, Rossini, and Verdi, among other composers (on Naxos); and classical songs from Giordani's native Sicily (on VAI). He is also featured on "Many Voices," a compilation of songs by Steven Mercurio (Sony Classical). Mr. Giordani can be seen on DVD as Pinkerton in Franco Zeffirelli's production of Madama Butterfly from the Arena di Verona (TDK). Tonight's performance marks his Boston Symphony Orchestra and Tanglewood debuts; he also sings the role of Faust in La Damnation de Faust with the BSO in Lucerne, Essen, Paris and London during the orchestra's upcoming Euro- pean tour. In spring 2008, Mr. Giordani will make his role debut as Aeneas in concert performances of Berlioz's Les Troyens with the Boston Symphony Orchestra under James Levine at Symphony Hall.

Jose van Dam 1^ The world-renowned bass-baritone Jose van Dam has been heard in the music capitals of Europe, the Americas, and Japan, singing in opera hous-

J^. es and concert halls under the world's greatest conductors. Mr. van Dam's 2006-07 season included a return to the Boston Symphony for La [ Wur Damnation de Faust with James Levine in Boston and New York; the title role in staged performances of Elijah at the Teatro Comunale in Florence and at the Saito Kinen Festival with Seiji Ozawa; and Germont in La traviata at La Monnaie in Brussels and at the Paris Opera, where he also appeared as the Father in Charpentier's Louise. Following his Ozawa Hall recital with pianist Craig Rutenberg and a repeat performance of The Damnation ofFaust this week, he will rejoin Mr. Levine and the BSO for tour performances of Berlioz's work in. Mr. van Dam is a regular guest of the world's major opera houses and festivals, his many roles having included Falstaff, Wozzeck, Simon Boccanegra, Don Giovanni, the four villains in The Tales of Hoffmann, Boris Godunov, Hans Sachs in Die Meistersinger von Nurnberg, Amfortas in Parsifal, the Flying Dutchman, Jochanaan in Salome, Mephistopheles in Gounod's Faust, Scarpia in Tosca, and Gianni Schicchi. A two-time Grammy Award winner, he can be heard on numerous recordings, among them Gounod's Faust, Enescu's Oedipe, Massenet's Don

Quichotte, Debussy's Pelleas et Melisande , Mozart's Le nozze di Figaro (as Figaro) and Costfan tutte, Carmen, Die Meistersinger, Berlioz's Romeo etJuliette (recorded at the time of his BSO debut in 1975), Simon Boccanegra, Strauss's Salome, and many recordings with Herbert von Karajan and the Berlin Philharmonic. Honored in many countries throughout the world, he has been honored in many countries around the world. He was named a Baron by His

Majesty Albert II of Belgium, and the city of Berlin awarded him the title of "Kammersanger." For his work on recordings, he has received the German Music Critics' Prize, the Gold

Medal of the Belgian Press, the Grand Prix de 1'Academie Francaise du Disque, the Orphee d'Or of the Academie Lyrique Francaise, the European Critics' Prize for St. Francis ofAssist, and France's Diapason d'or and Prix de la Nouvelle Academie du Disque. He was featured in the motion pictures The Music Teacher and Don Giovanni, conducted by Lorin Maazel, and his video recording of Schubert's Winterreise has been released by Disques Forlane. Jose van Dam made his Boston Symphony debut in October 1975 under Seiji Ozawa in Boston and New York, in Berlioz's Romeo etJuliette. Since then he has also appeared with the BSO in the American premiere ofThree Tableaux from Messiaen's opera St. Francis ofAssisi, Mahler's

Riickert Songs and Ravel's L'Enfant et les sortileges, Beethoven's Ninth Symphony, the finale of Berlioz's Romeo et Juliette and selections from Berlioz's Les Nuits d'ete, and Zemlinskys Lyric Symphony.

31 Patrick Carfizzi Bass-baritone Patrick Carfizzi has performed regularly with the Metro- politan Opera since his first appearances with the company in a wide variety of roles during the 1999-2000 season. In the 2006-07 season he returned to sing Schaunard in La boheme, the Mandarin in Turandot, Fleville in Andrea Chenier, Betto in the new Jack O'Brien production of Gianni Schicchi, and Ortel in Die Meistersinger. In 2005-06 he appeared in productions of Manon, The Marriage ofFigaro, and Ariadne aufNaxos. In past seasons he has performed at the Met in La boheme, Pelleas et Melisande, Faust, Don Giovanni, L'italiana in Algeri, and Britten's A Midsummer Nights Dream. Other recent performances include the role of Gessler in William Tell with the Opera Orchestra of New York and his debuts with Seattle Opera as Frank in Die Fledermaus, Minnesota Opera as Leporello in Don Giovanni, and Opera Theatre of Saint Louis as Dr. Bartolo in The Barber ofSeville. Mr. Carfizzi has performed Masetto in Don Giovanni and Antonio in The Marriage ofFigaro with Santa Fe Opera, the title role of Gianni Schicchi with Washington D.C.'s Summer Opera Theatre, Taddeo in L'italiana in Algeri and Baron Trombonok in 2/ viaggio a Reims with the Canadian Opera Company, Leporello in Don Giovanni with Pittsburgh Opera, Figaro in The Marriage ofFigaro with Michigan Opera Theatre, Bottom in Britten's A Midsummer Night s Dream and the Doctor in Vanessa with Central City Opera, and the Marchese d'Obigny in La traviata and Paolo in Simon Boccanegra with San Francisco Opera. He has also performed a number of operas in concert and in August 2005 made his Mosdy Mozart Festival debut in Mozart's Mass in C minor. A graduate of the Yale University School of Music, Mr. Carfizzi has won several awards, including a 2002 Richard Tucker Career Grant, the 2001 George London Award, and the 1999 Sara Tucker Study Grant from the Richard Tucker Foundation. He was the Connecticut District Winner in the Metropolitan Opera National Council Auditions in 1998 and Third Place Winner in the Mid-Atlantic Region in 1996. Partick Carfizzi made his Boston Symphony Orchestra and Tanglewood debuts in July 2006, singing the role of Masetto in a concert performance of Mozart's Don Giovanni led by James Levine. He rejoins James Levine and the BSO to sing the role of Brander in La Damnation de Faust on the BSO's upcoming European tour.

Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus celebrated its thirty-fifth anniversary in the summer of 2005. This summer at Tanglewood the chorus performs with BSO Music Director James Levine in Mendelssohn's Midsummer Nights Dream music, Mahler's Symphony No. 3, Verdi's Don Carlo (a concert performance with the Tanglewood Music Center Orchestra), and Berlioz's Damnation ofFaust, as well as Haydn's Mass in Time of War and Beethoven's Ninth Symphony (the latter also with the TMC Orchestra) with guest conductor Rafael Friihbeck de Burgos. They also perform their annual Friday Prelude Concert in Ozawa Hall (this year on July 27) and join James Levine and the BSO for European tour performances, following the Tanglewood season, of Damnation ofFaust in Lucerne, Essen, Paris, and London. The Tanglewood Festival Chorus was organized in the spring of 1970, when founding conductor John Oliver became director of vocal and choral activities at the Tanglewood Music Center. Made up of members who donate their services, and originally formed for performances at the BSO's summer home, the

Tanglewood Festival Chorus is now the official chorus of the Boston Symphony Orchestra year-round, performing in Boston, New York, and at Tanglewood. The chorus has also performed with the Boston Symphony Orchestra in Europe under Bernard Haitink and in the Far East under Seiji Ozawa. It can be heard on Boston Symphony recordings under Ozawa and Haitink, and on recordings with the Boston Pops Orchestra under Keith Lockhart and John Williams, as well as on the soundtracks to Clint Eastwood's Mystic River, Steven Spielberg's Saving Private Ryan, and John Sayles's Silver City. In addition, members of the

32 chorus have performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia, and participated in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan. 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 1998 Winter Olympics when Mr. Ozawa led six choruses on five continents, all linked by satellite, in Beethoven's

Ode to Joy. The Tanglewood Festival Chorus gives its own Friday-evening Prelude Concert each summer in Seiji Ozawa Hall and performed its debut program at Jordan Hall at the New England Conservatory of Music in May 2004. In addition to his work with the Tanglewood Festival Chorus, John Oliver was for many years conductor of the MIT Chamber Chorus and MIT Concert Choir, and a senior lecturer in music at MIT. Mr. Oliver founded the John Oliver Chorale in 1977; has appeared as guest conductor with the New Japan Philharmonic and Berkshire Choral Institute; and has prepared the choruses for performances led by Andre Previn of Britten's Spring Symphony with the NHK Symphony in Japan and of Brahms's Ein deutsches Requiem at Carnegie Hall. He made his Boston Symphony conducting debut in August 1985 and led the orchestra most recendy in July 1998.

Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus celebrated its 35th anniversary in 2005. In the following list, * denotes TFC membership of 35-37 years, # denotes membership of 25-34 years. All of the chorus members listed here participate this weekend in both the Saturday-night performance of Berlioz's Damnation ofFaust and the Sunday-afternoon performance of Beethoven's Ninth Symphony.

Sopranos Mezzo-sopranos Cindy Vredeveld Deborah Abel Virginia Bailey Christina Lillian Wallace Carol Amaya Maisy Bennett * Marguerite Weidknecht Rachel Bellairs Martha A.R. Bewick Jan Zimmerman Michele Bergonzi Betty Blanchard Blume Joy Emerson Brewer Lauren A. Boice Tenors Myfanwy Callahan Laura B. Broad James F. Barnswell Jenifer Lynn Cameron Janet L. Buecker John C. Barr Catherine C. Cave Anna Callahan Timothy Carew Triana Chez Diane Droste Fredric Cheyette Anna S. Choi Barbara Naidich Ehrmann Stephen Chrzan Lorenzee Cole Paula Folkman # Andrew Crain Cari Ann Donnelly Debra Swartz Foote Tom Dinger

Sarah Dorfman Daniello Dorrie Freedman Kevin F. Doherty, Jr. Christine Pacheco Duquette # Irene Gilbride # Ron Efromson

Stefanie J. Gallegos Mara Goldberg Keith Erskine Bonnie Gleason Rachel Hallenbeck Leon Grande Eileen Huang Jessica Hao J. Stephen Groff # Carrie Kenney Yuko Hori David M. Halloran Donna Kim Betty Jenkins Stanley Hudson # Sarah Koonce # Evelyn Eshleman Kern Donald J. Johnston Nancy Kurtz Gale Livingston # James R. Kauffman Renee Dawn Morris Kristen McEntee Michael Lapomardo Kieran Murray Louise-Marie Mennier Lance Levine Hannah Rosenbaum Antonia R. Nedder Ronald Lloyd Melanie W. Salisbury Kathleen Schardin Henry Lussier * Johanna Schlegel Katherine Slater John Vincent Maclnnis # Clara Schuhmacher Julie Steinhilber # Glen F. Matheson Joan P. Sherman * Martha F Vedrine Michael Mulcunry

33 Mark Mulligan Richard Bunbury Nathan Lofton David Norris # Kirk Chao David K. Lones # Dwight E. Porter # Michel Epsztein Christopher T. Loschen Guy F. Pugh Eli T. Gerstenlauer Lynd Matt

Peter Pulsifer Mark Gianino Eryk P. Nielsen David L. Raish Alexander R. Goldberg Stephen H. Owades * Brian R. Robinson Jim Gordon Donald R. Peck Sean Santry Jay Gregory Michael Prichard Blake Siskavich Elliott Gyger Steven Ralston Axend Sluis Mark L. Haberman # Peter Rothstein # Peter L. Smith Jeramie D. Hammond Jonathan Saxton Stephen E. Smith Michael Jo Karl Josef Schoellkopf Martin S. Thomson Jer Davin Jurma Kenneth D. Silber

Stratton P. Vitikos Marc J. Kaufman Scott Street Joseph Y. Wang David Kilroy Bradley Turner John Knowles # Thomas C. Wang Basses G.P Paul Kowal Terry L. Ward # Thomas Anderson Bruce Kozuma Peter J. Wender Edward Batchelder Timothy Lanagan Matthew Wright Daniel E. Brooks #

Felicia A. Burrey, Chorus Manager Meryl Atlas, Assistant Chorus Manager Jodi Goble, Rehearsal Pianist Michel Epsztein, French Language Coach

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34 PALS Children's Chorus Johanna Hill Simpson, Founder and Artistic Director Emerita

PALS Children's Chorus is dedicated to the transformation of children into performing artists. With singing at its core, and training in drama and dance, PALS empowers children to engage with audiences in profound ways. PALS indelibly changes the lives of its children, building confidence, discipline, and leadership, and a passion for music that will last a lifetime. The children of PALS have performed in dozens of collaborations with such ensembles as the Boston Symphony Orchestra, Boston Pops, Boston Philharmonic, and Cantata Singers, in venues including Symphony Hall, Carnegie Hall, and Tanglewood. Founded sixteen years ago at the W.H. Lincoln School, a public school in Brookline, Massachusetts, PALS has grown from one ensemble of sixteen children into five ensembles of 160 children from the ages of seven to

eighteen. PALS is funded in part by a grant from the Massachusetts Cultural Council, a state agency. Johanna Hill Simpson, one of the nation's preeminent children's conductors, founded

PALS and is now its artistic director emerita. She received her bachelor's degree from Dart- mouth College and a master's in choral conducting from the New England Conservatory of Music, where she studied under Lorna Cooke deVaron. She has prepared children for performances under the batons of Seiji Ozawa, Tan Dun, James Conlon, Marek Janowski, Rafael Friihbeck de Burgos, Keith Lockhart, Benjamin Zander, Stefan Asbury, and David

Hoose. During the 2006-07 season, Johanna Hill Simpson prepared PALS for its participation in the BSO's Symphony Hall performances under James Levine of Schoenberg's Moses undAron and Berlioz's Damnation ofFaust. Previously she has supervised the preparation of children for the BSO's world premiere performances of Henri Dutilleux's The shadows of time, Boston Lyric Opera's performances of "Carmen on the Common," Tosca, and The Little Prince, and the Boston Early Music Festival's world premiere performances of Mattheson's

Boris Goudenow. PALS released its latest CD, "PALS Naturally," in December 2002. PALS' relationship with the Boston Symphony Orchestra began in 1996 with Elliot Goldenthal's FIRE, WATER, PAPER: A Vietnam Oratorio. Since that first collaboration, PALS has also joined the BSO for The Nutcracker, Berlioz's Te Deum and Damnation ofFaust, Mahler's Symphony No. 3, Bach's St. Matthew Passion, Tan Dun's Heaven Earth Mankind: Symphony 1997, Britten's War Requiem, Orff's Carmina burana, Humperdinck's Hansel und Gretel, and John Adams's El Nino.

