2016–17 season andris nelsons music director

week 5 mozart bartók

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner The most famous 19th-century American painter you’ve never heard of

Through January 16, 2017

mfa.org/chase

“William Merritt Chase” was organized by the Museum of Fine Arts, ; The Phillips , Presented with generous support from The Mr. and Mrs. Raymond J. Horowitz Foundation Washington, DC; the Fondazione Musei Civici di Venezia; and the Terra Foundation for American Art. for the Arts, Inc., and the Deedee and Barrie A. Wigmore Fund in honor of Malcolm Rogers. Additional support from the Betty L. Heath Fund for the Art of the Americas, and the The exhibition and its publication were made possible with the Eugenie Prendergast Memorial Fund, made possible by a grant from Jan and Warren Adelson. generous support of the Terra Foundation for American Art.

William Merritt Chase, The Young Orphan (An Idle Moment) (detail), 1884. Oil on canvas. NA diploma presentation, November 24, 1890. National Academy Museum, New York (221-P). Table of Contents | Week 5

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 brahms’s orchestral voice by jan swafford 2 9 this week’s program

Notes on the Program

30 The Program in Brief… 31 Wolfgang Amadè Mozart 37 Béla Bartók 55 To Read and Hear More…

Guest Artists

59 Charles Dutoit 61 Ildikó Komlósi 63 Matthias Goerne 67 George Meszoly

68 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

the friday preview on october 21 is given by bso assistant director of program publications robert kirzinger.

program copyright ©2016 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Chris Lee cover design by BSO Marketing

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

DATEJUST 41

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

trustees of the boston symphony orchestra, inc.

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

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

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

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

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

week 5 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael J. Lutch

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

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

† Deceased

week 5 trustees and overseers 5 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . BSO News

BSO Artistic Partner Thomas Adès and Tenor Ian Bostridge in Schubert’s “Winterreise” at Jordan Hall This Friday, October 28, at 8 p.m. In addition to his triple-threat appearance as pianist, composer, and conductor with the Boston Symphony Chamber Players on Sunday afternoon, October 30, at Jordan Hall, new BSO Artistic Partner Thomas Adès will collaborate with renowned English tenor Ian Bostridge in a performance of Schubert’s great song cycle Winterreise on Friday night, October 28, at 8, also at Jordan Hall—a special, non-subscription concert presented in association with the Celebrity Series of Boston to celebrate the start of Mr. Adès’s three- year tenure with the BSO. Remaining tickets are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200. In addition to these two Jordan Hall appearances, Thomas Adès will conduct the BSO the following weekend, November 3, 4, and 5, in a program of Britten, Sibelius, and his own Totentanz for mezzo- soprano, , and orchestra; tickets for these concerts are also available at the Symphony Hall box office, online, or by calling SymphonyCharge.

“Do You Hear What I Hear?” A collaboration between the Boston Symphony Orchestra and New Conservatory, “Do You Hear What I Hear?” is a series of free hour-long events that introduce audiences to composers working with the BSO via composer-curated chamber music programs performed by NEC students with coaching by NEC faculty and the composers themselves. Moderated by BSO Assistant Artistic Administrator Eric Valliere, with pianist Stephen Drury as musical consultant, there will be three such sessions this season—on Tuesday, November 15, at 6 p.m. in NEC’s Williams Hall, with composers Eric Nathan and Timo Andres (the for- mer’s the space of a door and the latter’s Everything Happens So Much receive their world pre- mieres on the BSO concerts of November 8 and November 15, respectively); on Thursday, January 26, at 6 p.m. in Williams Hall, with composer Julian Anderson (whose Incantesimi receives its American premiere with the BSO that same evening), and on Thursday, February 23, at 6 p.m. in NEC’s Brown Hall, with composer Sofia Gubaidulina (whose Triple Concerto for , , and bayan receives its world premiere on that evening’s BSO concert).

Boston Symphony Chamber Players 2016-17 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. at Jordan Hall The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year on October 30 with a concert featuring the BSO’s new Artistic Partner Thomas Adès as both pianist and conductor in a program of music by Britten, Adès, Brahms, Stravinsky, Purcell, and Schubert. Complete details of this season’s four-concert series are shown in the full-page

week 5 bso news 7 ad on page 12. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at 1-888-266-7575. For single tickets at $38, $29, and $22, please call SymphonyCharge at (617) 266-1200 or visit bso.org.

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101” returns in 2016-17, again offering the opportunity to increase your enjoyment of BSO concerts. These free sessions with BSO Director of Program Publications Marc Mandel joined by members of the BSO—on Wednesdays at Symphony Hall from 5:30-7 p.m., and, thanks to the generosity of an anonymous donor, on Sundays from 2-3:30 p.m. in various Boston-area communities—will enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire, examining aspects of musical shape and form, and of the composers’ individual musical styles. Each session includes recorded musical examples, and each is self-contained, so no prior musical training, or attendance at any previous session, is required. Up next: “–Rethinking Tradition,” on Wednesday, November 2, at Symphony Hall, and on Sunday, November 6, at Salem State University. For more information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on Octo- ber 28 is given by Robert Kirzinger. Friday Previews in the weeks ahead will be given on November 4 by Robert Kirzinger, on November 11 by Marc Mandel, and on November 25 by composer/pianist Jeremy Gill. individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Philip W. and Marion B. Bianchi Memorial Concert the Korean War. After his service, he worked Friday, October 28, 2016 for twenty-five years in the international divi- The performance on Friday afternoon is sion of USM (United Shoe Machinery) Corp., supported by a generous gift in memory of and later served as a stockbroker with Smith Philip W. Bianchi, who passed away on April Barney in Boston. Philip was an ardent lover 20, 2015, and Marion B. Bianchi, who passed of the BSO. away on September 26, 2016. Marion (Bunny) was a graduate of Dana Hall Born in New York City, Philip was a graduate and Vassar College. For ten years she was of the Buckley School in New York, NY, and a teacher of French at the Winsor School. St. Paul’s School in Concord, NH. He earned Music was always a large part of her life; she his B.S. in industrial management from MIT spent many hours playing her piano. Philip in 1953. Philip served as a first lieutenant in and Marion had been subscribers to the BSO the U.S. Air Force, stationed in Korea during since 1976, the year they were married.

week 5 bso news 9 MASTERCARD® IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA

EXPLORE PRICELESS® BOSTON EXPERIENCES AT PRICELESS.COM

Certain terms and restrictions apply. Quantities are limited. For MasterCard® cardholders only. MasterCard, World MasterCard, Priceless and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. © 2016 MasterCard. BSO Broadcasts on WCRB Chair with a bequest—are recognized in sev- eral of our publications and offered a variety BSO concerts are heard on the radio at 99.5 of exclusive benefits, including invitations to WCRB. Saturday-night concerts are broad- various events in Boston and at Tanglewood. cast live at 8 p.m. with host Ron Della Chiesa, For more information about planned gift and encore broadcasts are aired on Monday options and how to join the Walter Piston nights at 8 p.m. In addition, interviews with Society, please contact Jill Ng, Director of guest conductors, soloists, and BSO musi- Planned Giving and Senior Major Gifts Offi- cians are available online, along with a one- cer, at (617) 638-9274 or [email protected]. We year archive of concert broadcasts. Listeners would be delighted to help you orchestrate can also hear the BSO Concert Channel, an your legacy with the BSO. online radio station consisting of BSO con- cert performances from the previous twelve months. Visit classicalwcrb.org/bso. Cur- Go Behind the Scenes: rent and upcoming broadcasts include last The Irving W. and Charlotte F. Rabb week’s program of Walton, Elgar, and Holst Symphony Hall Tours led by Charles Dutoit with Yo-Yo Ma and the The Irving W. and Charlotte F. Rabb Sympho- Tanglewood Festival Chorus (encore Octo- ny Hall Tours, named in honor of the Rabbs’ ber 31), this week’s program under Maestro devotion to Symphony Hall through a gift Dutoit featuring vocal soloists Ildikó Komlósi from their children James and Melinda Rabb and Matthias Goerne in Bartók’s ’s and Betty (Rabb) and Jack Schafer, provide Castle (October 29; encore November 7), and a rare opportunity to go behind the scenes next week’s program of Britten, Sibelius, and at Symphony Hall. In these free, guided Adès led by BSO Artistic Partner Thomas tours, experienced members of the Boston Adès (November 5; encore November 14). Symphony Association of Volunteers unfold the history and traditions of the Boston Sym- Planned Gifts for the BSO: phony Orchestra—its musicians, conductors, Orchestrate Your Legacy and supporters—as well as offer in-depth information about the Hall itself. Tours are There are many creative ways that can let offered on selected weekdays at 4 p.m. and you support the BSO over the long term. some Saturdays during the BSO season. Planned gifts such as bequest intentions Please visit bso.org/tours for more informa- (through your will, personal trust, IRA, or tion and to register. insurance policy), charitable trusts, and gift annuities can generate significant benefits for you now while enabling you to make a larger Friday-afternoon Bus Service gift to the BSO than you may have otherwise to Symphony Hall thought possible. In many cases, you could If you’re tired of fighting traffic and search- realize significant tax savings and secure an ing for a parking space when you come to attractive income stream for yourself and/ Friday-afternoon Boston Symphony con- or a loved one, all while providing valuable certs, why not consider taking the bus from future support for the performances and pro- your community directly to Symphony Hall? grams you care about. When you establish The BSO is pleased to continue offering and notify us of your planned gift for the Bos- round-trip bus service on Friday afternoons ton Symphony Orchestra, you will become a at cost from the following communities: member of the Walter Piston Society, joining Beverly, Canton, Cape Cod, Concord, a group of the BSO’s most loyal supporters Framingham, the South Shore, Swamp- who help to ensure the future of the BSO’s scott, Wellesley,Weston, and Worcester in extraordinary performances. Members of the Massachusetts; Nashua, New Hampshire; Piston Society—named for Pulitzer Prize-win- and Rhode Island. In addition, we offer bus ning composer and noted musician Walter service for selected concerts from the Holy- Piston, who endowed the Principal Flute

