Summer 2014 Boston Symphony Orchestra

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boston symphony orchestra summer 2014

Andris Nelsons, Ray and Maria Stata Music Director Designate Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

133rd season, 2013–2014

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Stephen B. Kay • Joyce Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters

Life Trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick† • Nancy J. Fitzpatrick • Thelma E. Goldberg • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton •

Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • John P. Eustis II • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • 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 • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased Tanglewood The Tanglewood Festival

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

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

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Celebrating its 20th Anniversary Season this summer, Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

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

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 28 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Archival Exhibits at the Tanglewood Visitor Center

Seiji Ozawa on stage with the BSO at Tanglewood on the occasion of his conducting debut with the orchestra, August 16, 1964 (Whitestone Photo/ BSO Archives)

The historical displays in the Tanglewood Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information documenting the history of the Tanglewood property as well as the origins and early years of the Tanglewood Music Festival. This summer’s special exhibits at the Visitor Center mark the 50th anniversary of Seiji Ozawa’s conducting debut with the BSO, which took place at Tanglewood on August 16, 1964; the 50th anniversary of the Boston Symphony Chamber Players, who gave their first concert on November 8, 1964, at Sanders Theatre in Cambridge; and the 20th anniversary of Ozawa Hall, which opened to the public with the inaugural concert of July 7, 1994. Visitors can also continue to relive Tanglewood’s rich history through the Interactive Media Exhibit located in what was originally the Tappan House library, and which allows visitors to view historical film footage and other digitized content, as well as travel the Tanglewood Time Line.

Seiji Ozawa Hall under construction in the spring of 1993 (Walter H. Scott/BSO Archives)

Ralph Gomberg, Burton Fine, Jules Eskin, and Joseph Silverstein, who performed Mozart’s Oboe Quartet in the November 1964 inaugural concert of the Boston Symphony Chamber Players (Boris and Milton/BSO Archives)

In Consideration of Our Performing Artists and Patrons

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

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sun- days. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $31 (front and boxes) and $21 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2014

ANDRISNELSONS BERNARDHAITINK SEIJI OZAWA THOMASWILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Designate Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity

First Violins Wendy Putnam* Violas Owen Young* Robert Bradford Newman John F. Cogan, Jr., and Malcolm Lowe chair, endowed in perpetuity Steven Ansell Mary L. Cornille chair, Concertmaster Principal endowed in perpetuity Charles Munch chair, Xin Ding* Charles S. Dana chair, endowed in perpetuity Kristin and Roger Servison endowed in perpetuity Mickey Katz* chair Stephen and Dorothy Weber Tamara Smirnova Cathy Basrak chair, endowed in perpetuity Associate Concertmaster Glen Cherry* Assistant Principal Helen Horner McIntyre Donald C. and Ruth Brooks Anne Stoneman chair, Alexandre Lecarme* chair, endowed in perpetuity Heath chair, endowed endowed in perpetuity Nancy and Richard Lubin in perpetuity chair Alexander Velinzon° Edward Gazouleas Assistant Concertmaster Yuncong Zhang* Lois and Harlan Anderson Adam Esbensen* Ronald G. and Ronni J. Robert L. Beal, Enid L., chair, endowed in perpetuity Blaise Déjardin* and Bruce A. Beal chair, Casty chair endowed in perpetuity Robert Barnes Elita Kang Second Violins Michael Zaretsky Basses Assistant Concertmaster Haldan Martinson Mark Ludwig* Edwin Barker Edward and Bertha C. Rose Principal chair, endowed in perpetuity Principal Rachel Fagerburg* Carl Schoenhof Family Harold D. Hodgkinson Julianne Lee chair, endowed in perpetuity Kazuko Matsusaka* chair, endowed in perpetuity Acting Assistant (position vacant) Rebecca Gitter* Lawrence Wolfe Concertmaster Assistant Principal Assistant Principal Wesley Collins* Bo Youp Hwang Charlotte and Irving W. Maria Nistazos Stata chair, John and Dorothy Wilson Rabb chair, endowed Jonathan Chu* endowed in perpetuity chair, endowed in perpetuity in perpetuity Daniel Getz* Benjamin Levy Lucia Lin Sheila Fiekowsky Leith Family chair, endowed Dorothy Q. and David B. Shirley and J. Richard in perpetuity Arnold, Jr., chair, endowed Fennell chair, endowed Cellos Dennis Roy in perpetuity in perpetuity Jules Eskin Joseph and Jan Brett Ikuko Mizuno Nicole Monahan Principal Hearne chair David H. and Edith C. Philip R. Allen chair, Joseph Hearne Jennie Shames* Howie chair, endowed endowed in perpetuity Ruth and Carl J. Shapiro in perpetuity James Orleans*§ chair, endowed in perpetuity Martha Babcock Ronan Lefkowitz Associate Principal Todd Seeber* Valeria Vilker Vernon and Marion Alden Eleanor L. and Levin H. Kuchment* Vyacheslav Uritsky* chair, endowed in perpetuity Campbell chair, endowed in Stephanie Morris Marryott perpetuity and Franklin J. Marryott Nancy Bracken* Sato Knudsen chair Aza Raykhtsaum* Mischa Nieland chair, John Stovall* endowed in perpetuity Tatiana Dimitriades* Bonnie Bewick* Thomas Van Dyck* Catherine and Paul Mihail Jojatu Buttenwieser chair James Cooke* Sandra and David Bakalar chair Si-Jing Huang* Victor Romanul* Mary B. Saltonstall chair, Bessie Pappas chair Jonathan Miller* Richard C. and Ellen E. endowed in perpetuity Catherine French* Paine chair, endowed Jason Horowitz* in perpetuity Ala Jojatu* Flutes Bass Clarinet Thomas Siders Voice and Chorus Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward John Oliver Principal M. Lupean chair Tanglewood Festival Walter Piston chair, Chorus Conductor endowed in perpetuity Bassoons Michael Martin Alan J. and Suzanne W. Richard Svoboda Ford H. Cooper chair, Dworsky chair, endowed Clint Foreman endowed in perpetuity in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, endowed in perpetuity Trombones Librarians Elizabeth Ostling Associate Principal Suzanne Nelsen Toby Oft D. Wilson Ochoa Marian Gray Lewis chair, John D. and Vera M. Principal Principal endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Lia and William Poorvu Richard Ranti chair, endowed in perpetuity chair, endowed in perpetuity Piccolo Associate Principal Stephen Lange William Shisler Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, John Perkel Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed in perpetuity James Markey Associate Contrabassoon John Moors Cabot chair, Conductor endowed in perpetuity Oboes Gregg Henegar Marcelo Lehninger Helen Rand Thayer chair Anna E. Finnerty chair, John Ferrillo Tuba endowed in perpetuity Principal Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal Assistant James Sommerville Margaret and William C. Conductor Mark McEwen Principal Rousseau chair, endowed James and Tina Collias Helen Sagoff Slosberg/ in perpetuity Andris Poga chair Edna S. Kalman chair, endowed in perpetuity Keisuke Wakao Timpani Personnel Assistant Principal Richard Sebring Managers Farla and Harvey Chet Associate Principal Timothy Genis Krentzman chair, Margaret Andersen Sylvia Shippen Wells chair, Lynn G. Larsen Congleton chair, endowed endowed in perpetuity endowed in perpetuity Bruce M. Creditor in perpetuity Assistant Personnel English Horn Rachel Childers Percussion Manager John P. II and Nancy S. Robert Sheena Eustis chair, endowed J. William Hudgins Beranek chair, endowed in perpetuity Peter and Anne Brooke Stage Manager in perpetuity chair, endowed in perpetuity Michael Winter John Demick Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. William R. Hudgins Jason Snider Linde chair Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell participating in a system Jean-Noël and Mona N. * endowed in perpetuity Peter Andrew Lurie chair, of rotated seating Tariot chair endowed in perpetuity Michael Wayne § on sabbatical leave Matthew McKay on leave Thomas Martin Trumpets ° Associate Principal & E-flat clarinet Thomas Rolfs Harp Principal Stanton W. and Elisabeth Jessica Zhou K. Davis chair, endowed Roger Louis Voisin chair, endowed in perpetuity Nicholas and Thalia Zervas in perpetuity chair, endowed in perpetuity Benjamin Wright by Sophia and Bernard Gordon A Brief History of the Boston Symphony Orchestra

Now in its 133rd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by Andris Nelsons conducting the BSO at Tanglewood, July 2012 William Steinberg. Seiji Ozawa (photo by Hilary Scott) became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he takes up in the 2014-15 season, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Friday, July 18, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Piazzolla and Brahms

Friday, July 18, 8:30pm 9 BOSTON SYMPHONY ORCHESTRA EDWARD GARDNER conducting; THOMAS HAMPSON, baritone Music of Strauss, Copland, and Beethoven

Saturday, July 19, 8:30pm 23 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting; HÅKAN HARDENBERGER, trumpet Music of Brahms, Martinsson, and Tchaikovsky

Sunday, July 20, 2:30pm 35 BOSTON SYMPHONY ORCHESTRA ANDRIS NELSONS conducting; JOSHUA BELL, violin Music of Rouse, Lalo, and Beethoven

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tangle- wood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 18, are scheduled to include trumpeter Håkan Harden- berger, and composers John Harbison and Christopher Rouse. The series continues through Friday, August 22, the final weekend of the BSO’s 2014 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 5; August 2, 16, 23—Marc Mandel, BSO Director of Program Publications July 12, 19, 26; August 9—Robert Kirzinger, BSO Assistant Director of Program Publications

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

TANGLEWOODWEEK 3 TABLEOFCONTENTS 1 2014 Tanglewood

Prelude Concert Friday, July 18, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE ROBERT E. AND ELEANOR K. MUMFORD CONCERT

JASON HOROWITZ and JULIANNE LEE, violins EDWARD GAZOULEAS and DANIEL GETZ, violas BLAISE DÉJARDIN and OWEN YOUNG, cellos

PIAZZOLLA “Jeanne y Paul,” arranged for string quartet “Four, for Tango,” for string quartet Mr. HOROWITZ, Ms. LEE, Mr. GAZOULEAS, and Mr. YOUNG

BRAHMS String Sextet No. 1 in B-flat, Opus 18 Allegro ma non troppo Andante, ma moderato Scherzo: Allegro molto; Trio: Animato Rondo: Poco Allegretto e grazioso Ms. LEE and Mr. HOROWITZ; Messrs. GAZOULEAS and GETZ; Messrs. DÉJARDIN and YOUNG

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

NOTES ON THE PROGRAM

The great tango composer Astor Piazzolla (1921-1992) grew up immersed in that medium, taking up the bandoneon while at the same time studying classical piano. Born in Mar del Plata, Argentina, in 1921, he moved with his family to New York City in 1925, where (with one brief return to Argentina in 1930) they lived until 1936. This experience doubtless helped instill a sense of eclecticism and inclusive- ness that would obtain the rest of his life, even as the purely Argentine genre of tango remained the focus of his art. His development as a musician included performing with tango orchestras as well as studies with Argentina’s most important composer, Alberto Ginastera (only five years Piazzolla’s senior). He formed his first

2 orchestra in 1946 but disbanded it as his music became more experimental; later he favored the flexible, highly intercommunicative smaller groups with which he toured the world. His composed music of the 1940s shows the influence of Bartók and Stravinsky, with some Argentine elements like the inclusion of two bandoneons in the orchestral work Buenos Aires. That piece earned him a stipend to study in France with Nadia Boulanger, who encouraged him to embrace the tango wholeheartedly. Piazzolla’s tango Jeanne y Paul takes its title from the two main characters of Bernardo Bertolucci’s 1972 film Last Tango in Paris. Piazzolla wrote this bluesy tango for his nonet Conjunto 9, intending it for the film’s score, but it, as well as some of the other music intended for the film, was delayed, and didn’t make the final soundtrack. Jeanne y Paul ended up as one of the tracks for Franceso Rosi’s 1976 Italian thriller Cadaveri eccellenti (“Exquisite Corpses”). This brief tango is based on an improvised, chromatic melody for the bandoneon, with a later long, impassioned solo for the violin, and is in several short sections of varied tempo. This version for string quartet is by the veteran arranger Matteo Del Soldà. In the late 1950s and the 1960s, Piazzolla returned to the idea of presenting his music in his own groups, forming jazz combo-like collaborations and beginning to seed his own music with the materials of jazz. He also performed as soloist with string orchestras in his hybrid tangos, the style of which has come to be known as “tango nuevo.” Although his constant exploration initially alienated tango tradition- alists, his worldwide audience continued to grow. Late in his life, admired by musicians of many different styles, he began writing again for classical combinations and soloists. Four, for Tango, is Piazzolla’s only piece originally composed for string quartet, although arrangements (as in the case of this program’s Jeanne y Paul) are com- mon. He wrote Four, for Tango for the Kronos Quartet in 1987, and they recorded it for their “Winter Was Hard” CD; later, he followed it up with Five Tango Sensations for string quartet plus himself playing bandoneon. Four, for Tango is a single movement and, characteristically, features long, sultry melodic lines over the propulsive rhythmic base of the dance. Piazzolla also calls on the players to push the standard limits of their instruments with scratch tones, knocking on the body of the instrument, and short, sharp glissandos, among other techniques, adding a sense of improvisatory roughness to the piece. The shadow of Beethoven the symphonist loomed large over Johannes Brahms (1833-1897), who did not complete a first symphony of his own until 1876, when he was forty-three. Doubtless Beethoven’s specter also influenced Brahms in the realm of the string quartet; though he began working on them around 1865, the first two of his three quartets appeared only in 1873. But his first important chamber work for string ensemble appeared well before that: he worked on the first of his two sextets, Opus 18 in B-flat, in the years 1858-1860, publishing it in 1862. The second sextet, Opus 36 in G major, was published four years later.

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

TANGLEWOODWEEK 3 PRELUDEPROGRAMNOTES 3 Beethoven never wrote for this particular combination of instruments (two violins, two violas, and two cellos), which allows for an extraordinary range of contrapuntal variation and textural ingenuity on the composer’s part. The presence of two cellos also allows for a particularly rich sound in the ensemble’s lower range, evident from the very opening of the first movement, when the two cellos sing the main theme against the accompaniment of a single viola. When this theme returns at the recapitulation, it is made to sound quite different, embedded within the texture over an unstable harmony. For his second movement, Brahms writes a theme-and-variations whose mood and manner may suggest the slow movement of Beethoven’s Symphony No. 7. At the same time, this music is very much Brahms’s own. At one point, the suggestion of a Bach chaconne in the cello reflects Brahms’s wide-ranging and inquisitive sense of musical history and style. Throughout, as relief from the generally moodier tone, the shape and harmonic scheme of his theme permit striking moments of Brahmsian lyricism. The scherzo’s energy cannot help but suggest Beethoven; this movement is also extremely compact where the first and second are expansive. Brahms qualifies the

4 tempo marking of his rondo finale with the term “grazioso,” a designation that appears frequently in his music. The finale’s duple meter contrasts strongly with both the opening movement and the immediately preceding scherzo. The tune is easy to follow, so the changes Brahms works upon it are readily recognized; as rondo form dictates, the theme alternates with a number of ingeniously contrasting episodes. Near the end, the use of pizzicato strings harks back to a similar effect at the end of the sextet’s first movement.