PALS Children's Chorus

Eleanor Bragg Marie Lunt Melanie Rucinski Rebecca Danning Fred Metzger {soloist) Jules Schellenberg Lucy Florman Emy Metzger Jordan Underwood Sylvie Florman Rikki Leigh Mueller Joanna Wallace Eliza Fox Anna Nemetz Emma Wellbaum Kathyrn Hodgkins Joanna Palmer Jake Wilder-Smith {soloist)

Laura Jacobs Regina Raphael Keith Williams {soloist) Emma Lunt Campbell Rogers

Johanna Hill Simpson, Conductor Alisha Ear, Chorus Manager Eric Kamen, Rehearsal Accompanist

35 In Memoriam

Beverly Sills

May 25, 1929 -July 2, 2007

It's startling to consider that Beverly Sills retired from the opera stage in 1980, more than a quarter-century ago: she remained such a consistently strong and continuing presence for the rest of her life—on television as host, guest, and educator, and in her work as an unstintingly devoted and outspoken administrator at New York City Opera (as general director), at Lincoln Center (as chairman), and at the Metropolitan Opera (first as a member of the Board of Directors, then as chairman, and finally as chairman emerita, the position she held at the time of her death). Those privileged to have heard and seen her in performances at New York City Opera, the Opera Company of Boston, the Metropolitan Opera, and elsewhere—in roles ranging from Handel's Cleopatra, Rossini's Rosina, and Donizetti's Lucia to such other, signature roles as Verdi's Violetta, Massenet's Manon, and Douglas Moore's Baby Doe—or who responded to her very singular, warm presence on television, on audio recordings, and on video, never failed to recognize that in being true to her fans, she was also unfailingly and consistently true to herself. Even beyond her artistry, with which she engaged and moved audiences so profoundly, it was always clear that she was as devoted to giving them joy as they were devoted to offering her their love and appreciation in return for what she gave them.

Ms. Sills appeared on numerous occasions with the Boston Symphony Orchestra between 1966 and 1969 during Erich Leinsdorf's music directorship. Her BSO debut was in Schumann's Faust-Szenen in February 1966; her final performance with the orchestra was a Beethoven Ninth Symphony at Tanglewood, on August 24, 1969, Leinsdorf's last BSO concert as music director. In between came music of Mozart, Haydn, and Richard Strauss, including appearances in the role of Zerbinetta when Leinsdorf led the original version of Strauss's Ariadne aufNaxos at Symphony Hall and Carnegie Hall in January 1969, a performance televised from Symphony Hall and later issued in 2006 on a VAI DVD. Sills's longtime friend and colleague, the con- tralto Eunice Alberts, who sang the role of Dryade in those performances, has recalled how she "watched in amazement as Beverly effortlessly tossed off the difficult coloratura in Zerbinetta's aria 'Groftmachtigen Prinzessin' Little did I realize that night that her reputation as a world-renowned coloratura would encompass but one dimension of a multi-faceted career that would lead her to prominence as a leader in arts administration, philanthropy, and arts advocacy." (The performance of that aria can be viewed, by permis- sion of VAI, on the BSO's website.)

On hearing of Beverly Sills's death, BSO and Metropolitan Opera Music Director James Levine commented that "Beverly was an extraordinary artist, a gifted administrator, and a magnificent human being. In every facet of her career, she had a mission—to bring the joy and love of our great art form to as many people as possible. It was my privilege to work with Beverly frequently, and I will miss her enormously. She is simply irreplaceable."

36 — ————

Tanglewood

Sunday, August 19, at 2:30 TANGLEWOOD MUSIC CENTER ORCHESTRA RAFAEL FRUHBECK DE BURGOS conducting

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, alia marcia Andante maestoso—Adagio ma non troppo, ma divoto—Allegro energico, sempre ben marcato—Allegro ma non tanto Prestissimo

MELANIE DIENER, soprano MARY PHILLIPS, mezzo-soprano MARCUS HADDOCK, tenor RAYMOND ACETO, bass TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 42.

This afternoon's concert is supported by a generous gift in memory of

Beverly Sills, the great American soprano, arts administrator, and riFS advocate for the arts.

State Street Global Advisors is proud to sponsor the 2007 Tanglewood season.

Steinway and Sons Pianos, selected exclusively for Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.

37 Week 7 Main Gate Class House: Monday - Thursday, ioam-4pm Friday, 10am - 30 minutes post-concert Saturday, 9am - 30 minutes post-concert nglewood Sunday, noon - 6pm Highwood Gate Glass House: Performance Hours

Tanglewood Music Center Orchestra CD

A new two-disc CD set with works of Beethoven, Ravel, and Shostakovich, from live performances conducted by Herbert Blomstedt, Stefan Asbury, and Bernard Haitink.

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38 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Symphony No. 9 in D minor, Opus 125

First performance: May 7, 1824, Karntnerthor 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 performances'. March 1882, Georg Henschel cond.; Mrs. Humphrey Allen, Mary H. How, Charles R. Adams, and V. Cirillo, soloists. First Tangle-woodperformance: 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 Tanglewoodperformance: July 7, 2006, Boston Symphony Orchestra, James Levine, cond.; Sondra Radvanovsky, Wendy White, Clifton Forbis, and John Relyea, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond.

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 relationship, 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 revolution- ary fervor of that era, is a kind of exalted drinking song, to be declaimed among com- rades 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 sketching 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 silence. Soon the music bursts into figures monumental and declamatory, and at the

39 Week 7 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 somehow 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 Bee- thoven'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 complexity counter- poised 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 unfolding 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 ofjoy 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 "FreudeF "Joy!"—and the piece is off, exalting joy as the god-engendered daughter of Elysium, under whose influence love could flourish, humanity unite in peace. The variations unfold with their startling contrasts. We hear towering choral proclamations of the theme. We hear a grunting, lurching military 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 hail- ing the daughter of Elysium. So the finale's episodes are learned, childlike, ecclesiastical, sublime, Turkish. In his quest for universality, is Beethoven embracing the ridiculous alongside the sublime? Is

40 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 certainly is that its position in the world is probably what Beethoven wanted it to be. In an unprecedented 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 beginning, is almost constructed before our ears, hummed through, then composed and recom- posed 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 terror 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

Text and translation begin on the next page.

41 Week 7 Text to the finale of Beethoven's Ninth Symphony, based on Schiller's ode, "To Joy"

O Freunde, nicht diese Tone! 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, schoner Gotterfunken, 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 Briider, All men are made brothers Wo dein sanfter Flugel 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 ofJoy An den Briisten der Natur, At Nature's breasts. Alle Guten, alle Bosen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Kusse gab sie uns und Reben, She gave us kisses and vines, Einen Freund, gepruft 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 stent vor Gott. And the Cherub stands before God.

Froh wie seine Sonnen fliegen As joyously as His suns fly Durch des Himmels pracht'gen Across the glorious landscape of the Plan, heavens, Laufet, Briider, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest.

Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium,

42 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 Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Ihr stiirzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn uberm Sternenzelt! Seek him above the canopy of the stars! Uber Sternen muss er wohnen. Surely he dwells beyond the stars.

Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world!

Ihr stiirzt nieder, Millionen? Do you fall headlong, ye Millions! Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn tiberm Sternenzelt! Seek him above the canopy of the stars! Briider—uberm 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 Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Briider—uberm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schoner Gotterfunken! Joy, beauteous, godly spark!

43 Week 7 Tanglewood Music Center Orchestra {Beethoven Symphony No. 9)

First Violins Sharon Bielik Clarinets Kate Friedman Jessica T. Chang Alexis Lanz Katherine Bormann Jonina Mazzeo Michael Rezzo Stephanie Nussbaum Amelia Clingman Brent Besner Brittany Boulding Alyssa Hardie Andrew Lowy David Repking Cellos Ruby Chen Bassoons Morgen Johnson Jeanine Markley Miles Maner Gregory Kramer Fangyue He Matthew McDonald Hugh LeSure Ainur Zabenova Matthew Lano Elizabeth Means Byung-Jin Kang Shelley Monroe Alexandre Lecarme Julia D. Hunter Brian Sanders Horns Jessica Tong Min-Jeong Kang Yousef Ismael Assi Sonya Chung Jay Tilton Nicole de la Cal Lorna Tsai Pei-Chieh Chang Michael Winter Jessica Blackwell Patricia Garvey Lee Wadenpfuhl Second Violins Christopher Hopkins Trumpets David Southorn David Gerstein Greg Smith Rena Ishii Marie-Michel Beauparlant Karin Bliznik Francesca Anderegg Kathryn Hufnagle Hannah Choi Trombones Basses Rommel Fernandes Roger Flatt Karl Fenner Alex Russell Kenneth Moses Jessica Grabbe Brittany Henry David Becker Tristan Sutton Kaoru Suzuki Kevin Jablonski Timpani Jessica Hung Evan Halloin Yevgeny Kutik Kyle Zerna Brandon Kelly McLean Reina Inui Percussion Hyewon Kim Edward Merritt Jason Ginter Heather Wittels Flutes Joseph Petrasek Violas Brook Ferguson Andrew Watkins Marie Tachouet Gareth Zehngut Personnel Coordinator Leah Swann Jessica Anastasio Sandy Hughes Christopher M. Powell Andrea Hemmenway Liyuan Liu Oboes Librarians Yumi Sagiuchi Camille White John Perkel Nicholas Mauro Andrea Overturf Jennifer Feldman Kelly Joshua Nicholas Stovall (TMC Fellow) Alexander Petersen Timothy Sawyier Angela Pickett

44 GUEST ARTISTS

Rafael Friihbeck de Burgos Born in Burgos, Spain, in 1933, Rafael Friihbeck de Burgos studied violin, piano, theory, and composition at the Conservatories of Bilbao and Madrid, followed by conducting classes at Munich's Hochschule fur Musik, where he graduated summa cum laude. He has held conducting posts with the Bilbao Orchestra, the Spanish National Orchestra, the Diisseldorf Sym- phony Orchestra, and the Montreal Symphony Orchestra. In 1998 he was named emeritus conductor of the Spanish National Orchestra. He has served as principal guest conductor of the National Symphony Orchestra in Washington, D.C., and of the Nippon Yomiuri Orchestra, becoming honorary conductor of the latter ensemble in 1991. He was also chief conductor of the Vienna Symphony Or- chestra, music director of the Deutsche Oper Berlin, and chief conductor of the Berlin Radio Symphony Orchestra. Since September 2001 he has been chief conductor of the Orchestra Sinfonica Nazionale della RAI Torino; since the 2004-05 season he has been music director of the Dresden Philharmonie orchestra. As guest conductor he has led all of the major Ameri- can orchestras, the Israel Philharmonic, and, in Europe, the Berlin Philharmonic, Munich Philharmonic, the Leipzig Gewandhaus Orchestra, various German radio orchestras, and the

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45 five major London orchestras. He is also a frequent guest conductor in Italy, Switzerland, France, Sweden, Norway, Denmark, and Japan, as well as at opera houses and prestigious festivals. His discography includes more than 100 recordings, for EMI, Decca, Columbia (Spain), and Collins Classics, including acclaimed releases of Orff's Carmina burana, Mendels- sohn's Elijah and St. Paul, and the complete works of Manuel de Falla, including L'Atlantida and La vida breve. A member of the Royal Academy of Fine Arts of San Fernando since 1975, Rafael Fruhbeck de Burgos has received many awards, including an honorary doctorate from the University of Navarra in Spain, the Gold Medal of the City of Vienna, the Bundes- verdienstkreuz of the Republic of Austria and Germany, the Gold Medal from the Gustav Mahler International Society, and the prestigious Jacinto Guerrero Prize, which he received in 1997 from the Queen of Spain. Apart from his regular concerts and tours with the RAI Orchestra Torino and the Dresden Philharmonie, he appears regularly with the Boston Symphony Orchestra leading a wide range of repertoire both in Boston and at Tanglewood. His future commitments include reengagements in Los Angeles, New York, Pittsburgh, Montreal, and Paris, as well as with the Philharmonia in London, the London Symphony Orchestra, and La Scala of Milan. Rafael Fruhbeck de Burgos made his BSO debut in concerts in Providence and at Symphony Hall in January 1971. In recent years he has been a frequent podium guest in Boston and also at Tanglewood, where he has conducted both the BSO and the Tanglewood Music Center Orchestra. Prior to this summer, he appeared with the BSO most recendy for two subscription programs in November and December 2006. He led two programs with the Boston Symphony Orchestra here at Tanglewood last weekend, and returns to the Symphony Hall podium for two BSO subscription concerts in January 2008.