week 5 bso news 11 boston symphony chamber players at jordan hall Founded in 1964, the renowned Boston Symphony Chamber Players combine the talents of the BSO’s principal players with those of guest artists and other BSO members to explore the full spectrum of chamber music repertoire. Concerts take place on four Sunday afternoons at New England Conservatory’s Jordan Hall. Tickets: $38, $29, $22 sunday, october 30, 3pm sunday, april 2, 3pm with Thomas Adès, piano with Elizabeth Fischborn, soprano and mezzo-soprano Kelley O’Connor and David Deveau, piano BRITTEN Sinfonietta for winds and strings, Op. 1 JOLIVET Pastorales de Noël, for flute, Thomas ADÈS Court Studies from The Tempest, , and harp for , violin, cello, and piano Fred LERDAHL Fire and Ice, for soprano and BRAHMS Ophelia-Lieder, arranged by John Woolrich for voice and chamber ensemble PROKOFIEV Quintet for , clarinet, violin, STRAVINSKY Three Shakespeare Songs , and double bass, Op. 39 PURCELL (arr. ADÈS) Two Songs Daniel CROZIER Masques, for oboe and string trio SCHUBERT Quintet in A for piano and BRAHMS Trio in A minor for clarinet, cello, strings, D.667, Trout and piano, Op. 114 sunday, january 22, 3pm sunday, may 7, 3pm TAFFANEL Wind Quintet in G minor with Leif Ove Andsnes, piano SAINT-SAËNS Septet in E-flat for piano, STRAVINSKY Octet for flute, clarinet, , and strings, Op. 65 two , two , and two Eric TANGUY Afterwards, for flute and piano FRANÇAIX Octet for winds and strings Sofia GUBAIDULINA Garden of Joys and Sorrows, for flute, viola, and harp Please note that on the day of the concert, WEINBERG Sonata for solo double bass, Op. 108 tickets may only be purchased at Jordan Hall. SHOSTAKOVICH Piano Trio No. 2 in E minor, Op. 67

Tickets: Call 617-266-1200 Please note that on the day of the concert, $38, $29, $22 or visit bso.org. tickets may only be purchased at Jordan Hall. oke/Amherst area. Taking advantage of The Walden Chamber Players, whose mem- your area’s bus service not only helps keep bership includes BSO musicians Tatiana this convenient service operating, but also Dimitriades and Alexander Velinzon, , provides opportunities to spend time with and Richard Ranti, bassoon, perform music your Symphony friends, meet new people, of Schubert, Fred Lerdahl, Milhaud, and and conserve energy. For further information Dohnányi, on Sunday, November 13, at about bus transportation to Friday-afternoon 4 p.m. at Wilson Chapel, 210 Herrick Road, Boston Symphony concerts, please call the Newton Centre. Tickets are $20 ($10 for Subscription Office at (617) 266-7575. students; children under twelve free), available at the door or at waldencham- berplayers.org. For more information, email BSO Members in Concert [email protected] or call (617) BSO cellist Mickey Katz is soloist in Victor 871-9WCP [-9927]. Herbert’s Cello Concerto No. 2 with the Waltham Philharmonic on Sunday, October 30, at 3 p.m. at the Kennedy Middle School, Those Electronic Devices… 655 Lexington Street, Waltham, preceded As the presence of smartphones, tablets, by a lecture at 2:30. Also on the program and other electronic devices used for com- is Brahms’s Symphony No. 3. Tickets are munication, note-taking, and photography $20 ($15 for students eighteen or older and has increased, there have also been continu- seniors; children free with a paying adult). ing expressions of concern from concertgoers For more information or tickets, call (857) and musicians who find themselves distracted 919-1385 or visit wphil.org. not only by the illuminated screens on these devices, but also by the physical movements Founded by former BSO cellist Jonathan that accompany their use. For this reason, Miller, the Boston Artists Ensemble performs and as a courtesy both to those on stage and a program entitled “Darkness & Light” on those around you, we respectfully request Friday, November 11, at 8 p.m. at Hamilton that all such electronic devices be completely Hall in Salem and on Sunday, November turned off and kept from view while BSO per- 13, at 3 p.m. at St. Paul’s Episcopal Church, formances are in progress. In addition, please 15 St. Paul Street, Brookline. Joining Mr. also keep in mind that taking pictures of the Miller for this program of string quartets orchestra—whether photographs or videos— by Szymanowski and Beethoven are BSO is prohibited during concerts. Thank you very violinists Lucia Lin and Tatiana Dimitriades much for your cooperation. and BSO violist Rebecca Gitter. Tickets are $30 (discounts for seniors and students), available at the door. For more information, Comings and Goings... visit bostonartistsensemble.org or call (617) Please note that latecomers will be seated 964-6553. by the patron service staff during the first Former BSO principal harp Ann Hobson convenient pause in the program. In addition, Pilot is soloist in Ginastera’s Harp Concer- please also note that patrons who leave the to with the Boston Civic Symphony, led by auditorium during the performance will not guest conductor Steven Lipsitt, on Sunday, be allowed to reenter until the next conve- November 13, at 2 p.m. at New England Con- nientpause in the program, so as not to dis- servatory’s Jordan Hall. Also on the program turb the performers or other audience mem- are works by Weber and Brahms. Tickets bers while the music is in progress. We thank are $15-$40 (discounts for students and you for your cooperation in this matter. seniors), available at csob.org or by calling (617) 923-6333.

week 5 bso news 13 UnCommon consistency Commonwealth Worldwide has been the premier chauffeured transportation choice of discerning clientele - in Boston and beyond - for over 30 years; specializing in corporate executive travel, financial roadshows, private aviation, entertainment productions, five-star luxury hotels and meetings/special events in all 50 states and 79 countries worldwide. We’re proud to be the official provider of the Boston Symphony Orchestra and Boston Pops for yet another glorious year!

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on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO

exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

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

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

week 5 on display 15 Marco Borggreve

Andris Nelsons

In 2016-17, his third season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in fourteen wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in late February/early March, followed by two concerts in Montreal and Toronto. In the sum- mer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. In addition, in 2017 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, Maestro Nelsons and the BSO under- took a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany (including the BSO’s first performance in Leipzig’s famed Gewandhaus), ustria,A and Luxembourg, took place in May 2016.

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

16 symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. More recently, this past August, their disc of Shostakovich’s Symphony No. 10 won Gramo- phone Magazine’s Orchestral Award.

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

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

week 5 andris nelsons 17 Boston Symphony Orchestra 2016–2017

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

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

18 photos by Michael J. Lutch

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

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For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston Brahms’s Orchestral Voice by Jan Swafford

Author/composer Jan Swafford reflects on the place in the concert repertoire of Brahms’s four symphonies and two piano concertos, which Andris Nelsons and the Boston Symphony Orchestra perform November 8-19, with soloist Hélène Grimaud in the concertos.

It would have been a considerable surprise to critics and connoisseurs of the late 19th century to learn that by the time the 20th century was well underway, Johannes Brahms had become one of the most beloved composers of orchestral music, a position he has occupied ever since. There are perhaps two central reasons for his own time’s coolness toward that side of his work. First, orchestral music was a comparatively sparse element in his output. Haydn wrote over a hundred symphonies, Mozart over forty, Beethoven nine, Brahms four. Mozart wrote over thirty concertos, Beethoven seven, Brahms four (two for piano, one for violin, and the Double Concerto for violin and cello). Added to that were his two orchestral overtures, the Haydn Variations, two early serenades, and that’s all. In its Brahms programs this fall, the Boston Symphony will perform the four symphonies and the two piano concertos, which together form a summary of most of his life and career.

Moreover, listeners of his day tended to find Brahms’s orchestral music difficult and intellectual, too much for the common listener. Even Max Kalbeck, a member of Brahms’s Mahler’s No. 4 or Mozart’s No. 40? intimate circle and eventually his biographer, felt that the symphonies lacked Beethoven’s At Fairmont Copley Plaza, we appreciate popular touch and would never find a wide audience. And of course we can’t forget that when Symphony Hall opened its doors in 1900, a local critic suggested the egresses all our guests’ preferences. should be marked “Exit In Case of Brahms.” its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of Brahms in 1868, when the “German Requiem” was premiered www.fairmont.com/copley-plaza-boston week 5 brahms’s orchestral voice 21

Brahms in his thirties

There are in turn two aspects to our critic’s notorious brickbat. First, many of the other orchestral works created during Brahms’s lifetime were conceived on the Wagner/Liszt side of the equation, meaning perfervid in expression and usually based on programmatic ideas—a story, a poem, a drama. It was Liszt who invented the orchestral tone poem founded on a literary theme (e.g., Les Preludes, or the Faust-Symphony). By the end of the century, that concept had expanded into the symphonic poems of —Don Juan, Don Quixote, Thus spake Zarathustra, and others—which were operatically decked out with images and events.

Brahms was not a mainstream Romantic, and he resolutely avoided program music. A characteristic example is his Tragic Overture, firmly in the tradition of programmatic Romantic overtures such as Mendelssohn’s Fingal’s Cave, which was inspired by a famous landmark in Scotland. But in his Tragic Overture, Brahms did not inform us what particular tragedy he had in mind, if any. In other words, he wrote a high-Romantic genre work that omitted a central element—storytelling and tone —suggested by its title. Mean- while in all his music Brahms stayed true to Classical forms going back through Beethoven to Mozart and Haydn, which we know under the names of sonata form, sonata-rondo, theme and variations, and so on—the old forms that Wagner and Liszt declared dead and buried. Brahms, Liszt wrote, represents “the posthumous party” in music.