Notes by ROBERT KIRZINGER (Piazzolla) and MARC MANDEL (Brahms) Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra. Composer/annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra. Artists

Violinist Jason Horowitz joined the Boston Symphony Orchestra at the start of the 2006 Pops season. His many appearances in Boston’s Jordan Hall have included solo recitals, concertos ranging from Bach to Scelsi and Schnittke, chamber music, and several world premieres, including the Violin Concerto of Donald Sur. Long involved with music of the Second Viennese School, he learned the violin concertos of Berg and Schoenberg from the legendary Louis Krasner. Mr. Horowitz received the New England Conservatory’s highest performance honor, the Artist Diploma, in 1998; he joined the Munich Chamber Orchestra shortly thereafter, working privately with music director Christoph Poppen in Berlin and Munich. He has participated in the Tanglewood, Norfolk, and Banff festivals, and has performed chamber music across America, Europe, and Asia. Formerly assistant concertmaster of the Colorado Symphony, Mr. Horowitz has also been guest concertmaster for such orchestras as the BBC Symphony, Baltimore Symphony, Hartford Symphony, and Rochester Symphony. Solo engagements have included the Mendelssohn concerto in the Czech Republic; the Menotti concerto with the Charleston Symphony; concertos by Tchaikovsky, Beethoven, and Mozart and Berlioz’s Réverie et Caprice with the Brecken- ridge Chamber Orchestra; the concerto Distant Light by Peteris Vasks with Boston Ballet to choreography by Peter Martins; a series of performances of Corelli violin sonatas also with Boston Ballet, and Barber’s Violin Concerto with the Lexington Sinfonietta. A member of the Boston Symphony Orchestra since 2007, BSO acting assistant concertmaster Julianne Lee recently received the Presser Music Award. She made her solo debut at age seven with the Lake Placid Symphonietta and has also appeared as soloist with the KBS Symphony Orchestra in Korea and the Philharmonie Baden- Baden in Germany. Her chamber music collaborations include concerts with such renowned artists as Joseph Silverstein, Peter Wiley, Roger Tapping, Samuel Rhodes, and Arnold Steinhardt. Ms. Lee has participated in the Marlboro Music Festival and Santa Fe Chamber Music Festival and toured Europe with the Australian Chamber Orchestra as guest principal violist. She holds a bachelor’s degree in violin performance and a diploma in viola performance from the Curtis Institute of Music, where she studied with Victor Danchenko, Joseph Silverstein, and Joseph DePasquale. She received her master’s degree from the New England Conservatory of Music, working with Donald Weilerstein and Kim Kashkashian. Edward Gazouleas will leave the Boston Symphony at the end of the 2014 Tangle- wood season, after twenty-four years as a BSO member, to become Professor of Viola

TANGLEWOODWEEK 3 PRELUDEPROGRAMNOTES 5 at the Jacobs School of Indiana University, Bloomington. He currently occupies the Lois and Harlan Anderson Chair in the BSO viola section, and will also be leaving teaching posts at the Boston University College of Fine Arts and the New England Conservatory of Music. Having held positions at Temple University and Wellesley College, he also taught at the Boston Conservatory for a significant period and was a member of their faculty chamber ensemble, the Boston Conservatory Chamber Players, for more than a decade. At the New England Conservatory, in addition to twelve years of teaching a weekly course on orchestra repertoire for violists, he co- designed the curriculum for, and taught four semesters of, NEC’s new course in Entrepreneurial Musicianship. An active recitalist and chamber music player, he was a prizewinner at the International String Quartet Competition in Evian, France, and has performed with members of the Fine Arts, Johannes, Muir, Lydian, and Audubon string quartets, as well as with the Boston Symphony Chamber Players. Mr. Gazouleas joined the BSO in 1990 and has been third-chair violist since 2000. At the BSO he has served on the Joint Committee, the Players’ Committee, the Artistic Advisory Committee (of which he was chairman), and the most recent Music Director Search Committee; he has been the viola representative on the Tanglewood Music Center faculty since 2004. Before joining the BSO he was a member of the Pittsburgh Symphony under Lorin Maazel. He attended Yale and is a graduate of the Curtis Institute, where he studied with Michael Tree and Karen Tuttle. Daniel Getz joined the Boston Symphony Orchestra viola section at the start of the 2013-14 subscription season. Raised in Bethesda, Maryland, Mr. Getz began studying violin at age eight and switched to the viola at sixteen. In 2011 he received his bachelor of music degree from the New England Conservatory, where he was a student of Kim Kashkashian and a recipient of the Presidential Scholarship. He earned his master of music degree at the Juilliard School in 2013 as a student of Heidi Castleman and Robert Vernon. Daniel Getz was a prizewinner in the 2011 Primrose Competition, a finalist in the National Symphony Young Soloists Competition, and a recipient of the Steven Brewster Scholarship from the Youth Fellowship program of the National Symphony Orchestra. He has performed the Walton and Stamitz viola concertos as a soloist with the National Philharmonic and the Landon Symphonette, and frequently served as principal viola of the Juilliard Orchestra. Prior to joining the BSO, Mr. Getz performed as a substitute with the orchestra as well as with the New York Philhar- monic. His festival appearances have included the Tanglewood Music Center, Aspen Music Festival, Kneisel Hall, and the Perlman Music Program.

6 Born in Strasbourg, France, in 1984, Blaise Déjardin made his debut with orchestra at fourteen, performing Haydn’s C major concerto at the Corum in Montpellier, France. First-prize winner at the Maurice Gendron International Cello Competition (2005), Mr. Déjardin also became the youngest prizewinner at the 6th Adam Inter- national Cello Competition (2006) in New Zealand. As a soloist, he has performed with the Christchurch Symphony Orchestra, the Kuopio Symphony Orchestra, the French Camerata, and many others. His performances have been broadcast on radio stations including France-Musique, YLE, Radio New Zealand, VPR, and WGBH. An active performer of new music, he gave the U.S. premiere of French composer Édith Canat de Chizy’s Les Formes du vent in 2008. A passionate chamber musician, he has performed in many festivals in France, and was invited for two summers to the Steans Institute of the Ravinia Festival in Chicago. He shared the stage with musicians such as Ralph Kirshbaum, Miriam Fried, Malcolm Lowe, Donald Weilerstein, and Paul Katz. Mr. Déjardin was a member of the European Union Youth Orchestra and the Gustav Mahler Jugendorchester, on tours of Europe, Russia, and South America. He holds a First Prize in Cello with highest honors from the Conservatoire National Supérieur de Musique de Paris, as well as a master of music diploma and a graduate diploma from the New England Conservatory in Boston. His main teachers were Philippe Muller, Laurence Lesser, and Bernard Greenhouse. Blaise Déjardin is the recipient of awards and scholarships funded by the Gregor Piatigorsky Fund, the Adami, the Fulbright Foundation, the Singer-Polignac Foundation, and the Cul- turesFrance Foundation. He joined the Boston Symphony Orchestra in 2008. In 2010, he and his BSO cello colleagues Adam Esbensen, Mihail Jojatu, and Alexandre Lecarme founded the Boston Cello Quartet, which recently released its first CD. Cellist Owen Young joined the BSO in August 1991. A frequent collaborator in chamber music concerts and festivals, he has also appeared as concerto soloist with numerous orchestras. He has appeared in the Tanglewood, Aspen, Banff, Davos, Sunflower, Gateway, Brevard, and St. Barth’s music festivals and is a founding member of the innovative chamber ensemble Innuendo. Mr. Young’s performances have been broadcast on National Public Radio, WQED in Pittsburgh, WITF in Harrisburg, and WGBH in Boston. He has performed frequently with singer/songwriter James Taylor, including the nationally televised concert “James Taylor Live at the Beacon Theatre” in New York City. Mr. Young was previously on the faculties of the Boston Conservatory, the New England Conservatory Extension Division, and the Longy School of Music; he is currently on the faculty of Berklee College of Music and is active in Project STEP (String Training and Education Program for students of color). From 1991 to 1996 he was a Harvard-appointed resident tutor and director of concerts in Dunster House at Harvard University. His teachers included Eleanor Osborn, Michael Grebanier, Anne Martindale Williams, and Aldo Parisot. Mr. Young holds both bachelor’s and master’s degrees from Yale University. He was a Tanglewood Music Center Fellow in 1986 and 1987. After winning an Orchestra Fellowship in 1987, he played with the Atlanta Symphony in 1988 and with the Boston Symphony in 1988-89. He was a member of the New Haven Symphony in 1986-87 and of the Pitts- burgh Symphony from 1989 until he joined the BSO in 1991. Owen Young occupies the John F. Cogan, Jr., and Mary L. Cornille Chair in the orchestra’s cello section.

TANGLEWOODWEEK 3 PRELUDEPROGRAMNOTES 7

2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Friday, July 18, 8:30pm “UnderScore Friday” concert, including introductory comments from the stage by BSO bassoonist Suzanne Nelsen.

EDWARD GARDNER conducting

Please note that Christoph von Dohnányi has regretfully had to cancel his Tanglewood appearances this week and next due to a serious illness in his family. We are grateful that Edward Gardner, making his BSO debut, was available at short notice to conduct tonight’s concert. The program remains unchanged.

STRAUSS “Till Eulenspiegel’s Merry Pranks,” after the old rogue’s tale, set in rondo form for large orchestra, Opus 28

COPLAND From “Old American Songs” The Dodger Long Time Ago Simple Gifts The Little Horses The Golden Willow Tree The Boatmen’s Dance THOMAS HAMPSON, baritone

Please withhold applause until after the final song. Texts begin on page 13.

{Intermission}

BEETHOVEN Symphony No. 7 in A, Opus 92 Poco sostenuto—Vivace Allegretto Presto Allegro con brio

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. 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 devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

TANGLEWOODWEEK 3 FRIDAYPROGRAM 9 NOTES ON THE PROGRAM

Richard Strauss (1864-1949) “Till Eulenspiegel’s Merry Pranks,” Opus 28 First performance: November 5, 1895, Cologne, Franz Wüllner cond. First BSO performance: February 21, 1896, Emil Paur cond. First Tanglewood performance: August 8, 1946, Serge Koussevitzky cond. Most recent Tanglewood performance: August 12, 2012, Christoph von Dohnányi cond. There was a real Till Eulenspiegel, born early in the fourteenth century near Brunswick and gone to his reward—in bed, not on the gallows as in Strauss’s tone poem—in 1350 at Mölln in Schleswig-Holstein. Stories about him have been in print since the beginning of the sixteenth century, the ﬁrst English version coming out around 1560 under the title Here beginneth a merye Jest of a man that was called Howleglas (“Eule” in German means “owl” and “Spiegel” “mirror” or “looking-glass”). The consistent and serious theme behind his jokes and pranks, often in themselves distinctly on the coarse and even brutal side, is that here is an individual getting back at society, more speciﬁcally the shrewd peasant more than holding his own against a stuffy bourgeoisie and a repres- sive clergy. The most famous literary version of Till Eulenspiegel is the one published in 1866 by the Belgian novelist Charles de Coster: set in the period of the Inquisition in the sixteenth century, it is also the most explicitly politi- cized telling of the story, and it is the source of one of the great underground masterpieces of 20th-century music, the oratorio Thyl Claes by the Russian-German composer Vladimir Vogel.

10 Strauss knew de Coster’s book, and it seems also that in 1889 in Würzburg he saw an opera called Eulenspiegel by Cyrill Kistler, a Bavarian composer whose earlier opera Kunihild had a certain currency in the ’80s and early ’90s, and for which he was proclaimed as Wagner’s heir. Indeed, Strauss’s first idea was to compose an Eulenspiegel opera, an idea that appealed to him especially after the failure of his own exceedingly Wagnerian Guntram in 1894. He sketched a scenario and later commissioned another from Count Ferdinand von Sporck, the librettist of Kistler’s Kunihild, but somehow the project never got into gear. “I have already put together a very pretty scenario,” he wrote in a letter, “but the figure of Master Till does not quite appear before my eyes. The book of folk-tales only outlines a generalized rogue with too superficial a dramatic personality, and developing his character in greater depth, taking into account his contempt for humanity, also presents considerable difficulties.” But if Strauss could not see Master Till, he could hear him, and before 1894 was out, he had begun the tone poem that he finished on May 6, 1895. As always he could not make up his mind whether he was engaged in tone painting or “just music.” To Franz Wüllner, who was preparing the first performance, he wrote: I really cannot provide a program for Eulenspiegel. Any words into which I might put the thoughts that the several incidents suggested to me would hardly suffice; they might even offend. Let me leave it, therefore, to my listeners to crack the hard nut the Rogue has offered them. By way of helping them to a better understanding, it seems enough to point out the two Eulenspiegel motives [Strauss jots down the opening of the work and the virtuosic horn theme], which, in the most diverse disguises, moods, and situations, pervade the whole up to the catas- trophe when, after being condemned to death, Till is strung up on the gibbet. For the rest, let them guess at the musical joke a Rogue has offered them. On the other hand, for Wilhelm Mauke, the most diligent of early Strauss exegetes, the composer was willing to offer a more detailed scenario—Till among the market- women, Till disguised as a priest, Till paying court to pretty girls, and so forth—the sort of thing guaranteed to have the audience anxiously reading the program book instead of listening to the music, probably confusing priesthood and courtship anyway, wondering which theme represents “Till confounding the Philistine peda- gogues,” and missing most of Strauss’s dazzling invention in the process. (Also, if you’ve ever been shown in a music appreciation class how to “tell” rondo form, forget it now.) It is probably useful to identify the two Till themes, the very first violin melody and what the horn plays about fifteen seconds later,* and to say that the opening music is intended as a “once-upon-a-time” prologue that returns after the graphic trial and hanging as a charmingly formal epilogue (with rowdily humorous “kick- er”). For the rest, Strauss’s compositional ingenuity and orchestral bravura plus your attention and fantasy will see to the telling of the tale.

MICHAEL STEINBERG Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilations of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

* It is told that Strauss’s father, probably both the most virtuosic and the most artistic horn player of his time, protested the unplayability of this ﬂourish. “But Papa,” said the composer, “I’ve heard you warm up on it every day of my life.”