Melanie Diener OBorn near Hamburg, the German soprano Melanie Diener studied with Sylvia Geszty and later with Rudolf Piernay. She was first recognized internationally as a prizewinner at the Salzburg Mozart Competition and as winner of the Kirsten Flagstad Award at the International "Queen Sonja" Singing Competition in Oslo. She made her operatic debut in June

1996 at the Garsington Opera Festival as Ilia in Mozart's Idomeneo, but it was with Fiordiligi in Mozart's Costfan tutte that she made her international breakthrough at Covent Garden in 1997. She has also performed Fiordiligi in Paris, Ferrara, Lausanne, Dresden, Zurich, and for her Metropolitan Opera debut. Other Mozart roles include Donna Elvira in Don Giovanni, which she has sung in Paris, Aix-en-Provence, London, Vienna, Munich, at the Metropolitan Opera, and at the Salzburg Festival; Vitallia in La clemenza di Tito, and Elettra in Idomeneo. She has sung Elsa in Wagner's Lohengrin at the Bayreuth Festival and in London, Zurich, Vienna, and Munich. Performances of Strauss roles include the Marschallin in Der Rosenkavalier in Berlin, Daphne in Vienna, Chrysothemis in Elektra in Zurich and Monte Carlo, and Ariadne in Garmisch Partenkirchen. She achieved great success in the tide role in a new Michael Thalheimer production of Janacek's Katyd Kabanovd at the Berlin State Opera, and as Ellen Orford in Peter Grimes with Simone Young at the Vienna State Opera. As a concert soloist, Melanie Diener has performed with such conductors as Claudio Abbado, Blomstedt, Eschenbach, Dohnanyi, Boulez, Bychkov, Cambreling, Haitink, Chailly, Gielen, Harnoncourt, Janowski, Masur, Nagano, Marriner, Norrington, Salonen, Sawallisch, Thielemann, Viotti, and Zinman, in such repertoire as Beethoven's Symphony No. 9 and Missa Solemnis, Britten's War Requiem, Zemlinsky's Lyric Symphony, Schoenberg's Gurrelieder, and Strauss's Four Last Songs. Future and recent projects include concerts with Janowski in Monte Carlo and Lausanne, Katya Kabanovd and Chrysothemis in Vienna, Gurrelieder with Michael Gielen on tour in Germany and Austria, and the Marschallin in Hamburg, among others. She has recorded Berlioz's Romeo etJuliette and Les Nuits d'eJe with Boulez and the Cleveland Orchestra, Strauss's Four Last Songs with Zinman for Arte Nova, Mahler's Symphony No. 2 with Chailly for Decca, Berg's Der Wein with Gielen for Hanssler, and Le Villi with Guidarini for Radio France. In

46 July 2005 at Tanglewood, Melanie Diener appeared with the Tanglewood Music Center Orchestra singing the role of Gutrune in a concert performance of Act III of Gotterdammerung conducted by James Levine.

Mary Phillips Mary Phillips appeared with the Tanglewood Music Center Orchestra at Tanglewood last summer in a concert performance of Strauss's Elektra conducted by James Levine. Also last year she toured Japan with the Metropolitan Opera singing Waltraute in Die Walkure and covering the role of Fricka. Other Ring performances include Fricka and Waltraute in Die Walkure (directed by Atom Egoyan) and Waltraute in Gotterdammerung (directed by Tim Albery) with the Canadian Opera Company; Wellgunde and Rossweise with Seattle Opera, and Erda with Scottish Opera at the Edinburgh Festival. She returns to the Canadian Opera Company in October 2007 as Eboli in Don Carlo. Ms. Phillips joined the Met roster in the 2005-06 season, making her debut as Preziosilla in Laforza del destino. Her San Francisco Opera debut was as Giovanna/Maddalena in Rigoletto. She sang Dorabella in Cost fan tutte for Virginia Opera with her twin sister Lori as Fiordiligi, and has also sung with the opera companies of Dallas, Fort Worth, and Birmingham (AL). Also adept in contemporary music, she made her role debut as Sister Helen Prejean in Jake Heggie's Dead Man Walking at Austin Lyric Opera and has collaborated with Heggie at the piano in his song cycle The Starry Night at the Ravinia Festival, Carnegie's Zankel Hall, and at the Library of Congress. She made her New York Philharmonic debut in the world premieres of Michael Torke's Four Seasons and Aaron Kernis's Garden ofLight conducted by Kurt Masur. Her recording of songs of Charles Ives is soon to be released on the Naxos label. In concert, Mary Phillips made her Boston Symphony Orchestra debut in Beethoven's Ninth Symphony in August 2004. Her large concert repertoire ranges from Handel's Messiah and Vivaldi's Gloria to Philip Glass's Symphony No. 5. As a recitalist and chamber musician, Ms. Phillips has appeared under the auspices of the Marilyn Home Foundation and the New York Festival of Song at venues including Carnegie Hall's Weill Hall, the Marlboro Music Festival, Barge Music, and the Anchorage Concert Association. Mary Phillips holds degrees in both music and theater from Rhode Island College and a master's degree in music from Yale University. She was an apprentice in the Santa Fe Opera program and a participant at the Marlboro Festival and the Ravinia Steans Institute for Young Artists. She lives in New York with her young son, Max.

Marcus Haddock Tenor Marcus Haddock has earned international distinction singing with many of the finest opera companies in the world, including the Paris Opera, La Scala, Bavarian State Opera, Metropolitan Opera, Los Angeles Opera, Lyric Opera of Chicago, and the Liceu of Barcelona. His operatic repertoire includes a wide range of roles, among them Don Jose in Carmen,

Hoffmann in Les Contes d'Hojfmann, the title role in Werther, the title role in Don Carlo, Riccardo in Un ballo in maschera, and Gabriele Adorno in Simon Boccanegra, a role he sang recently with both Santa Fe Opera and at the Metropolitan Opera. In the 2006-07 season he appeared with the Teatro Real de Madrid, Bayerische Staatsoper, Metropolitan Opera, Teatro Municipal de Santiago de Chile, and Vienna State Opera; he also made his San Francisco Opera debut. Other highlights of Mr. Haddock's recent seasons include performances of Pinkerton in Madama Butterfly at Covent Garden; Rodolfo in La boheme at Fort Worth Opera; the tide role in Faust at the Metropolitan Opera, Lyric Opera of Chicago, and Deutsche Oper Berlin, and Alfredo in La traviata at the Metropolitan Opera, Dallas Opera, and Gran Teatre del Liceu. Mr. Haddock has also enjoyed great success on the concert stage. In 2001, the centenary year of Verdi's death, he sang performances of Verdi's Requiem with orchestras including the London Symphony, Orchestre de Paris, Orchestre de Monte-Carlo, orchestra of the Cologne Opera, Cincinnati

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800.327.4914 www.pritikin.com Symphony, Royal Philharmonic Orchestra under Daniele Gatti in Ghent and San Sebastian, and with the Halle Orchestra conducted by Mark Elder. He has appeared as soloist in Bee- thoven's Symphony No. 9 with the symphony orchestras of Boston, Dallas, Seattle, and Detroit and with the Los Angeles Philharmonic. His concert repertoire also includes Janacek's Glagolitic Mass, Beethoven's Missa Sokmnis, and Rossini's Petite Messe solennelle. An alumnus of the Tanglewood Music Center, Mr. Haddock was also invited to perform a solo concert of operatic arias with the Deutsches Symphonie-Orchester Berlin. He can be heard on recordings of Montemezzi's Uamore dei tre re on Koch/Schwann, recorded at the 1998 Bregenz

Festival; Mercadante's Gli orazi e i curiazi with the London Philharmonic on the Opera Rara label; Gomez's II Guarany with Oper der Stadt Bonn on Sony Classical, and the title role in Werther with the Orchestre de Lille on Naxos.

Raymond Aceto Critically acclaimed American bass Raymond Aceto began the 2006-07 season with performances as Fiesco in Verdi's Simon Boccanegra and the Commendatore in Don Giovanni with Houston Grand Opera. He performed the role of Ferrando in II trovatore with the Royal Opera-Covent Garden and at Madrid's Teatro Real, sang the High Priest in Samson et Dalila for Florida Grand Opera, and returned to the Royal Opera-Covent Garden for Sparafucile in Rigoletto. A frequent presence at the Metro- politan Opera, he has performed there most recently as Zaccaria in Nabucco, the King of Egypt in Aida, and Sparafucile. The first of many Lyric Opera of Chicago roles was the High Priest in Nabucco. He made his San Francisco Opera debut as Monterone in Rigoletto and later returned as the King in Aida. He regularly appears with Houston Grand Opera and Dallas Opera and has performed with the Canadian Opera Company, the companies of Seattle, Philadelphia, Cincinnati, Baltimore, Boston, Colorado, Montreal, Santa Fe, and Cleveland, and at the opera festivals of Saint Louis and Spoleto USA. In Europe he has appeared at the Vienna Staatsoper, Arena di Verona, Netherlands Opera, Brussels's Theatre de la Monnaie, and in Palermo. He has appeared as concert soloist many times with the San Francisco Symphony, including Mahler's Eighth Symphony led by Michael Tilson Thomas. He has sung Beethoven's Ninth Symphony in Toronto, at the Hollywood Bowl, and with the Minnesota Orchestra; with the latter he also appeared in the role of Rocco in concert performances of Fidelio. Other concert performances include engagements with the Cleveland Orchestra, Saint Louis Symphony, Bostons Chorus Pro Musica, L'Opera Francais de New York, Opera Orchestra of New York (for his Carnegie Hall debut), and at the Festival International de Lanaudiere for a televised performance of scenes from Faust, Mefistofele, and La Damnation de Faust. Born in Ohio, Raymond Aceto is a graduate of the Metropolitan Opera's Young Artists Development Program; he has received Richard Tucker Foundation Career Grants and a Sullivan Foundation Award. In 1996 he traveled to Japan for performances and a recording of The Rakes Progress conducted by Seiji Ozawa. Mr. Aceto can also be heard in the role of Capellio in Teldec's recording of 7 Gapuleti e i Montecchi. He has sung with the Boston Symphony Orchestra at Tanglewood in a concert performance of Strauss's Salome in August 2001 and in Beethoven's Ninth Symphony in August 2004.

To read about the Tanglewood Festival Chorus, and for a chorus roster, see pages 32-34.

49 Fellows of the 2007 Tanglewood Music Center

Violin Kaoru Suzuki, Westborough, MA Francesca Anderegg, West Stockbridge, MA Edward S. Brackett, Jr. Fellowship Surdna Foundation Fellowship Jessica Tong, Toronto, ON, Canada Jessica Blackwell, St. Louis, MO Robert Baum and Elana Carroll Fellowship Max Winder Memorial Fellowship Lorna Tsai, Andover, MA Katherine Bormann, Bismarck, ND Agatina Carbonaro Fellowship/TMC Fellowship Friends ofArmenian Culture Society Fellowship Heather Wittels, Brookline, MA Brittany Boulding, Seattle, WA Gerald Gelbloom Memorial Fellowship/ Rapaporte Foundation Fellowship TMC Fellowship Ruby Chen, Taipei, Taiwan Ainur Zabenova, Almaty, Kazakhstan Messinger Family Fellowship Ann and Gordon Getty Foundation Fellowship Hannah Choi, Lubbock, TX Viola Paul and Lori Deninger Fellowship/ Sharon Bielik, Plainview, The Casty Family Fellowship NY James A. Macdonald Foundation Fellowship Sonya Chung, Richmond, VA Jessica T. Chang, Saratoga, CA Edward G. Shufro Fund Fellowship Luke B. Hancock Foundation Fellowship Rommel Fernandes, Sao Paulo, Brazil Amelia Clingman, Amherst, Omar Del Carlo Fellowship MA Bay Bank/BankBoston Fellowship Kate Friedman, Oswego, IL Alyssa Hardie, Waco, TX Valerie andAllen Hyman Family Fellowship Brookline Youth Concerts Awards Committee Fangyue He, Shanghai, China Fellowship/Harry and Marion Dubbs Fellowship Harold G. Colt, Jr. Memorial Fellowship Andrea Hemmenway, Swarthmore, PA Brittany Henry, Roseville, MN Darling Family Fellowship Mr. and Mrs. Jay Marks Fellowship Joshua Kelly, Pittsburgh, PA Jessica Hung, Chicago, IL Lucy Lowell Fellowship/TMC Fellowship Juliet Esselborn Geier Memorial Fellowship Liyuan Liu, Chang Chun, Ji Lin, China Julia D. Hunter, Salt Lake City, UT Susan B. Kaplan Fellowship Wilhelmina C. Sandwen Memorial Fellowship Nicholas Mauro, York, PA Reina Inui, Osaka, Japan Kingsbury Road Charitable Foundation Lia and William Poorvu Fellowship Fellowship Rena Ishii, Kobe, Japan Jonina Allan Mazzeo, Salem, OR Akiko Shiraki Dynner Memorial Fellowship Ruth S. Morse Fellowship Byung-Jin Kang, Seoul, Korea Alexander Petersen, Westford, MA Starr Foundation Fellowship Bill and Barbara Leith Fellowship Hyewon Kim, Seoul, Korea Angela Pickett, St. John's, NL, Canada Northern California Fellowship John F Cogan,Jr. and Mary L. Cornille Yevgeny Kutik, Pittsfield, MA Fellowship/TMC Fellowship Merwin Geffen, M.D. and Norman Solomon, Yumi Sagiuchi, Great Neck, NY M.D. Fellowship BSAV/Carrie L. Peace Fellowship Jeanine Markley, St. Louis, MO Leah Swann, Houston, TX Steve and Nan Kay Fellowship Evelyn S. Nef Fellowship Stephanie Nussbaum, Houston, TX Gareth Zehngut, State College, PA Adele andJohn Gray Memorial Fellowship/ Pokross/Curhan/Wasserman Fellowship Evelyn and Phil Spitalny Fellowship David Repking, St. Louis, MO Cello Harry and Mildred Remis Fellowship Marie-Michel Beauparlant, Drummondville, Alex Russell, Porterville, CA PQi. Canada William Greve Foundation-John and Mary J. Ruth andJerome Sherman Memorial Tommaney Fellowship Fellowship/TMC Fellowship David Southorn, Tigard, OR Pei-Chieh Chang, Kaohsiung, Taiwan Philip Bernice Krupp Fellowship/ and Stanley Chappie Fellowship Marion Callanan Memorial Fellowship