For Romantic audiences, program music offered lots of handles to get into a piece: drama, imagery, emotion that goes for the jugular. Brahms offered few overt handles: no stated drama, no imagery, and shades of feeling often more delicate and subtle than the titanic or the heart-on-sleeve variety Romantics craved (think Liszt, Bruckner, Tchaikovsky). He was declared the great abstractionist, uniting Classical form with Romantic expression. Whether in a song or a symphony Brahms was more concerned with the overall expressive tone and its progress, and the effectiveness of the form, than in tone painting, or Wagner’s epic spine-tinglings, or Bruckner’s warm bath of emotion

week 5 brahms’s orchestral voice 23 and paroxysms of brass. Meanwhile there was Brahms’s use of what came to be called “developing variation,” which in practice means that as soon as an idea is presented he usually begins to toy with it, meditate on it, develop it. He can’t simply say something and leave it alone, critics said. You can’t keep up with his incessant tinkering with ideas, his endless roaming through the keys.

So audiences called Brahms’s orchestral voice intellectual and forbidding, and preferred his far more extensive body of chamber music, his German Requiem, his stacks of light- classical items like the Hungarian Dances and Liebeslieder Waltzes. Make no mistake: in terms of career, Brahms had one about as successful as a composer ever has. It was his orchestral music that was the main sticking point. As an example, the exquisitely beauti- ful Violin Concerto never caught on in his lifetime.

Yet, as cultural historian Peter Gay noted, as soon as Brahms was in his grave his orchestral reputation went in short order from forbidding to warm and fuzzy. What happened? How did the forbidding Brahms become a familiar and cherished part of the repertoire? Much of that process is unsearchable. I suspect, though, that some of it had to do with the spread of the German Requiem, which the Boston Symphony played earlier this season. That piece was more or less an instant and permanent success, and it seems to me that anyone who hears this manifestly heartfelt, moving, powerful piece understands that this is who Brahms was. So via that and/or other routes, this under- standing finally came to be applied to the supposedly abstract orchestral music. In other words, listeners began better to understand its warmth, its subtle drama, its distinctive melodic and harmonic beauty. In short, its humanity.

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24 Brahms around the time of his Symphony No. 3, premiered 1883

None of this is simple, though, and the development of Brahms’s orchestral work as reflected in the BSO’s November programs is a case in point. The kind of problem his music faced can be seen in the early reception of the First Piano Concerto. At its 1859 second performance, in conservative Leipzig with Brahms as soloist, he was hissed off the stage. To the extent that the public knew concertos, they were virtuosic and win- ning ones by the likes of Viotti, Paganini’s hyper-virtuosic outings, the elegant ones of Mozart, and the more robust ones of Beethoven—nothing like the tone of tragic alarm that begins the First, the concerto’s enormous proportions, its widely variegated ideas, its singular integration of orchestra and soloist. It’s the first concerto that resembles a symphony during which a piano just happens to be playing most of the time! The solo part manages to be at once brutally difficult without being conventionally virtuosic.

Still, in its tone the First Piano Concerto was a one-off for Brahms, suffused with the turmoil of his early twenties—his discovery by Robert Schuman, Schumann’s descent into madness, Brahms’s doomed passion for Clara Schumann. (So much for the great abstractionist.) He finished the First Concerto after years of struggle with a medium with which he never entirely felt comfortable. It took him over a decade more to find his true voice with the orchestra, which appeared first in the Haydn Variations of 1873. The 1881 Second Piano Concerto is even longer then the First, its piano part as two-fistedly epic, its symphonic approach to the concerto the same as the First. But this is the work of a mature master experienced with the orchestra, and its tone is largely Olympian except for the massive and demonic scherzo.

The symphonies have their own complexities. The First Symphony’s tumultuous opening movement was drafted in 1862, when Brahms was twenty-nine, though only later did he add its searing, fateful introduction. He finally finished the First some fifteen years later. It is marked by Beethoven through and through: the progress from darkness at the beginning to light in the finale echoes Beethoven’s Fifth; the chorale theme of Brahms’s

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Some have called the Third Symphony the first one where he escaped the model of Beethoven and stamped the genre definitively with his own personality, from its tow- ering and anguished moments to the exquisitely lyrical ones, the treatment of form so original that the underlying traditional models seem close to dissolution: for one exam- ple, the recapitulation and development of the second movement’s ominous chorale theme is reserved for the finale. Finally came Brahms’s late farewell to symphonies in the towering, dark-toned Fourth, in which his backward-looking viewpoint joined with his unique voice comes to rest in the elegiac finale, laid out in the Baroque form of the chaconne.

So in this Boston Symphony series we see Brahms as composer of concertos and sym- phonies from early to late. Concertos were a high-Romantic genre, and his were at once part of that tradition and distinctive. By the time he finished the First Symphony the genre was verging on moribund (Liszt, Wagner, and their disciples had already declared it dead), never having regained the heights Beethoven brought it to. From the First to the Fourth Brahms virtually revived the symphony, paving the way for generations of symphonists to come: Bruckner, Mahler, Sibelius, and a long list beyond. He also provid- ed, even if he did not live to see it, works that live vibrantly in the repertoire and in the hearts of countless listeners. jan swafford is a prizewinning composer and writer whose books include biographies of Johannes Brahms and Charles Ives, “The Vintage Guide to ,” and, most recently, “Beethoven: Anguish and Triumph.” An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart.

week 5 brahms’s orchestral voice 27

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 136th season, 2016–2017 Thursday, October 27, 8pm Friday, October 28, 1:30pm | the philip w. and marion b. bianchi memorial concert Saturday, October 29, 8pm charles dutoit conducting celebrating charles dutoit’s 80th birthday and his longstanding association with the boston symphony orchestra mozart symphony no. 39 in e-flat, k.543 Adagio—Allegro Andante con moto Menuetto: Allegretto Finale: Allegro

{intermission} bartók “duke bluebeard’s castle,” opus 11 ildikó komlósi, mezzo-soprano (judith) matthias goerne, baritone (bluebeard) george meszoly, speaker (prologue)

Supertitles by Sonya Haddad SuperTitle System courtesy of Digital Tech Services, LLC, Portsmouth, VA William Diefenderfer, Supertitles Technician John Geller, Supertitles Caller bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

The evening concerts will end about 10:05, the afternoon concert about 3:35. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 5 program 29 The Program in Brief...

Mozart’s last three symphonies—Nos. 39, 40, and 41—completed in just a few weeks in the summer of 1788, are not only an amazing study in contrasts, but are rightly held up as a miraculous accomplishment in Western cultural history. It wasn’t simply that Mozart wrote three big pieces in such a short span, or that they happen to be rather good: it’s that these three symphonies have come virtually to define for us that central genre in classical music, demonstrating both perfection of compositional craft and a dumbfounding variety of expression. Why he came to write them has remained a puzzle for historians (it’s unlikely he’d have done so without prospect of performance, for which no documentation exists), and there’s no evidence he ever heard Nos. 39 and 41 (the Jupiter) at all.

Symphony No. 39 in E-flat is unique among the composer’s symphonies in omitting oboes from its orchestra (there are clarinets instead—unusual for a symphony at that time), and is one of just three Mozart symphonies to have a slow introduction (the others are the Linz, No. 36, and the Prague, No. 38). This ambiguous, brief, sometimes dissonant opening foreshadows the symphony’s overall harmonic adventurousness, and arguably anticipates the expressive range of the entire final trilogy. The loping three-beat meter of the first-movement Allegro is unusual in Mozart, as is the Haydnesque finale, with its exploration of only a single thematic idea.

Composed in 1911, Hungarian composer Béla Bartók’s one-act opera Duke Bluebeard’s Castle—his only opera—was premiered in Budapest in 1918. Inspired by the legend of Bluebeard and his multiple wives, it sets a treatment of the story by the Hungarian writer Béla Balázs. Bartók’s brilliantly evocative use of the orchestra, and his facility setting his native tongue to music (with contrasting modes of expression for the two characters), are immediately gripping; but equally important are the opera’s psychological and sym- bolic underpinnings, which have engendered discussion since it was new—especially since there is virtually no “action” to speak of.

Bluebeard arrives at his castle with his new wife, Judith. She sees seven large doors in the vast entry hall and entreats Bluebeard’s permission to open each in turn, revealing his torture chamber, armory, treasury, gardens, and then an opening that looks onto the great expanse of his kingdom. Behind the sixth, however, is a disturbingly quiet lake, a lake of tears, suggestive of great sorrow. Last of all, behind the seventh, she encounters Bluebeard’s three previous wives, whom she in turn must join, leaving Bluebeard forever in night’s darkness—the same darkness in which the opera had begun. Though Bartók conceived Bluebeard’s Castle for the theater, it makes for an undeniably powerful experi- ence in concert, given Bartók’s skill in creating just the right sounds to evoke what Judith finds behind each door, and because the real drama plays out in the minds of, and in the relationship between, Bluebeard and Judith.

Robert Kirzinger/Marc Mandel

30 Wolfgang Amadè Mozart Symphony No. 39 in E-flat, K.543

JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART, who began calling himself Wolfgango Amadeo around 1770 during his first trip to and switched to Wolfgang Amadè in 1777 (he used “Amadeus” only in jest, was born in Salzburg, , on January 27, 1756, and died in Vienna on December 5, 1791. He completed all of his last three symphonies (39, 40, and 41, the so-called “Jupiter”) in the summer of 1788, perhaps for a series of subscription concerts that seem not to have taken place. The Symphony No. 39 is dated June 26, 1788; Mozart entered No. 40 into his own catalogue on July 25; and the “Jupiter” was completed on August 10. Nothing is known about the early performance history of No. 39.

THE SCORE OF MOZART’S SYMPHONY NO. 39 calls for one flute, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

Mozart entered the opening measures of the Symphony No. 39 into his thematic cata- logue on June 26, 1788; on the same day he entered “a little march,” the famous C major piano sonata “for beginners,” and an adagio introduction for string quartet to precede the C minor fugue that he had already composed. The last entry before June 26 in the thematic catalogue is that of a piano trio in E major (K.542) noted on June 22. It seems hardly likely that even Mozart composed an entire large symphony plus other tidbits in just four days. More likely, all the works had been in progress for some time and were simply finished more or less together.