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 11 Aaron Copland (1900-1990) “Old American Songs” First performance of Set 1 (The Boatmen’s Dance; The Dodger; Long Time Ago; Simple Gifts; I Bought Me a Cat): June 17, 1950, Aldeburgh, England, Peter Pears, tenor; Benjamin Britten, piano. First performance of Set 1 in its orchestral version: January 7, 1955, Los Angeles Philharmonic, William Warfield, baritone; Alfred Wallenstein cond. First performance of Set 2 in its original piano-accompanied version (The Little Horses; Zion’s Walls; The Golden Willow Tree; At the River; Ching-a-ring Chaw): May 25, 1958, Ipswich, Massachusetts, William Warfield, baritone, Aaron Copland, piano, though it had already been recorded by Warfield and Copland on August 18, 1953, for Columbia Records. Only previous performance of selections from “Old American Songs” by the Boston Symphony Orchestra (The Boatmen’s Dance; The Little Horses; The Dodger; At the River; Simple Gifts; Ching-a-ring Chaw): July 4, 1988, Sanford Sylvan, baritone; Hugh Wolff cond. One of the ways Aaron Copland sought to create a music that was recogniz- ably “American” to the average listener was to investigate the wealth of folk music produced in this country. There is a certain irony here in that an urban composer, trained in Europe and long resident in New York, should choose to set many songs that he had surely never heard in their original “folk” context. Yet the musical language that he evolved in composing his popular ballets Billy the Kid, Rodeo, and Appalachian Spring was so appropriate that his Old American Songs were quickly recognized as masterful artistic interpretations of American folk material—much like the work that Ralph Vaughan Williams, Gustav Holst, and later Benjamin Britten accomplished with the folk traditions of their native England. In fact, it was at Britten’s request that Copland wrote the first of his two sets of Old American Songs in 1950, for performance at Britten’s Aldeburgh Festival; this set proved so popular that Copland followed it with a second set in 1952. Each set consists of five songs, ranging from folk ballads, lullabies, and revival- ist hymns to numbers from popular theater. Copland found the original music, in most cases, in the extraordinary Harris Collection at Brown University. A version of the campaign song “The Dodger” appeared in the collection Our Singing Country published by John A. and Alan Lomax; the song was supposedly used in the Cleveland-Blaine presidential campaign in the 1880s. For “Long Time Ago,” Copland chose a nostalgic ballad he found in the aforementioned Harris Collection at Brown University. “Simple Gifts” is a Shaker song from the period 1837-47; it has become the best-known of all such tunes from Copland’s use of it in Appalachian Spring. “The Little Horses” was a children’s lullaby originating in the southern states. “The Golden Willow Tree” is an arrangement by Copland of “The Golden Vanity,” an Anglo-American ballad; Benjamin Britten also made use of this melody among his own settings of folk songs. “The Boatmen’s Dance” is a minstrel song published in 1843 in Boston as an “original banjo melody” by Dan D. Emmett, who later composed “Dixie.”

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

12 The Dodger (Campaign Song) from Old American Songs, Set 1 Yes the candidate’s a dodger, yes a well known dodger, Yes the candidate’s a dodger yes and I’m a dodger too. He’ll meet you and treat you and ask you for your vote But look out boys he’s a dodgin’ for a note, Yes we’re all dodgin’, a dodgin’, dodgin’, dodgin’ Yes we’re all dodgin’ out away through the world. Yes the preacher he’s a dodger, yes a well known dodger, Yes the preacher he’s a dodger yes and I’m a dodger too. He’ll preach you a gospel and tell you of your crimes But look out boys he’s a dodgin’ for your dimes, Yes we’re all dodgin’, a dodgin’, dodgin’, dodgin’ Yes we’re all dodgin’ out away through the world. Yes the lover he’s a dodger, yes a well known dodger, Yes the lover he’s a dodger yes and I’m a dodger too. He’ll hug you and kiss you and call you his bride But look out girls he’s a tellin’ you a lie. Yes we’re all dodgin’, a dodgin’, dodgin’, dodgin’ Yes we’re all dodgin’ out away through the world.

Long Time Ago (Traditional) from Old American Songs, Set 1 On the lake where droop’d the willow Long time ago, Where the rock threw back the billow Brighter than snow. Dwelt a maid beloved and cherish’d By high and low, But with autumn leaf she perished Long time ago. Rock and tree and flowing water Long time ago, Bird and bee and blossom taught her Love’s spell to know. While to my fond words she listen’d Murmuring low, Tenderly her blue eyes glisten’d Long time ago.

Please turn the page quietly. Stu Rosner

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 13 Simple Gifts (Shaker Song) from Old American Songs, Set 1 ’Tis the gift to be simple ’tis the gift to be free ’Tis the gift to come down where you ought to be And when we find ourselves in the place just right, ’Twill be in the valley of love and delight. When true simplicity is gained To bow and to bend we shan’t be ashamed To turn, turn will be our delight. ’Till by turning, turning we come round right. ’Tis the gift to be simple ’tis the gift to be free ’Tis the gift to come down where you ought to be And when we find ourselves in the place just right, ’Twill be in the valley of love and delight.

The Little Horses (Traditional) from Old American Songs, Set 2 Hush you bye, don’t you cry, Go to sleepy little baby. When you wake, you shall have, All the pretty little horses. Blacks and bays, dapples and grays, Coach and six-a little horses…. Hush you bye, don’t you cry, Go to sleepy little baby. When you wake, You’ll have sweet cake and All the pretty little horses. A brown and gray and a black and a bay, And a coach and six-a little horses. A black and a bay and a brown and a gray And a coach and six-a little horses. Hush you bye, don’t you cry, Oh you pretty little baby. Go to sleepy little baby. Oh you pretty little baby.

The Golden Willow Tree (Traditional Anglo-American) from Old American Songs, Set 2 There was a little ship in South Amerikee, Crying O the land that lies so low, There was a little ship in South Amerikee, She went by the name of the Golden Willow Tree, As she sailed in the lowland lonesome low, As she sailed in the lowland so low. We hadn’t been a sailin’ more than two weeks or three, Till we came in sight of the British Roverie, As she sailed in the lowland lonesome low, As she sailed in the lowland so low. Up stepped a little carpenter boy, says “What will you give me for the ship that I’ll destroy?” “I’ll give you gold or I’ll give thee,

14 The fairest of my daughters as she sails upon the sea If you’ll sink ’em in the lowland lonesome low, If you’ll sink ’em in the land that lies so low.” He turned upon his back and away swum he, He swum till he came to the British Roverie, He had a little instrument fitted for his use, He bored nine holes and he bored them all at once. He turned upon his breast and back swum he, He swum till he came to the Golden Willow Tree. “Captain, O Captain, come take me on board, And do unto me as good as your word For I sank ’em in the lowland lonesome low, I sank ’em in the lowland so low.” “Oh no, I won’t take you on board, Nor do unto you as good as my word, Tho’ you sank ’em in the lowland lonesome low, Tho’ you sank ’em in the land that lies so low.” “If it wasn’t for the love that I have for your men, I’d do unto you as I done unto them, I’d sink you in the lowland lonesome low, I’d sink you in the lowland so low” He turned upon his head and down swum he, He swum till he came to the bottom of the sea. Sank himself in the lowland lonesome low, Sank himself in the land that lies so low.

The Boatmen’s Dance (Minstrel Song) from Old American Songs, Set 1 High row the boatmen row, Floatin’ down the river the Ohio. The boatmen dance, the boatmen sing, The boatmen up to ev’rything, And when the boatman gets on shore He spends his cash and works for more. Then dance the boatmen dance, O dance the boatmen dance. O dance all night ’til broad daylight, And go home with the gals in the mornin’. High row the boatmen row, Floatin’ down the river the Ohio. I went on board the other day To see what the boatmen had to say. There I let my passion loose An’ they cram me in the callaboose. Dance the boatmen dance, O dance the boatmen dance... The boatman is a thrifty man, There’s none can do as the boatman can. I never see a pretty gal in my life But that she was a boatman’s wife. Dance the boatmen dance... High row the boatmen row...

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 15 Ludwig van Beethoven (1770-1827) Symphony No. 7 in A, Opus 92 First performance: December 8, 1813, Vienna, Beethoven cond. First BSO performance: February 4, 1882, Georg Henschel cond. First Berkshire Festival performance: August 13, 1936, Serge Koussevitzky cond. First Tanglewood performance: August 5, 1939, Kousse- vitzky cond. Most recent Tanglewood performance: August 23, 2013, Andris Poga cond. By 1812 much had changed in Beethoven’s life and career since the extraordinary period between 1802 and 1809, when he produced a flood of masterpieces perhaps unprecedented in the history of music. In 1809, however, around the time of the premiere of the Fifth and Sixth symphonies, this stupendous level of production abruptly fell off. Though there was much extraordinary music to come, Beethoven never again composed with the kind of fury he possessed in the first decade of the century. What happened? Beethoven was increasingly ill and his bad hearing getting worse. However, given his ability to transcend physical misery, it is more likely that his decline in production came from expressive quandaries. He had begun to sense that the train of ideas that had sustained him through the previous decade was close to being played out. He had to find something new. It is in the Seventh and Eighth symphonies that we see the turn toward the third period taking shape. In the Seventh Beethoven put aside for good the heroic model of the Third and Fifth symphonies, but he had not yet arrived at the inward music of the late works. If not heroic or sublime, then what for the Seventh? A kind of Bacchic trance, dance music from beginning to end. Wagner called it “the apotheosis of the dance.” But the Seventh dances unlike any symphony before: it dances wildly and relentlessly, dances almost heroically, dances in obsessive rhythms whether fast or slow. Nothing as decorous as a minuet here; it’s rather shouting horns and skirling strings (skirling being what bagpipes do). The symphony’s expansive and grandiose introduction strikes a note at once appropriate and misleading: the fast dance that eventually starts out from it seems something of a surprise. But from the introduction’s slow-striding opening theme many other melodies will flow. Above all the introduction defines the symphony in its har- monies: wandering without being restless so much as brash and audacious, with a tendency to leap nimbly from key to key by nudging the bass up or down a notch. And the introduction defines key relationships to be thumbprints of late Beethoven: around the central key of A major he groups F major and C major, keys a third up and a third down. That group of keys will persist through the symphony, just as D and B-flat persist in the Ninth. With a coy transition from the introduction, we’re off into the first movement Vivace, quietly at first but with rapidly mounting intensity. The movement is a titanic gigue. Its dominant dotted rhythmic figure is as relentless as the Fifth Symphony’s famous figure, but here the effect is mesmerizing rather than fateful. Rhythm plays a more central role than melody here, though there is a pretty folk tune in residence. More, though, the music is engaged in quick changes of key in startling directions, every- thing propelled by the rhythm. From the first time you hear the symphony’s outer movements, meanwhile, you never forget the lusty and rollicking horns. Nor are you likely to forget the first time you hear the stately and mournful dance of

16 the second movement, in A minor. It has been an abiding hit and an object of near- obsession since its first performances. The idea is a process of intensification, adding layer on layer to the inexorably marching chords (with their poignant chromaticism that Germans call moll-Dur, minor-major). Once again, in a slowish movement now, the music is animated by an irresistible rhythmic momentum. For contrast comes a sweet, harmonically stable B section in A major (plus C, a third up). Rondo-like, the opening theme returns twice, lightened, turned into a fugue, the last time serving as coda. The scherzo is racing, eruptive, giddy, its main theme beginning in F major and end- ing up a third in A, from one flat to three sharps in a flash. We’re back to brash shifts of key animated by relentless rhythm. The Trio provides maximum contrast, slowing to a kind of majestic dance tableau, as frozen in harmony and gesture as a painting of a ball. The Trio returns twice and jokingly feints at a third time before Beethoven slams the door. The purpose of the finale seems to be, amazingly, to ratchet the energy higher than it has yet been. If earlier we have had exuberance, brilliance, stateliness, those moods of dance, now we have something on the edge of delirium, in the best and most intoxicating way: stamping and whirling two-beat fiddling, with the horns in high spirits again. Does any other symphonic movement sweep you off your feet and take your breath away so nearly literally as this one? The Seventh was premiered in December 1813 as part of the ceremonies around the Congress of Vienna, when the aristocracy of Europe gathered with the intention of turning back the clock to before Napoleon. Beethoven would despise the reac- tionary results of the Congress, but that was in the future; he was glad to receive its applause. The premiere of the Seventh under his baton was one of the triumphant moments of his life. For the first of many times, the slow movement had to be encored. The orchestra was fiery and inspired, suppressing their giggles at the composer’s antics on the podium. In loud sections (the only ones he could hear) Beetho- ven launched himself into the air, arms windmilling as if he were trying to fly; in quiet passages he all but crept under the music stand. The paper reported from the audience “a general pleasure that rose to ecstasy.” It’s true that another piece premiered on the program, Beethoven’s trashy and opportunistic Wellington’s Victory, got more applause and in the next years more performances. But for the moment he was not too proud to bask a little, pocket the handsome proceeds, perhaps to enjoy with a sardonic laugh the splendid success of the bad piece and the merely bright prospects of the good one. The Seventh after all celebrates the dance, which lives in the ecstatic and heedless moment.

JAN SWAFFORD An alumnus of the Tanglewood Music Center, where he studied composition, and a faculty member at the Boston Conservatory, Jan Swafford is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and The Vintage Guide to Classical Music.