50 Patricia Garvey, Wheaton, IL Oboe Morningstar Family Fellowship/Doucet and Andrea Overturf, Seattle, WA Stephen Fischer Fellowship Catherine and Michael Sporn Fellowship David Gerstein, Wilmette, IL Timothy Sawyier, Chicago, IL Helene R. and Norman L. Cahners Fellowship/ Ushers/Programmers Instrumental Fellowship Andrea and Kenan Sahin Fellowship in honor ofBob Rosenblatt Christopher Hopkins, Fairbanks, AK Nicholas Stovall, Austin, TX Herb and Barbara Franklin Fellowship/ Fernand Gillet Memorial Fellowship TMC Fellowship Camille White, Amherst, MA Kathryn Hufnagle, Herndon, VA Augustus Thorndike Fellowship/ Lost & Foundation Fellowship Steinberg Fellowship Morgen Johnson, Lake Ann, MI James and Caroline Taylor Fellowship Clarinet Cho, Seoul, Korea Min-Jeong Kang, Little Ferry, NJ Won Jin Brooks Prout Fellowship Mr. and Mrs. Allen Z. Kluchman Memorial Daphne Fellowship Alexis Lanz, Columbia, MD Grosvenor Congdon Memorial Gregory Kramer, Port Jefferson, NY Caroline Wallace-Reader's Digest Fund Fellowship Fellowship Alexandre Lecarme, Grasse, Andrew Lowy, Hastings-on-Hudson, NY Edwin and Elaine London Family Fellowship Alpes-Maritimes, France Florence Gould Foundation Fellowship Michael Rezzo, Scottsdale, AZ Sydelle and Lee Blatt Fellowship/ Hugh LeSure, Memphis, TN Fellowship Country Curtains Fellowship TMC Elizabeth Means, Huntington Beach, CA Bass Clarinet Dr. Marshall N. Fulton Memorial Brent Besner, Montreal, QC, Canada Fellowship/Anonymous Fellowship Evelyn S. NefFellowship Brian Sanders, Madison, WI Stephen and Dorothy Weber Fellowship Bassoon Jay Tilton, Capistrano Beach, CA Matthew Lano, Ellicott City, MD Morris A. Schapiro Fellowship Robert G. McClellan, Jr. & IBM Matching Grants Fellowship Double Bass Miles Maner, Austin, TX Karl Fenner, Houston, TX John and Elizabeth Loder Fellowship Frederic andJuliette Brandi Fellowship Matthew McDonald, Huntsville, AL Jessica Grabbe, Arbor, Ann MI Denis and Diana Osgood Tottenham Fellowship/ George and Ginger Elvin Fellowship Dorothy and Montgomery Crane Scholarship Evan Halloin, De Pere, WI Shelley Monroe, Concord, NC Zipkin Fellowship Jerome Sherman Walt Memorial Fellowship/ Kevin Jablonski, Columbus, OH TMC Fellowship Carolyn and George R. Rowland Fellowship Brandon Kelly McLean, Seattle, WA Horn Rosamund Sturgis Brooks Memorial Fellowship Yousef Ismael Assi, Woodcliff Lake, NJ Edward Merritt, Pittsburgh, PA Jacques Kohn Fellowship/Miriam Ann Kenner Jan Brett andJoe Hearne Fellowship Memorial Scholarship Tristan Sutton, Cincinnati, OH Nicole de la Cal, Coral Springs, FL Catherine and Michael Sporn Fellowship BSO Members' Association Fellowship Elizabeth Schellhase, Plymouth, MI Flute Anna Sternberg and Clara J. Marum Fellowship Jessica Anastasio, San Antonio, TX Catherine Turner, West Chester, OH Eduardo and Lina Plantilla Fellowship Frelinghuysen Foundation Fellowship Brook Ferguson, Pittsburgh, PA Lee Wadenpfuhl, Houston, TX Theodore and Cora Ginsberg Fellowship ^William F andJuliana W Thompson Fellowship Sandy Hughes, Portland, OR Michael Winter, Valencia, CA Claire and Millard Pryor Fellowship Donald Law Fellowship Marie Tachouet, Portland, OR Leslie and Stephen Jerome Fellowship

51 Trumpet Yana Reznik, Los Angeles, CA Ethan Bensdorf, Evanston, IL Mr. and Mrs. Joseph L. Cohen Fellowship Armando A. Ghitalla Fellowship Jacob Rhodebeck, Westerville, OH Karin Bliznik, Brockton, MA Billy Joel Keyboard Fellowship Andre Come Memorial Fellowship Yegor Shevtsov, Lviv, Ukraine John C. Russell, Longview, TX PaulJacobs Memorial Fellowship Dr. John Knowles Fellowship Piano (Vocal) Christopher Scanlon, Middletown, CT Gadeliya, Arthur and Barbara Kravitz Fellowship/ Angelina New York, NY K. Fred Netter Robert E. Brown Memorial Fellowship Memorial Fellowship/ R. Amory Thorndike Fellowship Greg Smith, Tyngsboro, MA Alan Hamilton, Houston, Theodore Edson Parker Foundation Fellowship TX Marie Gillet Fellowship Trombone Ernst Munneke, Utrecht, Netherlands Roger Flatt, Buckner, IL Mrs. Vincent Lesunaitis Fellowship/

Miriam H. and S. Sidney Stoneman Fellowship Velmans Foundation Fellowship Karna Millen, Edina, MN Tatiana Vassilieva, Seattle, WA Alfred E. Chase Fellowship Peggy Rockefeller Memorial Fellowship Kenneth Moses, Houston, TX Bonnie Wagner, Los Altos, CA Haskell and Ina Gordon Fellowship Leonard Bernstein Fellowship Yauheniya Yesmanovich, Toronto, Bass Trombone ON, Canada David Becker, Kansas City, MO Stephanie Morris Marryott & Franklin J. William Randolph Hearst Foundation Fellowship Marryott Fellowship

Tuba Soprano Thomas Haggerty, Succasunna, NJ Emily Albrink, Louisville, KY Margaret Lee Crofts Fellowship Dan and Gloria Schusterman Fellowship/ David B. Cooper Memorial Fellowship Percussion Layla Claire, Penticton, BC, Canada Matthew Bohli, Westminster, MD Dr. Raymond and Hannah H. Schneider Judy Gardiner Fellowship Fellowship/The Hannah and Walter Shmerler Ginter, Elyria, Jason OH Fellowship Clowes Fund Fellowship Eve-Lyn de la Have, Victoria, BC, Canada Joseph Petrasek, Camarillo, CA Athena andJames Garivaltis Fellowship Catherine and Paul Buttenwieser Kiera Duffy, Downingtown, PA Fellowship/Erskine Park LLC Fellowship Dr. Raymond and Hannah H. Schneider Nicholas Tolle, St. Louis, MO Fellowship Dr. Raymond and Hannah H. Schneider Ileana Montalbetti, Saskatoon, SK, Canada Fellowship Bernice and Lizbeth Krupp Fellowship/ Andrew Watkins, Monticello, IL Norma and Sol D. Kugler Fellowship Tappan Dixey Brooks Memorial Fellowship Lauren Skuce, Syracuse, NY Kyle Zerna, Downers Grove, IL Daniel and Shirlee Cohen Freed Fellowship/ Barbara Lee/Raymond E. Lee Foundation Mr. and Mrs. Robert E. Remis Fellowship Fellowship Yulia Van Doren, Carlisle, PA Harp Edward G. Shufro Fund Fellowship/Kandell Family Fellowship Megan Levin, Austin, TX Katherine Whyte, Toronto, ON, Canada Dana andJesse Lehman Fellowship/Kathleen Lion Inn/Blantyre Fellowship Hall Banks Fellowship Red Earecka Tregenza, Sykesville, MD Mezzo-Soprano John and Susanne Grandin Fellowship Sarah Austin, San Antonio, TX Piano (Instrumental) Edward H. andJoyce Linde Fellowship Barton, Rome, Rujie Sandra Gu, Shanghai, China Jamie GA Eugene Cook Scholarship/Mr. and Mrs. Daniel Felicia Montealegre Bernstein Fellowship/ Pierce Fellowship Nat Cole Memorial Fellowship

52 Christin-Marie Hill, Evanston, IL Fabrizio Rat Ferrero, Torino, Italy Aso O. Tavitian Fellowship/The Everett and Michael and Sally Gordon Fellowship Margery Jassy Fellowship Kay Rhie, Los Angeles, CA Kathryn Leemhuis, Columbus, OH Otto Eckstein Family Fellowship Naomi and Philip Kruvant Family Fellowship Conducting Rebecca Jo Loeb, Glen Ridge, NY Kazem Abdullah, Indianapolis, IN Edward I. and Carole J. Rudman Fellowship Seiji Ozawa Fellowship Tenor Sean Newhouse, Los Angeles, CA Matthew Anderson, Lawrence, KS Merrill Lynch Fellowship Robert and Luise Kleinberg Fellowship Erik Nielsen, Council Bluffs, IA Ramone Diggs, Amarillo, TX Dr. Raymond and Hannah H. Schneider William E. Crofut Family Scholarship/ Fellowship/Maurice Abravanel Scholarship Saville Ryan and Omar Del Carlo Fellowship Library Chad A. Johnson, Muskegon, MI Pearl andAlvin Schottenfeld Fellowship/ Jennifer Feldman, Smyrna, GA Penny and Claudio Pincus Fellowship Ethel Barber Eno Scholarship/ Marilyn Brachman Fellowship Siddhartha Misra, Cambridge, MA Hoffman Leah Memorial Scholarship/ Jansizian Audio Engineering Richard F Gold Memorial Scholarship Pamela Harght, Marshfield, MA Stephen Ng, Hong Kong, China Leo L. Beranek Fellowship/TMC Fellowship Andrall andJoanne Pearson Scholarship/ Adam Johnson, Asheville, NC Mr. and Mrs. David B. Arnold, Jr. Fellowship CD. Jackson Fellowship Baritone Jeanne Montalvo, Alpharetta, GA Mischa Bouvier, Shirley, NY Stephen and Persis Morris Fellowship/ Charles E. Culpeper Foundation Fellowship Saville Ryan and Omar Del Carlo Fellowship Christopher Johnstone, Cedar Rapids, IA Piano Technician Rita Meyer Fellowship Crystal Fielding, Townshend, VT Paul Scholten, Muskegon, MI Miriam H. and S. Sidney Stoneman Fellowship Mary E. Brosnan Fellowship Ben Gac, Oak Park, IL Giles Tomkins, Toronto, ON, Canada Jane W. Bancroft Fellowship Peter H.B. Frelinghuysen Fellowship/ Brandon Lewis, Frederick, MD Mary H. Smith Scholarship Albert L. and Elizabeth P. Nickerson Fellowship Michael Weyandt, Plymouth, MN Ushers/Programmers Harry Stedman Vocal The New Fromm Players Fellowship The New Fromm Players is an ensemble ofmusi- Matthew Worth, West Hartford, CT cians drawnfrom recent TMC alumni who have Linda L. Becker Fellowship J. distinguished themselves in the performance of new music. These artists will concentrate almost Bass-Baritone exclusively on this literature, performing works Ulysses Thomas, Lithonia, GA by the TMC Composition Fellows and works Cynthia L. Spark Scholarship/Tisch Foundation demanding lengthy and intensive preparation Scholarship during the Festival of Contemporary Music. The Composition New Fromm Players ensemble has beenfunded by a generous grantfrom the Fromm Music Kati Agocs, New York, NY Foundation. ASCAP Foundation Leonard Bernstein Composer Fellowship Yuki Numata, violin, Vancouver, BC, Canada Alexandra Fol, Sofia, Bulgaria Martin Shultz, violin, Katy, TX Leonard Bernstein Fellowship Nadia Sirota, viola, Boston, MA Andrew McPherson, Philadelphia, PA Lachezar Kostov, cello, Plovdiv, Bulgaria Patricia Plum Wylde Fellowship Asaf Peres, Hod Hasharon, Israel Lola and Edwin Jaffe Fellowship

53 THE KOUSSEVITZKY SOCIETY

The Koussevitzky Society recognizes gifts made since September 1, 2006, to the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, Tanglewood Music Center Annual 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 2006-2007 season. For further information, please contact Barbara Hanson, Manager of the Koussevitzky Society, at (413) 637-5278.

