Table of Contents | Week 25

7 bso news 13 on display in symphony hall 15 in memoriam: sir 18 the boston symphony 20 farewell, thanks, and all best: this year’s bso retirees 23 this week’s program

Notes on the Program

24 The Program in Brief… 25 35 45 To Read and Hear More…

Guest Artists

49 Bernard Haitink 50 Nikolaj Znaider

52 2012-2013 season summary

64 sponsors and donors 82 symphony hall exit plan 83 symphony hall information

the friday preview talk on may 3 is given by bso director of program publications marc mandel.

program copyright ©2013 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo of BSO piccolo player Cynthia Meyers by Stu Rosner

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

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity , music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

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

William F. Achtmeyer • George D. Behrakis • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters life trustees

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

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • 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 • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. •

† Deceased

week 25 trustees and overseers 3

photos by Michael J. Lutch

Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • 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. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • 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 • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • 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 • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • 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 • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

week 25 trustees and overseers 5

BSO News

BSO Announces 2013-14 Symphony Hall Season No fewer than sixteen different conductors leading extraordinarily wide-ranging programs add luster to the BSO’s offerings in 2013-14. Christoph von Dohnányi will open the season with music of Brahms and Mahler, returning later for three all-Beethoven programs. BSO LaCroix Family Conductor Emeritus Bernard Haitink will lead music of Ravel, Steven Stucky, Schumann, and Brahms, and ’s three season-ending programs offer music of Mozart, Mahler, Mussorgsky, Rachmaninoff, Tchaikovsky, Glinka, and Berlioz. Acclaimed British conductor Daniel Harding makes his BSO debut, and two returning artists take dual roles, as conductor-pianist and Leonidas Kavakos as conductor- violinist. Returning guest conductors also include Thomas Adès, Andrew Davis, , Rafael Frühbeck de Burgos, Daniele Gatti, Manfred Honeck, , and Robert Spano. In addition, David Newman makes his BSO subscription series debut leading the complete score of Leonard Bernstein’s West Side Story to accompany a newly remas- tered, high-definition print of the film, and BSO Assistant Conductor Andris Poga leads his first full subscription program. And in addition to an internationally acclaimed roster of guest soloists throughout the season, the BSO will again spotlight members of the orches- tra without a conductor, when BSO players are joined by guest pianists Richard Goode and Menahem Pressler for two all-Mozart programs. 2013-14 brings the premieres of four works commissioned by the BSO, three of them by American composers: the American premiere in October of British composer Mark-Anthony Turnage’s Speranza; the world premiere in November of Marc Neikrug’s Concerto for and Orchestra, featuring BSO principal bassoon Richard Svoboda; the world pre- miere in January of Justin Dello Joio’s Concerto, featuring Garrick Ohlsson; and the world premiere in April of Bernard Rands’s Concerto for Piano and Orchestra, featuring Jonathan Biss. Further, British composer-pianist-conductor Thomas Adès returns in October for his third BSO appearance in four years; and, in late October/early November, to mark the 80th birthday of the great Polish composer Krzysztof Penderecki, Charles Dutoit leads the composer’s Concerto Grosso No. 1 for three cellos and orchestra, with which Dutoit, the work’s dedicatee, has been closely associated since leading the 2001 world premiere in Tokyo. In conjunction with performances of ’s War Requiem in November and the five Beethoven piano concertos featuring under Christoph von Dohnányi in March, the BSO is pleased to introduce—in collaboration with local institutions including Harvard University, the John F. Kennedy and Museum, the Museum of Fine Arts, and the New England Conservatory of Music—two “Insights” series investigating, through

week 25 bso news 7 film presentations, lectures, and additional musical performances, the cultural context in which these works were composed, all further enhanced by in-depth video podcasts on the BSO’s website, bso.org, with full details to be announced later. For complete details and subscription information, please call 1-888-266-7575 or visit bso.org. The BSO’s 2013-14 season is sponsored by Bank of America and EMC Corporation.

BSO Archives Honors Sir Colin Davis The BSO Archives has set up a special display case honoring Sir Colin Davis, who passed away on Sunday, April 14, at the age of 85. The BSO concerts of April 19-23 were dedicated to the memory of Sir Colin, who made his Boston Symphony debut in February 1967, was the BSO’s principal guest conductor from 1972 to 1984, and returned to the BSO podium between 2003 and 2010 for a more recent series of memorable concerts. The display case honoring Sir Colin is located audience-right in the Brooke Corridor of Symphony Hall (the orchestra-level Massachusetts Avenue corridor). A tribute to Sir Colin Davis begins on page 15 of this program .

Correcting Omissions: Mahler’s Symphony No. 4 and Schubert’s Symphony No. 5 with the BSO on DVD Last week’s listings for performances of Mahler’s Symphony No. 4 and Schubert’s Symphony No. 5 on disc neglected to mention DVD releases on ICA Classics of two historic BSO tele- casts: Mahler’s Symphony No. 4 in a January 1977 color telecast from Symphony Hall with Klaus Tennstedt and Phyllis Bryn-Julson, and Schubert’s Symphony No. 5 in a 1962 telecast from Sanders Theatre with Charles Munch conducting. Other historic BSO telecasts available on DVD from ICA Classics include, among other things, Bruckner’s Symphony No. 7 under Tennstedt; Schubert’s Great C major symphony, Mahler’s Symphony No. 1, and Tchaikovsky’s Symphony No. 5 under Erich Leinsdorf; Bruckner’s Symphony No. 8 and Beethoven symphonies 7 and 8 under William Steinberg; and music of Beethoven, Debussy, Ravel, Mozart, Brahms, Mendelssohn, Schumann, Schubert, and Haydn under Charles Munch.

individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Carmine A. and Beth V. Co-Chair of the Principal and Leadership Martignetti Concert, Gifts Committee and Vice-Chair of the Audit Thursday, May 2, 2013 Committee. He also serves on the Overseers Nominating Committee and Strategic Planning The BSO performance on May 2 is supported Committee. Mr. and Mrs. Martignetti served by a generous gift from BSO Great Benefactors as Co-Chairs of Opening Night at Symphony Carmine A. and Beth V. Martignetti. for the 2011-2012 season, which raised more Mr. and Mrs. Martignetti have been BSO than $1.1 million for the BSO, a record-break- subscribers for fourteen consecutive years, ing goal for the gala at the time. The couple beginning in 1999. Mr. Martignetti joined the also served as Co-Chairs of Opening Night at BSO Board of Overseers that same year, and Pops in 2007, and they have served as mem- he was elected to the Board of Trustees in bers of many Opening Night committees. In 2007. Mr. Martignetti currently serves as a addition to their support of Opening Night

8 galas, BSO corporate events, the Symphony Dottie has attended BSO concerts for over Annual Fund, and the Annual sixty years, and she and Steve have done so Fund, the Martignettis have generously sup- for over forty-five years. The Webers have ported the Beyond Measure Campaign. been supporters of the Boston Symphony Orchestra since 1979. They have endowed Mr. Martignetti is President of Martignetti the Stephen and Dorothy Weber Chair, cur- Companies, the leading distributor of wine rently held by BSO cellist Mickey Katz, and and spirits in New England. In addition to his they have established an endowed fellowship involvement at the Symphony, Mr. Martignetti at the Tanglewood Music Center, as well as serves as a Trustee of Tabor Academy in the first endowed Artist-in-Residence posi- Marion, MA. He has also served as a Trustee tion at the TMC. Steve and Dottie have also of the Brooks School in North Andover, MA, given generously to the BSO’s current com- and the Park School in Brookline, MA. prehensive campaign. Mrs. Martignetti is also an active volunteer In addition to their financial support of the throughout Boston. She currently serves on BSO, Steve and Dottie have also given gener- the President’s Advisory Council and the ously of their time. Steve was elected an Women’s Health Leadership Council at Overseer in 1997, Trustee in 2002, and Vice- Brigham and Women’s Hospital, where she Chairman in 2010. He serves on the Execu- previously served as a member and Vice- tive Committee, the Overseers Nominating Chair of the BWH Trust, President of the Committee, and the Principal and Leadership Friends of Brigham and Women’s Hospital, Gifts Committee, which he co-chairs. Together, and on the hospital’s Board of Trustees for Steve and Dottie are members of the Annual twelve years. Mrs. Martignetti is also involved Fund Committee and the Tanglewood Task at Harvard School of Public Health, where she Force. They served on many Benefactor Com- is a member of the HSPH Leadership Council mittees for both Opening Night at Symphony and former member of the Board of Dean’s and Tanglewood and are the chairs of Opening Advisors (formerly the Dean’s Council). Mr. Night at Tanglewood this summer. and Mrs. Martignetti are both graduates of Boston College, where they remain actively Steve Weber, an alumnus of the University of involved as alumni. They have three children Pennsylvania and Harvard Business School, and reside in Chestnut Hill, MA. retired in 2005 as Managing Director of SG- Cowen Securities Corp. Dottie Weber taught at Northeastern University and was a research The Stephen and Dorothy Weber psychologist at Boston University Medical Concert, Saturday, May 4, 2013 Center. She is an alumna of Tufts University This Saturday evening’s BSO performance and Boston University, where she earned her is supported by a generous gift from Great doctorate in education. Benefactors Stephen R. and Dr. Dorothy The Boston Symphony Orchestra extends Altman Weber. Longtime Saturday evening heartfelt thanks to Steve and Dottie Weber subscribers, Steve and Dottie have been for their generosity and commitment to con- involved with the BSO for many years, a tes- tinuing the Symphony’s rich musical tradition. tament to their continuing appreciation for music and their devotion to the orchestra. “The BSO is an important part of our lives, The Helen and Josef Zimbler Fund and the performances in Boston and at The appearance this Saturday night of Till Tanglewood are a source of great personal Fellner is supported by the Helen and Josef joy,” said Steve and Dottie. “We feel that we Zimbler Fund in the BSO’s endowment, have a responsibility to support the orchestra established with a generous bequest from so future generations will experience the the Estate of Helen Zimbler supporting the extraordinary musical excellence from which artistic expenses of the BSO. A Cincinnati we have benefited.”

week 25 bso news 9 native, Helen Rigby Zimbler pioneered the recitals and was active as a freelance bass place of women in American player. She passed away in 2005 at the age when, in 1937, she accepted a position in the of 91. Josef Zimbler left to Helen his entire double bass section of the Houston Symphony. estate, including a of correspon- She was also an accomplished singer, actor, dence, autographed photographs, and record- and painter. In 1939 Helen married Josef ings documenting his many years with the Zimbler, who was a BSO cellist from 1932 BSO and the Zimbler Sinfonietta. This collec- until his death in 1959. Josef Zimbler, born tion came to the BSO Archives in the spring in 1900 in Pilsen (now part of the Czech of 2006, through a bequest from the Estate Republic), was encouraged by his first cousin, of Helen Zimbler. Arthur Fiedler, to come to Boston in 1927. During his tenure with the BSO, Josef founded the Zimbler Sinfonietta, composed of approx- The Nathan R. Miller Family imately twenty BSO string players and per- Guest Artist Fund forming, in most cases, without a conductor. The appearance of the guest artists on The Sinfonietta pioneered a renewed appreci- Saturday night is supported by a generous ation of 17th- and 18th-century repertoire gift from the Nathan R. Miller Family. The and performance, championed contempo- BSO greatly appreciates their generous sup- rary music, made numerous recordings, and port. Mr. Miller became a Trustee of the BSO in 1957 toured Central and South America. in 2003, having served as an Overseer since Josef was held in high esteem by his colleagues 1988. As a Great Benefactor, Mr. Miller is a and always performed with them, but never long-standing supporter of the BSO and is in first chair. well known for his naming gifts of the Miller Helen remained in Boston until 1974 when Room and box office at Symphony Hall. she returned to Cincinnati, where, over the Nathan maintains a very strong commitment years that followed, she gave numerous vocal to music and the universal joy it brings, as