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 17 18 Guest Artists

Edward Gardner Recognized as one of the most talented conductors of his generation, Edward Gardner began his tenure as music director of English National Opera in May 2007 with a critically acclaimed new production of Britten’s Death in Venice. Under his direction, ENO has presented such productions as The Damnation of Faust, Boris Godunov, Punch and Judy, and Wozzeck. His eighth season there included Fidelio, Peter Grimes, Thebans, and Benvenuto Cellini. Among his honors are the Royal Philharmonic Society Award in 2008 for Best Conductor, the Olivier award in 2009 for Out- standing Achievement in Opera, and an OBE for his Services to Music in the 2012 Queen’s Birthday Honours. Equally successful as an opera conductor out- side ENO, Mr. Gardner received immediate re-invitations from the Metropolitan Opera and La Scala, following debuts with Carmen and Death in Venice, respec- tively. In 2013-14 he returned to the Met for Der Rosenkavalier, celebrating the 100th anniversary of the work’s New York premiere. Prior to his appointment at ENO, he was a regular at Paris Opera and in 2008 returned to Glyndebourne Festival Opera for Britten’s Turn of the Screw. In October 2015 he will take up his new appointment as chief conductor of the Bergen Philharmonic Orchestra, leading its 250th-anniversary gala concert; he has served there as principal guest conductor since August 2013. As principal guest conductor of the City of Birmingham Symphony Orchestra since 2011, he has led the UK premiere of Jonathan Harvey’s Weltehos to mark the opening of the 2012 Cultural Olympiad, as well as Britten’s Spring Symphony in Birmingham and War Requiem in St. Paul’s Cathedral to celebrate the composer’s centenary year. The 2013- 14 season included the completion of a Mendelssohn cycle that was also recorded for Chandos. Edward Gardner enjoys a flourishing relationship with the BBC Symphony Orchestra and the BBC Proms and in 2011 conducted the Last Night of the Proms, which was televised live to audiences worldwide, followed by the First Night of the Proms in 2012. His other ongoing relationships in the UK include the Philharmonia, London Philharmonic, and Orchestra of the Age of Enlightenment. His commitment to young musicians includes the CBSO and Barbican youth orchestras and the founding in 2002 of the Hallé Youth Orchestra. He conducts at London’s major music col- leges every season and in September 2013 led the opening concert of the new Milton Court Concert Hall for the Guildhall School of Music and Drama. Recent and upcoming international engagements take him to the Royal Concertgebouw Orchestra, Netherlands Radio Philharmonic, Deutsches Symphonie-Orchester Berlin, Leipzig Gewandhaus, Frankfurt Radio, Orchestra Filarmonica della Scala, Toronto Symphony, Montreal Symphony, Czech Philharmonic, Swedish Radio Orchestra, and Danish National Symphony. During recent seasons Mr. Gardner has also worked with the NHK Symphony, Melbourne Symphony, Houston Symphony, St. Louis Symphony, National Arts Centre Orchestra Ottawa, Mahler Chamber Orchestra, Rotterdam Philharmonic, Orchestre Philharmonique de Radio France, and Accademia Nazionale di Santa Cecilia. An exclusive recording artist for Chandos, he has most recently released critically acclaimed discs of vocal and orchestral works by Lutos´lawski, Britten, and Berio. He has also recorded for EMI Records. Born in Gloucester in 1974, Edward Gardner was educated at Cambridge and the Royal Academy of Music, where he studied under the instruction of Colin Metters. After graduating in 2000, he went on to assist Mark Elder at the Hallé Orchestra for three years before being named musical director of Glyndebourne Touring Opera in 2004, a position he held for three years.

TANGLEWOODWEEK 3 GUESTARTISTS 19 Thomas Hampson Thomas Hampson enjoys a singular international career as an opera singer, recording artist, and “ambassador of song.” Recently he was inducted into Gramophone’s 2013 “Hall of Fame”; honored as a Metropolitan Opera Guild “Met Mastersinger”; and presented with the first Venetian Heritage Award and the Concertgebouw Prize. On the opera stage in the 2013-14 season, he made his role debut as the eponymous antihero of Berg’s Wozzeck at the Metropolitan Opera, in a production featuring Deborah Voigt and led by James Levine. He also reprised his star turn in the title role of Simon Boccanegra at Vienna State Opera, and revisited such signature parts as Amfortas in Parsifal at Lyric Opera of Chicago (as well as in concert with the National Symphony); Giorgio Germont in La traviata at the Bavarian State Opera; Mandryka in Arabella at the Salzburg Festival, and Scarpia in Tosca at both Deutsche Oper Berlin and London’s Royal Opera House. In the concert hall, he opened the season with Eisler’s Ernste Gesänge with Christian Thielemann and the Staatskapelle Dresden, and sang Brahms, Schubert, and Wolf on a twelve-stop European tour with the Amsterdam Sinfonietta. Other orchestral collaborations include arias and duets with Luca Pisaroni in Prague, Bratislava, Essen, Baden- Baden, and Paris, and selections from Des Knaben Wunderhorn with the BBC Scottish Symphony. The baritone takes his celebrated Lieder recitals to London’s Wigmore Hall, the Leipzig Gewandhaus, and to Coburg, Heidelberg, Brussels, and Berne. Mr. Hampson’s recent international concert and recital engagements include performances in New York, Munich, London, Vienna, San Francisco, and more. He made gala appearances at Baden-Baden’s Festspielhaus on New Year’s Eve and celebrated the Concertge- bouw Orchestra’s 125th anniversary in Amsterdam. His collaborative projects also included a European tour with the Wiener Virtuosen, an appearance with the Borusan

20 Istanbul Philharmonic Orchestra, concerts with the Jupiter String Quartet—featuring a world premiere by Mark Adamo—in New York, Boston, and Davis, California, and performances with the Los Angeles, London, Munich, and Israel philharmonics, as well as the National Symphony. Recently inducted into the American Academy of Arts and Sciences, Mr. Hampson has won worldwide recognition for thoughtfully researched and creatively constructed programs that explore a wide-ranging repertoire of song. Through the Hampsong Foundation (hampsongfoundation.org), founded in 2003, he employs the art of song to promote intercultural dialogue and understanding. He is one of the most important interpreters of German Romantic song and with his celebrated “Song of America” project (songofamerica.net), a collaboration with the Library of Congress, he has become known as the “Ambassador of American song.” For CNN’s “Fusion Journeys” series, Mr. Hampson was filmed in South Africa in a musical exchange with Ladysmith Black Mambazo. His “Song of America” radio series— thirteen hour-long programs exploring the history of American culture through song—has aired in more than 250 U.S. markets. A passionate teacher, he has held master classes for both the Manhattan School of Music’s Distance Learning program and Heidelberger Frühling’s Lied Academy, of which he is the co-founder and artistic director. Hailing from Spokane, Washington, he has received many honors and awards. His discography of more than 150 albums includes winners of a Grammy Award, five Edison Awards, and the Grand Prix du Disque. He holds several honorary doctorates, is an honorary member of London’s Royal Academy of Music, carries the titles of Kammersänger of the Vienna State Opera and Commandeur dans l’Ordre des Arts et des Lettres of the Republic of France, and was awarded the Austrian Medal of Honor in Arts and Sciences. In 2011 he was again named ECHO Klassik’s “Singer of the Year,” marking the fourth time he has received that distinction over a twenty-year period. For more information, please visit thomashampson.com. Thomas Hampson made his Tanglewood debut in July 1991 singing music of Bernstein and Mahler with the Tangle- wood Music Center Orchestra in memory of Leonard Bernstein. His first BSO appearance, in Brahms’s Ein deutsches Requiem (also in memory of Bernstein), was the next day. He has since sung with the orchestra on several occasions, in Boston, at Tanglewood, and at Carnegie Hall, most recently for music of Virgil Thomson and Samuel Barber at Tanglewood in July 2009. Earlier this week he made a return appearance in Ozawa Hall, for a recital program, with pianist Wolfram Rieger, marking the 150th anniversary of the birth of`Richard Strauss. Walter H. Scott

TANGLEWOODWEEK 3 GUESTARTISTS 21 The Jenkins Family Concert Saturday, July 19, 2014 The performance on Saturday evening is supported by a generous gift from BSO Life Trustee Charles H. Jenkins, Jr. and his wife, Dorothy Jenkins. Great Benefactors Charlie and Dorothy are longtime supporters of the Boston Symphony Orchestra. They became interested in the BSO while they were both students in the Boston area. Charlie was studying for his D.B.A. at Harvard Business School, and Dorothy was at Wellesley College. They attended the free open rehearsals at Symphony Hall on Thursday nights. Charlie and Dorothy have summered in the Berkshires for many years, and they have been attending performances at Tangle- wood since the early 1970s. Their love of classical music and Tanglewood led them to generously support the campaign to build Seiji Ozawa Hall and, more recently, the Tanglewood Forever Fund. Charlie and Dorothy have supported the Tanglewood Annual Fund for many years, and they are Koussevitzky Society members at the Founders level. In addition, they have supported Opening Nights at Tanglewood, the Tanglewood Music Center Opera Training Program, and the Dorothy and Charlie Jenkins Fellowship, which provides support for an annual full fellowship at the Tanglewood Music Center. Charlie and Dorothy have served on several Opening Night at Tanglewood gala committees, and they served as co-chairs of the gala in 2006. Charlie was elected to the BSO Board of Overseers in 1998 and the Board of Trustees in 2008. He was elevated to Life Trustee in 2013. Charlie is the Chairman of the Board of Publix Super Markets Inc., the largest employee-owned retailer in the United States. He also serves as a trustee emeritus of Emory University. Dorothy is a Director of Westlake Chemical Corporation. She also serves as a trustee of Wellesley College and the John and Mable Ringling Museum of Art Foundation. Charlie and Dorothy have two children, Jennifer and Charles Anthony. Stu Rosner

22 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Saturday, July 19, 8:30pm THE JENKINS FAMILY CONCERT

ANDRIS NELSONS conducting

BRAHMS Symphony No. 3 in F, Opus 90 Allegro con brio Andante Poco Allegretto Allegro—Un poco sostenuto

{Intermission}

MARTINSSON “Bridge,” Trumpet Concerto No. 1 (played without pause) HÅKAN HARDENBERGER, trumpet

TCHAIKOVSKY “Capriccio italien,” Opus 45

This evening’s performance of Martinsson’s “Bridge,” Trumpet Concerto No. 1, is supported in part by income from the Morton Margolis Fund in the BSO’s endowment. This evening’s performance of Tchaikovsky’s “Capriccio italien” is supported by a gift in celebration of Estela Blaustein.

TANGLEWOODWEEK 3 SATURDAYPROGRAM 23 NOTES ON THE PROGRAM

Johannes Brahms (1833-1897) Symphony No. 3 in F, Opus 90 First performance: December 2, 1883, Vienna, Hans Richter cond. First BSO performance: November 1884, Wilhelm Gericke cond. First Tanglewood performance: August 15, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: July 25, 2008, David Zinman cond. The first performance of the Brahms Third Symphony, in Vienna on December 2, 1883, was successful despite the presence in the audience of a vocal Wagner- Bruckner faction which held against Brahms both his fame as a composer and his friendship with the critic Eduard Hanslick, who pronounced the F major “a feast for the music lover and musician” and, of Brahms’s symphonies to that time, “artistically the most perfect. It is more compactly made, more transparent in detail, more plastic in the main themes.” According to Hanslick, Hans Richter, the conductor of the premiere, christened this symphony “Brahms’s Eroica” shortly before the first performance. And like Beethoven inhis Third Symphony, Brahms marks the first movement “Allegro con brio.” Brahms had already secured his reputation as an orchestral composer with the premiere of his Variations on a Theme by Haydn in Vienna in November 1873. Already behind him were his First Piano Concerto, the D major Sere- nade, Opus 11, and the A major Serenade, Opus 16, all dating from the late 1850s. Some material for the First Symphony also dates back to that time, but that work had to wait for its completion until 1876, by which time Brahms was able finally to overcome his strong reservations about following in Beethoven’s footsteps. The Second Symphony followed without hesitation a year later, and the Violin Concerto came a year after that, both being products of Brahms’s particularly productive summer work habits. Likewise the Third Symphony in 1883: having been occupied with thoughts for the symphony for some time, he interrupted a trip to the Rhine, renting accommodations in Wiesbaden so that he could complete the work and apparently writing it out without pause. The Brahms Third is generally considered the most difficult of the composer’s four for a conductor to bring off successfully, and not just because all four of its move-

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ments end quietly—a fact that causes some conductors to shy away from it altogether, and which also may explain why it appears with considerably less frequency than the First, Second, and Fourth. Early in the last century, Tovey described the F major as “technically by far the most difficult [of Brahms’s symphonies], the difficulties being mainly matters of rhythm, phrasing, and tone.” One can expand upon this by mentioning the swift alternation of sharply contrasted materials during the course of the first movement, and the need to make both clear and persuasive the thematic connections that bind together the first, second, and last movements, a procedure Brahms does not attempt in his other symphonies. And, as the least often performed of the four, the Third continues to remain, in a sense, almost “new” insofar as audiences are concerned, and especially since its tight thematic and architectural structure, lean orchestration, and less effusively Romantic tone stand in sharp contrast to the other three. The symphony begins Allegro con brio, with a rising motto for winds and brass whose broad 6/4 meter seems almost to hold back forward progress; it is only with the introduction of the main theme, taking the initial motto as its bass line, that the music begins really to move:

The three-note motto, F-A-flat-F, is Brahms’s shorthand for “frei aber froh,” “free but glad,” musical symbolism he had already used in the A minor string quartet, Opus 51, No. 2, as rejoinder to Joseph Joachim’s F-A-E, “frei aber einsam,” “free but lonely,” many years before. But the F-A-flat-F motto here serves still another, purely musical purpose: the A-flat suggests F minor rather than F major, an ambiguity to be exploit- ed elsewhere in the symphony. The sweeping main theme gives way to a new idea, tentative in its progress, clinging tenuously to nearly each note before moving to the next, but soon opening out and leading to a graceful theme given first to solo clarinet, then to solo oboe and violas in combination. This theme, in darker colorations,

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 25 will be prominent in the development section of the movement. Now, however, an increase in activity leads to the close of the exposition, a forceful passage built from stabbing downward thrusts in the strings and a swirling wave of energy beginning in the winds and then encompassing the entire orchestra before grinding to a sudden halt for a repeat of the exposition. This is a particularly difﬁcult moment rhythmically since the return to the nearly static opening of the movement comes virtually without warning, but there is something about the tight, classical architecture of this shortest of Brahms’s symphonies that makes the exposition-repeat an appropriate practice here, and not just a bow to convention. Hearing the beginning twice also helps us recognize the masterstroke that starts the recapitulation, where the motto idea, introduced by a roll on the kettledrum, broadens out both rhythmically and harmonically to propel the music forward in a way the opening of the symphony did not attempt. The motto and main theme will come back in yet another forceful guise to begin the coda, the theme transforming itself there to a chain of descend- ing thirds—Brahms’s musical signature in so many of his works—before subsiding to pianissimo for one further, quiet return in the closing measures.

26 The second and third movements are marked by a contained lyricism, subdued and only rarely rising above piano. Hanslick describes the opening pages of the C major Andante as “a very simple song dialogue between the winds and the deeper strings”; the entry of the violins brings emphatic embellishment and the appearance of a new idea sweetly expressive within a narrow compass, clearly characterized by the repeated pitch at its beginning and the triplet rhythm that stirs its otherwise halting progress:

Brahms will use the repeated-note motive to mysterious effect in this movement, but the entire theme will return to extraordinarily significant purpose later in the symphony. The third movement is a gentle interlude in C minor, its pregnant melody heard first in the cellos and then in a succession of other instruments, among them combined flute, oboe, and horn; solo horn, solo oboe, and, finally, violins and cellos together. Before the statement by the solo horn, an interlude plays upon a yearning three-note motive again characterized by a simple repeated-pitch idea. As in the preceding movement, trumpets and drums are silent. The finale begins with a mysterious dark rustling of strings and bassoons that seems hardly a theme at all, and it takes a moment for us to realize that, contrary to all ex- pectation—but obviously so right once we’re aware of it—this last movement is in the minor mode. A pianissimo statement of the second-movement theme quoted earlier steals in so quietly that we barely have time to make the connection. Then, without warning, a fortissimo explosion alerts us already to how ripe for development is Brahms’s “non-theme,” as in the space of just a few pages it is fragmented and rein- terpreted both rhythmically and melodically. This leads to the finale’s second theme, a proud and heroic one proclaimed in the richly romantic combined timbres of cellos and horns; this is the music that suggested to Joachim the story of Hero and Leander.* After playing with further muted transformations of the opening idea, the development builds to a climax on overlapping statements of the second-movement theme proclaimed by the orchestra at full volume and hurtling the music into the recapitulation. Only with a quiet transformation in the violas of the opening idea does the energy level finally subside. The symphony’s final pages return to the soft serenity of F major with the reemergence in a newly restrained guise of the second- movement theme, followed by allusion to and the return of the F-A-flat-F motto, and, at the end, one last, mist-enshrouded recollection of the symphony’s beginning.