VIRTUOSO $50,000 to $99,999

Linda J. L. Becker Country Curtains Carol and Joe Reich in memory George and Roberta Berry Dorothy and Charlie Jenkins of Nan Kay

ENCORE $25,000 to $49,999 A Friend of the Tanglewood Joyce and Edward Linde Dr. and Mrs. Michael Sporn Music Center Mrs. Evelyn Nef Mr. and Mrs. James V. Taylor Jan Brett and Joseph Hearne Susan and Dan Rothenberg Stephen and Dorothy Weber Sally and Michael Gordon

MAESTRO $15,000 to $24,999 Robert and Elana Baum Cora and Ted Ginsberg Irene and Abe Pollin BSO Members' Association Leslie and Stephen Jerome The Red Lion Inn Canyon Ranch in the Berkshires Stephen B. Kay and Lisbeth Carole and Edward I. Rudman Joseph and Phyllis Cohen Tarlow Dr. Raymond and Hannah H. Cynthia and Oliver Curme Mr. and Mrs. John M. Loder Schneider Ginger and George Elvin James A. Macdonald Foundation Tony, Pam and Sarah Schneider Daniel Freed in memory of Jay and Shirley Marks in honor of Hannah and Ray's Shirlee Cohen Freed Mrs. August R. Meyer 60th wedding anniversary The Frelinghuysen Foundation Drs. Eduardo and Lina Plantilla

BENEFACTORS $10,000 to $14,999

The Berkshires Capital Investors Nancy J. Fitzpatrick and Lincoln Robert and Luise Kleinberg Blantyre Russell Mrs. Millard H. Pryor, Jr. Ms. Sandra L. Brown The Hon. Peter H.B. Mr. and Mrs. John S. Reed Catherine and Paul Buttenwieser Frelinghuysen Mr. Alan Sagner Ms. Agatina Carbonaro Rhoda Herrick Mr. and Mrs. Ira Sarinsky Erskine Park LLC Mr. and Mrs. Lawrence S. Horn Evelyn and Ronald Shapiro Hon. and Mrs. John H. Margery and Everett Jassy The Studley Press, Inc. Fitzpatrick In memory of Florence and Leonard S. Kandell

SPONSORS $5,000 to $9,999 Abbott's Limousine 6c Livery James and Tina Collias Herb and Barbara Franklin Service, Inc. Dr. Charles L. Cooney and Dr. Donald and Phoebe Giddon Norman Atkin, M.D. and Phyllis Ms. Peggy Reiser in memory of Rabbi Howard Polsky Ranny Cooper and David Smith Greenstein

Ann and Alan H. Bernstein Mr. and Mrs. Herbert J. Coyne Roberta and Macey Goldman Mr. and Mrs. Paul Berz Crane & Company, Inc. Mr. and Mrs. Robert A. Goodman Mr. and Mrs. Lee N. Blatt Mr. and Mrs. William F. Cruger Corinne and Jerry Gorelick Brad and Terrie Bloom Mr. and Mrs. Clive S. Cummis John and Chara Haas Broadway Manufacturing Paul F. and Lori A. Deninger Mr. and Mrs. Scott M. Hand Supply LLC Ursula Ehret-Dichter and Joseph K. and Mary Jane Handler Ann Fitzpatrick Brown Channing Dichter Dr Lynne B Harrison Ronald and Ronni Casty Ms. Marie V. Feder Mr. and Mrs. Francis W. Hatch, Jr.

Mr. John F. Cogan, Jr. and Doucet and Stephen Fischer Mrs. Paul J. Henegan Ms. Mary L. Cornille Mr. and Mrs. Dale E. Fowler Mrs. Marilyn Brachman Hoffman

54 SPONSORS $5,000 to $9,999 (continued)

Dr. and Mrs. Edwin H. Hopton Carol and Thomas McCann Hannah and Walter Shmerler Stephen and Michele Jackman Mr. and Mrs. John C. Morris Marion and Leonard Simon Prof, and Mrs. Paul Joskow Robert and Eleanor Mumford Mr. and Mrs. Irving Smokier Mr. and Mrs. Michael P. Kahn Mrs. Alice D. Netter Margery and Lewis Steinberg Mr. and Mrs. Louis Kaitz Mr. and Mrs. Chet Opalka Mr. Ronald Stillman and Martin and Wendy Kaplan Patten Family Foundation Ms. Charlotte Kaufman Natalie Katz in memory of Polly and Dan Pierce Jerry and Nancy Straus Murray S. Katz Claudio and Penny Pincus Marjorie and Sherwood Sumner Leo A. Kelty Mr. Frank M. Pringle Mr. and Mrs. George A. Suter, Jr. Mr. and Mrs. Michael Kittredge Quality Printing Company, Inc. Mr. Aso Tavitian Mr. and Mrs. Jacques Kohn The Charles L. Read Foundation TD Banknorth

Koppers Chocolate Robert and Ruth Remis Mr. and Mrs. Wilmer J. Liz and George Krupp Elaine and Bernard Roberts Thomas, Jr. Norma and Sol D. Kugler Barbara and Michael Rosenbaum Jacqueline and Albert Togut William and Marilyn Larkin Maureen and Joe Roxe/ Loet and Edith Velmans Legacy Banks The Roxe Foundation Mrs. Charles H. Watts II

Mr. and Mrs. Jesse J. Lehman David and Sue Rudd Karen and Jerry Waxberg

Cynthia and Robert J. Lepofsky Mr. and Mrs. Kenan E. Sahin Mr. and Mrs. Edwin A. Mrs. Vincent Lesunaitis Malcolm and BJ Salter Weiller III Buddy and Nannette Lewis Marcia and Albert Schmier Mrs. Anne Westcott Mr. and Mrs. Murray Liebowitz Mr. and Mrs. Ernest Schnesel Wheatleigh Hotel 8c Restaurant Phyllis and Walter F. Loeb Mrs. Dan Schusterman Robert C. Winters Mr. and Mrs. Edwin N. London Mr. and Mrs. Marvin Seline Mr. and Mrs. Ira Yohalem Dr. Robert and Jane B. Mayer Arlene and Donald Shapiro Anonymous (3) Mr. and Mrs. Thomas T. McCain Sheffield Plastics, Inc.

MEMBERS $3,000 to $4,999

Alii and Bill Achtmeyer Gregory E. Bulger Foundation Jill and Harold Gaffin Mr. and Mrs. Ronald Altaian Cain, Hibbard, Myers 8c Cook Agostino and Susan Galluzzo

Bonnie and Louis Altshuler Phyllis H. Carey Mr. and Mrs. Leslie J. Garfield Apple Tree Inn 8c Restaurant David and Maria Carls Drs. Ellen Gendler and Lucille Batal Mary Carswell James Salik in memory of Arthur Appelstein and Lorraine Casablanca Dr. Paul Gendler Becker Iris and Mel Chasen Mr. and Mrs. Melvin Y. Gideon Argov and Alexandra Audrey and Jerome Cohen Gershman Fuchs Barbara Cohen-Hobbs Dr. Anne Gershon Joseph F. Azrack and Abigail S. Judith and Stewart Colton Stephen A. Gilbert and Congdon Linda Benedict Colvin in Geraldine R. Staadecker Helene and Ady Berger loving memory of her brother, David H. Glaser and Deborah F. Jerome and Henrietta Berko Mark Abbott Benedict Stone Berkshire Bank In memory of D.M. Delinferni Sy and Jane Glaser Berkshire Life Insurance Dr. and Mrs. Harold L. Deutsch Mr. and Mrs. Andrew Goldfarb Company of America Chester and Joy Douglass Mr. and Mrs. Seymour L. Ms. Elayne P. Bernstein and Paula and Tom Doyle Goldman Mr. Sol Schwartz Dresser-Hull Company Judith Goldsmith Jane and Raphael Bernstein/ Terry and Mel Drucker Roslyn K. Goldstein Parnassus Foundation Mr. Alan Dynner Goshen Wine 8c Spirits, Inc. Ms. Joyce S. Bernstein and Mr. and Mrs. Leonard Edelson Mr. and Mrs. Richard Grausman Mr. Lawrence M. Rosenthal Mr. and Mrs. Monroe B. England Stacey Nelkin and Marco Linda and Tom Bielecki Eitan and Malka Evan Greenberg in memory of Hildi and Walter Black Mr. and Mrs. Carl M. Feinberg Edith B. Greenberg Eleanor and Ed Bloom Mr. 8c Mrs. Philip Fidler Mr. Harold Grinspoon and Birgit and Charles Blyth Mr. and Mrs. John C. Fontaine Ms. Diane Troderman Mr. and Mrs. Nat Bohrer Mr. and Mrs. David Forer Charlotte and Sheldon Gross Mr. and Mrs. Nicholas Boraski Marjorie and Albert Fortinsky Carol and Charles Grossman Marlene and Dr. Stuart H. Ms. Bonnie Fraser Ms. Bobbie Hallig Brager Rabbi Daniel Freelander and Felda and Dena Hardymon Mr. and Mrs. James H. Brandi Rabbi Elyse Frishman William Harris and Jeananne Jane and Jay Braus Mr. Michael Fried Hauswald Marilyn and Arthur Brimberg Carolyn and Roger Friedlander Mr. Lee Hemphill and Judy and Simeon Brinberg Myra and Raymond Friedman Ms. Elsbeth Lindner Samuel B. and Deborah D. Audrey and Ralph Friedner Mr. Gardner C. Hendrie and Bruskin David Friedson and Susan Kaplan Ms. Karen J. Johansen Mr. and Mrs. Allan Bufferd Mr. and Mrs. Robert L. Gable Mr. and Mrs. Robert I. Hiller

Continued on next page 55 MEMBERS $3,000 to $4,999 (continued)

Mr. and Mrs. Stuart Hirshfield Mrs. Edward Lustbader Betsey and Mark Selkowitz

Mr. Arnold J. and Helen G. I. Kenneth and Barbara Mahler Carol and Richard Seltzer Hoffman Mr. and Mrs. Darryl Mallah Mr. and Mrs. Daniel Shapiro Charles and Enid Hoffman Rev. Cabell B. Marbury Mr. and Mrs. Joel Shapiro Lila and Richard Holland Peg and Bob Marcus Natalie and Howard Shawn Mrs. Ruth W. Houghton Suzanne and Mort Marvin Jackie Sheinberg and Jay Housatonic Curtain Company, Sydelle and Ed Masterman Morganstern Inc. Mr. Daniel Mathieu and The Richard Shields Family

Mr. Walter B. Jr. and Mr. Thomas M. Potter The Honorable and Mrs. George Mrs. Nancy Howell Mary and James Maxymillian P. Shultz Lola Jaffe in memory of Joel Robert Melamed MD in The Silman Family Edwin Jaffe memory of Charles Elliot Ziff Richard B. Silverman Liz and Alan Jaffe The Messinger Family Mr. and Mrs. Robert L. Singleton

Mr. and Mrs. Werner Janssen, Jr. Rebecca and Nathan Milikowsky Mr. and Mrs. Robert S. Siskin Mr. and Mrs. Daniel R. Johnson Mr. and Mrs. Michael Monts Mary Ann and Arthur Siskind Mr. and Mrs. R. Courtney Jones Gloria Narramore Moody Jack and Maggie Skenyon Ms. Lauren Joy and Ms. Elyse Foundation Mrs. William F. Sondericker Etling In memory of Ruth O. Mulbury Harvey and Gabriella Sperry Nedra Kalish from a grateful nephew Emily and Jerry Spiegel Adrienne and Alan Kane Mr. and Mrs. Joseph L. Nathan Mr. Peter Spiegelman and Mr. and Mrs. Arnold Y. Kapiloff Jerry and Mary Nelson Ms. Alice Wang Ms. Cathy Kaplan Linda and Stuart Nelson Mrs. Lauren Spitz Leonard Kaplan and Marcia Bobbie and Arthur Newman Mr. and Mrs. Charles A. Stakely Simon Kaplan Northern Trust Mr. and Mrs. Lewis Stein Mr. and Mrs. Eric Katzman Mr. and Mrs. Gerard O'Halloran Mr. and Mrs. Daniel S. Sterling Mr. Chaim and Dr. Shulamit Mr. and Mrs. Michael Orlove Mr. Henry S. Stone Katzman Dr. and Mrs. Simon Parisier Mrs. Pat Strawgate Walter Kaye Wendy Philbrick in memory Roz and Charles Stuzin Mr.JohnFKelley of Edgar Philbrick Michael and Elsa Daspin Mr. and Mrs. Bruce Kelly Mr. Peter Philipps Suisman Mr. and Mrs. George H. Kidder Plastics Technology Lois and David Swawite Mr. and Mrs. Carleton F. Kilmer Laboratories, Inc. Mr. and Mrs. Richard Taylor Deko and Harold Klebanoff Mr. and Mrs. Jonathan Poorvu Mr. and Mrs. John L. Thorndike Dr. and Mrs. Lester Klein Mr. and Mrs. Kenneth Poovey Mr. and Mrs. Roger Tilles Mr. Robert E. Koch Fern Portnoy and Roger Diana O. Tottenham Dr. and Mrs. David Kosowsky Goldman Barbara and Gene Trainor Mr. and Mrs. Ely Krellenstein Mr. and Mrs. Walter Pressey True North Insurance Kripalu Center for Yoga and Mary Ann and Bruno A. Agency, Inc. Health Quinson Myra and Michael Tweedy Mr. and Mrs. Irving Kronenberg Mr. and Mrs. Nathan Reiber June Ugelow Mr. and Mrs. Richard Kronenberg Bruce Reopolos Laughran S. Vaber Naomi Kruvant Mr. and Mrs. Stanley Riemer Mr. Gordon Van Huizen and Dr. and Mrs. Stephen Kulvin Mary and Lee Rivollier Ms. Diana Gaston Mildred Loria Langsam Fred and Judy Robins Viking Fuel Oil Company Mr. and Mrs. William Lehman Ms. Deborah Ronnen and Mr. and Mrs. William G. Walker Mr. and Mrs. Marvin Lender Mr. Sherman F Levey Mr. and Mrs. Harvey Waller The Lenox Athenaeum Mr. Brian Ross Mr. and Mrs. Barry Weiss David and Lois Lerner Family Mr. and Mrs. Stanley Ross Dr. and Mrs. Jerry Weiss Foundation Suzanne and Burton Rubin Mr. and Mrs. Robert A. Wells Don and Gini LeSieur Mr. and Mrs. Milton B. Rubin Tom and Suky Werman