Mozart reinforced the striking differences in mood within his last three symphonies— from mellow lyricism (No. 39 in E-flat) to darkly tragic grace (No. 40 in G minor) to festive formality (No. 41 in C)—with simple but significant differences in the instrumen- tation of each. In Symphony No. 39 he employed clarinets instead of oboes, whereas in No. 40 he preferred the sharper “bite” of the oboes but completely omitted trumpets and timpani, since their heroic gestures could play no role in so dark a work. Then in No. 41 he returned to the normal complement of brass, as in No. 39, while again includ- ing oboes rather than clarinets. (He would later add clarinets to No. 40.)

week 5 program notes 31 Program page for the first Boston Symphony performance of Mozart’s Symphony No. 39 on January 26, 1884, with Georg Henschel conducting (BSO Archives)

32 A 1777 portrait of Mozart wearing the Papal Order of the Golden Spur, presented to him in 1770 in Rome by the Pope

Although long since a standard component of Mozart’s opera orchestra, clarinets were relatively new in the symphony orchestra, so it was by no means a foregone conclusion that they would be included in symphonies at that time. His conscious choice of clar- inets instead of oboes in the Symphony No. 39 produces a gentler woodwind sonority especially appropriate to the rather autumnal lyricism of that work.

The first movement opens with a stately slow introduction with dotted rhythms provid- ing a nervous background for scale figures (which recur in the body of the movement), culminating in a grindingly dissonant appoggiatura. Just as we seem about to settle onto the dominant, ready to begin the Allegro, the activity decelerates and we are confront- ed with a stark, hushed chromatic figure recalling some of the “uncanny” moments in . The melodic line of the introduction only comes to a close in the opening phrase of the smiling Allegro theme in the violins (with echoes in horns and bassoons),

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week 5 program notes 33 The fascinating contrast between French and English musical culture: Masterpieces by Debussy and Dutilleux radiate color and evocativeness, and the British genius for musical portraiture is on display in Walton and Elgar.

DEBUSSY BENJAMIN Prélude à l'après- ZANDER midi d'un faune conductor

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The slow movement, in A-flat, opens with deceptive simplicity; it is, in fact, a richly detailed movement, with progressive elaborations of the material throughout. Among these delicious moments are the woodwind additions to the main material in the strings at the recapitulation of the opening theme. The main theme ends with a momentary turn to the minor just before the cadence; at the corresponding point in the recapitulation, this generates a surprising but completely logical passage in C-flat minor (written, how- ever, as B minor) before the imitative woodwind theme returns in the tonic. The hearty minuet provides a strong contrast to the delicacies of the Andante; its Trio features a clarinet solo with little echoes from the flute.

The finale is often called the most Haydnesque movement Mozart ever wrote, largely because it is nearly monothematic. The principal theme, beginning with a group of scurrying sixteenth-notes followed by a hiccup, produces a series of motives that carry the bulk of the discourse. The scurrying turn reappears alone or in combinations, turn- ing to unexpected keys after a sudden silence; the “hiccup” often comes as a separate response from the woodwinds to the rushing figure in the strings.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

THE FIRST AMERICAN PERFORMANCE OF MOZART’S SYMPHONY NO. 39 took place on January 9, 1847, with Henry C. Timm conducting the Philharmonic Society of New York. The sym- phony reached Boston five years later, in a performance by the Germania Musical Society under Carl Bergmann on February 7, 1852, at the Melodeon.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF THE SYMPHONY NO. 39 was given by Georg Henschel on January 26, 1884, subsequent BSO performances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Max Fiedler, Karl Muck, Ernst Schmidt, Pierre Monteux, Michael Press (who led the third and fourth movements in “Young People’s Concerts” in 1926), Richard Burgin (who did likewise in 1928 but had a chance to lead the whole thing much later, in 1960), Serge Koussevitzky, Victor de Sabata, Charles Munch, Erich Leinsdorf, Adrian Boult, , Stanislaw Skrowaczewski, Eduardo Mata, Klaus Tennstedt, Kurt Masur, André Previn, James Conlon, Peter Oundjian, Sir Neville Marriner, Rafael Frühbeck de Burgos, Sir Andrew Davis, James Levine, Christoph von Dohnányi (who gave the most recent subscription performances in March 2015 and then a Tanglewood performance that July, on both occasions leading it in a program of Mozart’s last three symphonies), and Pinchas Zukerman (the most recent Tanglewood performance of No. 39, on July 15, 2016).

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performanc ® sound for yourself. of their their of And our And s. e— he he e . Béla Bartók “Duke Bluebeard’s Castle,” Opus 11 It’s at the heart

BÉLA BARTÓK was born in Nagyszentmiklós, (now Sînnicolau Mare, Romania), on March 25, 1881, and died in New York City on September 26, 1945. He composed “Duke Bluebeard’s Castle” (“A Kékszákállú herceg vára”) in 1911, to a libretto by Béla Balázs. The score is dated “Rákoskeresztur, 1911. szeptember,” and the dedication reads “Mártának,” “to Márta” (see below). Egisto Tango conducted the first performance on May 24, 1918, at the Royal Hungarian Opera House; Oszkár Kálmán was Bluebeard, Olga Haselbeck was Judith, Imre Palló spoke the Prologue, and Dezsö Zádor was the stage director.

THE SCORE OF “BLUEBEARD’S CASTLE” calls for baritone (Bluebeard), soprano (Judith), speaker (Prologue), and an orchestra of four flutes (third and fourth doubling piccolo), two oboes, English horn, three clarinets, bass clarinet, four bassoons (fourth doubling contrabassoon), four horns, four trumpets, four trombones, bass tuba, two harps, celesta, organ, timpani, bass drum, snare drum, tam-tam, cymbals, suspended cymbal, xylophone, triangle, and strings; in addition, for staged performances, four trumpets and four trombones onstage.

THE BACKGROUND Bartók composed his only opera, Duke Bluebeard’s Castle, in 1911, and even before its rejection in a national competition, he knew that chances for its performance were slim. With his compatriot Zoltán Kodály, 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. “Kodály 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, Bartók did not aim at a home market: in 1909, the Bagatelles and Ten Easy Pieces for piano, and the First String Quartet, were printed in Budapest by Rósavölgyi. They gradually became known outside Hungary—few copies were sold within the country—but composer and publisher were content to recog- nize interest abroad.

week 5 program notes 37 Program page for the first BSO performances of Bartók’s “Bluebeard’s Castle” in November 1980 with Gwynne Howell and Yvonne Minton under the direction of Seiji Ozawa (BSO Archives)

38 Of course, Bartók was not about to leave his native land. Together with Kodály 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 Buda- pest, teaching not composition, since he was sure that devoting energy to the teaching of composition would adversely affect his own efforts as a composer, but piano. His tenure at the Academy would last some thirty years, and remain a principal means of support. And very early on, it offered something more: in 1909 he married the sixteen-year-old Márta Ziegler, who had entered his piano class two years earlier, to whom several of his compositions, including Duke Bluebeard’s Castle, would be dedicated, and with whom he would remain until their divorce in 1923, when he would marry Ditta Pásztory, who had become a piano student of his a year or so before.

In 1911, the year Bluebeard was composed and rejected, Bartók and Kodály founded the New Hungarian Music Society as an outlet for their own music and that of their contem-

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week 5 program notes 39

Béla Balázs, who wrote the libretto for “Duke Bluebeard’s Castle”

poraries; 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, and which in March 1910 gave the first concerts devoted to their music, there was still no headway to be made in their own country. In 1912 Bartók 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, a one-act ballet begun in 1914 and, like Duke Bluebeard’s Castle, based upon a libretto by the Hungarian poet-novelist-dramatist Béla Balázs.*

Bartók had specific reason for attempting another stage work. He was still hoping to see Duke Bluebeard’s Castle performed, and, all musical considerations aside, he attributed its rejection at least partly to its rather abstract subject matter and lack of stage action. The new Balázs libretto—recommended to Bartók by Balász himself—offered a chance to surmount these problems, as well as a story more clearly related than Bluebeard ’s to Hungarian folklore: a prince uses a puppet to attract the attentions of a princess with

* Béla Balázs (1884-1949)—originally Herbert Bauer—was a friend to both Bartók and Kodály; the libretto of Duke Bluebeard’s Castle, published in a volume of three one-act “mystery plays,” was con- ceived originally with the latter composer in mind. Balázs was a poet, novelist, dramatist, and “pio- neer of film aesthetics”; he traveled with Bartók on some of the latter’s folksong-gathering expedi- tions and introduced the music of Bartók and Kodály performed at the Waldbauer-Kerpely Quartet concerts given in 1910. Balázs exiled himself from Hungary between 1919 and 1945 because of his communist leanings, and when The Wooden Prince and Duke Bluebeard’s Castle were revived in Budapest in 1936, he agreed to have his name suppressed and to forfeit all royalties.

week 5 program notes 41 Poster for the first performance of “Duke Bluebeard’s Castle” on May 24, 1918, on the first half of a double bill also including Bartók’s “The Wooden Prince” (BSO Archives)

42 whom he has fallen in love, only to have a mischievous fairy divert the princess’s atten- tions from the prince to the puppet. Bartók 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 offset- ting the prevailing sobriety of the other. The text of the ballet won the favorable attention of Miklós Bánffy, intendant of the Royal Hungarian Opera House in Budapest; Balázs himself oversaw stage rehearsals, and in Italian conductor Egisto Tango, who was active at the Budapest Opera from 1913 to 1919, Bartók 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 ofDuke Bluebeard’s Castle—on a double bill with The Wooden Prince, as the composer had envisioned.†

STORY AND STAGECRAFT 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 ’s 1697Histoires et contes du temps passé

* Before entering the Naples Conservatory, Egisto Tango (1873-1951) studied engineering. His debut as an opera conductor came in Venice in 1893, and before his Budapest association he conducted at , Berlin, the Metropolitan, and in Italy. Active in Germany and Austria from 1920 to 1926, he settled in Copenhagen in 1927 and remained there until his death. Bartók dedicated The Wooden Prince to Tango when Universal-Edition published the score of the ballet in 1920. † The success of The Wooden Prince and Duke Bluebeard’s Castle, and the attention given the first performance of his Second String Quartet by the Waldbauer-Kerpely Quartet on March 3, 1918, led to Bartók’s important twenty-year association with Universal-Edition. Universal published Duke Bluebeard’s Castle in 1922.