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

*Joachim writing in a letter to Brahms dated January 27, 1884: “I ﬁnd the last movement of your symphony deep and original in conception.... It is strange that, little as I like reading poetic meanings into music, I have here formed a clear picture of ‘Hero and Leander’ and this has rarely happened to me in the whole range of music. The second subject in C major recalls to me involuntarily the picture of the intrepid swimmer ﬁght- ing his way towards the promised goal, in the face of wind and storm. Is that something like your own conception?”

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 27 Rolf Martinsson (b.1956) “Bridge,” Trumpet Concerto No. 1 (1999) First performance: April 29, 1999, Göteborg, Sweden, Gothenburg Symphony Orchestra, Håkan Hardenberger, trumpet; Neeme Järvi cond. This is the first BSO and first Tangle- wood performance of “Bridge,” as well as the first performance by the BSO of any of the composer’s music. The duration of the piece is about 27 minutes, played without pause. The prolific Swedish composer Rolf Martinsson was born in Scania, near Sweden’s southern tip, and studied at the Malmö Academy of Music, where he returned to teach composition and music theory in 2002. An eclectic as well as prolific composer, he has been particularly interested in working with individual soloists with orchestra. His large catalogue includes a number of concertos, including those for soprano saxophone, double bass, clarinet (written for Martin Fröst), violin, flute, cello, trombone (for Christian Lindberg), and trumpet. He has worked extensively with the major Swedish orchestras, including the Royal Stockholm Philharmonic, Gothenburg Symphony Orchestra, and Malmö Symphony Orchestra, with which he serves as composer-in-residence and artistic advisor. His catalogue numbers more than 100 works ranging from solo to orchestral. Among his upcoming new works are a number for voice, including several for the soprano Lisa Larsson—Garden of Devotion with the Swedish chamber orchestra Musica Vitae, Ich denke dein... with John Storgårds and the Tonhalle-Orchester Zürich, and orchestral songs with the Malmö Symphony Orchestra. Martinsson’s teachers included Sven-David Sandström, Hans Eklund, and Brian Ferneyhough, among others. His early work reveals a sure grasp of instrumental

28 technique and a sense of dynamic gesture, with later pieces, including Bridge, becoming expansive and inclusive of a variety of styles. Composing Bridge for the trumpeter Håkan Hardenberger in 1999 was a significant breakthrough for Martinsson: since its premiere in Göteborg, Hardenberger has gone on to perform the concerto more than fifty times with such orchestras as the Berlin Philharmonic, Tonkünstler Orches- ter Wien, the Milwaukee and Detroit symphony orchestras, Helsinki Philharmonic, BBC Symphony Orchestra, Spanish Radio Symphony Orchestra, and many others. Having such a champion of one’s music is immeasurable; Martinsson has gone on to write several other works for Hardenberger, including Airy Flight, “bossa nova for trumpet and strings,” which Hardenberger will perform with The Knights chamber orchestra in Ozawa Hall next week, on Wednesday, July 23. Hardenberger has also performed Bridge a number of times under conductor Andris Nelsons, a close collaborator. He has also recorded the concerto, with the Gothenburg Symphony and Neeme Järvi. Commissioned by the Gothenburg Symphony Orchestra, Bridge is a dynamic and wide-ranging vehicle tailored for the virtuosity and stylistic breadth for which Håkan Hardenberger has made himself known since embarking on his international career in the 1980s. The work’s title comes from its three-part structure, “suspended” by the two solo cadenzas. The composer writes: “Bridge is divided into three larger parts which are held together with two solo trumpet cadenzas, one lyric and one dramatic. The first part is held in a moderato tempo, the second moves very slowly and the third part is written in presto. During the first two minutes, the soloist challenges all the instrumental groups in the orchestra one by one and after this section the piece starts to grow in larger musical forms. Håkan Hardenberger's remarkable trumpet sound and musicality has been a great inspiration to me during my work with Bridge. The solo part contains a musical cipher from Håkan Hardenberger’s name.” The gregarious trumpet part traverses fast music based primarily on a falling, zig-zag motif with a flurry of repeated notes, and a soulful, 1930s blues sound recalling Gershwin. The large orchestra provides both great power and subtlety, with a palette ranging from, say, Elgar to Varèse. Touches of percussion create at times an almost mystical atmosphere, while on occasion a lush, full string sound verges on the cinemat- ic. The musical character swings from frenetic, nervous modernism to a distinctive, complex, adagio-like music of melancholy, with the fast material prevailing in the outer sections and the slower in the central part.

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

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 29

Pyotr Ilyich Tchaikovsky (1840-1893) “Capriccio italien,” Opus 45 First performance: December 18, 1880, Moscow. First BSO performances: October 1897, Emil Paur cond. First Tanglewood performance: July 15, 1990, Seiji Ozawa cond. Most recent Tanglewood performance by the BSO: August 11, 2002, Neeme Järvi cond. Over the centuries many artists of northern climes have been entranced by the warmth and sunshine of Italy (though, truly, their delight must be more relative—by comparison with their frigid homelands—than absolute, because Italian winters are more likely to be wreathed in chill mists than smiling in warm winter sunshine). Be that as it may, Tchaikovsky went to Rome in December 1879 and remained for three months. There in the happy company of his brother Modest and other friends, he went sightseeing in the time-honored manner. “Michelangelo’s frescoes at the Sistine Chapel are no longer Greek to me,” he wrote to his brother Anatoly, “and I am beginning to marvel at their origi- nality and powerful beauty.” While he was in Rome, Tchaikovsky received word that the Paris premiere of his Fourth Symphony would take place the next day. He was furious at not learning soon enough to go to Paris for the performance, but by then there was nothing to do but wait for news from France. While he was waiting he began to compose his Capriccio italien. The work went easily, and within a week he had completed a draft. He wrote to Nadezhda von Meck, the mysterious patron with whom he corresponded and who provided him a stipend on the condition that they never meet, to say that he was pleased with his work, and he foresaw a bright future for it. In that Tchaikovsky was not mistaken. Though scarcely a profound work, the Italian Caprice is nonetheless bold, fresh, warm, and colorful. It made such a hit at the Moscow premiere that the public demanded to hear it again later in the same concert series. Tchaikovsky had avoided the premiere itself, but he was persuaded to attend a rehearsal for the repeat performance. He reported to Modest, “It sounds marvelous.” From the beginning Tchaikovsky had intended to compose a work mod- eled after Glinka’s evocations of Spain. Like Glinka, he borrows tunes from the country he chooses to honor and stitches them together in the manner best calculated to provide variety of mood. Each of the tunes conjures up some image of Italy, from the opening fanfare (reportedly derived from the bugle call that awoke the composer each morning when it sounded from a military barracks near his hotel) to the sun- drenched warmth of the ﬁnal waltz.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. BSO Archives

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 31 Artists

Andris Nelsons Andris Nelsons made his first appearances as the BSO’s Ray and Maria Stata Music Director Designate in October 2013 at Symphony Hall in Boston, with a subscription program of Wagner, Mozart, and Brahms; he returned in March 2014 for a concert performance of Strauss’s Salome. He will become the BSO’s fifteenth music director starting with the 2014-15 season, during which he will lead the orchestra in ten programs (including a special inaugural concert) at Symphony Hall, repeating three of them in New York’s Carnegie Hall. Mr. Nelsons made his BSO debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. He made his Tanglewood debut in summer 2012, conducting both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (subsequently issued on DVD and Blu-ray), following that the next day with a BSO program of Stravinsky and Brahms. His Symphony Hall and BSO subscription series debut followed in January 2013, and this month at Tanglewood he leads three BSO concerts, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. Maestro Nelsons’ new appointment affirms his reputation as one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amster- dam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony, Philhar- monia Orchestra, Vienna State Opera, Metropolitan Opera, Bayreuth Festival, and the Royal Opera House, Covent Garden. Also this summer he conducts two Brahms concerts at the Lucerne Festival that were planned and originally to have been led by the late Claudio Abbado, and returns to the Bayreuth Festival for Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010. Mr. Nelsons’ tenure since 2008 as music director of the City of Birmingham Symphony Orchestra has garnered critical acclaim. With the CBSO he has undertaken major tours worldwide, including a tour in November 2013 to Japan and the Far East, as well as regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berliner Festspiele, plus an ongoing project to record the complete orchestral works of Tchaikovsky and Richard Strauss for Orfeo International. The first Strauss disc, featuring Ein Heldenleben, garnered critical praise. The majority of his recordings have been recognized with a Preis der Deutschen Schallplattenkritik; in October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the cate- gory “Conductor of the Year” for his 2010 recording with the CBSO of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agree- ment with Unitel GmbH, the most recent release, released on DVD and Blu-ray in June 2013, being a disc entitled “From The New World” with the Bavarian Radio Symphony. He is also the subject of a recent DVD from Orfeo, a documentary film entitled Andris Nelsons: Genius on Fire. 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. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007.

32 Håkan Hardenberger Håkan Hardenberger is esteemed for his performances of the classical repertory and as a pioneer of significant and virtuosic new trumpet works. Mr. Hardenberger performs with the world’s leading orchestras, including the New York Philharmonic, Boston Symphony, Vienna Philharmonic, Swedish Radio Symphony, London Sym- phony, Symphonieorchester des Bayerischen Rundfunks, and NHK Symphony Orchestra. Conductors with whom he regularly collaborates include Pierre Boulez, Alan Gilbert, Daniel Harding, Paavo Järvi, Ingo Metzmacher, Andris Nelsons, Esa-Pekka Salonen, and David Zinman. Works written for and champi- oned by him include compositions by Sir Harrison Birtwistle, Hans Werner Henze, Rolf Martinsson, Olga Neuwirth, Arvo Pärt, Mark-Anthony Turnage, and Rolf Wallin, as well as HK Gruber’s concerto Aerial, which he has performed more than sixty times. He opened his 2013-14 season with the world premiere of Brett Dean’s trumpet concerto Dramatis Personae at the Grafenegg Festival with the Tonkünstler Orchester and John Storgårds, who also led the Copenhagen premiere with the Danish National Symphony. He also premiered the work with the Gewand- hausorchester Leipzig and City of Birmingham Symphony, both under Andris Nelsons, and will give the American premiere with Maestro Nelsons and the Boston Symphony Orchestra this coming November at Symphony Hall. Also in the current season, Mr. Hardenberger tours South America with the Munich Chamber Orchestra; performs with the Radio-Sinfonieorchester Stuttgart, Radio-Symphonieorchester Wien, and Sinfonieorchester Basel; marks Harrison Birtwistle’s 80th birthday with a performance of Endless Parade with the BBC Philharmonic; and closes the BBC National Orchestra of Wales’ Brass Festival. He returns to the Stockholm Philharmonic, Bergen Philhar- monic, Norwegian Radio Orchestra, and Malmö Symphony Orchestra. Across the con- tinents he appears with the New Japan Philharmonic and with the Boston Symphony Orchestra for the first time at Tanglewood. Conducting is becoming an integral part of Håkan Hardenberger’s music-making. In 2013-14 he conducts the St. Paul Chamber Orchestra, Dresden Philharmonic, Northern Sinfonia, RTÉ National Symphony Dublin, Real Filharmonia Galicia, Tampere Philharmonic, Malmö Symphony, and Västerås Sinfonietta. In recital, Mr. Hardenberger tours with organist Jonathan Scott, including a concert at Dresden’s Frauenkirche. In other key partnerships, the duo collaborates with Swedish pianist Roland Pöntinen and with percussionist Colin Currie. Mr. Hardenberger’s extensive discography on the Philips, EMI, Deutsche Grammophon, and BIS labels includes his latest recording with the Academy of St. Martin in the Fields featuring new arrangements of popular film and pop melodies (BIS), a new Gruber and Schwertsik disc with the Swedish Chamber Orchestra (BIS), and his trumpet concerto CD with the Gothenburg Symphony (DG). Born in Malmö, Sweden, Håkan Hardenberger began studying the trumpet at age eight with Bo Nilsson in Malmö and continued his studies at the Paris Conservatoire with Pierre Thibaud and in Los Angeles with Thomas Stevens. He is a professor at the Malmö Conservatoire and the Royal Northern College of Music, Manchester. Here at Tanglewood this summer, he also appears this coming Wednesday night in Ozawa Hall, in a program also featuring the chamber ensemble The Knights and soprano Dawn Upshaw. His only previous appearance with the BSO was at Symphony Hall in January 2012, when he played the American premiere of Mark-Anthony Turnage’s trumpet concerto From the Wreckage, with Marcelo Lehninger conducting.

TANGLEWOODWEEK 3 ARTISTS 33 The Stephen and Dorothy Weber Concert Sunday, July 20, 2014 Sunday afternoon’s concert is supported by a generous gift from Great Benefactors Stephen R. and Dr. Dorothy Altman Weber. The Webers have said “The BSO is an important part of our lives and the performances at Tanglewood and in Boston are a source of great personal joy. We feel that we have a responsibility to support the orchestra so future generations will experience the extraordinary musical excellence from which we have benefited.” Steve Weber, an alumnus of the University of Pennsylvania and Harvard Business School, retired in 2005 as managing director of SG-Cowen Securities Corp. Dottie Weber taught at Northeastern University and was a research psychologist at Boston University Medical Center. She is an alumna of Tufts University and Boston University, where she earned her doctorate in education. Steve and Dottie have been supporters of the Boston Symphony Orchestra since 1979. Their love of Tanglewood has led them to support the campaign to build Seiji Ozawa Hall, to endow two seats in the Shed, to establish an endowed fellowship at the Tanglewood Music Center, and to endow the first artist-in-residence position at the TMC. They have also endowed the Stephen and Dorothy Weber Chair, currently held by BSO cellist Mickey Katz. During the 2013 season, the BSO dedicated the Weber Gate at Tanglewood as an enduring tribute to the Webers’ extraordinary commitment and generosity to the BSO and Tanglewood. In addition to their financial support of the BSO, Steve and Dottie have given generously of their time. Steve, elected a Trustee in 2002 and vice-chairman in 2010, serves as co-chair of the Beyond Measure Campaign and chair of the Leadership Gifts Committee. He is a member of the Executive Committee and the Overseers Nominating Committee. Dottie serves on the Education Committee. Together, Steve and Dottie are members of the Annual Funds Committee and the Tanglewood Task Force, and they were chairs of Opening Night at Tanglewood in 2013. The Boston Symphony Orchestra extends heartfelt thanks to Steve and Dottie Weber for their generosity and commitment to continuing Tanglewood’s rich musical tradition. Kevin Toler

34 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Sunday, July 20, 2:30pm THE STEPHEN AND DOROTHY WEBER CONCERT

ANDRIS NELSONS conducting

ROUSE “Rapture” (2000)

LALO “Symphonie espagnole” in D minor, Opus 21, for violin and orchestra Allegro non troppo Scherzando: Allegro molto Intermezzo: Allegretto non troppo Andante Finale: Allegro JOSHUA BELL

{Intermission}

BEETHOVEN Symphony No. 5 in C minor, Opus 67 Allegro con brio Andante con moto Allegro— Allegro

This afternoon’s performance of Christopher Rouse’s “Rapture” is supported in part by income from the Morton Margolis Fund in the BSO’s endowment.