Mr. Arthur J. Levey and Mr. and Mrs. Michael Salke Carol Andrea Whitcomb Ms. Rocio Gell Samuel and Susan Samelson Carole White Mr. and Mrs. Abner Levine Mr. Robert M. Sanders Peter D. Whitehead, Builder Valerie and Bernard Levy Norma and Roger A. Saunders Mr. Robert G. Wilmers Marjorie T. Lieberman Dr. and Mrs. Wynn A. Sayman Mr. Jan Winkler and Geri and Roy Liemer Mr. Gary S. Schieneman and Ms. Hermine Drezner Dr. David Lippman and Ms. Susan B. Fisher Richard M. Ziter, M.D. Ms. Honey Sharp Pearl and Alvin Schottenfeld Lyonel E. Zunz Jane and Roger Loeb Mr. Daniel Schulman and Anonymous (11) Gerry and Sheri Lublin Ms. Jennie Kassanoff Diane H. Lupean Carol and Marvin Schwartzbard Gloria and Leonard Luria Mr. and Mrs. Sheldon Seevak

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Friday, August 3, at 6 (Prelude) Saturday, August 11, at 8:30 MEMBERS OF THE BSO BSO—RAFAEL FRUHBECK DE BURGOS, Music of Schubert and Wolf conductor ITZHAK PERLMAN, violin at 8:30 Friday, August 3, SCHUMANN Symphony No. 3, Rhenish BSO—JAMES LEVINE, conductor BRUCH Violin Concerto No. 1 RICHARD GOODE, piano STRAVINSKY Suite from The Firebird EDWIN BARKER, double bass (1919 version)

BEETHOVEN Symphony No. 8 Saturday, August 11, at 2 (Theatre) MOZART Piano Concerto No. 18 in B-flat, Sunday, August 12, at 7:30 (Theatre) K.456 Monday, August 13, at 7:30 (Theatre) HARBISON Concerto for Bass Viol and Tuesday, August at 7:30 (Theatre) Orchestra (BSO 125th Anniversary 14, Co-commission) TANGLEWOOD MUSIC CENTER RAVEL Daphnis et Chloe, Suite No. 2 VOCAL FELLOWS AND ORCHESTRA JAMES LEVINE, conductor (August 11, 12, 14) Saturday, August 4, at 10:30 a.m. KAZEM ABDULLAH (TMC Fellow), conductor (August 13) Open Rehearsal (Pre-Rehearsal Talk at 9:30) IRA SIFF, director BSO program of Sunday, August 5 JOHN MICHAEL DEEGAN and SARAH G. CONLY, design Saturday, August 4, at 8:30 MOZART Costfan tutte BSO—EDO DE WAART, conductor (Fully-staged production, sung in Italian with YO-YO MA, cello English supertitles) ALL-DVORAK PROGRAM Cello Concerto Sunday, August 12, at 2:30 Symphony No. 9, From the New World BSO—RAFAEL FRUHBECK DE BURGOS, conductor Sunday, August 5, at 2:30 EMANUEL AX, piano BSO—EDO DE WAART, conductor SALLY MATTHEWS, PAULA MURRIHY, ERIC CUTLER, and DIETRICH JANINEJANSEN, violin HENSCHEL, vocal soloists DE RAAFF Entangled Tales (world premiere) TANGLEWOOD FESTIVAL CHORUS, MENDELSSOHN Violin Concerto JOHN OLIVER, conductor RACHMANINOFF Symphony No. 3 MOZART Overture to The Marriage ofFigaro MOZART Piano concerto No. 9 in E-flat, Wednesday, August at 8:30 8, K.271, Jeunehomme PIERRE-LAURENT AIMARD, piano HAYDN Mass in Time of War Music of Schumann, J. S. Bach, Carter, and Benjamin Wednesday, August 15, at 8:30 TANGLEWOOD ON PARADE Friday, August at (Prelude) 10, 6 Afternoon events begin at 2:30; MEMBERS OF THE BSO fireworks to follow the concert Music of Mozart and Dvorak BOSTON SYMPHONY, BOSTON POPS, and TANGLEWOOD MUSIC CENTER Friday, August 10, at 8:30 ORCHESTRAS JAMES LEVINE, RAFAEL FRUHBECK JAMES LEVINE, conductor BSO— DE BURGOS, KEITH LOCKHART, and PIERRE-LAURENT AIMARD, piano JOHN WILLIAMS, conductors Three Places in IVES New England Music of Berlioz, Dvorak, Brahms, Beethoven, CARTER Three Illusions Lerner, Lloyd-Webber, Ebb-Besterman, RAVEL Piano Concerto in G Willams, and Tchaikovsky's 1812 Overture BARTOK Concerto for Orchestra

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T=r Corporation. An Equal Opportunity Company. Equal Housing Opportunity. Owned and Operated by NRT Incorporated. t||J" Thursday, August 16, at 8:30 Tuesday, August 21, at 8:30 JOSE VAN DAM, baritone ORCHESTRA OF THE CRAIG RUTENBERG, piano EIGHTEENTH CENTURY BRUGGEN, conductor Songs of Faure, Duparc, Debussy, Ibert, and FRANS Poulenc ALL-SCHUBERT PROGRAM Symphony in B minor, Unfinished Friday, August 17, at 6 (Prelude) Symphony in C, The Great MEMBERS OF THE BSO Music of Martinu, Mozart, and Copland, Wednesday, August 22, at 8:30 plus a world premiere by John Williams ORCHESTRA OF THE EIGHTEENTH CENTURY Friday, August 17, at 8:30 FRANS BRUGGEN, conductor BSO—JAMES LEVINE, conductor KRISTIAN BEZUIDENHOUT, fortepiano MICHELLE DeYOUNG, mezzo-soprano ALL-BEETHOVEN PROGRAM (Judith) Coriolan Overture; Piano Concerto No. 4; ALBERT DOHMEN, bass-baritone Symphony No. 5 (Bluebeard)

ORS KISFALUDY, narrator Friday, August 24, at 8 BARTOK Bluebeard's Castle JAMES TAYLOR (sung in Hungarian with English supertitles)

BRAHMS Symphony No. 1 Saturday, August 25, at 8:30 BOSTON POPS ESPLANADE Saturday, August 18, at 10:30 a.m. ORCHESTRA Open Rehearsal (Pre-Rehearsal Talk at 9:30) JOHN WILLIAMS, conductor

BSO program of Saturday, August 18 Film Night at Tanglewood A tribute to British director David Lean, creator Saturday, August 18, at 8:30 of Lawrence ofArabia, The Bridge on the River BSO—JAMES LEVINE, conductor Kwai, A Passage to India, and Doctor Zhivago; YVONNE NAEF, mezzo-soprano (Marguerite) plus music from John Williams's scores to the MARCELLO GIORDANI, tenor (Faust) Harry Potter movies JOSE VAN DAM, baritone (Mephistopheles) PATRICK CARFIZZI, bass-baritone Sunday, August 26, at 2:30 (Brander) BOSTON POPS ESPLANADE TANGLEWOOD FESTIVAL CHORUS, ORCHESTRA OLIVER, conductor JOHN KEITH LOCKHART, conductor PALS CHILDREN'S CHORUS, JOHANNA JEAN-YVES THIBAUDET, piano HILL SIMPSON, artistic director emerita MARIN MAZZIE and BERLIOZ La Damnation de Faust BRIAN STOKES MITCHELL, vocal soloists (Sung in French with English supertides) ALL-GERSHWIN PROGRAM Variations on "I Got Rhythm," for piano and Sunday, at August 19, 2:30 orchestra; Rhapsody in Blue; selections from TANGLEWOOD MUSIC CENTER the Gershwin Songbook; An American in Paris ORCHESTRA—RAFAEL FRUHBECK DE BURGOS, conductor MELANIE DIENER, MARY PHILLIPS, MARCUS HADDOCK, and RAYMOND ACETO, vocal soloists TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor massculturalcouncil.or BEETHOVEN Symphony No. 9

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Find author tour information, free reading group ANCHOR BOOKS guides, author interviews, excerpts, and more at VINTAGE BOOKS www.readinggroupcenter.com 2007TANGLEWOOD MUSIC CENTER PERFORMANCE SCHEDULE Unless otherwise noted, all events take place in the Florence Gould Auditorium of Seiji Ozawa Hall. Other venues are the Shed, Chamber Music Hall (CMH), and Theatre (TH).

* indicates that tickets are available through the Tanglewood Box Office or SymphonyCharge. concert J> indicates free admission for ticket holders to that evening's 8:30 p.m.

* Thursday, June 28, at 8:30 p.m. Saturday, July 21, at 6 p.m. ^ * Friday, June 29, at 8:30 p.m. Prelude Concert Mark Morris Dance Group Sunday, July 22, at 10 a.m. PURCELL Dido andAeneas Chamber Music Concert a.m. Sunday, July 1, at 10 Sunday, July 22, at 8:30 p.m. (CMH) Chamber Music Concert Music of TMC Composition Fellows 8:30 p.m. Sunday, July 1, at Monday, July 23, at 8:30 p.m. Brass and Percussion Concert Vocal Recital

Monday, July 2, at 10 a.m.; 1 p.m.; 4 p.m. Saturday, July 28, 6 p.m. j> String Quartet Marathon: Prelude Concert

Three two-hour performances * Saturday, July 28, at 7:30 p.m. (Shed) Saturday, July 7, at 6 p.m. J> The Leonard Bernstein Memorial Concert Prelude Concert To benefit the Tanglewood Music Center

Sunday, July 8, at 10 a.m. TMC ORCHESTRA Chamber Music Concert JAMES LEVINE, conductor VOCAL SOLOISTS Monday, July 9, at 2:30 p.m. VERDI Don Carlo Opening Exercises (Concert performance of four-act version, (free admission; open to the public) sung in Italian with English supertitles) * Monday, July 9, at 8:30 p.m. Sunday, July 29 - Thursday, August 2 The Phyllis and Lee Coffey Memorial Concert TMC ORCHESTRA 2007 FESTIVAL OF CONTEMPORARY STEFAN ASBURY, KAZEM ABDULLAH MUSIC John Harbison, director (TMC Fellow), and ERIK NIELSEN Made possible by the generous support Dr. (TMC Fellow), conductors of Raymond and Hannah H. Schneider, with RAVEL Le Tombeau de Couperin additional support through grantsfrom The BARTOK Suite from The Miraculous Mandarin Aaron Copland Fundfor Music, the Argosy HOLST The Planets Foundation, the National Endowmentfor * Tuesday, 10, at 8:30 p.m. (Shed) July the Arts, the Fromm Music Foundation, and BOSTON POPS ORCHESTRA The Helen F Whitaker Fund LOCKHART, conductor KEITH Five days of new music performed by TMC with Vocal Fellows TMC Fellows, the Boston Symphony Orchestra, RODGERS Carousel &HAMMERSTEIN and guest artists

Saturday, July 14, at 6 p.m. J> Detailed program information available at Prelude Concert—Vocal Recital the Main Gate

Sunday, July 15, at 10 a.m. Saturday, August 4, at 6 p.m. J> Chamber Music Concert Prelude Concert

Monday, July 16, at 6 p.m. J> Sunday, August 5, at 10 a.m. Prelude Concert Chamber Music Concert

* * Monday, July 16, at 8:30 p.m. Saturday, August 11, at 2 p.m. (Theatre) * The Daniel Freed Concert, in memory of Sunday, August 12, at 7:30 p.m. (Theatre) * Shirlee Cohen Freed Monday, August 13, at 7:30 p.m. (Theatre) * TMC ORCHESTRA Tuesday, August 14, at 7:30 p.m. (Theatre) MARK ELDER, SEAN NEWHOUSE TANGLEWOOD MUSIC CENTER (TMC Fellow), and KAZEM ABDULLAH VOCAL FELLOWS AND ORCHESTRA (TMC Fellow), conductors JAMES LEVINE, conductor STRAVINSKY Danses concertantes (August 11, 12, 14) HAYDN Symphony No. 92, Oxford KAZEM ABDULLAH (TMC Fellow), SHOSTAKOVICH Symphony No. 1 conductor (August 13) IRA SIFF, director I

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SOLD EXCLUSIVELY IN SPAS, SALONS AND MEDICAL OFFICES * JOHN MICHAEL DEEGAN and Sunday, August 19, at 2:30 p.m. (Shed) SARAH G. CONLY, design TMC ORCHESTRA MOZART Costfan tutte RAFAEL FRUHBECK DE BURGOS, (Fully staged production, sung in Italian with conductor English supertitles) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Saturday, August 11, at 6 p.m. J> BEETHOVEN Symphony No. 9 Prelude Concert Sunday, August 19, at 7:30 p.m. (Theatre) Sunday, August 12, at 10 a.m. Opera Scenes Chamber Music Concert

* Wednesday, August 15 at 2 p.m. TANGLEWOOD ON PARADE To benefit the Tanglewood Music Center Afternoon events: TMC Vocal Recital at TMC TICKETS 2:30 p.m.; TMC Chamber Music at 3 p.m. General Public and Tanglewood Donors up to $75: (CMH); Music for Shakespeare's Macbeth by For TMC concerts (other than TMC Orchestra con- TMC Composition Fellows at 5 p.m., with certs and opera performances), tickets are available Packer Shakespeare Tina and & Company only at the Ozawa Hall Box Office, beginning one actors and the New Fromm Players hour before concert time. Tickets are $11. Please note: TMC Brass Fanfares at 8 p.m. (Shed) availabilityfor seats inside Ozawa Hall is limited and Gala Concert at 8 :30 p.m. (Shed) concerts may sell out. TMC ORCHESTRA, BSO, and Advance tickets for TMC Orchestra concerts BOSTON POPS ORCHESTRA (July 9; July 16; August 1) and opera performances JAMES LEVINE, JOHN WILLIAMS, KEITH (July 28 Don Carlo; August 11-14 Costfan tutte) are available at the Tanglewood Box Office, by LOCKHART, and RAFAEL FRUHBECK de calling SymphonyCharge at 1-888-266-1200, or BURGOS, conductors at www.tanglewood.org. To include music of BERLIOZ, DVORAK, Friends of Tanglewood at the $75 level receive one BRAHMS, BEETHOVEN, LERNER (from free admission and Friends of Tanglewood at $150 My Fair Lady), LLOYD-WEBBER (from level or higher receive two free admissions to TMC Phantom ofthe Opera), EBB (from Chicago), chamber performances or recitals by presenting their membership cards at the Bernstein Gate one hour JOHN WILLIAMS (Suite hom Jane Eyre), before concert time. Additional tickets are $11. For and TCHAIKOVSKY {1812 Overture) information on becoming a Friend of Tanglewood, call (413) 637-5261, or visit www.bso.org. Saturday, August 18, at 6 p.m. J> Prelude Concert Further information about TMC events is available at the Tanglewood Main Gate, at www.tanglewood.org, Sunday, August 19, at 10 a.m. or by calling (413) 637-5230. All programs are sub- Chamber Music Concert ject to change.

2007 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE Concert Schedule (all events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 14, 2:30 p.m. Morihiko Nakahara conducts music of Berlioz, Harbison, and Tchaikovsky; Saturday, July 28, 2:30 p.m., Paul Haas conducts Monteverdi, Corigliano, and Mahler; Saturday, August 11, 2:30 p.m. David Hoose conducts Loeffler and Copland.

WIND ENSEMBLE PROGRAMS: Friday, July 13, 8:30 p.m. David Martins conducts McTee, Camphouse, William Schuman, Dana Wilson, and Sparke; Saturday, July 28, 11:00 a.m. H. Robert Reynolds conducts Ticheli, Adams/Spinazzola, Gryc, Grainger, Jonathan Newman, Grantham, and a new work by former TMC Fellow Katharine Soper.

VOCAL PROGRAMS: Saturday, August 4, 2:30 p.m. Ann Howard Jones conducts Corigliano, Kim, and Orff.

CHAMBER MUSIC PROGRAMS: all in the Chamber Music Hall at 6 p.m.: Tuesday, July 17; Wednesday, July 18; Thursday, July 19; Monday, August 6; Tuesday, August 7; Wednesday, August 8.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1430. In the B erkshire s , Nature Sets Th

Tanglewood Insert, August 1-31, 2007 The Bidwell House Museum Monterey, (413) 528-6888 Animagic Museum ofAnimation, www.bidwellhousemuseum.org Special Effects and Art 1750 Colonial saltbox tours. 11 - 3. Lee, (413) 841-6679 Trails. Gardens. Thursday - Monday. www.mambor.com/animagic 18th century experience. View technologies from the movies like The Matrix, Chicken Run. Make your Chester Theatre Company animation movie. Chester, (413) 354-7771

www. Chestertheatre . org Barrington Stage Company Mercy ofa Storm by Jeff Hatcher, 8/1 - 8/15. Pittsfield, (413) 236-8888 Grace by Craig Wright, 8/15 - 8/26. www.barringtonstageco.org Uncle Vanya: 8/9 - 26. Chesterwood Stage 2: Funked Up Fairy Tales: Stockbridge, (413) 298-3579 7/31-8/11. www.chesterwood.org Home of sculptor Daniel Chester French. Becket Arts Center of Hilltowns Outdoor exhibition, lectures and family Becket, (413) 623-6635 programs. www.becketartcenter.org Exhibits, free 6c low tuition. The Colonial Theatre Arts Workshops. Ages 5 6c up. Pittsfield, (413) 997-4444 Free Lasker Lectures, special events. www.thecolonialtheatre.org Don't miss the "Summer In The City" series at Berkshire Botanical Garden The Colonial in downtown Pittsfield, MA! Stockbridge, (413) 298-3926 www.berkshirebotanical.org Crane Museum Of Paper Making Display gardens open 10-5 daily. Dalton, (413) 684-6481 Garden ornament exhibition 6/9 - 8/31. www.crane.com - Flower Show 8/4 - 5. Crane Museum of Paper Making, June mid October, 1-5 pm. Free admission. Berkshire Choral Festival Sheffield, (413) 229-8526 Frelinghuysen Morris House & Studio www.choralfest.org Lenox, (413) 637-0166 Choral masterpieces - 200 voices Springfield www.frelinghuysen.org Symphony Orchestra. August 4, 11 at 8 pm. Modernist house 6c masterpieces next to Tanglewood. Newly restored interiors. Berkshire Museum Thurs. - Sun. Pittsfield, (413) 443-7171 www.berkshiremuseum.org Hancock Shaker Village Kid stuff: Great Toys From Pittsfield, (413) 443-0188 Our Childhood, July 1 - Sept. 3. www.hancockshakervillage.org 200 Vintage toys 6c hands-on play. Hancock Shaker Village Country Fair Sept. 29 6c 30. Farmers Market, Crafts, Berkshire Music School Kids Tent 6c more. Pittsfield, (413) 442-1411 www.berkshiremusicschool.org IS183 Art School Learn to play like Yo Yo. Stockbridge, (413) 298-5252 Call for brochure. www.isl83.org Art classes for children, teens 6c adults year Berkshire Opera Company round. Painting, drawing, ceramics 6c more. Pittsfield, (413) 442-9955 www.berkshireopera.org Jacob's Pillow Dance Festival Berkshire Opera Co. presents La Boheme Becket, (413) 243-0745 at The Colonial 8/17, 22, 24-8 pm; www.jacobspillow.org 8/20, 26-2 pm. England's acclaimed Henri Oguike - US debut - five Taiko Drumming, Berkshire Scenic Railway Museum Aug. 15 - 19. $10 youth ticket 8/18. Lenox, (413) 637-2210 www.BerkshireScenicRailroad.org The Mac-Haydn Theatre Scenic 90 minute train rides Lenox - Chatham, (518) 392-9292 Stockbridge weekends only, 10 am 6c 2 pm. www.machaydntheatre.org Gilded Age Exhibit. White Christmas, Singin' in the Rain, The Music Man in theatre-in-the-round!

The Berkshire Visitors Bureau's Cultural Alliance thanks The Studley Press, Inc. for donating these pages. Scene and Culture Steals The Show

MASSMoCA Shakespeare & Company North Adams, (413) MoCAlll Lenox, (413) 637-3353 www.massmoca.org www.Shakespeare.org Work by Spencer Finch in the galleries plus Top tier Shakespeare and important dance, theater, music and more from Holland. new voices. Up to four shows a day. Many free programs. MCLA Gallery 51 North Adams, (413) 664-8718 Sterling and Francine Clark Art Institute Mcla.edu/gallery51 Williamstown, (413) 458-2303 Featuring works by artists living and working www.clarkart.edu in North Adams, July 26 - Sept. 23. The Unknown Monet features rarely seen pastels 8c drawings alongside familiar paintings. The Mount, Edith Wharton's Estate and Gardens Storefront Artist Project Lenox, (413) 637-1899 Pittsfield, (413) 442-7201 www.edithwharton.org www.storefrontartist.org Edith Wharton's elegant 1902 estate. Mansion Julio Granda, solo exhibition. - and gardens open daily 9-5 pm. Cafe, shop. Friday Sunday, 12-5 pm. 124 Fenn St. Ventfort Hall Mansion and Music and More at the Meeting House Gilded Age Museum New Marlborough, (413) 229-2785 www.newmarlborough.org Lenox, (413) 637-3206 www.gildedage.org Unique arts series in Historic Berkshire setting. Tours-exhibits-concerts-theater-lectures-teas- Call or visit website. Aug. 11 to Oct. 6. private rentals-kids programs-picnics-more. Naumkeag House & Garden William College Museum ofArt Stockbridge, (413) 298-3239, x3000 Williamstown, (413) 597-2429 www.thetrustees.org www.wcma.org Farm Day! Family fun at the barn at Naumkeag. Making it new: The Art and Style of Sara and Games, pony rides. Aug. 25, 1 to 4 pm. Gerald Murphy begins July 8. Free Admission. Norman Rockwell Museum Williamstown Jazz Festival Stockbridge, (413) 298-4100 Williamstown/North Adams, (413) 597-4049 www.nrm.org www.williamstownj azz. com Al Parker - Oct. 28 America's Champ: Images Concerts by professionals, College Bands, of Hope 8c Healing from children of 9/11. Gospel Music, film and dance. Open 8/18. April 16 - 23, 2008.

North Adams Museum of History & Science Williamstown Theatre Festival 664-4700 North Adams, (413) Williamstown, (413) 597-3400 www.geocities.com/northadamshistory www.wtfestival.org 260^ Anniversary siege of Ft. Massachusetts Kate Burton in THE CORN IS GREEN, Aug. 19 - 20. Programs at site 8c museum. THE AUTUMN GARDEN, THE Call us. PHYSICSTS, CRIMES OF THE HEART. Pleasant Valley Wildlife Sanctuary While you're in the Berkshires, be sure Lenox, (413) 637-0320 www.massaudubon.org to come see the Berkshire Visitors Bureau's Enjoy 7 miles of well marked walking trails "Discover the Berkshires" Visitor Centers on 1300 acres. Open daily, dawn to dusk. in Adams and Pittsfield. Enjoy displays, multimedia presentations and grab the latest Upper Housatonic Valley information on Berkshire attractions. National Heritage Area Berkshire County (MA) and Litchfield County (CT) www.housatonicheritage.org A catalyst for preserving and celebrating our culture, history and natural resources.

Sculpture Now Stockbridge, (413) 623-2068 Berkshire Visitors Bureau Sculpture Now on Main Street 2007. 800-237-5747 • www.berkshires.org 21 large outdoor sculptures in 3 Hoosac Street • Adams, MA and Stockbridge, MA, June 1 - Oct. 31. 109 South Street • Pittsfield, MA EDUCATIONAL DIRECTORY

Buxton School

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Preparing boys and girls from

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Berkshire School SHEFFIELD, MASSACHUSETTS

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Shenandoah Conservatory of Shenandoah University

is proud to announce two very special affiliations

Shenandoah Conservatory

• Located in the beautiful Shenandoah Valley — just an hour west ofWashington, D.C.

• More than 1 00 faculty and 700 students Laurence Kaptain, Dean • Excellence in the performing arts since 1 875 Shenandoah Conservatory Voice 540.665.4600 Fax 540.665.5402 For more information and to schedule a www.su.edu/conservatory campus visit, contact Admissions at 800.432.2266 THETANGLEWOOD BUSINESS PARTNERS

The BSO gratefully acknowledges the following for their generous contributions of $650

or more during the 2006-2007 fiscal year. An eighth note (J>) denotes support of $1,250 to $2,999. Names that are capitalized recognize gifts of $3,000 or more.

ACCOUNTING/ CONSULTING: FINANCIAL SERVICES PREPARATION TAX MANAGEMENT/FINANCIAL ^Abbott Capital Management,

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ENDOWMENT FUNDS SUPPORTING THE TANGLEWOOD FESTIVAL, THETMC, AND YOUTH EDUCATION IN THE BERKSHIRES

Endowment funds at the BSO provide critical on-going support for the Tanglewood Festival, the Tanglewood Music Center, and the BSO's youth education programs at Tanglewood and in the Berkshires. Other programs supported by these funds include the BSO's Days in the Arts at Tangle- wood and the BSO's Berkshire Music Education.