10 did his late wife Lillian, who attended the BSO members Sheila Fiekowsky, , Kazuko New England Conservatory of Music. In 1985, Matsusaka, viola, and former BSO cellist Ronald the Millers’ regard for BSO Music Director Feldman join violinist Lisa Crockett, clarinetist Laureate Seiji Ozawa prompted them to estab- Catherine Hudgins, and cellist William Rounds lish the Seiji Ozawa Endowed Conducting for a concert of chamber music to benefit the Fellowship at the Tanglewood Music Center. West Stockbridge Historical Society on Friday, They also endowed the Lillian and Nathan R. May 24, at 6 p.m. on the second floor of the Miller Chair in the cello section of the BSO in 1854 Town Hall (a National Historic Register 1987, and have named seats in Symphony Hall. building), 9 Main St., West Stockbridge. The program, which commemorates the 150th The Nathan R. Miller Family continues to be anniversary of the Emancipation Proclamation, among the BSO’s most generous philanthro- includes Samuel Coleridge-Taylor’s Quintet in pists, and we warmly thank them for their F-sharp minor for and strings and support. Schubert’s String Quintet in C, D.956, as well as a brief historical talk by Bob Salerno, the BSO Members on CD Historical Society’s president. Tickets are $25, available from West Stockbridge merchants or BSO violinist and fiddler Bonnie Bewick and by emailing [email protected]. her brother, the Santa Cruz guitarist-song- smith Ken Bewick, make up the duo “Frame.” After a childhood pitting pure Those Electronic Devices... in one bedroom against rock-‘n’-roll in the As the presence of smartphones, tablets, next, Bonnie and Ken circled ’round to the and other electronic devices used for com- folk music scene. After performing together munication and note-taking has continued to with the BSO-based group “Classical Tangent,” increase, there has also been an increase in they have now played several shows as a expressions of concern from concertgoers duo and made their first CD, “Consider the and musicians who find themselves distracted Source,” recorded at the Grammy-winning not only by the illuminated screens on these studio SoundMirror in Boston. Their unique devices, but also by the physical movements sound combines Ken’s folk-rock expertise that accompany their use. For these reasons, and Bonnie’s Celtic and classical background, and as a courtesy to those on stage as well playing on themes of each coast, growing up, as those around you, we respectfully request and meeting in the middle. More information that all such electronic devices be turned off about the duo and upcoming performances and kept from view while the BSO’s perform- can be found at www.frame-music.com. ances are in progress. Thank you very much for your cooperation. BSO Members in Concert Ronald Knudsen leads the New Philharmonia Comings and Goings... Orchestra in their final “Classics” concerts Please note that latecomers will be seated of the season on Saturday, May 18, at 8 p.m. by the patron service staff during the first and Sunday, May 19, at 3 p.m. at the First convenient pause in the program. In addition, Baptist Church, 848 Beacon Street, Newton please also note that patrons who leave the Centre. The program, entitled “Now and hall during the performance will not be Then,” includes Mahler’s Symphony No. 5 allowed to reenter until the next convenient and the world premiere of Erika Foin’s Quintes- pause in the program, so as not to disturb the sence, featuring the New Phil woodwind performers or other audience members while quintet. Tickets are $10-45, (discounts for the concert is in progress. We thank you for seniors, students, and families). For more your cooperation in this matter. information, or to order tickets, call (617) 527-9717 or visit newphil.org.

week 25 bso news 11 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 25 on display 13

IN MEMORIAM Sir Colin Davis September 25, 1927 – April 14, 2013

rse Staatskapelle The Boston Symphony Orchestra is deeply saddened at the loss of Sir Colin Davis, who passed away on April 14 at the age of 85. Sir Colin’s gentlemanly, elegant, exuberant, and powerful guidance enriched the BSO’s performances for many years in Boston and at Tanglewood, as well as in New York, Washington, D.C., and other East Coast venues. He made his Boston Symphony Orchestra debut in February 1967, was the BSO’s principal guest conductor from 1972 to 1984, and returned to the BSO podium between 2003 and 2010 for a more recent series of memorable concerts. His unique combination of intellect, warmth, love for music, and collegiality produced performances that invariably reflected the collaborative response of all who worked with him. Sir Colin’s own view of conducting, as stated in a 2011 interview with London’s The Guardian, was that “the less ego you have...[the more] you can concentrate on the only things that really matter: the music and the people who are playing it.... If you can help people to feel free to play as well as they can, that’s as good as it gets.” “He was one of the most important conductors of our time,” said BSO Managing Director Mark Volpe, “and it was a privilege for us in Boston to have him lead the orchestra not just in his titled role, but during his more senior years, when he reconnected with us in a very special way.”

In April 1984, for his final appearances as the BSO’s principal guest conductor, Sir Colin led the world premiere of Sir Michael Tippett’s oratorio The Mask of Time, a BSO centennial commission. He made his final appearances with the orchestra in January 2010, leading ihe .Lutch J. Michael

Sir Colin Davis conducting the BSO, soloist Christopher Maltman, and (not pictured) the Tanglewood Festival Chorus in the American premiere at Symphony Hall of James MacMillan’s “St. John Passion” on January 21, 2010

week 25 15 Mozart, Elgar, and the American premiere of James Archives BSO Peirce/courtesy Michael MacMillan’s St. John Passion, which was composed for Sir Colin’s 80th birthday. His wide-ranging Boston Symphony programs also included music of Beethoven, Brahms, Berlioz, Dvoˇrák, Handel, Haydn, Stravinsky, Mahler, Wagner, and Vaughan Williams.

In a career spanning half a century, Sir Colin Davis was renowned for his work in concert, opera, and on recordings. He began as assistant conductor with the BBC Scottish Orchestra in 1957. He became principal conductor at Sadler’s Wells (now English National) Opera in 1959 and was music director there from 1961 to 1965. He was then increasingly in demand With the BSO at Symphony Hall, c.1974 as a symphonic conductor, notably with the London Symphony Orchestra, of which he was principal guest conductor from 1975, principal conductor from 1995 to 2006, and then president. He was principal conductor of the BBC Symphony Orchestra from 1967 to 1971, music director of House, Covent Garden, from 1971 to 1986, and music director of the Bavarian Radio Symphony from 1983 to 1992. He was named honorary conductor of the Dresden Staatskapelle in 1990 and was principal guest con- ductor of the from 1998 to 2003. He made debuts at the Metro- politan Opera in 1966, at the Bayreuth Festival in 1977 (as the first British conductor to appear there), and at the Vienna Staatsoper in 1986. Much honored internationally, he was made a CBE in 1965, was knighted by Queen Elizabeth II in 1980, was named a member of the Order of the Companions of Honour in the Queen’s Birthday Honours in 2001, received the Queen’s Medal for Music in 2009, and was named Commander of the Order of the Dannebrog by the Queen of in 2012. ihe .Lutch J. Michael

Sir Colin Davis with violinist Nikolaj Znaider following the latter's BSO debut in Elgar's on January 14, 2010, at Symphony Hall

16 Sir Colin’s extensive discography includes, among other things, an historic cycle of Berlioz’s operas and orchestral works; three cycles of the Sibelius symphonies (which he first recorded in the mid-1970s with the Boston Symphony Orchestra); symphonies of Haydn, Beethoven, Schubert, Brahms, Dvoˇrák, Bruckner, Mahler, Elgar, Walton, and Nielsen; music of Sir Michael Tippett; Handel’s Messiah, Beethoven’s Missa Solemnis, Verdi’s Requiem, and Elgar’s The Dream of Gerontius; the great Mozart operas and choral works; and operas by Beethoven, Britten, Verdi, Wagner, and Puccini. In addition to the Sibelius cycle, his recordings with the Boston Symphony Orchestra include Schubert’s Unfinished and Great C major symphonies, Mendelssohn’s Italian Symphony and Midsummer Night’s Dream music, the Grieg, Schumann, and Tchaikovsky piano concertos with Claudio Arrau, Debussy’s Nocturnes and La Mer, and Tchaikovsky’s Romeo and Juliet and 1812 Overture.

Tanglewood Festival Chorus Conductor John Oliver, who worked with Sir Colin from 1971 to 2010, observed: “Colin’s ideas about music were always forthright and deeply thought, but never excluded anyone else’s. Quite the contrary: he welcomed the friction of some- one else’s intense thought, which in our case meant a tremendous joust lasting through- out our forty-year collaboration. There is no one I will miss more.” The violinist-conductor Nikolaj Znaider, to whom Sir Colin was friend, colleague, and conducting mentor, recently stated, “What was so extraordinary was his combination of humility, integrity, and gen- erosity.... He told me, as he told many other people, that all we have to do as musicians, as conductors, is just not get in the way of the music.”

Following the conductor’s acclaimed BSO debut in 1967, an enthusiastic attendee wrote to a local newspaper: “Must that miracle be only transitory, or dare one hope that Colin Davis become a familiar figure on the podium of Symphony Hall?” That hope was of course granted, to a degree for which we remain profoundly grateful. en esesen htsoePooBOArchives Photo/BSO Whitestone Weissenstein, Heinz

Colin Davis conducting the BSO in Beethoven’s “Missa Solemnis,” a piece particularly close to his heart, at Tanglewood on August 7, 1976, with the Tanglewood Festival Chorus and soloists Susan Davenny Wyner, Anna Reynolds, Eric Tappy, and (seated) Marius Rintzler

week 25 17 Boston Symphony Orchestra 2012–2013

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

bernard haitink seiji ozawa music director thomas wilkins LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

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

week 25 boston symphony orchestra 19 Farewell, Thanks, and All Best

Two departing members of the Boston Symphony Orchestra will be recognized on stage at the end of this week’s concerts. BSO violinist Ronald Knudsen will retire from the Boston Symphony Orchestra at the end of the 2013 Tanglewood season, after more than 49 years of service to the orchestra. BSO principal librarian Marshall Burlingame will retire from the BSO as of November 2013, after nearly 29 years of service to the BSO. We extend heartfelt thanks to both of them for their many years of dedication and service to the BSO and the musical community of Boston, and we wish them well in all of their future endeavors.

RONALD KNUDSEN has been a member of the Boston Symphony Orchestra violin section since 1965. Before coming to Boston he was a member of the Baltimore and Detroit symphony orchestras. He received his early musical training in Minneapolis; from 1952 to 1959 he studied with violinist William Kroll at the Peabody Conservatory of Music in Baltimore. In 1958 he was a Tanglewood Music Center Fellow, serving as the orchestra’s concertmaster and also as a soloist. During his years in Boston, Ron has been active in many aspects of Boston’s musical community. He was heard frequently as a soloist and in chamber music programs. He was a soloist with the Boston Pops and the symphony orchestras of Brockton, Newton, Wellesley, and Worcester. The original violinist of Collage New Music, in 1971 he also helped found the Curtisville Consortium, a chamber music group of BSO colleagues and friends presenting concerts annually each summer in the Berkshires.

As a conductor, Ron Knudsen has led numerous orchestras throughout New England and in Japan. In June 1990 he made his conducting debut with the Boston Pops Orchestra; during John Williams’s tenure, Mr. Knudsen appeared regularly for more than ten years as a guest conductor with both the Boston Pops Orchestra and the Boston Pops Esplanade Orchestra. Ron’s Boston Pops conducting debut featured his son, BSO cellist Sato Knudsen, as soloist; he and Sato are the fourth father/son player team in the history of the BSO. In addition, Ron has dedicated his life to sharing his passion and love of great music by working with non- professional orchestras around the Boston area. He served as both concertmaster and then music director of both the Brockton Symphony and Newton Symphony before he was invited to become music director of the New of Massachusetts in 1995. Ron continues to serve in this position, where his work has been acclaimed by the press, orchestra, and audience for his vision of bringing music to the broader community, for his programming, and for his ability to bring professional standards to a non-professional ensemble.

Ron’s family includes his wife Adrienne, his children Sato and Mayumi and their spouses, and his four grandchildren, all living in the area. Ron is a longtime resident of Newton; his interests include the restoration of fine string instruments and of his Victorian period home.

20 Principal librarian of the Boston Symphony Orchestra since 1985, MARSHALL BURLINGAME attended the Eastman School of Music, aided by a N.Y. State Regents scholarship, receiving a bachelor of music degree in clarinet and music history, and a master’s degree in performance and literature. He was also awarded the Performer’s Certificate in Clarinet as a student of Stanley Hasty. Graduating from Eastman during the Vietnam War, Marty fulfilled his military service as a member of the U.S. Air Force Concert Band in Washington, where he studied with Harold Wright, who would later become principal clarinet of the Boston Symphony Orchestra and was at that time principal clarinet of the National Symphony Orchestra.

After leaving the Air Force, Marty continued clarinet studies and joined the music reference staff of the Library of Congress. Through a connection between the director of the Library of Congress Music Division and the music director of the Cincinnati Symphony, he was invited to interview for the principal librarian position of the Cincinnati Symphony, a career course he had not previously considered. He was offered the position, and the two years he planned to be in Cincinnati turned into twelve. It was an experience that presented many opportunities in addition to being principal librarian: he substituted in the clarinet section and became program annotator for several years. He was also assistant conductor of the Cincinnati May Festival Chorus when the thirty-year-old James Levine was the festival’s music director.

By 1981, feeling the desire to explore other career possibilities, he resigned his library position in Cincinnati and relocated to Boston, where he worked on a grant that he had proposed to the National Endowment for the Arts, doing research in the BSO library for a database designed to aid orchestras and other musical organizations in planning and producing con- certs. During the three-year period of the grant, he was asked to revisit his past by acting as librarian for the Tanglewood Music Center Orchestra, and, later, working with John Williams, providing him with scores and helping to make programs for the 1983 and 1984 Boston Pops seasons.