TANGLEWOODWEEK 3 SUNDAYPROGRAM 35 NOTES ON THE PROGRAM

Christopher Rouse (b.1949) “Rapture” (2000) First performance: May 5, 2000, Heinz Hall, Pittsburgh, Pennsylvania, Pittsburgh Symphony, Mariss Jansons cond. Only previous BSO performance: August 20, 2005, Tanglewood, Marin Alsop cond. Boston Symphony audiences have heard a range of pieces by Christopher Rouse. The orchestra played his Symphony No. 1 and Iscariot at Symphony Hall, and has performed three other works of his at Tanglewood—The Infernal Machine in 1983 and 1997, Phaethon in 1995, and the Violoncello Concerto, with Yo-Yo Ma as soloist, in 1997. He was a composer-in-residence at Tanglewood in 1997. The Boston Pops commissioned and premiered his The Nevill Feast at Symphony Hall in May 2003, and many of his pieces have been performed in Tanglewood’s Festival of Contemporary Music, including Iscariot, his Symphony No. 2, and the percussion tour-de-force Bonham. The Led Zeppelin reference of the last title is no anomaly. Just as Copland and Thomson discovered popular jazz for themselves in the 1910s and ’20s, musicians like Rouse who grew up in the 1950s and 1960s (Stephen Mackey, Lee Hyla, and Michael Gandolfi among them) couldn’t help but be affected by rock-n-roll. Rouse, who had started writing music as early as age seven, took up guitar and drums while in school, but went on to take a relatively straightforward course of study for a concert-music composer: he attended Oberlin Conservatory in Ohio, had private lessons with George Crumb in Philadelphia, and worked with Karel Husa at Cornell, where he earned his master’s and doctoral degrees. From 1978-81 he taught at the University of Michigan. In 1981 he joined the faculty of the Eastman School of Music at the University of Rochester, and since 1997 he has also taught at Juilliard. He has received National Endowment for the Arts and Guggenheim fellowships, numerous grants, and commissions from Boston Musica Viva, the percussionist Evelyn Glennie, Meet the Composer, and many others, and his music has been performed by all of the major U.S. and many European orchestras. In 1993 he won the Pulitzer Prize for his Trombone Concerto, commissioned by the New York Philharmonic, with which he has had a strong continuing

36 relationship. In 2012 he was named the Philharmonic’s composer-in-residence for a two-year tenure that has since been extended. The orchestra premiered and took on tour his Prospero’s Rooms in 2013, and last month premiered his Symphony No. 4. The Philharmonic will premiere yet another new work, Thunderstruck, this fall. Rouse is a masterful orchestrator, and, as with the young Richard Strauss, most of his celebrated earlier works (during the 1980s specifically), including Iscariot, Phaeton, Phantasmata, and Gorgon, show a marked interest in extramusical program and narra- tive process. These tone poems of the 1980s tended (though not exclusively) toward the darker passions—grief, anger, violence, which may be inferred from the titles. The more recent Rapture (2000) might be heard as a positive-value representative of the same impulse. This single-movement work of some eleven minutes’ length has been described by the composer as an attempt to “depict a progression to an ever- more blinding ecstasy...in a world devoid of darkness.” The work builds gradually from a serene, almost Mahlerian opening, the full, brilliant orchestra alternating with solo passages as the tempo gradually accelerates to the point of Rouse’s “blinding ecstasy.” The orchestral palette is brilliant with brass and percussion. Rapture might well be heard as the composer’s contemporary answer to the glorious “trans- figurations” in Strauss’s Tod und verklärung or Schoenberg’s Verklärte Nacht. The composer’s comments on his piece are reprinted below.

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

I completed Rapture at my home in Pittsford, New York on January 9, 2000. Commis- sioned by the Pittsburgh Symphony Orchestra, it is dedicated to that orchestra’s music director, Mariss Jansons. It should be noted that the title of this score is not “The Rapture”; the piece is not connected to any specific religious source. Rather, I used the word “rapture” to convey a sense of spiritual bliss, religious or otherwise. With the exception of my Christmas work, Karolju, this is the most unabashedly tonal music I have composed. I wished to depict a progression to an ever more blinding ecstasy, but the entire work inhabits a world devoid of darkness—hence the almost complete lack of sustained dissonance. Rapture also is an exercise in gradually increasing tempi; it begins quite slowly but, throughout its eleven-minute duration proceeds to speed up incrementally until the breakneck tempo of the final moments is reached. Although much of my music is associated with grief and despair, Rapture is one of a series of more recent scores— such as Compline (1996), Kabir Padavali (1997), and Concert de Gaudi (1998)—to look “towards the light.” The work is scored for an orchestra of three flutes, three oboes, three clarinets, three bassoons, four horns, four trumpets, four trombones, tuba, harp, timpani (two players), percussion (three players), and strings. The percussion battery consists of bass drum, five triangles, tam-tam, Chinese cymbal, suspended cymbal, chimes, glocken- spiel, and antique cymbals.

CHRISTOPHER ROUSE

TANGLEWOODWEEK 3 SUNDAYPROGRAMNOTES 37 Édouard Lalo (1823-1892) “Symphonie espagnole” in D minor, Opus 21, for violin and orchestra First performance: February 7, 1875, Paris, Pablo de Sarasate, soloist. First performance by the BSO: November 12, 1887, Wilhelm Gericke cond., Charles Martin Loeffler, soloist. First Tanglewood performance: August 1, 1971, Daniel Barenboim cond., Pinchas Zukerman, soloist. Most recent Tanglewood performance: July 22, 1989, Charles Dutoit cond., Joshua Bell, soloist. Though he is best-known for his opera Le Roi d’Ys and a handful of symphonic scores, Lalo first made his mark as a composer of chamber music—at a time when all of the chamber genres were almost entirely neglected by French composers. Lalo’s parents had encouraged his early study of the violin and cello, but when it became clear that he intended to become a musician, they objected strenuously, forcing him to leave home at the age of sixteen. Lalo went to Paris and studied composition, for the most part privately. He made his living primarily as a violinist and teacher. But he was eager to revive the moribund traditions of chamber music in France, and by the early 1850s he had composed a pair of piano trios and founded the Armingaud Quartet (in which he played viola and later second violin) to make better-known the string quartets of Haydn, Mozart, and Beethoven, as well as the “moderns” Mendelssohn and Schumann. None of these figures was held in particularly high regard in France either by the general public or the academic musical establishment. In the late 1850s Lalo became discouraged at his progress, and he almost gave up composition for nearly a decade. He wrote very little until 1866, when he entered an opera competition with a grand opera based on Schiller’s Fiesko. It did not win the prize, and though it was seriously considered for production by several houses, it remained unperformed. Lalo drew on it for material for a number of other works. By the 1870s there was a new interest in purely orchestral music in France, partly fos- tered by the founding of the Société Nationale and the development of orchestras under such conductors as Pasdeloup, Lamoureux, and Colonne. A friendship with the great Spanish violinist Pablo de Sarasate gave Lalo the opportunity to hear some of his new orchestral scores featuring the violin—in particular the F major violin concerto in 1874 and the Symphonie espagnole the following year. More orchestral works followed, but it was finally the overwhelming success of his opera Le Roi d’Ys that made Lalo famous, just four years before his death. Still, it is his instrumental music that remains of far greater historical importance, in that Lalo undertook to send French music in a decidedly new direction (he did this at about the same time that Saint-Saëns and Franck were trying much the same thing). Though not his most searching orchestral score, the Symphonie espagnole has always been the most popular. The work does, however, prompt one to ask, “When is a symphony not a symphony?” And if that sounds like a trick question, it is only because one answer certainly must be, “When it is Lalo’s Symphonie espagnole.” The title is pure whimsy. The “Spanish Symphony” is quite simply a five-movement violin concerto with all the trimmings. It has a melodic freshness and a sureness of orchestral color that have made it irresistible from the beginning. Lalo’s decision to compose tunes of a Spanish flavor may have come in part from his own heritage (his name is Spanish, though his ancestors had lived in Flanders or northern France since the sixteenth century), but more likely it was in tribute to his friend Sarasate, who was to give the premiere performance.

38 The Symphonie espagnole had some surprising adherents from its early days. In 1877 the dour Prussian pianist-conductor Hans von Bülow, for example, wrote an unfavor- able review of Bruch’s Second Violin Concerto, which he had heard Sarasate play in England, and compared it to Lalo’s “splendid Symphonie espagnole, showing genius in every way.” Ten years later he wrote in a letter about possible concert programs that the inclusion of the Lalo would be most agreeable to him, but “without amputation.” This remark shows that the practice of cutting the third movement—and occasionally others—was already firmly established. Another friend of the work was Tchaikovsky, who wrote to Mme. von Meck on March 15, 1878: Do you know the Symphonie espagnole by the French composer Lalo? This piece has recently been brought out by the very modern violinist Sarasate....The work has given me the greatest pleasure. It is so delightfully fresh and light, with piquant rhythms and beautifully harmonized melodies. It resembles closely other works of the French school to which Lalo belongs, works with which I am acquainted. Like Léo Delibes and Bizet he shuns carefully all that is rou- tinier, seeks new forms without wishing to be profound, and cares more for musical beauty than for the old traditions as the Germans care. The young generation of French composers is truly very promising. The Symphonie espagnole was composed at the same time that Bizet was working on Carmen, and both scores were premiered in the same year. Together they are among the earliest and most successful of those musical evocations of Iberia at which French composers—think of Debussy and Ravel—have excelled ever since. STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Ludwig van Beethoven (1770-1827) Symphony No. 5 in C minor, Opus 67 First performance: December 22, 1808, Vienna, Beethoven cond. (see below). First BSO performance: December 1881, Georg Henschel cond. First Tanglewood performance: August 5, 1937 (the BSO’s first Tanglewood concert), Serge Koussevitzky cond. Most recent Tanglewood performance: July 6, 2012, Christoph von Dohnányi cond. On December 17, 1808, the Wiener Zeitung announced for the following Thursday, December 22, a benefit concert at the Theater-an-der-Wien on behalf of and to be led by Ludwig van Beethoven, with all the selections “of his composition, entirely new, and not yet heard in public,” to begin at half-past six, and to include the following: First Part: 1, A Symphony, entitled: “A Recollection of Country Life,” in F major (No. 5). 2, Aria. 3, Hymn with Latin text, composed in the church style with chorus and solos. 4, Pianoforte Concerto played by himself. Second Part: 1, Grand Symphony in C minor (No. 6). 2, Sanctus with Latin text composed in the church style with chorus and solos. 3, Fantasia for Pianoforte alone. 4, Fantasia for the Pianoforte which ends with the gradual entrance of the entire orchestra and the introduction of choruses as a finale. One witness to this event of gargantuan proportion—which lasted for about four hours in a bitterly cold, unheated hall—commented on “the truth that one can easily have too much of a good thing—and still more of a loud one.”

TANGLEWOODWEEK 3 SUNDAYPROGRAMNOTES 39 The hymn and Sanctus were drawn from Beethoven’s Mass in C, the concerto was the Fourth, and the aria was “Ah! perfido” (with a last-minute change of soloist). The solo piano fantasia was an improvisation by the composer; the concluding number was the Opus 80 Choral Fantasy (written shortly before the concert—Beethoven did not want to end the evening with the C minor symphony for fear the audience would be too tired to appreciate the last movement); the symphony listed as “No. 5” was the one actually published as the Sixth, the Pastoral; and the symphony labeled “No. 6” was the one published as the Fifth. Beethoven was by this time one of the most important composers on the European musical scene. He had introduced himself to Viennese concert hall audiences in April 1800 with a program including, besides some Mozart and Haydn, his own Septet and First Symphony; and, following the success of his ballet score The Creatures of Prometheus during the 1801-02 musical season, he began to attract the attention of foreign publishers. He was, also at that time, becoming increasingly aware of the deterioration in his hearing (the emotional outpouring known as the Heiligenstadt Testament dates from October 1802) and only first coming to grips with this problem that would ultimately affect the very nature of his music. As the nineteenth century’s first decade progressed, Beethoven’s music would be performed as frequently as Haydn’s and Mozart’s; his popularity in Vienna would be rivaled only by that of Haydn; and, between 1802 and 1813, he would compose six symphonies, four concertos, an opera, oratorio, and mass, a variety of chamber and piano works, incidental music, songs, and several overtures. Beethoven composed his Third Symphony, the Eroica, between May and November 1803. From the end of 1804 until April 1806 his primary concern was his opera Leo- nore (which ultimately became Fidelio), and the remainder of 1806 saw work on compositions including the Fourth Piano Concerto, the Fourth Symphony, the Violin Concerto, and the Razumovsky Quartets, Opus 59. Sketches for both the Fifth and Sixth symphonies are to be found in Beethoven’s Eroica sketchbook of 1803-04—it was absolutely typical for Beethoven to concern himself with several works at once— and, as noted above, the Fifth was completed in the spring of 1808 and given its first performance that December, on the very same, very long concert that concluded with the Choral Fantasy. In a Boston Symphony program note many years ago, John N. Burk wrote that “something in the direct impelling drive of the first movement of the C minor Symphony commanded general attention when it was new, challenged the skeptical, and soon forced its acceptance. Goethe heard it with grumbling disapproval, according to Mendelssohn, but was astonished and impressed in spite of himself. Lesueur, hide- bound professor at the Conservatoire, was talked by Berlioz into breaking his vow never to listen to another note of Beethoven, and found his prejudices and resistances quite swept away. A less plausible tale reports Maria Malibran as having been thrown into convulsions by this symphony. The instances could be multiplied. There was no gainsaying that forthright, sweeping storminess.” In the language of another age, in an important review for the Allgemeine musikalische Zeitung of July 4 and 11, 1810, E.T.A. Hoffmann recognized the Fifth as “one of the most important works of the master whose stature as a first-rate instrumental composer probably no one will now dispute” and, following a detailed analysis, noted its effect upon the listener: “For many people, the whole work rushes by like an ingenious rhapsody. The heart of every sensitive listener, however, will certainly be deeply and intimately moved by an enduring feeling—precisely that feeling of fore- boding, indescribable longing—which remains until the final chord. Indeed, many

40 moments will pass before he will be able to step out of the wonderful realm of the spirits where pain and bliss, taking tonal form, surrounded him.” In his Eroica Symphony, Beethoven introduced, in the words of his biographer May- nard Solomon, “the concept of a heroic music responding to the stormy currents of contemporary history.” The shadow of Napoleon hovers over the Eroica; for the Fifth Symphony we have no such specific political connotations. But we do have, in the Fifth, and in such post-Eroica works as Fidelio and Egmont, the very clear notion of affirmation through struggle expressed in musical discourse, and perhaps in no instance more powerfully and concisely than in the Symphony No. 5. So much that was startling in this music when it was new—the aggressive, compact language of the first movement, the soloistic writing for double basses in the third- movement Trio, the mysterious, overwhelmingly powerful transition between scherzo and finale, the introduction of trombones and piccolo into the symphony orchestra for the first time (in the final movement)—is now taken virtually for granted, given the countless performances the Fifth has had since its Vienna premiere, and given the variety of different languages music has since proved able to express. And by now, most conductors seem to realize that the first three notes of the symphony must not sound like a triplet, although just what to do with the fermata and rest following the first statement of that four-note motive sometimes seems open to argu- ment. But there are times when Beethoven’s Fifth seems to fall from grace. Once rarely absent from a year’s concert programming, and frequently used to open or close a season, it is periodically deemed to be overplayed, or just too “popular.” But the Fifth Symphony is popular for good reason, and so ultimately retains its important and rightful place in the repertoire. It needs, even demands, to be heard on a regular basis, representing as it does not just what music can be about, but every- thing that music can succeed in doing.