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44 avec des moralités, also known as Contes de ma mère l’oie, together with such other fairy tales as Little Red Riding Hood, Puss in Boots, Sleeping Beauty, and Cinderella; an English translation appeared in 1729 as Tales of Time Past, by Mother Goose.* In the Perrault tale, Bluebeard, leaving home on business, entrusts his new wife with the keys to every room of his mansion, including one chamber which he expressly forbids her to open. In that room she finds the blood-encrusted remains of his former wives. Bluebeard discovers her disloyalty when he notices an ineradicable bloodstain that has appeared upon the cham- ber key, but before he can kill her, she is rescued by her brothers, who appear at the last moment and kill him. 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 known as Comorre the Cursed. The other, Gilles de Retz, was a marshal of France who fought the English alongside Joan of Arc at Orléans 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 Balázs/Bartók Bluebeard was Maurice Maeterlinck’s drama Ariane et Barbe-Bleue (1901), conceived as a libretto, set to music by Paul Dukas (of Sorcerer’s Apprentice fame), and premiered in Paris on May 10, 1907.† Despite several productions elsewhere, and despite its being recognized as “one of the finest French in the Impressionist style,” Dukas’s opera has fallen into neglect.‡ In Maeterlinck’s version of the Bluebeard story, Ariane discovers Bluebeard’s five previous wives, frightened

* Charles Perrault (1628-1703), poet and prose writer, received his law degree at Lyons in 1651 and was an important government official during the reign of Louis XIV, being particularly influential in the advancement of the arts and sciences. His views on literature provoked the so-called “Quarrel of the Ancients and Moderns,” and he left behind a four-volume work on that subject, Parallèle des anciens et des modernes. Perrault appended morals to the stories in his collection of fairy tales, and he provided two for Bluebeard: the first warns against the dangers of curiosity; the second, however, tells us that no “modern husband” could ever expect his wife to curb her curiosity, but that, in any event, whatever color the husband’s beard there’s no question as to who’s boss. † The Belgian dramatist and philosopher Maurice Maeterlinck (1862-1949) studied law but gave himself over to literature, philosophy, and mysticism. He won a Nobel Prize for literature in 1911, and his interest in the natural social order led to such works as The Life of the Bee (1901) and The Life of the Ant (1930). His Bluebeard drama of 1931 has been referred to as a “feminist play.” Maeterlinck’s drama Pelléas et Mélisande was the basis of Claude Debussy’s opera, which was given its first performance on April 30, 1902, at the Opéra-Comique, and which offers striking par- allels in its treatment of music and language to Duke Bluebeard’s Castle. Halsey Stevens has referred to Bartók’s opera as “a Hungarian Pelléas, but a Pelléas none the less.” ‡ Dukas’s is not the only neglected Bluebeard music. In his study of Bartók, Halsey Stevens lists operas on the Bluebeard subject by Grétry (Raoul Barbe-Bleue, to a Sedaine text), Offenbach (Barbe-Bleue, 1866, libretto by Halévy and Meilhac), and Rezniˇcek (Ritter Blaubart, 1920, based on a drama by Herbert Eulenberg).

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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.

Balázs’s one-act “mystery play”/libretto brings the story even further into the realm of symbolism and allegory by confining itself to the characters of, and relationship be- tween, the two protagonists, Bluebeard and his latest wife, here called Judith. To begin, a spoken “minstrel’s prologue” (frequently omitted from concert performances but retained by Charles Dutoit) asks the audience to question the meaning of the story, to consider its relevance to the observer. “Where is the stage? Inside or outside, ladies and gentlemen?... The world outside is at war, but that will not cause our deaths, ladies and gentlemen.... We look at each other and the tale is told....”*

The speaker recedes into the darkness as the curtain rises. 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, 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

* All English-language quotations from the text are from a literal translation by Bálint András Varga prepared for Chicago Symphony performances of Duke Bluebeard’s Castle in 1974 and are used here by permission of that orchestra.

week 5 program notes 47

From the 1936 Budapest revival of “Duke Bluebeard’s Castle”

fifth doors, his attitude has changed: Judit,“ ne félj, most már 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, finally revealing that behind the last door she will find “all the women of the past.” But by this point the situation is hopeless. Judith’s curiosity has driven her from the general to the particular: “Tell me Bluebeard, whom did you love before 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, Balázs’s text specifies a range of theatrical effects which contribute to the emotional and psychological drama. When Judith strikes the first door with her fists, “a deep, heavy sigh is heard, like the wind at night in long, low corridors.” When the sixth door is opened, to reveal a lake of tears, “a deep, sobbing sigh is heard,” and a soft sigh accompanies the closing of the fifth and sixth doors as Judith inserts the key into the lock of the seventh.

The opera begins and ends in darkness; light and color play crucial roles. Bluebeard and Judith are first seen in silhouette, “against the dazzling white square” of their entryway. Rays of colored light reflect what Judith discovers behind the first five doors: blood-red for the torture chamber of the first; yellowish-red for the armory of the second; golden for the third-door treasure chamber; bluish-green for the garden behind the fourth; and dazzling, bright light for Bluebeard’s domain, onto which the fifth door opens. With the opening of the sixth door, to reveal the lake of tears, a shadow darkens the hall. From the seventh door there is a ray of silver moonlight, and by the time Judith joins Bluebeard’s three previous wives behind that door, all the others have closed.

week 5 program notes 49

But the opera lends itself to concert performance: again, there is no real stage action, and Bartók’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.

Desmond Shawe-Taylor has written that the Bluebeard story “can be understood on many levels: as a foreshortened process of mutual discovery between two persons such as in real life would take many years; as a conflict between rational, creative Man and emotional, inspiring, never fully comprehending Woman [!!]; more deeply still, as an allegory of the loneliness and solitude of all human creatures.” With reference to Bartók’s opera, Gy˝orgy Kroó draws parallels to the qualities of man’s soul: the first-door torture chamber represents man’s cruelty, the armory life’s struggles, the treasure chamber spiritual beauty, the garden man’s tenderness, and his domains man’s pride; behind the final two doors are tears and memories, which are not to be shared. But this is incidental to our appreciation of the music, for it is the music and, at least—unless we are fluent in Hungarian—the projection of the text to which we respond when we hear the opera performed.

THE MUSIC Bartók’s opera is thoroughly Hungarian in mood and manner. The composer was deter- mined 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 “Hun- garian, 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, because the foreign words’ rhythms and accents are constantly at odds with the music.”

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52 As to the music itself, we are in an impressionistic world where the orchestra unerringly supports the mood, imagery, and language of the text. In the opening measures, Bartók 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 linearly stated minor second, which, in its dissonant vertical formulation (play an E and an F together on the piano, loudly), 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 that accompany 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, 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 marc mandel is Director of Program Publications of the Boston Symphony Orchestra.

THE FIRST AMERICAN PERFORMANCE OF “BLUEBEARD’S CASTLE” was given by the Dallas Symphony Orchestra under the direction of Antál Dorati on January 8, 1949. The first staged per- formance in America, sung in Chester Kallman’s English translation, was given by the New York City Opera on October 2, 1952, with James Pease as Bluebeard, Ann Ayars as Judith, and Joseph Rosenstock conducting.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF “BLUEBEARD’S CASTLE” were given (not including the spoken Prologue) by Seiji Ozawa with bass-baritone Gwynne Howell as Blue- beard and mezzo-soprano Yvonne Minton as Judith in November 1980 in Symphony Hall, followed by a performance in Providence. The only other conductor to lead BSO performances of the work until this week was James Levine: in November 2006 in Boston and New York, with bass-baritone Albert Dohmen, mezzo-soprano Anne-Sofie von Otter, andOrs ˝ Kisfaludy speaking the Prologue; at Tanglewood on August 17, 2007 (the orchestra’s only Tanglewood performance of the piece), with bass Samuel Ramey, mezzo-soprano Michelle DeYoung, and Kisfaludy, followed by performances later that month in Lucerne and Hamburg during the BSO’s European tour of summer festivals; and in January 2011 (the most recent subscription performances) with Dohmen, DeYoung, and Kisfaludy.

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The important modern biography of Mozart is Maynard Solomon’s Mozart: A Life (Harper- Perennial paperback). Peter Gay’s wonderfully readable Mozart is a concise, straightfor- ward introduction to the composer’s life, reputation, and artistry (Penguin paperback). John Rosselli’s The life of Mozart is one of the compact composer biographies in the series “Musical Lives” (Cambridge paperback). Christoph Wolff’s Mozart at the Gateway to his Fortune: Serving the , 1788-1791 takes a close look at the realities, prospects, and interrupted promise of the composer’s final years (Norton). For further delving, there are Stanley Sadie’s Mozart: The Early Years, 1756-1781 (Oxford); Volkmar Braun- behrens’s Mozart in Vienna, 1781-1791, which focuses on the composer’s final decade (HarperPerennial paperback); Julian Rushton’s Mozart: His Life and Work, in the “Master Musicians” series (Oxford), and Robert Gutman’s Mozart: A Cultural Biography (Harcourt Brace Jovanovich/Harvest paperback). Peter Clive’s Mozart and his Circle: A Biographical Dictionary is a handy reference work with entries on virtually anyone you can think of who figured in Mozart’s life (Yale University Press). Neal Zaslaw’sMozart’s Symphonies: Context, Performance Practice, Reception provides a detailed survey of Mozart’s works in the genre (Oxford paperback). The Mozart Compendium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon, includes an entry by Cliff Eisen on the symphonies (Schirmer). A Guide to the Symphony, edited by Robert Layton, includes a chapter by H.C. Robbins Landon on “The Symphonies of Mozart” (Oxford paperback). Alfred Einstein’s ceilings, first floor master suite and private outdoor space,

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56 Mozart: The Man, the Music is a classic older study (Oxford paperback). Michael Stein- berg’s program notes on Mozart’s last three symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s essays on Mozart’s last three symphonies are among his Essays in Musical Analysis. (Oxford).