All of these activities, and the presence of the Boston Symphony Orchestra in rehearsal and concert, made for an exciting three years. When longtime BSO principal librarian Victor Alpert announced his retirement in 1984, Marty threw his hat into the ring, having realized that being principal librarian of a great orchestra was indeed a terrific and fortunate career— a feeling, he observes that has not changed in the course of the past twenty-eight-plus years.

Marty views his retirement from the BSO as another opportunity to investigate new activities. In addition to music, his other lifelong passion has been for English literature; he plans to explore possibilities in the fields of writing and . Marty lives in Waban with his wife, Aline Benoit.

week 25 farewell, thanks, and all best 21

bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, May 2, 8pm | the carmine a. and beth v. martignetti concert Friday, May 3, 1:30pm | the great benefactors concert Saturday, May 4, 8pm | the stephen and dorothy weber concert bernard haitink conducting brahms violin concerto in d, opus 77 Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace nikolaj znaider

{intermission} schubert symphony in c, d.944, “the great” Andante—Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace this year’s boston symphony orchestra retirees will be acknowledged on stage at the end of these concerts (see page 20). friday afternoon’s appearance by nikolaj znaider is supported by the helen and josef zimbler fund. saturday evening’s appearance by nikolaj znaider is supported by the nathan r. miller guest artist fund. bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The evening concerts will end about 10:10 and the afternoon concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons , selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. 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 texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 25 program 23 The Program in Brief...

This closing program of the BSO’s 2012-13 subscription season pairs two staples of the orchestral repertoire that only slowly found the popularity they deserved. (Coincidentally, both were premiered by the Gewandhaus Orchestra of Leipzig.) Long thought to predate his Unfinished Symphony (which went undiscovered for decades after its composition), Schubert’s Great C major symphony—so called because of its size, to distinguish it from the composer’s smaller C major symphony, his No. 6—was actually the last symphony he completed. It received a rehearsal in Vienna at some point before his death in November 1828, but the first fully documented public performance took place only in 1839, with conducting, at the instigation of —and even then it was heavily cut, notwithstanding Schumann’s high praise of its “heavenly lengths.”

Such “heavenly lengths” characterize many of Schubert’s mature works, notably also in his piano sonatas and chamber music. Schubert fills out the expanse of his conceptions with an ingenious sense of rhythmic propulsion, color contrasts (not only through choices of instrumentation, but also by juxtaposing different key areas), and a sure sense of musical architecture and goal. His gift for lyricism and melody is also a major presence, reminding us that he was one of the greatest-ever composers of song. Yet it is not difficult to understand why performers and listeners could not immediately warm to this great (in the subjective sense!) work. There was no precedent for a purely instrumental sym- phony of this length (when all the repeats written into the score are taken, it exceeds an hour); Schubert himself, working on essentially the same scale, had given up after just two movements of the Unfinished. Violinists in particular find the Great C major incredibly taxing even today; when it was new, they were flabbergasted.

The program begins with Brahms. Having composed his Symphony No. 2 the previous summer, Brahms wrote the Violin Concerto in the summer and early fall of 1878, with input from his close friend and musical colleague, the great Austro-Hungarian violinist Joseph Joachim. Joachim played the premiere on New Year’s Day of 1879 with the composer conducting—on a program with the Beethoven Violin Concerto, a work of comparable size and scope. The juxtaposition probably didn’t help: Beethoven’s music was familiar; Brahms’s was brand-new, and by a composer whose orchestral music was regarded as notably dense, difficult, and severe.

Nowadays there is no such difficulty. We are entirely at home with Brahms’s alternations of densely conceived counterpoint on the one hand and lyric effusion on the other; both those aspects of his music are immediately audible in the concerto’s orchestral introduc- tion and then again in the soloist’s extended entry. Following the big first movement, the middle movement grows lyrically rhapsodic. The energetic, gypsy-themed finale posed no problem to listeners even when it was new.

Marc Mandel

24 Johannes Brahms Violin Concerto in D, Opus 77

JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. He wrote the Violin Concerto in the summer and early fall of 1878, but the pub- lished score incorporates revisions made after the premiere, which was given by Joseph Joachim, the dedicatee, in Leipzig on January 1, 1879, with the composer conducting the Gewandhaus Orchestra.

IN ADDITION TO THE SOLO VIOLIN, the score of Brahms’s Violin Concerto calls for two each of flutes, oboes, clarinets, and bassoons, four horns, two trumpets, timpani, and strings. At these performances, Nikolaj Znaider plays the Heifetz-Auer first-movement cadenza (the Hungarian violinist Leopold Auer was Jascha Heifetz’s teacher).

Faint phonograph recordings exist of Joseph Joachim playing Brahms Hungarian Dances, some unaccompanied Bach, and a Romance of his own: through the scratch and the dis- tance, one can hear that even in his seventies the bow-arm was firm and the left hand sure. And though the records also convey a sense of the vitality of his playing, they are, in the end, too slight and too faint to tell us anything we want to know about the violinist whose debut at eight was hailed as the coming of “a second Vieuxtemps, Paganini, Ole Bull” or the musician whose name became, across the more than sixty years of his career, a byword for nobility and probity in art. Joachim was also leader of the most highly esteemed string quartet of his day, as well as an accomplished composer and an excellent conductor. His became a dominant voice in German musical anti-Wagnerian conservatism; his passionate identification with the musical past was productive, the range of his experience was prodigious. Europe’s courts, universities, and learned acade- mies vied to honor Joachim, but what speaks to us more eloquently than the doctorates and the Pour le mérites is an accounting of what composers dedicated to him (and some- times wrote for him to play), a list that includes the second version of Schumann’s Symphony No. 4 in D minor, Liszt’s Hungarian Rhapsody No. 2, Dvoˇrák’s Violin Concerto, and, by Brahms, the Opus 1 piano sonata in C, the scherzo of a composed jointly with Schumann and Albert Dietrich, and the Violin Concerto.

week 25 program notes 25 Program page from the first Boston Symphony performance of the Brahms Violin Concerto on December 7, 1889, with then BSO concertmaster Franz Kneisel as soloist and conducting (BSO Archives)

26 Brahms and Joachim met in 1853 and they gave many concerts together, with Brahms at the piano or on the conductor’s podium. Joachim was the elder by two years and, as a very young man, the more confident and the more technically accomplished composer of the two. Brahms quickly acquired the habit of submitting work in progress to Joachim for stern, specific, and carefully heeded criticism. In the 1880s the friendship was ruptured when Brahms too plainly took Amalie Joachim’s side in the differences that brought the Joachims’ marriage to an end in 1884. The Double Concerto for violin and cello was ten- dered and accepted as a peace offering in 1887 (Joachim and Robert Hausmann, cellist in the Joachim Quartet, were the first soloists). Their correspondence was resumed, almost as copiously as before, but intimacy was lost for good, and the prose is prickly with diplomatic formalities and flourishes.

The first mention of a concerto in the Brahms-Joachim correspondence occurs on August 21, 1878. Brahms was spending the summer at Pörtschach on Lake Wörth in southern Austria, where a year previously he had begun his Second Symphony; it was a region, he once said, where melodies were so abundant that one had to be careful not to step on them. Brahms and Joachim met at Pörtschach the end of that month. The correspon- dence continued, and plans were made for a tryout of the concerto with the orchestra of the Conservatory in , for Joachim to compose a cadenza, and for the premiere either with the or at the Leipzig Gewandhaus. On New Year’s Day of 1879, Joachim and Brahms introduced the work in that same hall in Leipzig where, just four weeks short of twenty years back, Brahms’s First Piano Concerto had met with cata- strophic, brutal rejection. Brahms had not written a concerto since, and curiosity was keen, the more so because there were few significant violin concertos: received opinion had it that there were in fact just two, Beethoven’s and the Mendelssohn. The first move- ment rather puzzled the audience, the Adagio was greeted with some warmth, and the finale elicited real enthusiasm. About Joachim’s playing there was no disagreement, and his cadenza was universally admired. Indeed, after the Vienna premiere two weeks later, Brahms reported to his friend Elisabet von Herzogenberg that Joachim had played the cadenza “so magnificently that people clapped right into my coda.”

week 25 program notes 27

The monument to Robert and Clara Schumann in Bonn, at the unveiling of which on May 2, 1880, Joachim played Brahms’s Violin Concerto

On March 6, Joachim reported from London that he had dared play the concerto from memory for the first time, and he continued to champion it wherever he could. None of the early performances was so moving an occasion for Joachim and Brahms as the con- cert in celebration of the unveiling of the Schumann monument in Bonn (pictured above) on May 2, 1880: Brahms’s concerto was the only work chosen that was not by Schumann. Meanwhile, composer and violinist continued to exchange questions, answers, and opin- ions about the concerto well into the summer of 1879, Brahms urging Joachim to propose ossias (easier alternatives), Joachim responding with suggestions for where and how the orchestral scoring might usefully be thinned out, with changes of violinistic figuration, and even with a considerable compositional emendation in the finale. Except for the last, Brahms accepted most of Joachim’s proposals before he turned the material over to his publisher. In spite of Brahms’s secure prestige by this point in his career, in spite of Joachim’s ardent and effective sponsorship, the concerto did not easily make its way. It was thought a typical example of Brahmsian severity of manner: Hans von Bülow’s quip about the difference between , who had written a concerto for the violin, and Brahms, who had written one against the violin, was widely repeated, and as late as 1905, Brahms’s devoted biographer, Florence May, was obliged to admit that “it would be too much to assert that it has as yet entirely conquered the heart of the great public.” , who took it into his repertory about 1900, had as much as anyone to do with changing that, and Brahms would be surprised to know that his concerto has sur- passed Beethoven’s in popularity (and that Mendelssohn’s elegant essay is no longer thought of as being in that league at all).

week 25 program notes 29

To us it seems odd to think of playing the Beethoven and Brahms concertos on the same program, as was the case at the first performance, at Joachim’s suggestion. But then, the likeness that makes the idea an uncomfortable one for us was probably the very factor that made it attractive to Joachim, who was not, after all, presenting two established masterpieces but, rather, one classic, and a new and demanding work by a forty-five- year-old composer with a reputation for being “difficult.” But Beethoven is present, in the choice of key, in the unhurried gait (though the tradition that turns Beethoven’s and Brahms’s “allegro, but not too much so” into an endlessly stretched out, energyless Andante does neither work any good), in the proportions of the three movements, in the fondness for filigree in the high register, in having the soloist enter in an accompanied cadenza, in leading the main cadenza not to a vigorous tutti but to a last unexpected and hushed reprise of a lyric theme (the second theme in Beethoven, the first in Brahms).

Brahms begins with a statement that is formal, almost neutral, and unharmonized except for the last two notes. But the sound itself is subtle—low strings and bassoons, to which

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week 25 program notes 31 Joseph Joachim (1831-1907)

two horns are added, and then, with basses, two more. And the resumption, quietly and on a remote harmony, is altogether personal.* So striking a harmonic departure so early will take some justifying, and thus the surprising C major chord under the ’s melody serves as signal that this movement aims to cover much space, that it must needs be expansive. A moment later, at the top of the brief crescendo, the rhythm broadens—that is, the beats are still grouped by threes, but it is three half-notes rather than three quar- ters, and this too establishes early a sense of immense breadth. On every level the music is rich in rhythmic surprise and subtlety: the aggressive theme for strings alone insists that the accents belong on the second beat, another idea dissolves order (and imposes a new order of its own) by moving in groups of five notes, the three-four/three-two ambiguity returns again and again. The musing and serene outcome of the cadenza is not so much a matter of the pianissimo and dolce and tranquillo that Brahms writes into the score as of the trance-like slow motion of the harmonies. (Things have changed in the last hundred years. The danger now is not that the audience will applaud as it did at the Vienna premiere, but that it will cough.)

When the great was asked whether he intended to learn the new Brahms concerto he replied, “I don’t deny that it is very good music, but do you think I could fall so low as to stand, violin in hand, and listen to the oboe play the only proper tune in the whole work?” What the oboe plays at the beginning of the Adagio is indeed one of the most wonderful melodies ever to come to Brahms. It is part of a long passage for winds alone, subtly voiced and anything other than a mere accompanied solo for the

* A characteristic detail: the oboe melody is preceded by two bars of an F major chord for bassoons and horns. The entrance of the solo violin, which plays a variant of the oboe tune, is preceded by the same two measures, but given to the orchestral strings as they make their first appearance under the dissolving and receding wind-band music.

32 oboe, and a magical preparation for the return of the violin.* As the critic Jean-Jacques Normand charmingly puts it, “Le hautbois propose, et le violon dispose.” It is strange that Sarasate should not have relished the opportunity to turn the oboe’s chastely beautiful melody into ecstatic, super-violinistic rhapsodies. A new and agitated music intervenes. Then the first ideas return, enriched, and with the wind sonorities and the high-flying violin beautifully combined. For the finale, Brahms returns to his old love of gypsy music, fascinatingly and inventively deployed, and the turn, just before the end, to a variant in 6/8 (heard, but not so notated) is a real Brahms signature.