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

TANGLEWOODWEEK 3 SUNDAYPROGRAMNOTES 41 Artists

For a biography of Andris Nelsons, see page 32.

Joshua Bell One of the most celebrated violinists of his era, Joshua Bell is also music director of the Academy of St. Martin in the Fields. Highlights of Mr. Bell’s 2014 summer season include performances with the Indianapolis and Detroit symphonies and the Los Angeles Philharmonic at the Hollywood Bowl, festival appearances at Aspen, Festival del Sole Napa, Ravinia, Verbier, Salzburg, Mostly Mozart, and Tanglewood, and two concerts with the New York Philharmonic in area parks. He opens the 2014-15 season with gala concerts for the New York Philharmonic, Toronto Symphony, and National Symphony Orchestra. Other season highlights include a U.S. and European recital tour with pianist Alessio Bax, a week with the New York Philharmonic, European tours with the Academy of St. Martin in the Fields and the Chamber Orchestra of Europe, a U.S. and Canadian recital tour with pianist Sam Haywood, and performances with the Munich Philhar- monic and Spanish National Orchestra, as well as three Czech chamber music concerts at London’s Wigmore Hall with cellist Steven Isserlis and pianist Jeremy Denk. Currently an exclusive Sony Classical artist, Mr. Bell has released more than forty CDs since his first Decca LP recording at age eighteen. In October 2014 HBO will air the documentary “Joshua Bell: A YoungArts MasterClass” to coincide with the release of his Bach album recorded with the Academy of St. Martin in the Fields. Their previous release of Beethoven’s symphonies 4 and 7 debuted at #1 on the Billboard charts. Other releases

42 include a holiday CD, “Musical Gifts From Joshua Bell and Friends” (featuring collaborations with Chris Botti, Chick Corea, Gloria Estefan, Renée Fleming, Plácido Domingo, Alison Krauss, and others); “French Impressions” (Saint-Saëns, Ravel, and Franck sonatas) with Jeremy Denk; “At Home With Friends,” Vivaldi’s The Four Seasons, Tchaikov- sky’s Violin Concerto, The Red Violin Concerto, “The Essential Joshua Bell,” “Voice of the Violin,” and “Romance of the Violin.” In 2004 Billboard named “Romance of the Violin” its Classical CD of the Year and Mr. Bell Classical Artist of the Year. He has made critically acclaimed recordings of the Beethoven and Mendelssohn concertos (both featuring his own cadenzas), the Sibelius and Goldmark concertos, and the Nicholas Maw concerto. His recording “Gershwin Fantasy” premiered a new work for violin and orchestra based on themes from Gershwin’s Porgy and Bess. Its success led to an all-Bernstein recording that included the premiere of the West Side Story Suite as well as a new recording of the composer’s Serenade. In 2007 Mr. Bell performed incog- nito in a Washington, D.C., subway station for a Washington Post story by Gene Wein- garten examining art and context. The story earned Weingarten a Pulitzer Prize and sparked international discussion, which has continued to this day, thanks in part to the September 2013 publication of Kathy Stinson’s children’s book, The Man With the Violin, illustrated by Dušan Petriˇci´c (Annick Press). Mr. Bell has made numerous television appearances (including six PBS “Live From Lincoln Center” broadcasts) and has been profiled in many publications. Growing up with his two sisters in Bloomington, Indiana, he was an avid computer game player and competitive athlete. By age twelve he was serious about the violin, inspired by his beloved teacher Josef Gingold. His debut with Riccardo Muti and the Philadelphia Orchestra, a Carnegie Hall debut, an Avery Fisher Career Grant, and a notable recording contract soon followed. His alma mater, Indiana University, honored him with a Distinguished Alumni Service Award just two years after his graduation in 1989; he currently serves as a senior lecturer at IU’s Jacobs School of Music. Mr. Bell has received numerous accolades, most recently being honored by the New York Chapter, The Recording Academy, in 2013 and by the National YoungArts Foundation in 2012. Named 2010 Instrumentalist of the Year by Musical America, he has performed three times under the patronage of President and Mrs. Obama. Joshua Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th-century French bow by François Tourte. For more information, visit joshuabell.com. Joshua Bell has appeared regularly with the Boston Symphony Orches- tra since his Tanglewood debut in July 1989, including performances at Symphony Hall, Tanglewood, Carnegie Hall, the New Jersey Performing Arts Center, and the Kennedy Center, most recently for subscription performances of Bernstein’s Serenade (after Plato’s “Symposium”) in October 2012 at Symphony Hall, and for Tchaikovsky’s Violin Concerto at Tanglewood in July 2013. Stu Rosner

TANGLEWOODWEEK 3 ARTISTS 43

Society Giving at Tanglewood

The following recognizes gifts of $3,000 or more made since September 1, 2013 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2013-2014 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Susan B. Cohen, Co-chair, Tanglewood Annual Fund Ranny Cooper, Co-chair, Tanglewood Annual Fund

Koussevitzky Society Founders

Michael L. Gordon • Dorothy and Charlie Jenkins • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan ‡ Rothenberg • Stephen and Dorothy Weber Encore

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Ronald and Karen Rettner • June Wu Benefactor

BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • The Edward Handelman Fund • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • Jay and Shirley Marks • Henrietta N. Meyer • Jonathan D. Miller and Diane Fassino • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Carol and Irv Smokler • The Ushers and Programmers Fund Maestro

Mr. Gerald Appelstein • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Jane Fitzpatrick ‡ • Nancy J. Fitzpatrick and Lincoln Russell • Mr. and Mrs. Jeffrey Garber • Dr Lynne B Harrison • Susie and Stuart Hirshﬁeld • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Mr. and Mrs. Michael Monts • Jerry and Mary ‡ Nelson • Polly and Dan Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. ‡ Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Linda and Edward Wacks • Mr. and Mrs. Edwin A. Weiller III • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous

TANGLEWOODWEEK 3 SOCIETYGIVINGATTANGLEWOOD 45 Prelude

Gideon Argov and Alexandra Fuchs • Norm Atkin MD and Joan Schwartzman • Brad and Terrie Bloom • Mr. David Fehr • Arlene and Jerome Levine • Elaine and Ed London • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Gerard O’Halloran • Elaine and Simon Parisier • Elaine and Bernard Roberts • Lucinda and Brian Ross • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest Schnesel • JoAnne and Joel Shapiro • Lynn and Ken Stark • Lois and David Swawite • Aso O. Tavitian • Gail and Barry Weiss • Anonymous Member

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Mr. Michael Bloomberg • Drs. Judith and Martin Bloomﬁeld • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. ‡ Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Carol and Randy Collord • Judith and Stewart Colton • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Eitan and Malka Evan • Marie V. Feder • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond ‡ Friedman • Audrey and Ralph Friedner • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garﬁeld • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • Robert and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Wilma and Norman Michaels • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • John and Mary Ellen O’Connor • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Barbara and Michael Rosenbaum • Milton B. Rubin • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz •

46 Mr. and Mrs. Richard Stair • Lynn and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Ms. Pat Strawgate • Roz and Charles Stuzin • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jerry and Roger Tilles • Mr. and Mrs. Wilmer J. Thomas, Jr. • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Antoine and Emily van Agtmael • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Marillyn Zacharis • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein Society

Dr. and Mrs. Bert Ballin • Mr. Michael Beck and Mr. Beau Bufﬁer • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Sandra L. Brown • Rhea and Allan Bufferd • Mr. and Mrs. Scott Butler • Mrs. Laura S. Butterﬁeld • Antonia Chayes • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. David Friedson and Ms. Susan Kaplan • Thomas M. Fynan, M.D. • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Rita Sue and Alan J. Gold • Michael and Muriel Grunstein • Dena and Felda Hardymon • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Ms. Jennifer Hersch • Ms. Patricia A. Insley • Jean and Ken Johnson • Miriam and Gene Josephs • Henrietta and Marc Katzen • Mr. Chaim and Dr. Shulamit Katzman • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Mr. and Mrs. Anthony J. Limina • Dr. Nancy Long and Mr. Marc Waldor • Mr. and Mrs. Arthur S. Loring • Susan and Arthur Luger • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Mike, Lonna and Callie Offner • Ellen and Mickey Rabina • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Mary and Lee Rivollier • Edie and Stan Ross • Barbara Rubin • Robert M. Sanders • Elisabeth Sapery and Rosita Sarnoff • Ms. Susan Schaeffer • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Flora and George Suter • J and K Thomas Foundation • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • Mr. and Mrs. Alex Vance • Mr. William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Pamela A. Wickham • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin • Cheryl and Michael Zaccaro • Anonymous (2)

‡ Deceased Stu Rosner

TANGLEWOODWEEK 3 SOCIETYGIVINGATTANGLEWOOD 47 48

July at Tanglewood

Tuesday, July 1, 8pm Friday, July 11, 8:30pm BOSTON SYMPHONY CHAMBER PLAYERS BSO—ANDRIS NELSONS, conductor Music of Wyner, Debussy, and Schubert ANNE-SOPHIE MUTTER, violin ˇ Thursday, July 3, 8pm and ALL-DVORÁK PROGRAM Friday, July 4, 8pm The Noonday Witch; Violin Concerto; Symphony No. 8 JAMES TAYLOR AT TANGLEWOOD Saturday, July 12, 10:30am Saturday, July 5, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO/ TMCO program of Saturday, July 12) BSO program of Sunday, July 6 Saturday, July 12, 8:30pm Saturday, July 5, 8:30pm Tanglewood Gala Opening Night at Tanglewood BOSTON SYMPHONY ORCHESTRA BSO—WILLIAM EDDINS & ROB FISHER, TMC ORCHESTRA (Strauss) conductors ANDRIS NELSONS, conductor RENÉE FLEMING, soprano SOPHIE BEVAN, ANGELA DENOKE, and Orchestral selections by SCHWANTNER, ISABEL LEONARD, vocal soloists COPLAND, and ADAMS STRAUSS Suite and Final Scene from BARBER Knoxville: Summer of 1915, for Der Rosenkavalier soprano and orchestra RACHMANINOFF Symphonic Dances Music for the Broadway stage by RODGERS & RAVEL Bolero HAMMERSTEIN and the GERSHWINS Sunday, July 13, 2:30pm Sunday, July 6, 2:30pm BOSTON POPS ORCHESTRA BSO—ASHER FISCH, conductor KEITH LOCKHART, conductor GARRICK OHLSSON, piano JASON ALEXANDER, vocalist BRAHMS Piano Concerto No. 2 LISZT Les Préludes Tuesday, July 15, 8pm WAGNER Excerpts from Die Meistersinger SEQUENTIA ENSEMBLE FOR MEDIEVAL MUSIC Sunday, July 6, 8pm BENJAMIN BAGBY, director TMC ORCHESTRA—STEFAN ASBURY and “Frankish Phantoms: Echoes from Carolingian TMC Fellow KARINA CANELLAKIS, Palaces”: exploring the musical world of conductors Charlemagne and his circle, through political Music of Hindemith and Bruckner and religious songs, laments, storytelling, and epic Wednesday, July 9, 8pm CHANTICLEER Wednesday, July 16, 8pm “She Said/He Said”: a program reflecting THOMAS HAMPSON, baritone “the complex and emotionally charged dia- WOLFRAM RIEGER, piano logue between the sexes, an eternal theme “Strauss and his World”: celebrating the 150th for composers” anniversary of Richard Strauss’s birth Lieder of Strauss, Webern, Zemlinsky, Alma Thursday, July 10, 7:30pm Mahler, Schoenberg, and Gustav Mahler EMERSON STRING QUARTET Shostakovich quartets 11, 12, 13, 14, and 15 Friday, July 18, 6pm (Prelude Concert) Extended concert with two intermissions MEMBERS OF THE BSO Music of Brahms and Piazzolla Friday, July 11, 6pm (Prelude Concert) MEMBERS OF THE BSO Friday, July 18, 8:30pm Music of Suk, Domažlický, Kalabis, and BSO—CHRISTOPH VON DOHNÁNYI, Janáˇcek conductor THOMAS HAMPSON, baritone STRAUSS Till Eulenspiegel’s Merry Pranks COPLAND Selection of Old American Songs BEETHOVEN Symphony No. 7

Saturday, July 19, 10:30am Saturday, July 26, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, July 20 BSO program of Sunday, July 27)