ENDOWED ARTIST POSITIONS Haskell and Ina Gordon Fellowship Berkshire Master Teacher Chair Fund Sally and Michael Gordon Fellowship Edward and Lois Bowles Master Teacher Chair Fund Florence Gould Foundation Fellowship Richard Burgin Master Teacher Chair Fund John and Susanne Grandin Fellowship Charles E. Culpeper Foundation Master Teacher William and Mary Greve Foundation-

Chair Fund John J. Tommaney Memorial Fellowship Eleanor Naylor Dana Visiting Artists Fund Luke B. Hancock Foundation Fellowship Vic Firth Master Teacher Chair Fund, William Randolph Hearst Foundation Fellowship endowed by Mr. and Mrs. Henry Wheeler Valerie and Allen Hyman Family Fellowship Barbara LaMont Master Teacher Chair Fund C. D. Jackson Fellowship Renee Longy Master Teacher Chair Fund, Paul Jacobs Memorial Fellowship gift ofJane and John Goodwin Lola and Edwin Jaffe Fellowship Harry L. and Nancy Lurie Marks Tanglewood Billy Joel Keyboard Fellowship Artist-In-Residence Fund Susan B. Kaplan Fellowship Marian Douglas Martin Master Teacher Chair Fund, Steve and Nan Kay Fellowship endowed by Marilyn Brachman Hoffman Robert and Luise Kleinberg Fellowship Beatrice Sterling Procter Master Teacher Chair Fund Mr. and Mrs. Allen Z. Kluchman Memorial

Sana H. and Hasib J. Sabbagh Master Teacher Fellowship Chair Fund Dr. John Knowles Fellowship Surdna Foundation Master Teacher Chair Fund Naomi and Philip Kruvant Family Fellowship Stephen and Dorothy Weber Artist-In-Residence Fund Donald Law Fellowship Barbara Lee/Raymond E. Lee Foundation Fellowship ENDOWED FULL FELLOWSHIPS Bill and Barbara Leith Fellowship Jane W. Bancroft Fellowship Edward H. and Joyce Linde Fellowship Bay Bank/BankBoston Fellowship Edwin and Elaine London Family Fellowship Leonard Bernstein Fellowships Stephanie Morris Marryott &

Edward S. Brackett, Jr. Fellowship Franklin J. Marryott Fellowship

Frederic and Juliette Brandi Fellowship Robert G.McClellan, Jr. & Jan Brett and Joe Hearne Fellowship IBM Matching Grants Fellowship Rosamund Sturgis Brooks Memorial Fellowship Merrill Lynch Fellowship Tappan Dixey Brooks Memorial Fellowship Messinger Family Fellowship

Mary E. Brosnan Fellowship Ruth S. Morse Fellowship

BSAV/Carrie L. Peace Fellowship Albert L. and Elizabeth P. Nickerson Fellowship Stanley Chappie Fellowship Northern California Fellowship Alfred E. Chase Fellowship Seiji Ozawa Fellowship Clowes Fund Fellowship Theodore Edson Parker Foundation Fellowship

Harold G. Colt, Jr. Memorial Fellowship Pokross/Curhan/Wasserman Fellowship Andre M. Come Memorial Fellowship Lia and William Poorvu Fellowship Caroline Grosvenor Congdon Memorial Fellowship Daphne Brooks Prout Fellowship Margaret Lee Crofts Fellowship Claire and Millard Pryor Fellowship Charles E. Culpeper Foundation Fellowship Rapaporte Foundation Fellowship Darling Family Fellowship Harry and Mildred Remis Fellowship Omar Del Carlo Fellowship Peggy Rockefeller Memorial Fellowship Akiko Shiraki Dynner Memorial Fellowship Carolyn and George R. Rowland Fellowship Otto Eckstein Family Fellowship Saville Ryan/Omar Del Carlo Fellowship Friends of Armenian Culture Society Fellowship Wilhelmina C. Sandwen Memorial Fellowship Judy Gardiner Fellowship Morris A. Schapiro Fellowship Athena and James Garivaltis Fellowship Edward G. Shufro Fund Fellowship Merwin Geffen, M.D. and Starr Foundation Fellowship

Norman Solomon, M.D. Fellowship Anna Sternberg and Clara J. Marum Fellowship Juliet Esselborn Geier Memorial Fellowship Miriam H. and S. Sidney Stoneman Fellowships Armando A. Ghitalla Fellowship Surdna Foundation Fellowship Fernand Gillet Memorial Fellowship James and Caroline Taylor Fellowship Marie Gillet Fellowship William F and Juliana W. Thompson Fellowship

Continued. . i i e appare j e ^w elrvj accessories

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235 Walker St., Lenox, MA kimballfarms. org Kimball Farms m Affiliate ofBerkshire Health Systems Ushers/Programmers Instrumental Fellowship Margaret Lee Crofts Concert Fund in honor of Bob Rosenblatt Margaret Lee Crofts TMC Fund Ushers/Programmers Harry Stedman Vocal Fellowship Paul F. and Lori A. Deninger DARTS Wallace-Reader's Digest Fund Fellowship Scholarship Fund Max Winder Memorial Fellowship Alice Willard Dorr Foundation Fund Jerome Zipkin Fellowship Carlotta M. Dreyfus Fund

Raymond J. Dulye Berkshire Music Education Fund ENDOWED HALF FELLOWSHIPS Virginia Howard and Richard A. Ehrlich Fund

Mr. and Mrs. David B. Arnold, Jr. Fellowship Selly A. Eisemann Memorial Fund Kathleen Hall Banks Fellowship Elvin Family Fund Leo L. Beranek Fellowship Elise V. and Monroe B. England Tanglewood Felicia Montealegre Bernstein Fellowship Music Center Fund Sydelle and Lee Blatt Fellowship Honorable and Mrs. John H. Fitzpatrick Fund Brookline Youth Concerts Awards Committee Daniel and Shirlee Cohen Freed Concert Fund Fellowship Ann and Gordon Getty Fund Helene R. and Norman L. Cahners Fellowship Gordon/Rousmaniere/Roberts Fund Marion Callanan Memorial Fellowship Grace Cornell Graff Fellowship Fund for Nat Cole Memorial Fellowship Composers at the TMC Harry and Marion Dubbs Fellowship Adele and John Gray Memorial Fellowship Daniel and Shirlee Cohen Freed Fellowship Heifetz Fund Dr. Marshall N. Fulton Memorial Fellowship Mickey L. Hooten Memorial Award Fund Gerald Gelbloom Memorial Fellowship Grace Jackson Entertainment Fund Adele and John Gray Memorial Fellowship Grace B. Jackson Prize Fund Arthur and Barbara Kravitz Fellowship Paul Jacobs Memorial Commissions Fund Bernice and Lizbeth Krupp Fellowship Louis Krasner Fund for Inspirational Teaching Philip and Bernice Krupp Fellowship and Performance, established by Lucy Lowell Fellowship Marilyn Brachman Hoffman Morningstar Family Fellowship William Kroll Memorial Fund Stephen and Persis Morris Fellowship Lepofsky Family Educational Initiative Fund Dr. Raymond and Hannah H. Schneider Fellowship Dorothy Lewis Fund Pearl and Alvin Schottenfeld Fellowship Kathryn & Edward M. Lupean & Edward G. Shufro Fund Fellowship Diane Holmes Lupean Fund Evelyn and Phil Spitalny Fellowship Samuel Mayes Memorial Cello Award Fund R. Amory Thorndike Fellowship Charles E. Merrill Trust TMC Fund Augustus Thorndike Fellowship Northern California TMC Audition Fund Sherman Walt Memorial Fellowship Herbert Prashker Fund Patricia Plum Wylde Fellowship Renee Rapaporte DARTS Scholarship Fund Mr. and Mrs. Ernest H. Rebentisch Fund ENDOWED SCHOLARSHIPS Jules C. Reiner Violin Prize Fund Maurice Abravanel Scholarship Harvey and Elaine Rothenberg Fund Eugene Cook Scholarship Helena Rubinstein Fund

Dorothy and Montgomery Crane Scholarship Edward I. and Carole Rudman Fund

William E. Crofut Family Scholarship Lenore S. and Alan Sagner Fund Ethel Barber Eno Scholarship Renee D. Sanft Fund for the TMC Richard F. Gold Memorial Scholarship Hannah and Ray Schneider TMCO Concert Fund* Leah Jansizian Memorial Scholarship Maurice Schwartz Prize Fund by Marion E. Dubbs Miriam Ann Kenner Memorial Scholarship Ruth Shapiro Scholarship Fund Andrall and Joanne Pearson Scholarship Dorothy Troupin Shimler Fund

Mary H. Smith Scholarship Asher J. Shuffer Fund Cynthia L. Spark Scholarship Evian Simcovitz Fund Tisch Foundation Scholarship Albert Spaulding Fund Jason Starr Fund ENDOWED FUNDS SUPPORTING THE Tanglewood Music Center Composition TEACHING AND PERFORMANCE PROGRAMS Program Fund George W. and Florence N. Adams Concert Fund Tanglewood Music Center Opera Fund Eunice Alberts and Adelle Alberts Vocal Studies Fund* TMC General Scholarship Fund Elizabeth A. Baldwin DARTS Fund Denis and Diana Osgood Tottenham Fund Bernard and Harriet Bernstein Fund The Helen F. Whitaker Fund George & Roberta Berry Fund for Tanglewood Gottfried Wilfinger Fund for the TMC Peter A. Berton (Class of '52) Fund John Williams Fund Donald C. Bowersock Tanglewood Fund Karl Zeise Memorial Cello Award Fund Gino B. Cioffi Memorial Prize Fund Jerome Zipkin DARTS Fund

Gregory and Kathleen Clear DARTS Anonymous (1) Scholarship Fund*

Phyllis and Lee Coffey Memorial Concert Fund *Deferred gifts Aaron Copland Fund for Music Listed as ofJune 12, 2007 CAPITAL AND ENDOWMENT CONTRIBUTORS

The Boston Symphony Orchestra is committed to providing the highest caliber performances and education and community outreach programs, and to preserving its world-renowned concert facilities. Contributions from donors and income from the endowment support 40 percent of the annual budget. The BSO salutes the donors listed below who made capital and endowment gifts of $10,000 or more between June 1, 2006 and May 31, 2007. For further information, contact Peter Minichiello, Director of Development, at (617) 638-9260.

$1,000,000 and Above Sophia and Bernard Gordon The Wallace Foundation

Estate of Richard L. Kaye Anonymous (2)

$500,000 -$999,999 Advent International Corporation Estate of Vera M. MacDonald Alan and Akiko Shiraki Dynner Estate of Helen Zimbler Lizbeth and George Krupp

$250,000 -$499,999

Estate of Mary E. Brosnan Valerie A. and Dr. Allen I. Hyman Calderwood Charitable Foundation Anonymous Sally and Michael Gordon

$100,000 -$249,999

Mr. William I. Bernell Estate of Carolyn Ann Dilts Brad and Terrie Bloom Mrs. Harriett M. Eckstein

William P. Collatos and Mr. and Mrs. Paul M. Montrone Linda C. Wisnewski Estate of Sylvia Perkins

Cynthia and Oliver Curme / Estate of Hope P. Stokes

The Lost and Foundation, Inc. Anonymous (2) afey

1 a\t ••»

• 7 \1* 1

$50,ooo-$99,999 * y.'k* Catherine and Paul Buttenwieser Mr. Ernest K. Jacquet

Chris and Keena Clifford Mrs. Mary S. Kingsbery Mr. and Mrs. Roy F. Coppedge III Susan and Dan Rothenberg IB Ginger and George Elvin John and Ann Ellen Rutherford

Nancy J. Fitzpatrick and Lincoln Russell Mr. and Mrs. John Williams

$25,000 -$49,999 Estate of Anne C. Booth Estate of Klaus Peter Kuschel Mr. and Mrs. Robert W. Doran Estate of Elizabeth H. Marshall Estate of Frances Fahnestock Estate of Bernice H. Nollman

The Grammy Foundation Mr. Harold I. Pratt Dr Lynne B Harrison Anonymous

$15,000 -$24,999 Estate of Elizabeth A. Baldwin Estate of Grace E. Saphir Fairmont Hotels & Resorts Thermo Fisher Scientific Mr. Daniel Freed, in memory of International Inc. Shirlee Cohen Freed Mr. and Mrs. John L. Thorndike

Stephen F Gormley Anonymous (2)

Estate of Jas. Murray Howe

$10,000-$14,999 Estate of Suzannah C. Ames Estates of George F and Elsie B. Association for Recorded Sound Hodder Collections Dorothy and Charlie Jenkins Robert and Elana Baum Mr. and Mrs. Jerry Jordan Michael and Renee Child O.C.F Foundation, Inc.

Mr. and Mrs. Abram T Collier Mr. Kenneth S. Recu Mr. Saul and Mrs. Mimi Cohen Hinda L. Shuman The Cosette Charitable Fund Mr. and Mrs. James V. Taylor

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("Comparable to the Best in NYC" Zagat 2004 HONEST SATISFACTION &1XEM FOOD GUARANTEED Open aD day weekends (brunch served) • ]>few Menu! Gourmet Japanese Cuisine & Sushi Bar 7 Railroad, Great Barrington, MA 413-528-4345 Main St. Housatonic (413)274-1000 www.jacksgrill.com Tatami Rooms Kaiseki Robata Bar I

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