The Boston Symphony Orchestra recorded Mozart’s Symphony No. 39 under James Levine in 2009 (BSO Classics), Erich Leinsdorf in 1969 (RCA), and Serge Koussevitzky in 1945 (also RCA). Other recordings among the great many available of the Sympho- ny No. 39 include those led by Daniel Barenboim with the English Chamber Orchestra (EMI), with the English Chamber Orchestra (Decca), Sir Colin Davis with the Staatskapelle Dresden (RCA), Christoph von Dohnányi with the Cleveland Orchestra (Decca), Sir Charles Mackerras with the Prague Chamber Orchestra (Telarc), Sir Neville Marriner with the Academy of St. Martin in the Fields (Philips), George Szell with the Cleveland Orchestra (Sony), and Bruno Walter with the Columbia Symphony Orcheastra (Sony).

Paul Griffiths’sBartók in the Master Musicians series (Dent paperback) is a useful sup- plement to Halsey Stevens’s The Life and Music of Béla Bartók, which has long been the standard biography of the composer (Oxford paperback). Béla Bartók by Kenneth Chalm- ers is a volume in the copiously illustrated series “20th-Century Composers” (Phaidon paperback). Three relatively recent books offer wide-ranging consideration of Bartók’s life, music, critical reception, and milieu: Bartók and his World, edited by Peter Laki (Princeton University Press); The Bartók Companion, edited by Malcolm Gillies (Amadeus paperback), and David E. Schneider’s Bartók, Hungary, and the Renewal of a Tradition: Case Studies in the Intersection of Modernity and Nationality (University of California Press). Agatha Fassett’s personal account of the composer’s last years has been reprinted as The Naked Face of Genius: Béla Bartók’s American Years (Dover paperback). Béla Bartók: His Life in Pictures and Documents by Ferenc Bónis is a fascinating compendium well worth seeking from secondhand book dealers (Corvino).

The Boston Symphony Orchestra’s Ozawa-led broadcast of Bluebeard’s Castle from November 1980, with Gwynne Howell as Bluebeard and Yvonne Minton as Judith, was included in the BSO’s twelve-disc box set, “Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000” (available in the Symphony Shop or online at bso.org). Ildiko Komlósi, this week’s Judith, has recorded Bluebeard’s Castle with Lászlo Pólgár as Bluebeard and Iván Fischer conducting the Budapest Festival Orchestra (Channel Classics). A still-available classic recording features Walter Berry and Christa Ludwig with István Kertész conducting the London Symphony Orchestra (London/ Decca). Other accounts include Pierre Boulez’s with Siegmund Nimsgern, Tatiana Troy- anos, and the BBC Symphony (Sony), Bernard Haitink’s with John Tomlinson, Anne Sofie von Otter, and the Berlin Philharmonic (EMI), James Levine’s live with John Tomlinson, Kremena Dilcheva, and the Munich Philharmonic (Oehms), and Esa-Pekka Salonen’s live with Tomlinson, Michelle DeYoung, and the Philharmonia Orchestra (Signum Classics).

Marc Mandel

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goulstonstorrs.com Guest Artists

Charles Dutoit

This past summer, Charles Dutoit, who was a student at Tanglewood in 1959, was Tan- glewood’s 2016 Koussevitzky Artist, acknowledging his commitment to teaching and performing at Tanglewood and his decades-long association with the Boston Symphony Orchestra. His two weeks of BSO concerts this month continue the celebration of his longstanding relationship with the orchestra, and also celebrate his 80th birthday. Since his initial Boston Symphony appearances in 1981 at Symphony Hall and in 1982 at Tan- glewood, Maestro Dutoit has returned frequently to the BSO podium at both venues. This past summer at Tanglewood, he conducted both the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, as well as leading a special all-Stravinsky Ozawa Hall program, “Charles Dutoit and Friends,” featuring a staged performance of the compos- er’s L’Histoire du soldat. In the spring of 2014, substituting at short notice for Lorin Maazel, he led the final three programs of the BSO’s 2013-14 subscription season followed by the orchestra’s tour to China and . Currently artistic director and principal conductor of London’s Royal Philharmonic Orchestra, Charles Dutoit recently celebrated his thirty-year artistic collaboration with the Philadelphia Orchestra, which, in turn, bestowed upon him the title of conductor laureate. He collaborates each season with the orchestras of Bos- ton, Chicago, San Francisco, New York, and Los Angeles and is also a regular guest on the concert stages of London, Berlin, Paris, Munich, Moscow, Sydney, Beijing, Hong Kong, and Shanghai, among others. He was artistic director of the Montreal Symphony Orchestra for twenty-five years and has also held posts with the Orchestre National de France and NHK Symphony in Tokyo, of which he is currently music director emeritus. He was music

week 5 guest artists 59 SEMI-STAGED PERFORMANCE

Sunday, January 29, 2017 at 3pm Sanders Theatre at Harvard University

BOSTON YOUTH SYMPHONY Tickets $30-50 Federico Cortese, Conductor Call Sanders at 617-496-2222 Edward Berkeley, Stage Director www.BYSOweb.org

60 director of the Philadelphia Orchestra’s season at the Mann Music Center for ten years and at the Saratoga Performing Arts Center for twenty-one years. Strongly interested in the younger generation of musicians, he has been music director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou. In 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invit- ed by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden, the Metropolitan Opera, , Rome Opera, and the Teatro Colón in Buenos Aires. In 1991 he was made Honorary Citizen of the City of Phila- delphia; in 1995, Grand Officier de l’Ordre National du Québec, and in 1996, Commandeur de l’Ordre des Arts et des Lettres by the government of France. In 1998 he was invested as Honorary Officer of the Order of Canada. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award from the International Classical Music Awards. Charles Dutoit holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. Prior to this season, his most recent subscription concerts with the BSO, in February 2016, includ- ed music of Berlioz (the Resurrexit and Te Deum), Dutilleux (Timbres, espace, mouvement), Ravel (Rapsodie espagnole and L’Heure espagnole), and Falla (Nights in the Gardens of ).

Ildikó Komlósi

Making her Boston Symphony Orchestra debut this week, Hungarian mezzo-soprano Ildikó Komlósi studied music at the Franz Liszt Academy of Budapest and later participated in specialized programs at Milan’s Teatro alla Scala and the Guildhall School of Music in London. Winner of the 1986 Pavarotti International Competition, she made her debut in Verdi’s Requiem opposite Luciano Pavarotti with Lorin Maazel conducting and has since enjoyed a successful career on the world’s great stages. Following debuts at the Frankfurt State Opera and Vienna State Opera, she sang in her first production at La Scala in 1990, subsequently making debuts in North and South America and in the Far East. She is a fre- quent guest at such major opera houses and theaters as the Metropolitan Opera, the Royal

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Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Opera House–Covent Garden, Teatro alla Scala, Deutsche Oper Berlin, the Bayerische Staatsoper in Munich, SemperOper in Dresden, Teatro San Carlo in Naples, Rome Opera, Teatro Regio in Turin, and the Gran Teatre del in , as well as in other the- aters in Italy and in Tokyo. Among her most notable successes have been singing Amneris in the Zeffirelli production ofAida for the opening of the 2006 La Scala season under Riccardo Chailly, and the same role at the Royal Opera House–Covent Garden directed by Robert Wilson and conducted by . In the last five years she has made annual appearances at the Arena di Verona in several roles, including the title role of Car- men, Amneris, Santuzza in , and Laura in La gioconda. In 2006, together with tenor José Cura, she was presented the Arena Award. In 2009 she sang Santuzza with great success at the Metropolitan Opera, where she also earned acclaim in 2012 for the role of the Nurse in Strauss’s Die Frau ohne Schatten. In 2016 she received the Kossuth Prize, the highest honor awarded by the Hungarian government. Ms. Komlósi continues to sing in the most prestigious opera houses and concert halls around the world, including recent and upcoming engagements at the Hungarian State Opera House, Verbier Festi- val, Arena di Verona, in London, Der Zwerg (Ghita) at the San Carlo Theater in Naples, and the world premiere of Trompe-la-mort (Asie) at Opéra National de Paris. Other recent performances include Parsifal (Kundry) at Deutsche Oper Berlin, Bluebeard’s Castle at La Scala under Alan Gilbert to open the 2015-16 symphonic season, and Il trovatore (Azucena) at the Mihailovsky Theater in St. Petersburg directed by Dmitri Tcherniakov.

Matthias Goerne

A frequent guest at renowned festivals and concert halls, Matthias Goerne has collabo- rated worldwide with leading orchestras, conductors, and pianists and has appeared on the world’s principal opera stages, among them the Metropolitan Opera, the Royal Opera House–Covent Garden, Madrid’s Teatro Real, National Opéra de Paris, and Vienna State Opera. His carefully chosen roles range from Wolfram (Tannhäuser), Amfortas (Parsifal), Kurwenal (Tristan und Isolde), and Orest (Elektra) to the title role in Berg’s Wozzeck and Bartók’s Bluebeard. Mr. Goerne’s artistry has been documented on numerous recordings,

week 5 guest artists 63 many of which have received prestigious awards, including four Grammy nominations, an ICMA award, and, most recently, the Diapason d’Or Arte. Following notable recordings with Vladimir Ashkenazy and Alfred Brendel for Universal Music, he has recently com- pleted a twelve-CD series of selected Schubert songs for harmonia mundi (“The Goerne/ Schubert Edition”) with eminent pianists. His most recent recordings, of Brahms songs with Christoph Eschenbach and of Mahler songs with the BBC Symphony, have garnered rave reviews. From 2001 through 2005, Matthias Goerne taught as an honorary profes- sor of song interpretation at the Robert Schumann Academy of Music in Dusseldorf. In 2001 he was appointed an Honorary Member of the Royal Academy of Music in London. A native of Weimar, he studied with Hans-Joachim Beyer in Leipzig and later with Elisa- beth Schwarzkopf and Dietrich Fischer-Dieskau. Highlights of his 2016-17 season include concerts with such leading orchestras in the United States and as the Boston Sym- phony, Dallas Symphony, Philadelphia Orchestra, Chicago Symphony, Los Angeles Philhar- monic, San Francisco Symphony, Pittsburgh Symphony, Berlin Philharmonic, Orchestre de Paris, and London’s Philharmonia Orchestra, as well as a series of song recitals with Leif Ove Andsnes and Markus Hinterhäuser in Dallas, Paris, Brussels, Milan, Madrid, London, and the new Lotte Hall in Seoul, , among many other venues. He continues his world tour of Schubert’s Winterreise in the celebrated William Kentridge production and also tours to major European cities with the Freiburg Baroque Orchestra. In addition, Mr. Goerne makes debuts as Jochanaan (Salome) at the Vienna State Opera and as Wotan in a concert version of Siegfried with the Hong Kong Philharmonic under . For summer 2017 he has been re-invited to prestigious festivals including Salzburg, where

week 5 guest artists 65 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. he will be singing the title role in Wozzeck, in addition to a song recital with Daniil Trifonov at the piano. For further information, please visit matthiasgoerne.com and facebook.com/ matthiasgoerne. Matthias Goerne made his Boston Symphony Orchestra debut in July 2001 at Tanglewood, with Mahler’s Rückert-Lieder. In addition to recital appearances, he has returned to Tanglewood for further BSO engagements in 2002 (songs of Hugo Wolf), 2005 (songs from Mahler’s Des Knaben Wunderhorn), and 2009 (Brahms’s Ein deutsches Requiem). He made his BSO subscription series debut in November 2011 in Britten’s and returned to Tanglewood most recently in August 2015 for Mahler’s Symphony No. 8 with Andris Nelsons conducting the Tanglewood Music Center Orchestra.

George Meszoly

George Blaise Meszoly was born in a displaced person’s camp for Hungarians in Bavaria on October 19, 1946, and grew up speaking Hungarian and German. After the family came to the U.S. they settled in Boston, where George attended Boston Latin School, subsequently being admitted to Harvard, where he majored in linguistics and Far Eastern languages. After two years as a Peace Corps volunteer in Korea and another year there on a Fulbright lectureship teaching English and Manchu to Koreans, he attended Columbia University, getting his advanced degrees in linguistics and Uralic languages, during which time he spent a year in Hungary under an IREX fellowship studying Hungarian historical phonology, dialects, and related languages. Another degree, in electronic engineering and computer science, gave him a career as a software engineer, from which he is now retired. He lives in Boston’s Back Bay, has performed in various amateur theatricals and films, leads seminars in history for Beacon Hill Seminars, and is active in social and theatrical functions at the Tavern Club. He is the co-author of Encounter English, a home-study course in English as a Foreign Language, published by Encyclopedia Brittanica.

week 5 guest artists 67 The Great Benefactors

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

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

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

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

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

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

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

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

Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust •

Mary S. Newman ‡ • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (9)

‡ Deceased

week 5 the great benefactors 69 ONE LIBERTY SQUARE

BOSTON, MA • 617-350-6070 ZAREHBOSTON.COM New England’s Largest Oxxford Dealer Serving the Financial District since 1933 The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2015-16 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Peter and Anne Brooke • Cynthia and Oliver Curme • Michael L. Gordon • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Marillyn Zacharis • Anonymous

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

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by October 3, 2016. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders Peter and Anne Brooke • Barbara and Amos Hostetter • Ted and Debbie Kelly • Wendy Shattuck and Samuel Plimpton virtuoso Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2)

week 5 the maestro circle 71 Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!

necmusic.edu/orchestras

Give the gift of an exciting musical experience!

Gift Certificates may be used toward the purchase of tickets, Symphony Shop merchandise, or at the Symphony Café. To purchase, visit bso.org, the Symphony Hall Box Office, or call SymphonyCharge at 617-266-1200.

72 encore Noubar and Anna Afeyan • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Mrs. Philip W. Bianchi ‡ • Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. ‡ and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Paul and Sandy Edgerley • Deborah and Philip Edmundson • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Josh and Jessica Lutzker • Sandra Moose and Eric Birch • Megan and Robert O’Block • William and Lia Poorvu • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan ‡ Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. William N. Booth • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • William David Brohn • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • Katherine Chapman and Thomas Stemberg ‡ • Ernest Cravalho and Ruth Tuomala • David and Victoria Croll • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Mr. and Mrs. Mark Goldweitz • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Dr. Rebecca M. Henderson and Dr. James A. Morone • Mr. ‡ and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Albert A. Holman III and Susan P. Stickells • Ms. Emily C. Hood • Intercontinental Real Estate Corporation, Peter Palandjian • Anne and Blake Ireland • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Seth A. and Beth S. Klarman • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Jane and Robert J. Mayer, M.D. • Jack and Elizabeth Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • John O’Leary • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy Pierce • Janet and Irv Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Rita and Norton Reamer • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg •

week 5 the higginson society 73

Sean Rush and Carol C. McMullen • Darin S. Samaraweera • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Dr. and Mrs. Phillip A. Sharp • Solange Skinner • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Marillyn Zacharis • Anonymous (6) sponsor Helaine B. Allen • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Jim and Nancy Bildner • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • James Catterton ‡ and Lois Wasoff • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Dr. Frank O. Clark and Dr. Lynn Delisi • Ronald and Judy Clark • Arthur Clarke and Susan Sloan • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Jill K. Conway • Albert and Hilary Creighton • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Richard Dixon and Douglas Rendell • Phyllis Dohanian •

Available now at bso.org and in the Symphony Shop. $21.98

week 5 the higginson society 75 25

MUSIC FOUNDATION INSPIRING new voices HONORING the legacy

Silver Anniversary Gala MONDAY, OCTOBER 31 SYMPHONY HALL, BOSTON

GARRICK OHLSSON ANDRÉ PREVIN

MEMBERS OF THE BSO BOSTON COMMUNITY GOSPEL CHOIR

Presentation of the Terezín Legacy Award to BERNIE & SUE PUCKER

Gala Chairs CYNTHIA & OLIVER CURME

Tickets: www.tmfgala.org | Tel. 857-222-8263

Phote © Michael J. Lutch Mrs. Richard S. Emmet • Joe and Susan Fallon • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Mr. and Mrs. Paul B. Gilbert • Jody and Tom Gill • Jordan and Sandy Golding • Adele C. Goldstein • Jack Gorman • Mrs. Winifred P. Gray • Raymond and Joan Green • Marjorie and Nicholas Greville • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Carol and Robert Henderson • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Dr. and Mrs. G. Timothy Johnson • Holly and Bruce Johnstone • Rita J. and Stanley H. Kaplan Family Foundation, Inc./ Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • The Karp Family Foundation • Mrs. Thomas P. King • Mr. John L. Klinck, Jr. • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Rosemarie and Alexander Levine • Betty W. Locke • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Ann Merrifield and Wayne Davis • Jo Frances and John P. Meyer • Dale and Robert Mnookin • Kyra and Jean Montagu • Anne M. Morgan • Betty Morningstar and Jeanette Kruger • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Peggy Reiser and Charles Cooney • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Norma and Roger A. Saunders • Mary and William Schmidt • Lynda Anne Schubert • Robert and Rosmarie Scully • Betsy and Will Shields • Gilda Slifka • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Sharon and David Steadman • Tazewell Foundation • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Marc and Nadia Ullman • Sandra A. Urie and Frank F. Herron • Mark and Martha Volpe • Matthew and Susan Weatherbie • Sally and Dudley Willis • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Nicholas T. Zervas • Anonymous (6) member Mrs. Sonia Abrams • Nathaniel Adams and Sarah Grandfield • Dr. and Mrs. Menelaos Aliapoulios • Joel and Lisa Alvord • Shirley and Walter ‡ Amory • Ms. Eleanor Andrews • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Mr. and Mrs. Frederic D. Barber • Donald P. Barker, M.D. • Hanna and James Bartlett • Clark and Susana Bernard • Leonard and Jane Bernstein • Mr. Thomas Bigony • Mrs. Stanton L. Black • Dr. and Mrs. Neil R. Blacklow • Partha and Vinita Bose • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Elise R. Browne • Matthew Budd and Rosalind Gorin • George ‡ and Assunta Cha • Mr. and Mrs. Dan Ciampa • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Robert and Sarah Croce • Joanna Inches Cunningham • Mr. and Mrs. Stephen Cutler • Pat and John Deutch • Relly and Brent Dibner • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Barbara and Seymour Ellin • Mrs. William V. Ellis • Elaine Epstein and Jim Krachey • Dr. Mark Epstein and Ms. Amoretta Hoeber • Peter Erichsen and David Palumb • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Deborah and Ron Feinstein •

week 5 the higginson society 77

Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Velma Frank • Myrna H. and Eugene M. ‡ Freedman • Ms. Ann Gallo • Dozier and Sandy Gardner • Jim and Becky Garrett • Rose and Spyros Gavris • Arthur and Linda Gelb • Nelson S. Gifford • Drs. Alfred L. and Joan H. Goldberg • Roberta Goldman • Mr. Eric Green • Harriet and George Greenfield • Paula S. Greenman • Madeline L. Gregory • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. and Ms. Uni Joo • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Joan and Peter Hoffman • Pat and Paul Hogan • Mr. and Mrs. Charles Hood • Cerise Lim Jacobs, for Charles • Susan Johnston • Ms. Teresa Kaltz • Joan Bennett Kennedy • Elizabeth Kent • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Susan G. Kohn • Dr. and Mrs. David Kosowsky • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. Don LeSieur • Emily Lewis • Alice Libby and Mark Costanzo • Thomas and Adrienne Linnell • Mr. and Mrs. Francis V. Lloyd III • Dr. Judith K. Marquis and Mr. Keith F. Nelson • Vincent Mayer and Dana Lee • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Mr. and Mrs. James Mellowes • Richard S. Milstein, Esq. • Robert and Jane Morse • Phyllis Murphy M.D. and Mark Hagopian • Anne J. Neilson • Cornelia G. Nichols • Judge Arthur Nims • George and Connie Noble • Kathleen and Richard Norman • Lawrence ‡ and Mary Norton • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Dr. Christine Olsen and Mr. Robert J. Small • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Peter Parker and Susan Clare • Joyce and Bruce Pastor • Michael and Frances Payne • Kitty Pechet • Donald and Laurie Peck • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Mr. and Mrs. Michael Rater • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Kennedy P. and Susan M. Richardson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Dr. and Mrs. Michael Ronthal • Mr. and Mrs. Donald Rosenfeld • Judy and David Rosenthal • Ms. Francine Rosenzweig and Dr. David Davidson • Mr. and Mrs. Henry Rosovsky • William and Kathleen Rousseau • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Joanne Zervas Sattley • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr • David and Marie Louise Scudder • Carol Searle and Andrew Ley • The Shane Foundation • Mr. and Mrs. Michael Simon • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • George ‡ and Lee Sprague • In honor of Ray and Maria Stata • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Mr. John Stevens and Ms. Virginia McIntyre • Fredericka and Howard Stevenson • John and Katherine Stookey • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Patricia L. Tambone • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Diana O. Tottenham • Philip C. Trackman • Mr. and Mrs. John H. Valentine • Ms. Ellen B. Widmer • Howard and Karen Wilcox • Albert O. Wilson, Jr. • Elizabeth H. Wilson • Chip and Jean Wood • The Workman Family • Jean Yeager • Dr. and Mrs. Bernard S. Yudowitz • Dr. Xiaohua Zhang and Dr. Quan Zhou • Anonymous (10)

week 5 the higginson society 79

Administration

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

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

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

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

week 5 administration 81 join our community of music lovers

The Boston Symphony is a world-renowned orchestra right in your community. But every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is the financial foundation of all the Orchestra achieves. Friends ensure a legacy of spectacular performances and the BSO’s connection to its community through education and engagement. friends-only privileges include: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more, or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. development

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

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

week 5 administration 83 nov 30 8pm wed

dec 1 8pm* thu

*SPONSORED BY FAIRMONT COPLEY PLAZA

dec 2 4pm 8pm 2016 fri

dec 3 11am 3pm 7:30pm sat kids

dec 4 11am 3pm 7:30pm sun kids

dec 6 11am 4pm 8pm tue kids

dec 8 4pm 8pm* thu

*SPONSORED BY AMERICAN AIRLINES dec 9 4pm 8pm* The Boston Pops Orchestra fri

The Boston Pops *SPONSORED BY COMMONWEALTH WORLDWIDE CHAUFFERED TRANSPORTATION Esplanade Orchestra dec 10 11am 3pm 7:30pm Keith Lockhart conductor sat kids

Tanglewood Festival Chorus dec 11 11am 3pm 7:30pm SANTA appears during all sun kids dec 12 11am 4pm 8pm pre-Christmas concerts. mon kids

dec 13 11am 4pm 8pm KIDS MATINEES tue kids These special family concerts include a children’s sing-along and post-concert dec 14 4pm 8pm wed photos with Santa. Children younger official sponsor of kids matinees than 2 are admitted free. dec 15 8pm thu BACK TO THE FUTURE dec 16 4pm 8pm DECEMBER 30 & 31 fri Power up your DeLorean…recharge your flux capacitor…and get dec 17 11am 3pm 7:30pm sat kids ready to relive this unforgettable movie classic! Back to the Future dec 18 11am 3pm 7:30pm is the 1.21-gigawatt blockbuster sun kids that topped the 1985 box office chart. Shown in high definition in dec 20 8pm tue Symphony Hall with Keith Lockhart and the Boston Pops performing Alan dec 21 8pm Silvestri’s dazzling musical score live! Audiences will also wed be in for an exclusive treat: approximately twenty minutes dec 22 4pm 8pm of brand new music added by award-winning composer thu Silvestri to the film’s score especially for these concerts. dec 23 4pm 8pm ™ & © Universal Studios and U-Drive Joint Venture. fri

NEW YEAR’S EVE dec 24 11am 3pm Ring in the New Year with the Boston Pops! Dance the sat kids night away with the Boston Pops Swing Orchestra and dec 30 12pm 7pm legendary bandleader extraordinaire Bo Winiker! There fri will be a cash bar and several dining options. Doors open dec 31 12pm 10pm at 8:30pm. sat

617-266-1200 #holidaypops bostonpops.org

season sponsor preferred card of the boston pops information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist public relations

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

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

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

week 5 administration 85

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

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

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

Eric Lange |Lange Media Sales |781-642-0400 |[email protected]

week 5 administration 87 Next Program…

Thursday, November 3, 8pm Friday, November 4, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, November 5, 8pm

thomas adès conducting

britten “sinfonia da requiem,” opus 20 Lacrymosa— Dies irae— Requiem aeternam

sibelius “tapiola,” tone poem for orchestra, opus 112

{intermission}

adès “totentanz,” for mezzo-soprano, baritone, and orchestra christianne stotijn, mezzo-soprano mark stone, baritone

British composer/conductor/pianist Thomas Adès joins the BSO family in the role of “Artistic Partner” this season, collaborating with the orchestra in a variety of capacities in Boston and at Tanglewood. In next week’s concerts he conducts his own 2013 Totentanz (“Dance of Death”) for mezzo-soprano, baritone, and orchestra. Set to a text accompanying a 15th-century German frieze depicting Death (represented by the baritone) dancing with individuals from all strata of humanity (represented by the mezzo-soprano), the work is both macabre and funny—the Dance of Death is the one dance none of us may refuse. Opening the program is Britten’s dramatic early orchestral work, Sinfonia da Requiem, premiered by the New York Philharmonic in 1941 during Britten’s time in the U.S. as a conscientious objector. (Its performance soon afterward by Serge Koussevitzky and the BSO led directly to Koussevitzky’s commissioning Britten’s opera .) Also on the program is the great Finnish composer Jean Sibelius’s late tone poem Tapiola, which atmospherically depicts the realm of the forest spirit Tapio from the Finnish epic Kalevala.

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

88 Coming Concerts… friday previews and rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Friday, October 28, 8pm Tuesday ‘C’ November 8, 8-10:20 Jordan Hall, New England Conservatory Thursday ‘D’ November 10, 8-10:20 Friday ‘B’ November 11, 1:30-3:45 IAN BOSTRIDGE, tenor Saturday ‘A’ November 12, 8-10:15 THOMAS ADÈS, piano ANDRIS NELSONS, conductor SCHUBERT Winterreise HÉLÈNE GRIMAUD, piano Presented in association with the Celebrity Series of Boston to celebrate the start of Thomas Adès’s NATHAN the space of a door (world three-year tenure as the BSO's Artistic Partner premiere; BSO commission) BRAHMS Piano Concerto No. 1 BRAHMS Symphony No. 1 Sunday, October 30, 3pm (November 8 & 10 only) Jordan Hall, New England Conservatory BRAHMS Symphony No. 2 BOSTON SYMPHONY CHAMBER PLAYERS (November 11 & 12 only) with THOMAS ADÈS, pianist and conductor and KELLEY O’CONNOR, mezzo-soprano Tuesday ‘B’ November 15, 8-10:10 BRITTEN Sinfonietta for winds and strings, Op. 1 Thursday ‘B’ November 17, 8-10:10 Friday Evening November 18, 8-10:15 ADÈS Court Studies from The Tempest, for clarinet, violin, cello, and Saturday ‘B’ November 19, 8-10:15 piano ANDRIS NELSONS, conductor BRAHMS Ophelia-Lieder, arranged by HÉLÈNE GRIMAUD, piano John Woolrich for voice and chamber ensemble ANDRES Everything Happens So STRAVINSKY Three Shakespeare Songs Much (world premiere; BSO commission) PURCELL Two Songs, arranged by Thomas Adès for voice BRAHMS Piano Concerto No. 2 and piano BRAHMS Symphony No. 3 SCHUBERT Quintet in A for piano and (November 15 & 17 only) strings, D.667, Trout BRAHMS Symphony No. 4 (November 18 & 19 only)

Thursday ‘A’ November 3, 8-9:45 Friday ‘A’ November 4, 1:30-3:15 Saturday ‘B’ November 5, 8-9:45 THOMAS ADÈS, conductor CHRISTIANNE STOTIJN, mezzo-soprano MARK STONE, baritone Programs and artists subject to change. BRITTEN Sinfonia da Requiem The BSO’s 2016-17 season is supported SIBELIUS Tapiola in part by the Massachusetts Cultural Council, which receives support from the ADÈS Totentanz, for mezzo-soprano, State of Massachusetts and the National baritone, and orchestra Endowment for the Arts.

week 5 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens at least two hours prior to most Sunday performances. Single tickets for all Boston Symphony subscription concerts are available at the box office. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a han- dling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Office at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 5 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balco- ny, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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