Michael Steinberg

michael steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the and New York Philharmonic. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, concer- tos, and the great works for chorus and orchestra.

THEBOSTONSYMPHONYORCHESTRAGAVETHEFIRSTAMERICANPERFORMANCE of the Brahms Violin Concerto on December 7, 1889, with BSO concertmaster Franz Kneisel as soloist and Arthur Nikisch conducting. Kneisel played it in subsequent seasons with Emil Paur and Wilhelm Gericke. It has also been performed at BSO concerts by Adolph Brodsky (Nikisch), Maud Mac- Carthy (Gericke), Fritz Kreisler (Gericke, Max Fiedler, Karl Muck), Hugo Heermann (Gericke), Carl Wendling (Muck), Mischa Elman and Felix Barber (Fiedler), Anton Witek (Fiedler, Muck), Carl Flesch (Muck), Albert Stoessel (), Richard Burgin (Monteux, Serge Koussevitzky), Vladimir Resnikoff and Georges Enesco (Monteux), Jacques Thibaud (Michael Press), Albert Spalding (Burgin), Jascha Heifetz, Nathan Milstein, Adolf Busch, Bronislav Huberman, Paul Makovsky (Koussevitzky), Joseph Szigeti (Koussevitzky, Charles Munch), Efrem Zimbalist (Koussevitzky), Ginette Niveu (Burgin), , Patricia Travers, Arthur Grumiaux (Munch), Isaac Stern (Munch, Monteux), Leonid Kogan (Monteux), Christian Ferras, Jacob Krachmalnik, Roger Shermont (Munch), Zino Francescatti (Burgin, Erich Leinsdorf, William Steinberg), Shmuel Ashkenasi and Joseph Silverstein (Leinsdorf), David Oistrakh (Steinberg), Miriam Fried (Silverstein, Klaus Tennstedt), Gidon Kremer (Colin Davis), Joseph Silverstein (Eugene Ormandy), Henryk Szeryng (Andrew Davis), Salvatore Accardo (), Stern and Itzhak Perlman (Seiji Ozawa), Uto Ughi (Giuseppe Sinopoli), Midori (Slatkin), Ida Haendel (Claus Peter Flor), Perlman again (), Malcolm Lowe and Maxim Vengerov (Ozawa), Kyung-Wha Chung and Joshua Bell (), Gil Shaham (Hans Graf), Frank Peter Zimmermann (James Conlon and then Christoph von Dohnányi), Leonidas Kavakos (Rafael Frühbeck de Burgos), Christian Tetzlaff (James Levine), Joshua Bell again (the most recent subscription performances, in November/December 2009 with Yan Pascal Tortelier conducting), Arabella Steinbacher (the most recent Tanglewood performances, with Japp van Zweden conducting), and Gil Shaham again (the BSO's most recent performance, in Los Angeles on December 10, 2011, with Ludovic Morlot conducting).

* And, one might add, Beethovenian—inspired by the orchestra’s first mysterious entrance in the Fourth Piano Concerto.

week 25 program notes 33

Franz Schubert Symphony in C, D.944, “The Great”

FRANZ PETER SCHUBERT was born in Liechtenthal, a suburb of Vienna, on January 31, 1797, and died in Vienna on November 19, 1828. He began this symphony in the summer of 1825 and completed it by, at latest, October 1826. At some point between the summer of 1827 and November 1828 the work received at least one reading at a rehearsal of the Vienna Society of the Friends of Music (Gesellschaft der Musikfreunde). The first fully authenticated performance, heavily cut, took place on March 21, 1839, with Felix Mendelssohn-Bartholdy conducting the Orchestra of the Leipzig Gewandhaus.

THE SCORE OF SCHUBERT’S “GREAT” C MAJOR SYMPHONY calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, three trombones, timpani, and strings.

When he was a young man, Schubert found writing symphonies almost as easy as breathing. He had absorbed from birth the musical language of Mozart and Haydn, and he was able to use it to say things that were fresh and characteristic of him alone from a very early age. He finished his First Symphony before the end of 1813—when he was sixteen years old. Within eighteen months he completed two more. The Fourth and Fifth were composed in the spring and fall of 1816, respectively, and the Sixth in the winter of 1817-18. In short, six symphonies composed in the space of five years. Schubert was to live another ten years after finishing the Sixth, but he only composed one more complete symphony—though not for want of trying. He made extensive sketches for other sym- phonies and completed the first two movements of the Unfinished Symphony in B minor, one of his most magical scores. In that whole decade, though, only the Great C major symphony was fully completed—and even it remained generally unknown for more than a decade after the composer’s early death.

Something happened about 1818 to undermine the confidence he had shown hitherto. For the next five years his output contains dozens of works begun and not finished, many of them sketched out on a grand scale. (One of these, a planned symphony in E, is so extensively drafted that it has been completed by other hands on more than one occasion;

week 25 program notes 35 Program page from the first Boston Symphony performance of Schubert's "Great" C major symphony on January 14, 1882, with Georg Henschel conducting, during the orchestra's inaugural season (BSO Archives)

36 Brian Newbould has made an of that work, as well as completions of numerous other Schubert symphonic sketches and even a “Tenth Symphony.”) Part of the change, no doubt, came from Schubert’s emotional maturing (he was just twenty-one years old in 1818) and from a desire to express deeper, more intense feelings in his music. Part of it surely resulted from the overwhelming example of Beethoven, who had redefined the character of the symphony during Schubert’s lifetime. After Beethoven the symphony had to be grand, even heaven-storming. It was not music for entertainment, even of the supremely witty and accomplished kind that Haydn had perfected. Schubert evidently felt the need to reconsider his entire approach to the symphony. Many of his attempts evidently did not meet his new standards, or raised musical problems that he was unable to resolve, so they remained simply sketches or incomplete torsos.

Going by the numbering in the chronological catalogue of Schubert’s works first put together by Otto Erich Deutsch, the Great C major symphony (so called to distinguish it from Symphony No. 6 in the same key) was one of the prolific composer’s final composi- tions.* Indeed, the manuscript actually bears the date “March 1828” written in Schubert’s hand, suggesting to earlier investigators that he composed the symphony just eight months before his death.

But there is a mystery here. It is well documented that Schubert composed a symphony in the summer of 1825, during a vacation trip to Gmunden and Gastein with his friend Johann Michael Vogl, and that he submitted a work described as “this, my symphony” to the Vienna Philharmonic Society in October 1826, though it was never publicly per- formed. The 1828 date written on the manuscript of the Great C major symphony con- vinced that devoted Schubertian George Grove that it could not possibly be the work offered for performance in 1826. Thus scholars, partly indulging in wishful thinking, have looked for the “missing” Gastein symphony for more than a century. Only recently has a reconsideration of the evidence brought quite convincing arguments that the Great C major symphony is, in fact, the work that Schubert composed in Gastein. It was never

* The question of proper number for the Great C major symphony is a vexing one. By the time Schubert’s symphonies first came to be published, it was known that he had composed six early symphonies. The Great C major was originally published as “No. 7.” When it came to light, the Unfinished Symphony was then identified as “No. 8.” But the realization that the Unfinished was composed several years before the Symphony in C led some publishers to rechristen the Great C major as “No. 9,” which was chronologically correct, but left a gap at 7. A few commentators filled in the gap with the unfinished Symphony in E, but this came to seem unwise, since Schubert never considered that to be a finished work. In 1978 the revised edition of the Deutsch Schubert catalogue took the bull by the horns, renumbering the Unfinished as “No. 7” and the Great C major as “No. 8.” After that, the publication and recording of the Newbould completions of Schubert sketches has led some performers to call the C major “No. 10” (though there is also a series of late sketches that Newbould completed with that number!). Thus it is possible to find scores, records, or concert programs in which this symphony is billed as No. 7, 8, 9, or 10. That way mad- ness lies. To preserve sanity, we now use only the key, Deutsch catalogue number, and relevant nickname for Schubert symphonies after the Sixth.

week 25 program notes 37 38 From the manuscript of Schubert’s “Great” C major symphony, begin- ning at bar 154 of the finale

“lost.” Only careless or willful misreading of the evidence could have generated the hypothesis postulating a missing work.

Happily, there is now new physical evidence to add to the demonstration. The paper on which Schubert wrote most of the symphony is of a distinctive type that he also used for five dated compositions—all of them written in the summer of 1825. Moreover, Schu- bert’s idol, Beethoven, used the same paper for his Opus 132 string quartet, which he was writing at the same time. The lengthy manuscript of Schubert’s symphony does con- tain, here and there, four other types of paper, but they occur in revisions made later than the original drafting of the score. The first movement in particular shows signs of later reworking, which probably took place months or even years after the original work of composition. It seems most likely, then, that Schubert added the date “March 1828” to the autograph when he undertook the final revision of a work that had long since been completed and may even have had a private reading at the Philharmonic Society.

After Schubert’s death in 1828, the symphony was “lost” in the sense that it remained in manuscript and unperformed. Not until New Year’s Day 1839 was it seen by a musician who truly valued its significance: Robert Schumann. He immediately arranged for a per- formance (conducted by Mendelssohn) in Leipzig, the first hearing of this enormous score. At a time when Schubert was still scarcely known outside of Vienna, Schumann hailed him at length as the greatest successor to Beethoven (though he only outlived that master by a year). The C major symphony offered, to Schumann’s mind, all possible virtues from variety and colorful effects to clear form and craftsmanship: For here, beside masterful technique of musical composition, there is life in every fiber, color in the finest gradations, significance everywhere, sharply cut detail. And finally, over the whole there is poured out that romanticism we know to be characteristic of Franz Schubert. And these heavenly lengths, like a great novel in four volumes by one such as Jean Paul....

week 25 program notes 39 40 Despite Schumann’s well-known praise of the symphony’s “heavenly length,” the work was heavily cut on this occasion. The first performance was a success, but almost every- where else orchestras reacted as the Philharmonic Society had when Schubert first of- fered the piece: it was “too long and difficult.” Schumann himself recognized that listen- ers might be at first bewildered by “the brilliance and novelty of inspiration, by the length and breadth of the form, by the enchanting fluctuation of feeling,” but he insisted that gradually, over time with repeated hearings, the connections would become clear. Indeed, audiences eventually came to know the symphony in spite of its length and to recognize the truth of Schumann’s ecstatic reaction: “It transports us into a world where we cannot recall ever having been before.”

The first movement begins with a melody, Andante, in the horns that might be the typi- cal “slow introduction”—except that Schubert welds it to the body of the movement, making it the cornerstone of the entire symphony. The first three notes (C-D-E) cover the interval of a major third, which is heard, either rising or falling, in many passages throughout the score. The transition from the “splendid romantic introduction” aroused Schumann’s explicit enthusiasm. The dotted figure from the opening phrase becomes more insistent; it builds to a climax that resolves quietly to C major, where the wood- winds take up the horn melody against a new triplet figure in the strings. The introduction gathers momentum, then the same basic figures—dotted notes and triplets—spill over into the main theme of the Allegro ma non troppo. Next, a new, crisp march theme appears in the oboes and bassoons over whispering strings in the rather surprising key of E minor. But soon it moves again to the more expected secondary key of G major, where the theme is repeated, with a charming chromatic addition. But the exposition is far from over; the marchlike figure expands harmonically, almost as if we were already in the mid- dle of the development, only to settle firmly again on the dominant, where Schubert marks a double bar for the conductor daring enough to repeat this extraordinarily lengthy exposition (few have accepted the challenge).

The development reworks fragments of the ideas already heard in new combinations that grow increasingly darker, more hushed, and more mysterious until the first dotted theme returns, now piano, in the original key. All of the material heard in the exposition is reworked at length, becoming finally an extended coda moving at a still faster tempo, so that when Schubert offers the masterstroke of bringing back the opening horn call, it is transmuted from a gentle, slightly bucolic melody to a grand rush of high energy.

The second movement, in A minor, is laid out on the simplest of musical plans, ABAB, with the B sections appearing in contrasting keys, first F major, then A major. This pat- tern can be seen as an abridged sonata form without a development section, an arrange- ment found quite commonly in slow movements. Yet the flow of ideas is so lavish and imaginative that one scarcely notices the straightforwardness of the design in the poetry of the elaboration.

The scherzo, too, is elaborated in extenso as a full-scale sonata form, a far cry from the binary dance movement of earlier symphonies (though akin in this sense to the scherzo

week 25 program notes 41 of Beethoven’s Ninth Symphony). For the second theme of the scherzo and also in the Trio, Schubert introduces themes that truly waltz, lilting in the style that was to become the hallmark of Vienna for a century. (We forget that the symphony was composed at precisely the time when Johann Strauss the elder and his roommate—later rival—Josef Lanner were so successfully introducing waltzes for dancing at Viennese dining estab- lishments, and in so doing we overlook Schubert as a pioneer of the Viennese waltz.)

The last movement is nothing short of colossal in time span, energy, and imaginative power. This music astonished the players who first attempted to perform the symphony and probably persuaded them to give it up. Two separate motives—one dotted, one in triplet rhythm—stand at the head of the movement as a call to attention and a forecast of things to come. Both play a role in the opening theme, which grows with fierce energy to the dominant cadence. After a pause, a brilliantly simple new idea—four repeated notes in the unison horns—generates an independent marchlike theme that shows off its possibilities later on when it comes to dominate the extended development. (When Mendelssohn attempted to rehearse the symphony for a first London performance, the first violinists collapsed in laughter when they came to the eighty-eight consecutive measures of triplet eighth-notes that accompany the second theme, with the measured tread of woodwinds and brass.) The opening dotted motive foreshadows the recapitula- tion with increasing intensity, though when it arrives, Schubert arranges matters so as to bring it back in the completely unexpected key of E-flat! The first section of this reca- pitulation is abridged, but it works around to C major for the more lyric march of the sec- ondary theme. This closes quietly on a tremolo C in the cellos; they sink down two steps to A, starting the massive coda, which reworks the materials nearly as extensively as the development section in the middle of the movement. The mood passes from mystery and darkness to the glorious sunshine of C major as the symphony ends in a blaze of glory.

Steven Ledbetter steven ledbetter was program annotator of the Boston symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

the first american performance of Schubert’s “Great” C major symphony took place on January 11, 1851, with Theodor Eisfeld conducting the Philharmonic Society of New York at New York’s Apollo Rooms. the first boston symphony orchestra performance of Schubert’s “Great” C major symphony was given by Georg Henschel on January 14, 1882, during the orchestra’s first season, subsequent BSO performances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Pierre Monteux, Serge Koussevitzky, Adrian Boult, George Szell, Leonard Bernstein, Charles Munch, Erich Leinsdorf (first in 1963, and including the most recent Tanglewood performance, on July 31, 1982), , William Steinberg, Max Rudolf, Peter Maag, Klaus Tennstedt, Colin Davis, Kurt Masur, Jesús López-Cobos, Seiji Ozawa, Kurt Sanderling, , Hans Graf, James Levine, Bernard Haitink (subscription performances in March 2008), and Jayce Ogren (the most recent subscription performances, in March 2010, with Ogren substituting at short notice for James Levine).

week 25 program notes 43

To Read and Hear More...

Important additions to the Brahms in recent years have included Jan Swafford’s Johannes Brahms: A Biography (Vintage ); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford); The Compleat Brahms, edited by conduc- tor/scholar Leon Botstein, a compendium of essays on Brahms’s music by a wide variety of scholars, composers, and performers, including Botstein himself (Norton); and Walter Frisch’s Brahms: The Four Symphonies (Yale paperback). Also relatively recent is Peter Clive’s Brahms and his World: A Biographical Dictionary, which includes a chronology of the composer’s life and works followed by alphabetical entries on just about anyone you might think of who figured in Brahms’s life (Scarecrow Press). Important older biographies include Karl Geiringer’s Brahms (Oxford paperback) and The Life of Johannes Brahms by Florence May, who knew Brahms personally (originally published in 1905, this shows up periodically in reprint editions). Malcolm MacDonald’s Brahms is a very good life-and-works in the “Master Musicians” series (Schirmer). John Horton’s Brahms Orchestral Music in the series of BBC Music Guides includes discussion of his symphonies, concer- tos, serenades, Haydn Variations, and overtures (University of Washington paperback); for more detailed analysis, go to Michael Musgrave’s The Music of Brahms (Oxford paper- back) or Bernard Jacobson’s The Music of Johannes Brahms (originally Fairleigh Dickinson). Michael Steinberg’s note on Brahms’s Violin Concerto, two piano concertos, and Double Concerto for violin and cello are in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s note on the Violin Concerto is among his Essays in Musical Analysis (Oxford paperback).

Nikolaj Znaider has recorded the Brahms Violin Concerto with and the Vienna Philharmonic (RCA). Bernard Haitink recorded the concerto with Henryk Szeryng and the Concertgebouw Orchestra of Amsterdam (originally Philips). Other noteworthy recordings (listed alphabetically by soloist) include Joshua Bell’s with Christoph von Dohnányi and the (London/Decca), ’s with Yakov Kreizberg and the Netherlands Philharmonic (), Hilary Hahn’s with Neville Marriner and the Academy of St. Martin in the Fields (Sony), Gil Shaham’s with and the Berlin Philharmonic (Deutsche Grammophon), Christian Tetzlaff’s with and the Danish Radio Symphony Orchestra (Virgin Classics), and Frank Peter Zimmermann’s with and the Berlin Philharmonic (EMI). Noteworthy older recordings include Jascha Heifetz’s with Fritz Reiner and the Chicago Symphony Orchestra (RCA), Nathan Milstein’s with William Steinberg and the Pittsburgh

week 25 read and hear more 45 Symphony (EMI), David Oistrakh’s with George Szell and the Cleveland Orchestra (EMI), and Itzhak Perlman’s with and the Chicago Symphony (EMI). Worth noting, too, are Heifetz’s earlier commercial recording with Serge Koussevitzky and the BSO from 1939 (originally RCA) and his broadcast performance with Arturo Toscanini and the New York Philharmonic from 1935 (IDIS and Doremi). Also important among historic issues are Yehudi Menuhin’s with Wilhelm Furtwängler and the Lucerne Festival Orchestra (EMI) and Ginette Neveu’s with and the Philharmonia Orches- tra (EMI). Earlier still are Fritz Kreisler’s two recordings, from 1936 with John Barbirolli conducting the London Philharmonic and from 1927 with Leo Blech conducting the Berlin State Opera Orchestra (various CD reissues).

Important modern books about Schubert include the crucial biography, Schubert: The Music and the Man, by Schubert authority Brian Newbould (University of California); The Cambridge Companion to Schubert edited by Christopher H. Gibbs, including sixteen essays on the composer’s career, music, and reception (Cambridge University paper- back), and Peter Clive’s Schubert and his World: A Biographical Dictionary, which includes more than 300 entries on personal and professional acquaintances and colleagues of the composer as well as on some important later Schubertians (Oxford University Press). The life of Schubert by Christopher Howard Gibbs is in the useful series “Musical lives” (Cambridge paperback). Important older biographies include Maurice J.E. Brown’s Schubert: A Critical Biography (Da Capo) and John Reed’s Schubert: The Final Years (Faber and Faber). Brown also contributed the brief volume Schubert Symphonies to the series of BBC Music

46 Guides (University of Washington paperback). Reed is also the author of Schubert in the Master Musicians series (Schirmer), which replaced the older volume by Arthur Hutchings in that series (Littlefield paperback). Otto Erich Deutsch’s Schubert: A Documentary Bio- graphy (Dent) and his Schubert: Memoirs by his Friends (reprinted by Oxford University Press) remain useful, but one must be careful sorting out fact from fiction in the latter. (It was Deutsch who compiled the chronological catalogue of Schubert’s works that gives us their identifying “D.” numbers.) Michael Steinberg’s program note on Schubert’s Unfinished and Great C major symphonies are in his compilation volume The Symphony– A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s notes on Schubert’s Fifth, Unfinished, and Great C major symphonies are among his Essays in Musical Analysis (Oxford paperback).

The Boston Symphony Orchestra has made three recordings of Schubert’s Great C major symphony—under Charles Munch in 1958 (RCA), William Steinberg in 1969 (his first recording with the BSO; also RCA), and Sir Colin Davis in 1980 (Philips). An historic 1963 telecast from Sanders Theatre with Erich Leinsdorf leading the BSO has been issued on DVD (ICA Classics). Time-honored stereo accounts of Schubert’s Great C major sympho- ny include George Szell’s with the Cleveland Orchestra (CBS/Sony, preferable to his later version for EMI) and ’s with the Berlin Philharmonic (Deutsche Gram- mophon). Other recordings include James Levine’s with the Chicago Symphony Orchestra (Deutsche Grammophon), Thomas Dausgaard’s with the Swedish Chamber Orchestra (Bis) and Sir Simon Rattle’s with the Berlin Philharmonic (EMI). Noteworthy complete sets of the Schubert symphonies include Claudio Abbado’s with the Chamber Orchestra of Europe (Deutsche Grammophon), Sir Colin Davis’s with the Dresden Staatskapelle (RCA), Neville Marriner’s with the Academy of St. Martin in the Fields (London/Decca), Wolfgang Sawallisch’s with the Dresden Staatskapelle (Philips), and, on period instruments, Roy Goodman’s with the Band (Brilliant Classics; originally on Nimbus). Arturo Toscanini recorded Schubert’s Great C major symphony three times for RCA—with the NBC Symphony in 1947 and then again in 1953, and before those with the Philadelphia Orchestra in 1941. Wilhelm Furtwängler made a powerful studio recording with the Berlin Philharmonic in 1951 (Deutsche Grammophon); of his surviving live performances, the wartime one from 1942, also with the Berlin Philharmonic, is overwhelming (Deutsche Grammophon, Music & Arts, and other labels). For those interested in live recordings, there is an engrossing 1975 performance with Carlo Maria Giulini leading the London Philharmonic (BBC Legends).

Marc Mandel

week 25 read and hear more 47

Guest Artists

Bernard Haitink

With an international conducting career that has spanned nearly six decades, Amsterdam-born Bernard Haitink is one of today’s most celebrated conductors. Mr. Haitink was for twenty-seven years Chief Conductor of the Royal Concertgebouw Orchestra; he is now their Conductor Laureate. In addition, he has previously held posts as music director of the Royal Opera– Covent Garden and Glyndebourne Festival Opera, and as principal conductor of the Chicago Symphony Orchestra and the London Philharmonic. Mr. Haitink was appointed Principal Guest Conductor of the Boston Symphony in 1995 and since 2004 has been the LaCroix Family Fund Conductor Emeritus of the BSO. He has made frequent guest appearances with most of the world’s leading orchestras. During the 2012-13 season he leads the Berlin Phil- harmonic and visits the United States twice—for two weeks of concerts with the Chicago Symphony Orchestra in October, and for two weeks of subscription programs to close the Boston Symphony Orchestra’s 2012-13 season. In February/March 2013 he returned to Asia for a three-week tour of Korea and Japan with the London Symphony Orchestra, preceded by concerts in London. Other highlights of the current season include engagements with the Bavarian Radio Symphony Orchestra and Royal Concertgebouw Orchestra, and projects with the Chamber Orchestra of Europe in Lucerne and Frankfurt. Mr. Haitink has recorded widely for the Philips, Decca, and EMI labels, with the Concertgebouw, the Berlin Philharmonic, the Vienna Philharmonic, and the Boston Symphony Orchestra. His discography also includes many opera recordings with the Royal Opera and Glyndebourne, as well as the Bavarian Radio Orchestra. Most recently he has recorded extensively with the London Symphony Orchestra for the LSO Live label, including the complete Brahms and Beethoven symphonies, and also

week 25 guest artists 49 with the Chicago Symphony for its Resound label. He received Grammy Awards for his record- ings of Janáˇcek’s Jen˚ufa with the Royal Opera, and for Shostakovich’s Symphony No. 4 with the Chicago Symphony Orchestra. With the Boston Symphony Orchestra he has recorded Brahms’s four symphonies and Alto Rhapsody, orchestral works of Ravel, and Brahms’s Piano Concerto No. 2 with soloist Emanuel Ax. Mr. Haitink has received many international awards in recognition of his services to music, including both an honorary Companion of Honour in the United Kingdom, and the House Order of Orange-Nassau in the Netherlands. Bernard Haitink made his Boston Symphony Orchestra debut in February 1971. In addition to concerts in Boston, he has led the orchestra at Tanglewood (where he appeared for the first time in 1994), Carnegie Hall, and on a 2001 tour of European summer music festivals. Prior to this season, he appeared with the BSO most recently for the last three weeks of the 2011-12 sub- scription season, leading music of Beethoven, Mendelssohn, Debussy, Mozart, and Stravinsky. This coming August he returns to Tanglewood for the first time since 2008, to lead a program of Mozart’s Violin Concerto No. 5 (with Isabelle Faust) and Mahler’s Symphony No. 4 (again with Camilla Tilling), and the BSO’s season-ending performance of Beethoven’s Ninth.

Nikolaj Znaider

Celebrated as one of today’s foremost violinists, Nikolaj Znaider is also fast becoming one of his generation’s most versatile artists, uniting his talents as soloist, conductor, and chamber musician. Invited by Valery Gergiev to become principal guest conductor of the Mariinsky Orchestra in St. Petersburg, he conducts both opera productions—including The Marriage of Figaro and this season—and symphonic concerts there. He is also a regular guest conductor with such orchestras as the London Symphony Orchestra, Dresden Staatskapelle, Philharmonic, Czech Philharmonic, Los Angeles Philharmonic, Pittsburgh Symphony Orchestra, Orchestre Philharmonique de Radio France, Russian National Orchestra, Hallé Orchestra, Swedish Radio Orchestra, and Gothenburg Symphony. Last season he was artist- in-residence with the Dresden Staatskapelle, and this season he makes his conducting debut with the Royal Concertgebouw Orchestra of Amsterdam and Rome’s Orchestra of Santa Cecilia. As a soloist, Mr. Znaider works regularly with the world’s leading orchestras, and with

50 conductors such as Daniel Barenboim, Valery Gergiev, Lorin Maazel, , Christian Thielemann, , Charles Dutoit, Christoph von Dohnányi, Iván Fischer, and . He maintained a particularly close relationship with Sir Colin Davis, who led his debut appearances with the Boston Symphony Orchestra in January 2010. In recital and chamber music, he appears at all the major concert halls. An exclusive RCA Red Seal recording artist, Mr. Znaider recently added to his discography the Elgar Violin Concerto with Sir Colin Davis and the Dresden Staatskapelle. His award-winning recordings of the Brahms and Korngold violin concertos with the Vienna Philharmonic and Valery Gergiev, of the Beethoven and Mendelssohn concertos with Zubin Mehta and the Philharmonic, and of Prokofiev’s Violin Concerto No. 2 and Glazunov’s concerto with Mariss Jansons and the Bayerische Rundfunk have been greeted with great critical acclaim, as was his release of Brahms’s complete works for violin and piano with Yefim Bronfman. For EMI Classics he has recorded the Mozart piano trios with Daniel Barenboim and the Nielsen and Bruch concertos with the London Philharmonic. Passionate about the education of musical talent, Nikolaj Znaider was artistic director for ten years of the Nordic Music Academy, an annual summer school he founded with the vision of creating conscious and focused musical development based on quality and commitment. He plays the “Kreisler” Guarnerius “del Gesù” 1741, on extended loan to him by the Royal Danish Theater through the generosity of the Velux Foundations and the Knud Højgaard Foundation. Nikolai Znaider made his Boston Symphony Orchestra debut in January 2010, performing Elgar’s Violin Concerto with Sir Colin Davis con- ducting. He returned for further subscription appearances in December 2010, as soloist in Mozart’s G major violin concerto, K.216, with James Levine conducting, then made his Tangle- wood debut in July 2011, performing Sibelius’s Violin Concerto with John Storgårds conducting.

week 25 guest artists 51 bernard haitink, conductor emeritus lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

2012-2013 season summary

works performed during the boston symphony orchestra’s 2012-2013 subscription season week ADÈS In Seven Days, for piano and orchestra 8 KIRILL GERSTEIN, piano

BARTÓK Concerto for Orchestra 18, Tues C (April 2)

BEETHOVEN Selections from the ballet score The Creatures of Prometheus, Op. 43 8 Piano Concerto No. 5 in E-flat, Emperor April 15 (non-subscription)* GABRIELA MONTERO, piano Romance No. 1 in G for violin and orchestra, Op. 40 Opening Night ITZHAK PERLMAN, violin Romance No. 2 in F for violin and orchestra, Op. 50 Opening Night ITZHAK PERLMAN, violin Symphony No. 5 in C minor, Op. 67 15†, April 15 (non-subscription)* Symphony No. 7 in A, Op. 92 Opening Night

BERLIOZ Overture to Les Francs-juges, Op. 3 10

BERNSTEIN Serenade (after Plato’s Symposium), for violin and orchestra 2 JOSHUA BELL, violin

BRAHMS Violin Concerto in D, Op. 77 25 NIKOLAJ ZNAIDER, violin Variations on a Theme by Haydn, Op. 56a 15†

BRITTEN Fanfare for St. Edmundsbury, for three trumpets 23 The Young Person’s Guide to the Orchestra, Op. 34 23 Violin Concerto, Op. 15 6 GIL SHAHAM, violin

BRUCKNER Symphony No. 4 in E-flat, Romantic 16

* Concert cancelled due to Patriots' Day emergency † Concerts of February 8 and 9 cancelled due to blizzard

52 DEBUSSY Symphonic Fragments from The Martyrdom of Saint Sebastian 4

DUTILLEUX Métaboles 11

DVORÁKˇ Serenade in E for strings, Op. 22 23 Symphony No. 7 in D minor, Op. 70 6 Symphony No. 8 in G, Op. 88 2

GERSHWIN Porgy and Bess 1 ALFRED WALKER, bass- (Porgy); LAQUITA MITCHELL, soprano (Bess); ALISON BUCHANAN, soprano (Lily, Strawberry Woman); ANGEL BLUE, soprano (Clara); MARQUITA LISTER, soprano (Serena); KRYSTY SWANN, mezzo-soprano (Annie); GWENDOLYN BROWN, contralto (Maria); JERMAINE SMITH, (Sporting Life); CALVIN LEE, tenor (Mingo, Nelson, Crab Man); CHAUNCEY PACKER, tenor (Peter); GREGG BAKER, baritone (Crown); PATRICK BLACKWELL, baritone (Jim, Undertaker); JOHN FULTON, baritone (Robbins); ROBERT HONEYSUCKER, baritone (Frazier); LEON WILLIAMS, baritone (Jake); WILL LEBOW, actor (Detective); PATRICK SHEA, actor (Coroner); JOEL COLODNER, actor (Archdale); MATTHEW HECK, actor (Policeman); JEFFREY TOUSSAINT, child actor (Scipio); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

HAYDN Mass in C, Mass in Time of War, Hob. XXII:9 17 ALEXANDRA COKU, soprano; KAREN CARGILL, mezzo-soprano; MATTHEW POLENZANI, tenor; DAVID PITTSINGER, bass-baritone; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Symphony No. 76 in E-flat 9

HINDEMITH Konzertmusik for Strings and Brass, Op. 50 18, Tues C (April 2) Symphonic Metamorphoses on Themes of Weber 13

KNUSSEN Violin Concerto, Op. 30 22 PINCHAS ZUKERMAN, violin Whitman Settings, for soprano and orchestra, Op. 25a 22 CLAIRE BOOTH, soprano

LISZT Piano Concerto No. 1 in E-flat 13 STEPHEN HOUGH, piano

MACMILLAN Three Interludes from the opera The Sacrifice 10

MAHLER Symphony No. 3 21 ANNE SOFIE VON OTTER, mezzo-soprano; WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor; PALS CHILDREN’S CHORUS, ANDY ICOCHEA ICOCHEA, conductor

week 25 2012-2013 season summary 53 MAHLER (continued) Symphony No. 4 in G 24 CAMILLA TILLING, soprano

MARTIN Concerto for Seven Wind Instruments, Timpani, Percussion, and String Orchestra 4 ELIZABETH ROWE, flute; JOHN FERRILLO, oboe; WILLIAM R. HUDGINS, clarinet; RICHARD SVOBODA, bassoon; JAMES SOMMERVILLE, horn; THOMAS ROLFS, trumpet; TOBY OFT, trombone

MENDELSSOHN Violin Concerto in E minor, Op. 64 3 ARABELLA STEINBACHER, violin

MIASKOVSKY Symphony No. 10 in F minor, Op. 30 22

MOZART Piano Concerto No. 18 in B-flat, K.456 9 CHRISTIAN ZACHARIAS, piano Piano Concerto No. 23 in A, K.488 16 RADU LUPU, piano Serenade No. 11 in E-flat for winds, K.375 23 Symphony No. 41 in C, K.551, Jupiter 19

MUSSORGSKY Pictures at an Exhibition, Symphonic transcription by Leopold Stokowski 22

PROKOFIEV Piano Concerto No. 1 in D-flat, Op. 10 8 KIRILL GERSTEIN, piano Suite from Romeo and Juliet, Op. 64 13 Symphony No. 5 in B-flat, Op. 100 7

RACHMANINOFF Rhapsody on a Theme of Paganini, Op. 43 Tues C (April 2) GARRICK OHLSSON, piano Piano Concerto No. 2 in C minor, Op. 18 18 LANG LANG, piano Piano Concerto No. 3 in D minor, Op. 30 4 NIKOLAI LUGANSKY, piano

RAVEL L’Enfant et les sortilèges, Lyric fantasy in two parts 5 OLGA PERETYATKO, soprano (Fire, Nightingale); JULIE BOULIANNE, mezzo-soprano (The Child); SANDRINE PIAU, soprano (Princess, Bat, Screech-owl, Shepherdess); DIANA AXENTII, mezzo-soprano (Sofa, White Cat, Squirrel, Shepherd); YVONNE NAEF, mezzo-soprano (Mother, Chinese Cup, Dragonfly); EDGARAS MONTVIDAS, tenor (Teapot); JEAN-PAUL FOUCHÉCOURT, tenor (Little Old Man, Frog); DAVID WILSON-JOHNSON, baritone (Clock, Black Cat); MATTHEW ROSE, bass (Armchair, Tree); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor La Valse 11

ROUSSEL Bacchus et Ariane, Op. 43, Suite No. 2 10

54 SAARIAHO Circle Map, for orchestra and electronics (American premiere; BSO co-commission) 6

SAINT-SAËNS Piano Concerto No. 5 in F, Op. 103, Egyptian 10 JEAN-YVES THIBAUDET, piano Symphony No. 3 in C minor, Op. 78, Organ 19 OLIVIER LATRY, organ

SCHUBERT Symphony No. 5 in B-flat, D.485 24 Symphony in C, D.944, The Great 25

SCHULHOFF Concerto for String Quartet and Wind Orchestra 2 HAWTHORNE STRING QUARTET

SHOSTAKOVICH Symphony No. 4 in C minor, Op. 43 3 Violin Concerto No. 1 in A minor, Op. 77[99] 14 BAIBA SKRIDE, violin

SIBELIUS Luonnotar, Op. 70, for soprano and orchestra 8 DAWN UPSHAW, soprano Symphony No. 6, Op. 104 8 Violin Concerto in D minor, Op. 47 15† RENAUD CAPUÇON, violin

SIERRA Fandangos for orchestra 7

STRAVINSKY The Nightingale, Lyric tale in three acts 5 OLGA PERETYATKO, soprano (The Nightingale); DIANA AXENTII, mezzo-soprano (The Cook); YVONNE NAEF, mezzo-soprano (Death); EDGARAS MONTVIDAS, tenor (Fisherman); JEAN-PAUL FOUCHÉCOURT, tenor (1st and 3rd Japanese Envoys); DAVID WILSON-JOHNSON, baritone (Emperor); DAVID KRAVITZ, baritone (Chamberlain); KELLY MARKGRAF, baritone (2nd Japanese Envoy); MATTHEW ROSE, bass (Bonze); TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Pulcinella, ballet with song in one tableau 17 KAREN CARGILL, mezzo-soprano; MATTHEW POLENZANI, tenor; DAVID PITTSINGER, bass-baritone Symphony in Three Movements 11

TCHAIKOVSKY Piano Concerto No. 1 in B-flat minor, Op. 23 7 DANIIL TRIFONOV, piano Romeo and Juliet, Fantasy-overture after Shakespeare 2 Symphony No. 5 in E minor, Op. 64 14 Violin Concerto in D, Op. 35 11 JULIAN RACHLIN, violin

† Concerts of February 8 and 9 cancelled due to blizzard

week 25 2012-2013 season summary 55 THOMAS Cello Concerto No. 3, Legend of the Phoenix (world premiere; BSO commission) 19 LYNN HARRELL, cello

TIPPETT Praeludium, for brass, bells, and percussion 23

VERDI Requiem Mass, in memory of Manzoni 12 FIORENZA CEDOLINS, soprano; EKATERINA GUBANOVA, mezzo-soprano; STUART NEILL, tenor; CARLO COLOMBARA, bass; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

WAGNER Dawn and Siegfried’s Rhine Journey, and 20 Siegfried’s Death and Funeral March from Götterdämmerung Prelude to Act I of Lohengrin 20 Kundry’s narrative (“Parsifal! Weile!... Ich sah das Kind”) from Act II of Parsifal 20 MICHELLE DEYOUNG, mezzo-soprano Overture to Tannhäuser 20 Prelude and Liebestod from Tristan und Isolde 20 MICHELLE DEYOUNG, mezzo-soprano

56 conductors of the boston symphony orchestra during the 2012-2013 season week THOMAS ADÈS 8 STÉPHANE DENÈVE 10 CHRISTOPH VON DOHNÁNYI 15†, 16 CHARLES DUTOIT 4, 5, 13 CHRISTOPH ESCHENBACH 19 RAFAEL FRÜHBECK DE BURGOS 17, 18, Tues C (April 2) DANIELE GATTI 12, 20, 21 11 GIANCARLO GUERRERO 7 BERNARD HAITINK, BSO Conductor Emeritus 24, 25 3 OLIVER KNUSSEN 22 MARCELO LEHNINGER, BSO Assistant Conductor 2, April 15 (non-subscription)* JUANJO MENA 6 ANDRIS NELSONS 14 ITZHAK PERLMAN, conductor and violin Opening Night ANDRIS POGA, BSO Assistant Conductor 23 BRAMWELL TOVEY 1 CHRISTIAN ZACHARIAS, conductor and piano 9

* Concert cancelled due to Patriots' Day emergency † Concerts of February 8 and 9 cancelled due to blizzard

week 25 2012-2013 season summary 57 soloists with the boston symphony orchestra during the 2012-2013 season week DIANA AXENTII, mezzo-soprano 5 GREGG BAKER, baritone 1 JOSHUA BELL, violin 2 PATRICK BLACKWELL, baritone 1 ANGEL BLUE, soprano 1 CLAIRE BOOTH, soprano 22 JULIE BOULIANNE, mezzo-soprano 5 GWENDOLYN BROWN, contralto 1 ALISON BUCHANAN, soprano 1 RENAUD CAPUÇON, violin 15† KAREN CARGILL, mezzo-soprano 17 FIORENZA CEDOLINS, soprano 12 ALEXANDRA COKU, soprano 17 JOEL COLODNER, actor 1 CARLO COLOMBARA, bass 12 MICHELLE DEYOUNG, mezzo-soprano 20 JOHN FERRILLO, oboe 4 JEAN-PAUL FOUCHÉCOURT, tenor 5 JOHN FULTON, baritone 1 KIRILL GERSTEIN, piano 8 EKATERINA GUBANOVA, mezzo-soprano 12 LYNN HARRELL, cello 19 HAWTHORNE STRING QUARTET 2 MATTHEW HECK, actor 1 ROBERT HONEYSUCKER, baritone 1 STEPHEN HOUGH, piano 13 WILLIAM R. HUDGINS, clarinet 4 DAVID KRAVITZ, baritone 5 LANG LANG, piano 18 OLIVIER LATRY, organ 19 WILL LEBOW, actor 1 CALVIN LEE, tenor 1 MARQUITA LISTER, soprano 1 NIKOLAI LUGANSKY, piano 4 RADU LUPU, piano 16 KELLY MARKGRAF, baritone 5 LAQUITA MITCHELL, soprano 1 GABRIELA MONTERO, piano April 15 (non-subscription)* EDGARAS MONTVIDAS, tenor 5 YVONNE NAEF, mezzo-soprano 5 STUART NEILL, tenor# 12 TOBY OFT, trombone 4 GARRICK OHLSSON, piano Tues C (April 2) CHAUNCEY PACKER, tenor 1 OLGA PERETYATKO, soprano 5

* Concert cancelled due to Patriots' Day emergency † Concerts of February 8 and 9 cancelled due to blizzard # Replacing Fabio Sartori on short notice

58 ITZHAK PERLMAN, violin and conductor Opening Night SANDRINE PIAU, soprano 5 DAVID PITTSINGER, bass-baritone^ 17 MATTHEW POLENZANI, tenor 17 JULIAN RACHLIN, violin‡ 11 THOMAS ROLFS, trumpet 4 MATTHEW ROSE, bass 5 ELIZABETH ROWE, flute 4 GIL SHAHAM, violin 6 PATRICK SHEA, actor 1 BAIBA SKRIDE, violin 14 JERMAINE SMITH, tenor 1 JAMES SOMMERVILLE, horn 4 ARABELLA STEINBACHER, violin 3 RICHARD SVOBODA, bassoon 4 KRYSTY SWANN, mezzo-soprano 1 JEAN-YVES THIBAUDET, piano 10 CAMILLA TILLING, soprano 24 JEFFREY TOUSSAINT, child actor 1 DANIIL TRIFONOV, piano 7 DAWN UPSHAW, soprano 8 ANNE SOFIE VON OTTER, soprano 21 ALFRED WALKER, bass-baritone 1 LEON WILLIAMS, baritone 1 DAVID WILSON-JOHNSON, baritone 5 CHRISTIAN ZACHARIAS, piano and conductor 9 NIKOLAJ ZNAIDER, violin 25 PINCHAS ZUKERMAN, violin 22 TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor 1, 5, 12, 17, 21 PALS CHILDREN’S CHORUS, ANDY ICOCHEA ICOCHEA, conductor 21

^Replacing Ildebrando D'Arcangelo due to the latter's illness ‡ Replacing Lisa Batiashvili on short notice

week 25 2012-2013 season summary 59 opening night Friday, September 22, 2012, 7pm ITZHAK PERLMAN, violin and conductor ALL- Romance No. 1 in G for violin and orchestra, Op. 40 BEETHOVEN Romance No. 2 in F for violin and orchestra, Op. 50 PROGRAM Symphony No. 7 in A, Op. 92

three-concert series at carnegie hall Wednesday, April 3, 2013, at 8pm RAFAEL FRÜHBECK DE BURGOS, conductor GARRICK OHLSSON, piano HINDEMITH Konzertmusik for Strings and Brass, Op. 50 RACHMANINOFF Rhapsody on a Theme of Paganini, Op. 43 BARTÓK Concerto for Orchestra

Thursday, April 4, 2013, at 8pm DANIELE GATTI, conductor ANNE SOFIE VON OTTER, mezzo-soprano WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor PALS CHILDREN’S CHORUS, ANDY ICOCHEA ICOCHEA, conductor MAHLER Symphony No. 3

Friday, April 5, 2013, at 8pm DANIELE GATTI, conductor MICHELLE DEYOUNG, mezzo-soprano ALL- Dawn and Siegfried’s Rhine Journey, and WAGNER Siegfried’s Death and Funeral March from Götterdämmerung PROGRAM Overture to Tannhäuser Kundry’s narrative (“Parsifal! Weile!... Ich sah das Kind”) from Act II of Parsifal Prelude to Act I of Lohengrin Prelude and Liebestod from Tristan und Isolde

new jersey performing arts center Saturday, April 6, 2013, at 8pm DANIELE GATTI, conductor MICHELLE DEYOUNG, mezzo-soprano ALL- Dawn and Siegfried’s Rhine Journey, and WAGNER Siegfried’s Death and Funeral March from Götterdämmerung PROGRAM Overture to Tannhäuser Kundry’s narrative (“Parsifal! Weile!... Ich sah das Kind”) from Act II of Parsifal Prelude to Act I of Lohengrin Prelude and Liebestod from Tristan und Isolde

60 works performed in fenway center and/or community concerts during the 2012-2013 subscription season week BEETHOVEN Piano Trio No. 3 in C minor, Op. 1, No. 3 7 Septet in E-flat for winds and strings, Op. 20 18 String Quartet No. 10 in E-flat, Op. 74, Harp 15*/16

BERNSTEIN Suite from West Side Story (arr. Jack Gale) 24/25

DEBUSSY Sonata for Flute, Viola, and Harp 5

DVORÁKˇ String Quartet No. 10 in E-flat, Op. 51 15*/16

EWALD Brass Quintet No. 1 in B-flat minor, Op. 5 24/25

HINDEMITH String Quartet, Op. 22 18a

HOLBORNE (arr. Schwarz) Elizabethan Dance Suite 24/25

MARTIN Cycle Miniature for brass quintet 24/25

MOZART String Quartet No. 15 in D minor, K.421 18a String Quintet in C, K.515 5

PREVIN Clarinet Quintet 12

SCHUBERT String Trio No. 1 (Allegro) in B-flat, D.471 18

SCHUMANN Piano Quartet in E-flat, Op. 47 7

STILL Danzas de Panama for string quartet 12

VERDI String Quartet in E minor 12

* Concert of Sunday, February 10, postponed to Sunday, April 28, due to blizzard

week 25 2012-2013 season summary 61 performers in fenway center and/or community concerts during the 2012-2013 subscription seasonseason week VYTAS BAKSYS, piano 7 CATHY BASRAK, viola 7 GLEN CHERRY, violin 18a RACHEL CHILDERS, horn 18 WESLEY COLLINS viola 5 JAMES COOKE, violin 18a BLAISE DÉJARDIN, cello 18 XIN DING, violin 15*/16 SHEILA FIEKOWSKY, violin 18 CLINT FOREMAN, flute 5 CATHERINE FRENCH, violin 15*/16 REBECCA GITTER, viola 18a HAWTHORNE STRING QUARTET 12 (SI-JING HUANG and RONAN LEFKOWITZ, violins; MARK LUDWIG, viola; SATO KNUDSEN, cello) ALA JOJATU, violin 7 MIHAIL JOJATU, cello 7 MICKEY KATZ, cello 5, 18a STEPHEN LANGE, trombone 24/25 JULIANNE LEE, violin 5 JAMES MARKEY, bass trombone 24/25 MICHAEL MARTIN, trumpet 24/25 THOMAS MARTIN, clarinet 12 KAZUKO MATSUSAKA, viola 15*/16, 18 SUZANNE NELSEN, bassoon 18 TAMARA SMIRNOVA, violin 5 JASON SNIDER, horn 24/25 VYACHESLAV URITSKY, violin 5 MICHAEL WAYNE, clarinet 18 LAWRENCE WOLFE, double bass 18 BENJAMIN WRIGHT, trumpet 24/25 OWEN YOUNG, cello 15*/16 MICHAEL ZARETSKY, viola 5 JESSICA ZHOU, harp 5

* Concert of Sunday, February 10, postponed to Sunday, April 28, due to blizzard

62 boston symphony chamber players 2012-2013 subscription season Four Sunday afternoons at 3pm in Jordan Hall at New England Conservatory of Music

November 18, 2012 with THOMAS ADÈS (Beethoven) and KIRILL GERSTEIN (Beethoven, Brahms), pianos BEETHOVEN Grosse Fuge, arranged by the composer for piano four-hands, Op. 134 CARTER Figment III for double bass solo (2007) CARTER Woodwind Quintet (1948) BRAHMS Piano Quintet in F minor, Op. 34

January 13, 2013 with MARCELO LEHNINGER, conductor JONATHAN BASS, piano LUTOSŁAWSKI Dance Preludes for winds and strings (1959) FRANK Sueños de Chambi for flute/ and piano (2002) COPLAND Appalachian Spring (original chamber version)

March 10, 2013 DVORÁKˇ Bagatelles, Op. 47, for two violins, cello, and harmonium SCHULHOFF Concertino for flute, viola, and double bass (1925) MOZART String Quintet in G minor, K.516

April 28, 2013 with DAVID DEVEAU, piano JANÁCEKˇ Mládí, for flute, oboe, two clarinets, bassoon, and horn MARTINU˚ Nonet for winds and strings BRAHMS Clarinet Trio in A minor, Op. 114 articles/features printed in the boston symphony orchestra program books during the 2012-2013 subscription season week A Brief History of the Boston Symphony Orchestra Opening Night, 1, 2, 15, 6, 21, 22, April 15 (non-subscription)* A Brief History of Symphony Hall 3, 4, 15, 16 A Toast to French Music, by Hugh Macdonald 5, 10 Casts of Character: The Symphony Statues, by Caroline Taylor 6, 7 , In Memoriam 8, 9, 10 Celebrating the Verdi Bicentennial: Verdi’s Paradoxical Testament, 11, 12 by Thomas May ’s Varied Musical Heritage, by Harlow Robinson 13, 14 Completing the Circle: Wagner’s Brave New World in the Concert Hall, 17, 18, 19, 20 by Thomas May Old Strains Reawakened: The Boston Symphony’s Historical 23, 24 Instrument Collection, by Douglas Yeo Sir Colin Davis, In Memoriam 25

* Concert cancelled due to Patriots' Day emergency

week 25 2012-2013 season summary 63 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 • 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. • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Samantha and John Williams • Anonymous (2)

64 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/ Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • 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 Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • 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 • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9)

‡ Deceased

week 25 the great benefactors 65

The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by April 18, 2013. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor.

chairman’s $100,000 and above Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly

1881 founders society $50,000 to $99,999 Mr. and Mrs. George D. Behrakis • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Susan and Dan Rothenberg • Stephen and Dorothy Weber • Anonymous encore $25,000 to $49,999 Joan and John Bok • Mr. and Mrs. John M. Bradley • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan R. Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Mr. and Mrs. Jeffrey E. Marshall • Kate and Al Merck • Henrietta N. Meyer • Sandra Moose and Eric Birch • Megan and Robert O’Block • Drs. Joseph and Deborah Plaud • William and Lia Poorvu • Louise C. Riemer • Richard and Susan Smith Family Foundation • Kitte ‡ and Michael Sporn • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous (3) maestro $15,000 to $24,999 Alli and Bill Achtmeyer • Lois and Harlan Anderson • Lorraine D. and Alan S. ‡ Bressler • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • Katherine Chapman and Thomas Stemberg • Dr. Lawrence H. and Roberta Cohn • Mr. and Mrs. Miguel de Bragança • Julie and Ronald M. Druker •

week 25 the higginson society 67 68 Thelma and Ray Goldberg • Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L. Henry • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce • William and Helen Pounds • Mr. Mark R. Rosenzweig and Ms. Sharon J. Mishkin • Benjamin Schore • Kristin and Roger Servison • Drs. Christoph and Sylvia Westphal • Joan D. Wheeler • Robert and Roberta Winters patron $10,000 to $14,999 Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Eleanor L. and Levin H. Campbell • Joseph M. Cohen • Donna and Don Comstock • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Happy and Bob Doran • Deborah and Philip Edmundson • Laurel E. Friedman • David Endicott Gannett • Jody and Tom Gill • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide • John Hitchcock • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Farla Krentzman • Mr. and Mrs. Peter E. Lacaillade • Anne R. Lovett and Stephen G. Woodsum • John Magee • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Maureen Miskovic • Richard P. and Claire W. Morse • Jerry and Mary Nelson • Mary S. Newman • Annette and Vincent O’Reilly • Peter and Minou Palandjian • Jane and Neil Pappalardo • Susanne and John Potts • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Elizabeth and James Westra • June Wu • Rhonda and Michael J. Zinner, M.D. • Anonymous (3) sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Vernon R. Alden • Helaine B. Allen • Joel and Lisa Alvord • Mr. and Mrs. Walter Amory • Mr. and Mrs. Peter Andersen • Dr. Ronald Arky • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Judith and Harry Barr • Mrs. Tracy W. Barron • John and Molly Beard • Roz and Wally Bernheimer • Brad and Terrie Bloom • Mark G. and Linda Borden • John and Gail Brooks • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • Julie and Kevin Callaghan • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Eric Collins and Michael Prokopow • Sarah Chapin Columbia and Stephen Columbia • Victor Constantiner • Albert and Hilary Creighton • Mrs. Bigelow Crocker • Mr. and Mrs. David D. Croll • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Gene and Lloyd Dahmen • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Lori and Paul Deninger • Charles and JoAnne Dickinson • Michelle Dipp • Mrs. Richard S. Emmett • Priscilla Endicott • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Shirley and Richard Fennell • Mr. and Mrs. Andrew J. Ferrara • Larry and Atsuko Fish • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway • Jane and Jim Garrett • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Mr. Jack Gorman • Raymond and Joan Green • Vivian and Sherwin Greenblatt •

week 25 the higginson society 69 The Grossman Family Charitable Foundation • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Judith S. Howe • Mr. and Mrs. Roger Hunt • Yuko and Bill Hunt • Joanie V. Ingraham • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Joan Bennett Kennedy • Mrs. Thomas P. King • Seth A. and Beth S. Klarman • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • The Krapels Family • Barbara N. Kravitz • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Linda A. Mason and Roger H. Brown • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Kristin A. Mortimer • Mr. and Mrs. Joseph M. Paresky • Donald and Laurie Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Josephine A. Pomeroy • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Graham Robinson and Dr. Jeanne Yu • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Norma and Roger A. Saunders • Cynthia and Grant Schaumburg • Ms. Lynda Anne Schubert • Arthur and Linda Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Anne and Douglas H. Sears • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare • John and Katherine Stookey • Patricia L. Tambone • Mr. and Mrs. Theodore H. Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Dr. Magdalena Tosteson • John Travis • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (3)

member $3,000 to $4,999 Mrs. Herbert Abrams • Mrs. Mary R. Anderson • Mariann and Mortimer Appley • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Carol and Sherwood Bain • Sandy and David Bakalar • Naomi and Peter Banks • Mr. Kirk Bansak • Donald P. Barker, M.D. • Deborah Davis Berman and William H. Berman • Leonard and Jane Bernstein • Bob and Karen Bettacchi • Mr. and Mrs. Philip W. Bianchi • Annabelle and Benjamin Bierbaum • Jim and Nancy Bildner • Mrs. Stanton L. Black • Mr. and Mrs. Partha P. Bose • Mr. and Mrs. Stephen P. Bradley • Mrs. Catherine Brigham • Ellen and Ronald Brown • Elise R. Browne • Matthew Budd and Rosalind Gorin • Dr. and Mrs. Hubert I. Caplan • Jane Carr and Andy Hertig • James Catterton and Lois Wasoff • Ms. Yi-Hsin Chang and Mr. Eliot Morgan • Mr. and Mrs. Dan Ciampa • Chris and Keena Clifford • Ms. Carol Feinberg Cohen • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Marvin and Ann Collier • Dr. Charles L. Cooney and Ms. Peggy Reiser • Mr. Mark Costanzo and Ms. Alice Libby • Ernest Cravalho and Ruth Tuomala • Joanna Inches Cunningham • Drs. Anna L. and Peter B. Davol • Ashley Denton • Pat and John Deutch • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Phyllis Dohanian • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. Harriett M. Eckstein • Mrs. William V. Ellis • Mr. and Mrs. Frederic A. Eustis II • Ziggy Ezekiel and Suzanne Courtright Ezekiel • Mr. and Mrs. Peter Fiedler • Mary and Melvin Field • Velma Frank • Myrna H. and Eugene M. Freedman •

70 Martin Gantshar • Rose and Spyros Gavris • Arthur and Linda Gelb • Mr. and Mrs. Paul B. Gilbert • Stephen A. Goldberger • Roberta Goldman • Adele C. Goldstein • Phyllis and Robert Green • Harriet and George Greenfield • Madeline L. Gregory • Mr. and Mrs. Nicholas P. Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Mrs. Nancy K. Hall • Janice Harrington and John Matthews • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Mr. and Mrs. Paul Hogan • Albert A. Holman III and Susan P. Stickells • G. Lee and Diana Y. Humphrey • Mr. and Mrs. R. Blake Ireland • Cerise Lim Jacobs, for Charles • Barbara and Leo Karas • Ms. Elizabeth C. Kent • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Drs. Jonathan and Sharon Kleefield • Marcia Marcus Klein and J. Richard Klein • Mr. Mason J. O. Klinck, Sr. • Susan G. Kohn • Ms. Anna H. Kolchinsky • Mr. Andrew Kotsatos and Ms. Heather Parsons • Melvin Kutchin • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Cynthia and Robert J. Lepofsky • Brenda G. Levy • Emily Lewis • Christopher and Laura Lindop • Thomas and Adrienne Linnell • Mrs. Satoru Masamune • Michael and Rosemary McElroy • Mr. and Mrs. Jean Montagu • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse • Anne J. Neilson • Avi Nelson • Cornelia G. Nichols • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Stuart and Roslyn Orkin • Mr. Saul J. Pannell and Mrs. Sally W. Currier • Jon and Deborah Papps • Mr. and Mrs. Michael Payne • Mrs. Kitty Pechet • Dr. Alan Penzias • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Dr. Calvin J. Pierce • Elizabeth F. Potter and Joseph Bower • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Rita and Norton Reamer • John S. Reidy • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Dorothy B. and Owen W. Robbins • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene and David T. Rubin • Jordan S. Ruboy, M.D. • Mr. and Mrs. Walter J. Salmon • Stephen and Eileen Samuels • Ms. Joanne Sattley • Betty and Pieter Schiller • Mr. and Mrs. William Schmidt • Mr. and Mrs. Marvin G. Schorr • David and Marie Louise Scudder • Eleanor and Richard Seamans • Ms. Carol P. Searle and Mr. Andrew J. Ley • The Shane Foundation • Mr. and Mrs. Ross E. Sherbrooke • Maggie and Jack Skenyon • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Mr. and Mrs. David Steadman • Maximilian and Nancy Steinmann • Valerie and John Stelling • Mr. and Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Mr. and Mrs. David Stokkink • Galen and Anne Stone • Henry S. Stone • Louise and Joseph Swiniarski • Cynthia Taft and Richard Egdahl • Jeanne and John Talbourdet • Richard S. Taylor • Nick and Joan Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham • Mr. and Mrs. John H. Valentine • Mr. and Mrs. Mark Volpe • Matthew and Susan Weatherbie • Mr. and Mrs. Dudley H. Willis • Mr. Albert O. Wilson, Jr. • Mrs. Elizabeth H. Wilson • J. David Wimberly • Jay A. Winsten and Penelope J. Greene • Chip and Jean Wood • Jane S. Young • Dr. and Mrs. Bernard S. Yudowitz • Anonymous (9)

week 25 the higginson society 71 2012-13 Season Supporters of Named Concerts and Guest Artist Appearances

The Boston Symphony Orchestra wishes to thank the following for naming a concert or guest artist appearance during the 2012-13 season. Concerts and guest artists are available for nam- ing to Boston Symphony and Boston Pops Annual Fund supporters of $25,000 or more and may also be endowed for a minimum of ten years.

2012-13 named concerts

September 27, 2012 • The Beranek Concert

October 5, 2012 • The Fanny Peabody Mason Memorial Concert

October 11, 2012 • The Eloise and Raymond H. Ostrander Memorial Concert

October 12, 2012 • The Life Trustees Concert

October 20, 2012 • The Ruth Clayton Saris Concert

November 2, 2012 • The Walter Piston Society Concert

January 10, 2013 • The Theresa M. and Charles F. Stone III Concert

January 11, 2013 • The Marie L. Audet Gillet Concert

January 12, 2013 • The Fernand Gillet Concert

January 15, 2013 • The Linda and Brooks Zug Concert

January 17, 2013 • In memory of Constance Leeds Bennett

January 18, 2013 • The Joan and John Bok Concert

January 19, 2013 • The Deborah and William R. Elfers Concert

January 24, 2013 • The Boston Symphony Association of Volunteers Concert

February 2, 2013 • The Joseph and Deborah Plaud Concert

February 6–13, 2013 • Donor Appreciation Week

February 8, 2013 • The Peter and Anne Brooke Concert

February 14, 2013 • The John F. Cogan, Jr., and Mary L. Cornille Concert

March 1, 2013 • The Henry Lee Higginson Memorial Concert

March 2, 2013 • The Akiko Shiraki Dynner Memorial Concert

March 14, 2013 • The Nancy and Richard Lubin Concert

March 23, 2013 • The Gregory E. Bulger Foundation Concert

March 28, 2013 • The Virginia Wellington Cabot Memorial Concert

April 3, 2013 • Supported by the Billy Rose Foundation (Carnegie Hall)

72 April 18, 2013 • Supported by a generous bequest from Arlene M. Jones

April 19, 2013 • The Norman V. and Ellen B. Ballou Memorial Concert

April 27, 2013 • The Linde Family Concert

May 2, 2013 • The Carmine A. and Beth V. Martignetti Concert

May 3, 2013 • The Great Benefactors Concert

May 4, 2013 • The Stephen and Dorothy Weber Concert

2012-13 named support of guest artists

Dawn Upshaw • Supported by the Alan J. and Suzanne W. Dworsky Fund for (November 15) Voice and Chorus and all appearances of the Tanglewood Festival Chorus

Dawn Upshaw • Supported by the Elfers Fund for Performing Artists, (November 17) established in honor of Deborah Bennett Elfers

Jean-Yves Thibaudet • In memory of Hamilton Osgood (November 30)

Michelle DeYoung • Supported by the Ethan Ayer Vocal Soloists Fund (March 22)

Garrick Ohlsson • Supported by a generous gift from Cynthia and Oliver Curme (April 3– Carnegie Hall)

Michelle DeYoung • In memory of Mary Rousmaniere Gordon (April 5– Carnegie Hall)

Camilla Tilling • Supported by the Roberta M. Strang Memorial Fund (April 30)

Nikolaj Znaider • Supported by the Helen and Josef Zimbler Fund (May 3)

Nikolaj Znaider • Supported by the Nathan R. Miller Family Guest Artists Fund (May 4)

If you would like to learn more about the opportunities to name a concert or guest artist appearance, please contact Bart Reidy, Director of Development, at (617) 638-9469 or [email protected].

week 25 supporters of named concerts and guest artist appearances 73

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 • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • 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 • Pam Wells, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 25 administration 75 Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance onon Huntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

76 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research 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 • 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 • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 25 administration 77 78 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • 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

Louisa Ansell, Marketing Coordinator • 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 • 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 • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager box office representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

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

week 25 administration 79

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, Rosemary Noren • Membership Table/Hall Greeters, Elle Driska • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 25 administration 81 Symphony Hall Exit PlanPlanSymphony

82 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building.

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

week 25 symphony hall information 83 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

84