Saturday, July 19, 8:30pm Saturday, July 26, 8:30pm BSO—ANDRIS NELSONS, conductor BSO—CHRISTOPH VON DOHNÁNYI, HÅKAN HARDENBERGER, trumpet conductor BRAHMS Symphony No. 3 CAMILLA TILLING, soprano MARTINSSON Bridge, Trumpet Concerto No. 1 SARAH CONNOLLY, mezzo-soprano TCHAIKOVSKY Capriccio italien TANGLEWOOD FESTIVAL CHORUS MAHLER Symphony No. 2, Resurrection Sunday, July 20, 2:30pm BSO—ANDRIS NELSONS, conductor Sunday, July 27, 2:30pm JOSHUA BELL, vioilin The Serge and Olga Koussevitzky Memorial Concert ROUSE Rapture BSO—JACQUES LACOMBE, conductor LALO Symphonie espagnole, for violin and orchestra GABRIELA MONTERO, piano BEETHOVEN Symphony No. 5 MARJORIE OWENS, ELIZABETH BISHOP, ISSACHAH SAVAGE, STEPHEN POWELL, Wednesday, July 23, 8pm MORRIS ROBINSON, and JULIEN ROBBINS, vocal soloists THE KNIGHTS TANGLEWOOD FESTIVAL CHORUS DAWN UPSHAW, soprano HÅKAN HARDENBERGER, trumpet RACHMANINOFF Piano Concerto No. 2 Music of Ligeti, Ljova, Stravinsky, and VERDI Overture and Va, pensiero (Chorus Schneider, plus arrangements for trumpet of the Hebrew Slaves) from Nabucco; Finale and ensemble of songs by Joni Mitchell, (Triumphal Scene) of Aida, Act II Weill, Legrand, Piazzolla, and others Monday, July 28, 8pm Thursday, July 24, 8pm TMC ORCHESTRA—MARCELO NATIONAL YOUTH ORCHESTRA LEHNINGER and TMC Fellows DANIEL OF THE USA COHEN and KARINA CANELLAKIS, DAVID ROBERTSON, conductor conductors GIL SHAHAM, violin TMC Fellows LAURA STRICKLING and LORALEE SONGER, vocal soloists Music of Bernstein, Britten, Samuel Adams, and Mussorgsky/Ravel Music of Beethoven and Sibelius Thursday, July 31, 8pm Friday, July 25, 6pm (Prelude Concert) BRASS PLAYERS OF THE BSO CHAMBER ENSEMBLE FROM THE BOSTON LYRIC OPERA ORCHESTRA HÅKAN HARDENBERGER, trumpet DAVID ANGUS, conductor Music of Gabrieli, Viñao, Debussy, and Ravel CHRISTOPHER ALDEN, stage director Friday, July 25, 8:30pm ANDREW HOLLAND, set designer TERESE WADDEN, costume designer BSO—CHRISTOPH VON DOHNÁNYI, ALLEN HAHN, lighting designer conductor JASON ALLEN, wigs and makeup designer PAUL LEWIS, piano HEATHER JOHNSON, CHELSEA BASLER, BEETHOVEN Overture to The Creatures of CAROLINE WORRA, OMAR NAJMI, DAVID Prometheus MCFERRIN, and DANIEL MOBBS, vocal MOZART Piano Concerto No. 12 in A, K.414 soloists MENDELSSOHN Symphony No. 4, Italian MEMBERS OF VOICES BOSTON, ANDY ICOCHEA ICOCHEA, artistic director BEESON Lizzie Borden, Chamber version in seven scenes without intermission Fully staged, sung in English with supertitles

Programs and artists subject to change. 2014 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 29, 10am Sunday, July 13, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Saturday, July 19, 6pm Monday, June 30, 10am, 1pm, and 4pm Prelude Concert STRING QUARTET MARATHON Sunday, July 20, 10am One ticket provides admission to all three concerts. Chamber Music (Festival of Contemporary Wednesday, July 2, 2:30pm Music) Opening Exercises (free admission; open to Saturday, July 26, 6pm the public; performances by TMC faculty) Prelude Concert Saturday, July 5, 6pm Sunday, July 27, 10am Prelude Concert Chamber Music Sunday, July 6, 10am Monday, July 28, 6pm Chamber Music Prelude Concert Sunday, July 6, 8pm * Monday, July 28, 8pm * The Phyllis and Lee Coffey Memorial Concert The Margaret Lee Crofts Concert TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—Conductors to include TMC Fellow KARINA CANELLAKIS, TMC Fellows DANIEL COHEN and KARINA conductors CANELLAKIS Music of HINDEMITH and BRUCKNER TMC Fellows LAURA STRICKLING and Tuesday, July 8, 8pm LORALEE SONGER, vocal soloists Vocal Concert Music of BEETHOVEN and SIBELIUS Saturday, July 12, 6pm Saturday, August 2, 6pm Prelude Concert Prelude Concert Saturday, July 12, 8:30pm (Shed) * Sunday, August 3, 10am The Caroline and James Taylor Concert Chamber Music TANGLEWOOD GALA Sunday, August 3, 8pm BSO and TMC ORCHESTRA—ANDRIS Vocal Concert NELSONS, conductor SOPHIE BEVAN, ANGELA DENOKE, and ISABEL LEONARD, vocal soloists Music of STRAUSS, RACHMANINOFF, and RAVEL

TMC Orchestra Concerts in Ozawa Hall (July 6, 28, August 11), $53, $43, and $34 (lawn admission $11). TMC Recitals, $11. Festival of Contemporary Music Concerts, $11. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free admission. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $75: For TMC concerts, tickets are available in advance online, or in person up to one hour before concert start time at the Ozawa Hall Bernstein Gate only (except for TMC Orchestra concerts). Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to most TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call 617-638-9267 or visit tanglewood.org/contribute. Tuesday, August 5 * Thursday, July 17—Monday, July 21 TANGLEWOOD ON PARADE 2014 FESTIVAL OF CONTEMPORARY 2:30pm: TMC Chamber Music MUSIC 3:30pm: TMC Chamber Music John Harbison and Michael Gandolfi, 5:00pm TMC Vocal Concert: “Sing America!” Festival Directors with Stephanie Blythe The 2014 Festival of Contemporary Music 8:00pm: TMC Brass Fanfares (Shed) highlights works of American composers, 8:30pm: Gala Concert (Shed) including music by Jacob Druckman and TMC ORCHESTRA, BSO, and Steve Mackey, and the world premieres of BOSTON POPS ORCHESTRA two TMC commissions: Bernard Rands’s STÉPHANE DENÈVE, KEITH LOCKHART, Folk Songs and Benjamin Scheuer’s Voices. ANDRIS POGA, LEONARD SLATKIN, and Thursday July 17, 8pm JOHN WILLIAMS, conductors Chamber Music Music of SHOSTAKOVICH, GERSHWIN, TMC FELLOWS GLINKA, BRUBECK, WILLIAMS, and Music of MATHESON, WEESNER, OH, TCHAIKOVSKY DRUCKMAN, LERDAHL, and HARBI- Fireworks to follow the concert SON Saturday, August 9, 6pm Friday July 18, 2:30pm The Judy and Richard J. Miller Concert Chamber Music Prelude Concert TMC FELLOWS Sunday, August 10, 10am Music by TMC Composition Fellows Chamber Music Saturday July 19, 2:30pm Monday, August 11, 6pm Chamber Music Prelude Concert TMC FELLOWS Music of PERLE, MAKAN, LASH, Monday, August 11, 8pm DZUBAY, NATHAN, and CHEUNG The Daniel Freed and Shirlee Cohen Freed Memorial Concert Sunday July 20, 10am TMC ORCHESTRA— STÉPHANE DENÈVE Chamber Music and TMC Fellow DANIEL COHEN, TMC FELLOWS conductors Music of BOYKAN and GANDOLFI; TMC VOCAL FELLOWS SCHEUER Voices (TMC commission; ALL-BERLIOZ PROGRAM world premiere); RANDS Folk Songs (TMC commission; world premiere) Saturday, August 16, 2:30pm Vocal Concert (Free admission) Sunday July 20, 8pm STEPHANIE BLYTHE and TMC VOCAL Theatrical Works FELLOWS TMC FELLOWS “The Sonnet Project” SOPER Helen Enfettered WAGGONER This Powerful Rhyme Saturday, August 16, 6pm Prelude Concert Monday, July 21, 8pm The Fromm Concert at Tanglewood Sunday, August 17, 10am TMC ORCHESTRA Chamber Music STEFAN ASBURY and TMC Fellows Sunday August 17, 2:30pm (Shed) * DANIEL COHEN and KARINA The Leonard Bernstein Memorial Concert CANELLAKIS, conductors TMC ORCHESTRA—CHARLES DUTOIT, Music of SESSIONS, MACKEY, BRAY, conductor and ADAMS NIKOLAI LUGANSKY, piano Music of RACHMANINOFF and STRAVINSKY The Festival of Contemporary Music has been endowed in perpetuity by the generosity of Dr. Raymond H. and Mrs. Hannah H. Schneider, with additional support in 2014 from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 49th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. (photo by Kristin Seavey, 2012) If you would like further information about the Boston University Tangle- wood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2014 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 12, 2:30pm, Tito Muñoz conducts Adès’s Dances from ‘Powder Her Face,’ Beethoven’s Symphony No. 7, and Dvoˇrák’s Carnival Overture. Saturday, July 26, 2:30pm, Ken-David Masur conducts Rimsky-Korsakov’s Scheherazade, Sibelius’s Pohjola’s Daughter; and Strauss’s Till Eulenspiegel. Saturday, August 9, 2:30pm, Paul Haas conducts Haas’s Father and Mahler’s Symphony No. 5.

WINDENSEMBLEPROGRAMS: Sunday, July 13, 2:30pm, David Martins conducts Camphouse, Galante, Hesketh, Persichetti, Reineke, and Jenkins. Sunday, July 27, 2:30pm, H. Robert Reynolds conducts Bernstein/Grundman, Bach/Cailliet, Hindemith, Bernstein/Bencrisutto, Turrin (featuring David Krauss, trumpet and Ronald Barron, trombone), and Ticheli.

VOCAL PROGRAMS: Saturday, August 2, 2:30pm, Ann Howard Jones conducts Copland, Feigenbaum, Foster/Washburn, Fine, Muhly, Paulus, Thompson, and Wachner.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 28; Wednesday, July 30; Thursday, July 31.

Tickets available one hour before concert time. Admission is $11 for orchestra and vocal program concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431. For a full listing of BUTI events visit http://www.bu.edu/cfa/ tanglewood/performance_calendar. FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Alexander Henry, Assistant to the Artistic Administrator, Tanglewood • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services

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

Boston Pops Dennis Alves, Director of Artistic Planning 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 Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

Joseph Chart, Director of Major Gifts • 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 Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate

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

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist

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

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator Box Office Representatives John Lawless • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Ben Kaufman, Visitor Center Manager • Jason Lyon, Tanglewood Front of House Manager • Eileen Doot, Business Office Manager • Peggy and John Roethel, Seranak Innkeepers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Audley H. Fuller Vice-Chair, Tanglewood Martin Levine Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick

Tanglewood Project Leads 2014 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Sylvia Stein • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones, Charlotte Schluger, and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark and Pam Levit Beiderman and David and Janet Rothstein • Tour Guides, Mort and Sandra Josel • Young Ambassadors, William Ballen and Ed Costa; Carole Siegel, Mentor Lead

Tanglewood Major Corporate Sponsors 2014 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

Visit Sarasota County is proud to sponsor the Boston Pops at Tanglewood this summer, and proud to be the Official Sponsor of Inspiration. As in the Berkshires, the arts just come naturally in Sarasota County, Where Artistic Expression and Inspiration Meet! Is it the crystal blue waters or the warm, balmy air that artists and performers find so inspirational? Who knows for sure. But you will find it every night and day in our performance halls, theatres, opera house, museums and galleries. Discover it yourself in Sarasota County. You’ll see why we’re known as Florida’s Cultural Coast. Learn more at VisitSarasotaArts.org.

Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2014 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Services Berkshire Tax Services • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Emery B. Sheer, CPA, CVA/ABV Advertising/Marketing/Consulting Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm - architecture | engineering | management • Foresight Land Services, Inc. • Hill - Engineers, Architects, Planners, Inc. • Pamela Sandler Architecture, LLC Art/Antiques Elise Abrams Antiques • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffeehouse Automotive Balise Lexus • BIENER AUDI • Haddad Toyota - Subaru - Hyundai Aviation Lyon Aviation, Inc. Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. • Pittsfield Lawn & Tractor Building/Contracting ALLEGRONE COMPANIES • Berkshire Landmark Builders • Great River Construction Co. Inc. • LB Corporation • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • SAVORY HARVEST CATERING Education AMERICAN INSTITUTE FOR ECONOMIC RESEARCH • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy ESCO Energy Services Company • VIKING FUEL OIL COMPANY, INC. Financial Services AMERICAN INVESTMENT SERVICES, INC. • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates L.P. • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • The Sherman Investment Group of RBC Wealth Management • TD Wealth • True North Financial Services • UBS Food/Beverage Wholesale Barrington Coffee • Big Elm Brewing • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE • SOCO CREAMERY Insurance Bader Insurance Agency Inc. • BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • Deely & Deely • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA LEFFERT, J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Birchwood Inn • BLANTYRE • the Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel - Berkshires • Devonfield Inn • Eastover Estate and Retreat • An English Hideaway Inn • The Garden Gables Inn • Gateways Inn & Restaurant • Hampton Inn & Suites • Inn at Green River • The Inn at Stockbridge • THE PORCHES INN AT MASS MOCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Consumer Products Bell Container Corp. • Barry L. Beyer, Packaging Consultant • BROADWAY LANDMARK CORPORATION • General Dynamics • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Dr. Charles Mandel OD PC • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services of NY • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, P.C. Moving/Storage Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center • Windy Hill Farm, Inc. Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS LLC Real Estate BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Berkshire Mountain Club at Catamount • Brause Realty, Inc. • Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, LLC • Edith and Larry Hurwit • LD Builders • McLean & McLean Realtors, Inc. • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Tucker Welch Properties Resort /Spa CANYON RANCH IN LENOX • CRANWELL RESORT, SPA & GOLF CLUB Restaurant Alta Restaurant & Wine Bar • Bagel & Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant & Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL RESORT, SPA & GOLF CLUB • Electra’s • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Rouge Restaurant Retail: Clothing Arcadian Shop • Bare Necessities.com • Ben’s • The Gifted Child • Glad Rags • twigs Retail: Food Berkshire Co-op Market • BIG Y SUPERMARKETS • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering Retail: Home COUNTRY CURTAINS • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design Retail: Jewelry Charland Jewelers • Laurie Donovan Designs • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Dery Funeral Homes • Shire Cleaning and Janitorial Specialty Contracting R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Pignatelli Electric • Michael Renzi Painting Co. Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • Allpoints Driving Service • Tobi’s Limousine Service, Inc. • The Traveling Professor Video/Special Effects/Fireworks Atlas Advanced Pyrotechnics, Inc. • MYRIAD PRODUCTIONS Yoga/Wellness/Health Berkshire Training Station • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • Kate and Al Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • 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 (2)

One Million

Alli and Bill Achtmeyer • 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 • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • 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 ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • 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 ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • 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 • Massachusetts Cultural Council • 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 • Polly and Dan Pierce • Carol and Joe Reich • 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 • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • 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 (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall