Charles Dutoit 47 Susan Graham 49 Paul Groves 51 John Relyea 53 David Kravitz 55 Tanglewood Festival Chorus 58 James Burton 61 Choir of St

2017–18 season andris nelsons music director

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future

There is more that we can do to help improve people’s lives. Driven by passion to realize this goal, Takeda has been providing society with innovative medicines since our foundation in 1781.

Today, we tackle diverse healthcare issues around the world, from prevention to care and cure, but our ambition remains the same: to find new solutions that make a positive difference, and deliver better medicines that help as many people as we can, as soon as we can.

With our breadth of expertise and our collective wisdom and experience, Takeda will always be committed to improving the Takeda Pharmaceutical Company Limited future of healthcare. www.takeda.com

Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 6

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 2 2 this week’s program

Notes on the Program

24 The Program in Brief… 24 Synopsis of the Story 27 Hector Berlioz 38 From Berlioz’s “Memoirs” 41 To Read and Hear More…

Guest Artists

45 Charles Dutoit 47 Susan Graham 49 Paul Groves 51 John Relyea 53 David Kravitz 55 Tanglewood Festival Chorus 58 James Burton 61 Choir of St. Paul’s, Harvard Square

64 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on october 27 is given by bso director of program publications marc mandel.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Two Japanese legends go head-to-head. Are you #TeamKuniyoshi or #TeamKunisada?

Through December 10

Presented with support from the Patricia B. Jacoby Exhibition Fund and an anonymous funder. Left: Utagawa Kuniyoshi, Nozarashi Gosuke (detail), about 1845. Woodblock print (nishiki-e); ink and color on paper. William Sturgis Bigelow Collection. Right: Utagawa Kunisada, The In-demand Type (Yoku ureso) (detail), 1820s. Woodblock print (nishiki-e); ink and color on paper. Nellie Parney Carter Collection—Bequest of Nellie Parney Carter. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 137th season, 2017–2018 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Susan Bredhoff Cohen, Co-President • Robert J. Mayer, M.D., Co-President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • John M. Loder, Vice-Chair • Theresa M. Stone, Treasurer

William F. Achtmeyer • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Richard F. Connolly, Jr. • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Levi A. Garraway • Michael Gordon • Nathan Hayward, III • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Martin Levine, ex-officio • Joyce Linde • Nancy K. Lubin • Joshua A. Lutzker • Carmine A. Martignetti • Steven R. Perles • John Reed • Carol Reich • Arthur I. Segel • Wendy Shattuck • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

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

Mark Volpe, Eunice and Julian Cohen Managing Director • Evelyn Barnes, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc.

Tom Kuo, Co-Chair • Sarah Rainwater Ward, Co-Chair

Nathaniel Adams • Noubar Afeyan • James E. Aisner • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Alexandra J. Fuchs • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. •

week 6 trustees and overseers 3 Modern luxury and waterfront living. The perfect ensemble.

Robert A.M. Stern designed waterfront condominiums with unrivaled Boston views, an exceptional suite of amenities and Related’s acclaimed hospitality package including twenty-four seven concierge and door-to-door valet. Lovejoy Wharf, compromise on nothing. - Immediate Occupancy

617.657.1000 • LOVEJOYBOSTON.COM photos by Michael Blanchard and Winslow Townson

Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Mark Jung • Karen Kaplan • Steve Kidder • John L. Klinck, Jr. • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Lina S. Plantilla, M.D. • Irving H. Plotkin • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D. • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D. • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. 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 • Roger Hunt • Lola Jaffe • Everett L. Jassy • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Susan Rothenberg • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

week 6 trustees and overseers 5

BSO News

BSO and Music Director Andris Nelsons Tour Japan Together for the First Time, November 3-9, 2017 Music Director Andris Nelsons will lead the BSO in a four-city, six-concert tour of Japan from Friday, November 3, through Thursday, November 9, playing concerts in Nagoya (November 3), Osaka (November 4), and Kawasaki (November 5), followed by three Tokyo concerts in Suntory Hall (November 7, 8, and 9). Soloist Gil Shaham joins the orchestra for performances of Tchaikovsky’s Violin Concerto in all four cities, and BSO principals Elizabeth Rowe and Jessica Zhou are featured in Tokyo in a performance of Mozart’s Concerto in C for Flute and Harp, K.299. Tour repertoire also includes Mahler’s Symphony No. 1, Rachmaninoff’s Symphony No. 2, Shostakovich’s Symphony No. 11, The Year 1905, and Haydn’s Symphony No. 103, Drumroll. The tour is being organized by Sun- tory Hall, Suntory Foundation for the Arts, which has announced KDDI Corporation—one of Japan’s major telecommunication companies—as the main sponsor of this “KDDI Spe- cial Andris Nelsons and Boston Symphony Orchestra 2017 Japan Tour.” This is the BSO’s ninth tour to Japan, the previous eight having included six led by then BSO music director Seiji Ozawa. The BSO first toured Japan in May 1960 under Charles Munch, a sixteen-city tour that also included performances led by Aaron Copland and the orchestra’s associate conductor and concertmaster Richard Burgin. Most recently, Charles Dutoit led three BSO performances in Tokyo in the spring of 2014, as part of the same tour that brought the BSO to China for its first appearances there since its historic 1979 visit under Seiji Ozawa.

“Boston Symphony Orchestra: Complete Recordings on Deutsche Grammophon” Released on October 20 On October 20, Deutsche Grammophon will release “Boston Symphony Orchestra: Complete Recordings on Deutsche Grammophon,” a limited-edition, 57-CD boxed set of the label’s entire legacy of BSO recordings, reflecting the orchestra’s spirit and character over a period spanning the years 1969 to 2017. Conductors include music directors William Steinberg, Seiji Ozawa, and Andris Nelsons, as well as Claudio Abbado, Leonard Bernstein, Charles Dutoit, Eugen Jochum, Rafael Kubelik, André Previn, Michael Tilson Thomas, and

week 6 bso news 7 John Williams. Instrumental soloists include, among others, Christoph Eschenbach, Gidon Kremer, Anne-Sophie Mutter, Itzhak Perlman, Mstislav Rostropovich, Gil Shaham, and Krystian Zimerman. Among the contents are six discs of recordings by the Boston Sym- phony Chamber Players; the first release of Shostakovich’s Symphony No. 6 led by Andris Nelsons; and previously unreleased recordings under Seiji Ozawa of Brahms’s Symphony No. 2 and the overture to Rossini’s Semiramide. A lavishly illustrated booklet includes introductory essays by former recordings producer Thomas Mowrey and BSO Director of Program Publications Marc Mandel, and the individual CD sleeves reproduce the cover artwork of the original releases. “Boston Symphony Orchestra: Complete Recordings on Deutsche Grammophon” will be available for $199.95 in the Symphony Shop and at bso.org, and can be pre-ordered at bso.org.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for this fall include Marc Mandel (September 29, October 27), Robert Kirzinger (October 6, December 1), and composer/pianist Jeremy Gill (November 17).

individual tickets are on sale for all concerts in the bso’s 2017-2018 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 Catherine and Paul Buttenwieser Concert appearances at Symphony Hall and Tangle- wood, fellowships at the Tanglewood Music Thursday, October 26, 2017 Center, and Opening Nights at Symphony Thursday evening’s performance is supported and Tanglewood. They also endowed a BSO by a generous gift from Great Benefactors first violin chair, currently occupied by Jennie Catherine and Paul Buttenwieser. Elected a Shames. Paul and Katie, who have served BSO Overseer in 1998 and Trustee in 2000, on many gala committees, chaired Opening Paul was elevated to Life Trustee in Septem- Night at Symphony for the 2008-09 season. ber 2017, after serving as president of the Paul served on the Executive, Leadership Board of Trustees for three years. He served Gifts, and Trustees Nominating and Gover- as a vice-chair of the Board of Trustees from nance committees, and was a member of 2010 to 2013. the Search Committee recommending the appointment of Andris Nelsons as the BSO’s Paul’s interest in music began at a young Ray and Maria Stata Music Director. age, when he studied piano, violin, clarinet, and conducting as a child and teenager. The Buttenwiesers support many arts orga- Together, Paul and Katie developed their nizations in Boston and are deeply involved lifelong love of music; they have attended with the community and social justice. the BSO’s performances at Symphony Hall Paul recently stepped down as chairman and Tanglewood for more than fifty years. of the Institute of Contemporary Art, Bos- The Buttenwiesers have generously support- ton, after a decade of leading the Board of ed numerous BSO initiatives, including BSO Trustees. He is a trustee and former chair commissions of new works, guest artist of the American Repertory Theater, trustee

8 of Partners in Health, honorary trustee of currently as a member of the Finance Com- the Museum of Fine Arts, Boston, Fellow mittee. He is a former chairman and man- of the American Academy of Arts and Sci- aging partner of the law firm Hale and Dorr ences, member of the President’s Advisory (now WilmerHale). A leader in the financial Council at Berklee College of Music and the services industry in Boston and beyond, Director’s Advisory Council of the Harvard he retired as trustee, president, and chief University Art Museums, and former over- executive officer of the Pioneer Funds, where seer of Harvard University. In 1988 Paul and he served for more than fifty consecutive Katie founded the Family-to-Family Project, years, in 2014. Active in the community, Jack an agency that works with homeless families is a member of the Harvard Law School’s in Eastern Massachusetts. Katie, who is a Dean’s Advisory Board, the Harvard Univer- social worker, spent most of her career in sity Art Museums’ Visiting Committee, and early child development before moving into chairman emeritus of the Museum of Fine hospice and bereavement work. She is a Arts, Boston. He is also trustee emeritus of graduate of Mount Holyoke College and Bos- Boston Medical Center (and past chairman ton University School of Social Work. Paul of its predecessor, University Hospital), and is a psychiatrist who specializes in children a Fellow of the American Academy of Arts and adolescents, as well as a writer. He is and Sciences. a graduate of Harvard College and Harvard Mary is an alumna of Wellesley College Medical School. and Boston University, where she received a master’s degree in art history. She is an The John F. Cogan, Jr., and honorary overseer of the Museum of Fine Mary L. Cornille Concert Arts, Boston; a former overseer of the Epiph- Saturday, October 28, 2017 any School in Dorchester; and a member of WGBH’s Overseers Advisory Board. The performance on Saturday evening is supported by a generous gift from BSO Life Trustee John F. “Jack” Cogan, Jr., and his BSO 2017-18 Season Sponsors: wife, Mary L. Cornille. Jack began attending Bank of America and concerts at Symphony Hall as a young Takeda Pharmaceutical Company person and has held the same Thursday- Limited evening subscription seats since the 1960s. The BSO welcomes back Bank of America As Great Benefactors, Jack and Mary have for its sixth year as BSO Season Lead Spon- given generously to numerous initiatives at sor, with congratulations to our longstanding the BSO. They have named the Cogan/Cor- major corporate partner on becoming a nille Corridor—which houses the photo dis- $7.5 million Great Benefactor this season. play of BSO musicians—at Symphony Hall, “Bank of America’s support of the arts and they established the John F. Cogan, Jr., engages individuals, organizations, and cul- and Mary Cornille Chair, which is currently tures in creative ways to help build mutual held by cellist Owen Young. Jack and Mary respect and insight,” said BSO Overseer are members of the Higginson Society at the Miceal Chamberlain, Massachusetts Presi- Encore level, the Koussevitzky Society at the dent, Bank of America. “Investing in the arts, Patron level, and the Walter Piston Society. we help create experiences that challenge, Jack was elected to the BSO Board of Over- educate, inspire, and motivate. We hope seers in 1984, serving as its vice-chair from audiences at Symphony Hall share in our 1987 to 1989 and chair from 1989 to 1992. passion and enthusiasm for the Boston Sym- He was elected a Trustee in 1992 and vice- phony Orchestra’s 2017-18 Season.” chair of the Board of Trustees in 2003, a The BSO also welcomes first-time major position he held until 2007, when he was corporate partner Takeda Pharmaceutical elevated to Life Trustee. Jack has served on Company Limited as BSO Season Supporting many board committees during his tenure,

week 6 bso news 9 WEALTH IS MORE THAN ACCUMULATING ASSETS.

Learn how we focus on your best interests and goals

Independent wealth management. Personal attention from experienced professionals. Honored to be named the 2017 Best Wealth Manager in Massachusetts Lawyers Weekly.

FiduciaryTrustBoston.com Contact Randy Kinard at 617-574-3432 or [email protected] Sponsor. “For more than twenty-five years, community directly to Symphony Hall? The Takeda has brought the hope of ‘Better BSO is pleased to continue offering round- Health and a Brighter Future’ to people trip bus service on Friday afternoons at cost around the world through our empathetic from the following communities: Beverly, and people-centered approach to science Canton, Cape Cod, Concord, Framingham, and medicine,” said Andrew Plump, M.D., the South Shore, Swampscott, Wellesley, Ph.D., Chief Medical and Scientific Officer. Weston, and Worcester in Massachusetts; “Takeda’s Boston campus is the home of one Nashua, New Hampshire; and Rhode Island. of our world-class R&D sites, as well as our In addition, we offer bus service for selected oncology and vaccine business units. We concerts from the Holyoke/Amherst area. are pleased to support the Boston Sympho- Taking advantage of your area’s bus service ny Orchestra in its efforts to bring artistic not only helps keep this convenient service excellence to the local community and operating, but also provides opportunities across the globe.” to spend time with your Symphony friends, meet new people, and conserve energy. For further information about bus transportation BSO Broadcasts on WCRB to Friday-afternoon Boston Symphony con- BSO concerts are heard on the radio at 99.5 certs, please call the Subscription Office at WCRB. Saturday-night concerts are broad- (617) 266-7575. cast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with Planned Gifts for the BSO: guest conductors, soloists, and BSO musi- Orchestrate Your Legacy cians are available online at classicalwcrb. There are many creative ways that you can org/bso. Current and upcoming broadcasts support the BSO over the long term. Planned include this Saturday’s performance of Ber- gifts such as bequest intentions (through lioz’s The Damnation of Faust led by Charles your will, personal trust, IRA, or insurance Dutoit, featuring vocal soloists Susan Gra- policy), charitable trusts, and gift annuities ham, Paul Groves, John Relyea, and David can generate significant benefits for you Kravitz, the Tanglewood Festival Chorus, and now while enabling you to make a larger gift the Choir of St. Paul’s, Harvard Square (Octo- to the BSO than you may have otherwise ber 28; encore November 6), to be followed thought possible. In many cases, you could while the BSO is in Japan by rebroadcasts realize significant tax savings and secure of this past summer’s July 23 Tanglewood an attractive income stream for yourself program under Ken-David Masur of music and/or a loved one, all while providing valu- by Kernis, Prokofiev (the Piano Concerto able future support for the performances No. 3 with Nikolai Lugansky), and Tchaikovsky and programs you care about. When you (November 4; encore November 13) and the establish and notify us of your planned July 28 Tanglewood concert led by Charles gift for the Boston Symphony Orchestra, Dutoit featuring Yefim Bronfman in Brahms’s you will become a member of the Walter Piano Concerto No. 2, on a program with Piston Society, joining a group of the BSO’s Dvoˇrák’s New World Symphony (November most loyal supporters who are helping to 11; encore November 20). ensure the future of the BSO’s extraordinary performances. Members of the Piston Friday-afternoon Bus Service Society—named for Pulitzer Prize-winning composer and noted musician Walter Piston, to Symphony Hall who endowed the Principal Flute Chair with If you’re tired of fighting traffic and search- a bequest—are recognized in several of our ing for a parking space when you come to publications and offered a variety of exclu- Friday-afternoon Boston Symphony concerts, sive benefits, including invitations to various why not consider taking the bus from your events in Boston and at Tanglewood. If you

week 6 bso news 11 would like more information about planned The Concord Chamber Music Society, found- gift options and how to join the Walter Pis- ed by BSO violinist Wendy Putnam, presents ton Society, please contact Jill Ng, Director the Calidore String Quartet (Jeffrey Myers of Planned Giving and Senior Major Gifts and Ryan Meehan, violins, Jeremy Berry, Officer, at (617) 638-9274 or [email protected]. viola, and Estelle Choi, cello) performing We would be delighted to help you orches- works by Haydn, Caroline Shaw, and Men- trate your legacy with the BSO. delssohn on Sunday, November 26, at 3 p.m. (pre-concert lecture at 2 p.m.) at the Con- cord Academy Performing Arts Center, BSO Members in Concert 166 Main Street, Concord, MA. Tickets are NEC faculty member and former BSO trom- $47 and $38 (discounts for seniors and bonist Norman Bolter performs in recital at students). For more information, visit www. New England Conservatory, Sunday, October concordchambermusic.org or call (978) 29, at 8 p.m. Admission is free. For further 371-9667. information, please visit necmusic.edu. The Walden Chamber Players, whose mem- Those Electronic Devices… bership includes BSO musicians Tatiana Dimi- As the presence of smartphones, tablets, triades and Alexander Velinzon, violins, and and other electronic devices used for com- Richard Ranti, bassoon, perform Mozart’s munication, note-taking, and photography Piano Quartet in E-flat, K.493, Schumann’s has increased, there have also been continu- Adagio and Allegro for horn and piano, and ing expressions of concern from concertgoers Brahms’s Trio in E-flat for horn, violin, and and musicians who find themselves distracted piano, Opus 40, on Sunday, November 12, at not only by the illuminated screens on these 3 p.m. as part of “Concerts at the Point” at devices, but also by the physical movements United Methodist Church, 1912 Main Road, that accompany their use. For this reason, Westport Point, MA. Tickets are $10 to $20 and as a courtesy both to those on stage and and can be purchased by calling (508) 636- those around you, we respectfully request 0698, online at concertsatthepoint.org, or by that all such electronic devices be completely e-mailing [email protected]. turned off and kept from view while BSO per- Founded by former BSO cellist Jonathan formances are in progress. In addition, please Miller, the Boston Artists Ensemble per- also keep in mind that taking pictures of the forms a program entitled “Founding Fathers” orchestra—whether photographs or videos— on Friday, November 17, at 8 p.m. at Hamil- is prohibited during concerts. Thank you very ton Hall in Salem and on Sunday, November much for your cooperation. 19, at 3 p.m. at St. Paul’s Episcopal Church, 15 St. Paul Street, Brookline. Soprano Tony Arnold, violinists Bayla Keyes and Sharan Comings and Goings... Leventhal, and violist Lila Brown join Mr. Please note that latecomers will be seated Miller for this program featuring two Haydn by the patron service staff during the first quartets—Opus 76, No. 4, in B-flat,Surprise , convenient pause in the program. In addition, and Opus 76, No. 2, in D minor, Quinten— please also note that patrons who leave the and Schoenberg’s Quartet No. 2 in F-sharp auditorium during the performance will not minor, Opus 10, for string quartet and sopra- be allowed to reenter until the next conve- no. Tickets are $30 (discounts for seniors nientpause in the program, so as not to dis- and students) and available at the door. For turb the performers or other audience mem- more information, call (617) 964-6553 or bers while the music is in progress. We thank visit bostonartistsensemble.org. you for your cooperation in this matter.

week 6 bso news 13 When it Comes to Dependability, One Stands Alone. a d Commonwealth Worldwide has been the premier choice of discerning clientele in Boston and beyond for more than 35 years. Discover why we are a seven-time Best of Boston® winner by Boston magazine.

Proud to be the Official Chauffeured Transportation Provider for the Boston Symphony Orchestra and the Boston Pops. CommonwealthLimo.com 800.558.5466 • 617.787.5575 on display in symphony hall Using archival materials displayed on the orchestra and first-balcony evelsl of Symphony Hall, this season’s BSO Archives exhibit recognizes three significant anniversaries. celebrating the bernstein centennial Anticipating the 100th anniversary on August 25, 2018, next summer of Leonard Bernstein’s birth, the Archives has assembled materials documenting Bernstein’s Boston roots and his deep, lifelong connection with the BSO, Tanglewood, and the Tanglewood Music Center. • An exhibit in the Brooke Corridor focuses on Bernstein’s early connections with Boston and the BSO. • An exhibit case on the first balcony, audience-right, is devoted to the world premiere of Bernstein’s opera Trouble in Tahiti on June 12, 1952, as part of a Creative Arts Festival at Brandeis University in which many BSO members performed. • An exhibit case on the first balcony, audience-left, documents BSO performances of Bee- thoven’s Missa Solemnis at Tanglewood in 1951, 1955, and 1971 led by Leonard Bernstein in memory of his mentor, BSO conductor Serge Koussevitzky. • A display in the Cabot-Cahners Room of photographs, musical scores, and memorabilia documents the BSO premieres of works by Leonard Bernstein and BSO-commissioned works by Bernstein himself. marking the 100th anniversary of the bso’s first recordings in 1917 One hundred years ago the BSO traveled to Camden, New Jersey, to make its very first recordings for the Victor Talking Machine Co. (later RCA Victor). • An exhibit near the backstage door in the Brooke Corridor focuses on the turbulent World War I era during which the BSO’s first recordings were made. • A display on the first balcony, audience-left, documents the BSO’s first recording sessions of October 2-5, 1917. marking the 60th anniversary of the boston youth symphony orchestras (byso) • In the Hatch Corridor, material on loan from the BYSO Archives documents both its own history and its ongoing partnership with the BSO.

TOP OF PAGE, LEFT TO RIGHT: Leonard Bernstein and his mentor Serge Koussevitzky at Tanglewood, c.1946 (photo by Heinz H. Weissen- stein, Whitestone Photo) Label from one of the BSO’s first commercial recordings, the Prelude to Act III of “Lohengrin” led by Karl Muck BYSO’s founding music director, Dr. Marvin J. Rabin, with members of the orchestra, c.1960 (courtesy BYSO)

week 6 on display 15 Marco Borggreve

Andris Nelsons

In 2017-18, his fourth season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in twelve wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in March. Also this season, in November, he and the orchestra tour Japan together for the first time, playing concerts in Nagoya, Osaka, Kawasaki, and Tokyo. In addition, in February 2018 Maestro Nelsons becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will bring both orchestras together for a unique multi-dimensional alliance; under his direction, the BSO cele- brates its first “Leipzig Week in Boston” that same month. In the summer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. Following the 2015 Tanglewood season, he and the BSO undertook a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany, Austria, and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Sym- phony No. 2—was released in November 2014 on BSO Classics. April 2017 brought the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting, recorded live at Symphony Hall in November 2016. In an ongoing, multi- year collaboration with Deutsche Grammophon initiated in 2014-15, he and the BSO are making live recordings of Shostakovich’s complete symphonies, the opera Lady Macbeth of Mtsensk, and other works by the composer. The first release in this series (the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk) won the

16 2016 Grammy Award for Best Orchestral Performance and Gramophone Magazine’s Orchestral Award. The second release (symphonies 5, 8, and 9, plus excerpts from Shostakovich’s 1932 incidental music to Hamlet) won the 2017 Grammy for Best Orchestral Performance. Also for Deutsche Grammophon, Andris Nelsons is recording the Bruckner symphonies with the Gewandhausorchester Leipzig and the Beetho- ven symphonies with the Vienna Philharmonic.

In 2017-18, Andris Nelsons is artist-in-residence at the Konzerthaus Dortmund and continues his regular collaboration with the Vienna Philharmonic, leading that orchestra on tour to China. He also maintains regular collaborations with the Royal Concert- gebouw Orchestra of Amsterdam, the Berlin Philharmonic, the Bavarian Radio Sym- phony Orchestra, and the Philharmonia Orchestra. Maestro Nelsons has also been a regular guest at the Bayreuth Festival and at the Royal Opera House, Covent Garden, where he conducts a new David Alden production of Lohengrin this season.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 6 andris nelsons 17 Boston Symphony Orchestra 2017–2018

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

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

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

week 6 boston symphony orchestra 19

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 137th season, 2017–2018

Thursday, October 26, 8pm | the catherine and paul buttenwieser concert Friday, October 27, 1:30pm Saturday, October 28, 8pm | the john f. cogan, jr., and mary l. cornille concert

charles dutoit conducting

berlioz “the damnation of faust,” dramatic legend in four parts, opus 24

Part I Plains of Hungary (Introduction) Peasants’ dance Hungarian march

Part II In North Germany Faust alone in his study; Easter Hymn Faust and Méphistophélès Auerbach’s cellar in Leipzig Woods and meadows on the banks of the Elbe Chorus of soldiers and students

{intermission}

Part III In Marguerite’s room Faust and Méphistophélès Marguerite (“The King of Thule”) The street in front of Marguerite’s house Marguerite and Faust (Duet) Faust, Marguerite, Méphistophélès (Trio) and Chorus

22 Part IV Marguerite’s room (Romance) Faust (Invocation to Nature) Recitative and Chase (Ride to the Abyss) Pandemonium Epilogue on earth Heaven (Apotheosis of Marguerite) susan graham, mezzo-soprano (marguerite) paul groves, tenor (faust) john relyea, bass-baritone (méphistophélès) david kravitz, baritone (brander) tanglewood festival chorus, james burton, conductor choir of st. paul’s, harvard square, john robinson, conductor

A synopsis of the story begins on page 24.

Supertitles by Hugh Macdonald SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA Jesse Levine, supertitles caller Casey Smith, supertitles technician

this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2017-18 season.

The evening concerts will end about 10:30, the afternoon concert about 4. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Limousine. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 6 program 23 The Program in Brief...

Berlioz was one of the uniquely great innovators in music. Composed in 1845-46, The Damnation of Faust is not only one of his greatest works, it is also one of the greatest treatments in music of the Faust story, which also inspired such varied creations as Gounod’s Faust; the rarely encountered Busoni opera Doktor Faustus; Liszt’s Faust-Symphony, Schumann’s Scenes from Goethe’s “Faust,” and Mahler’s Symphony No. 8, whose second part sets to music the entire final scene of Goethe’s vast philosophical tract.

In his treatment of Faust, Berlioz focuses primarily on the more purely human story (as it were) of Goethe’s poem, that of the aged philosopher Faust, who, weary of solitude and boredom, looks to the devil, Mephistopheles, for a chance at experiences and pleasures previously unknown to him—experiences that include, most tellingly and tragically, a passionate romance with the beautiful Marguerite, whom Mephistopheles first shows austF in a dream.

One of the main things that makes Berlioz’s piece work so well is his unfailing ability to compose just the right kind of music at every step along the way, to make every character, or group of characters, absolutely individual, including those represented by the chorus, which at different times is called upon to represent peasants dancing or praying, carousing students, soldiers, the inhabitants of Hell (who sing in a language invented by the composer), and the angels who welcome Marguerite’s soul into heaven. In addition, his approach to harmony and phrasing, the shape and flexibility of his thematic materials, and his treatment of the orchestra—e.g., the colorful and striking ways in which individual sections speak clearly and individually, even when combined with other parts of the ensemble—further stamp his music as his and his alone.

Though Berlioz intended his Damnation of Faust for the concert hall and not the operatic stage—he even invented the term “dramatic legend” to describe it—the work’s straddling of both worlds has inevitably led to a number of opera house stagings. But this is unnec- essary: the piece is so unfailingly alive that performance in concert, as Berlioz intended, makes for an experience as vivid, engrossing, and powerful as anything one might hope to encounter.

Marc Mandel

Synopsis of the Story

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

Part II. Northern Germany. Alone in his study, Faust despairs of ever finding happiness and resolves to die. As he raises a cup of poison to his lips, he hears bells and the Easter Hymn sung in a nearby church. He draws back from the brink.

24 Mephistopheles suddenly appears, offering everything the heart can desire. He briskly transports them both to Auerbach’s cellar in Leipzig, where general carousing is in full swing. Brander sings the Song of the Rat, and then all sing an “Amen” in mock-ecclesias- tical style. Mephistopheles sings the Song of the Flea, but Faust begs to be led to calmer pleasures. They ride through the air to the bosky banks of the Elbe, where Faust is laid to sleep on a bed of roses. A chorus of spirits and sylphs provides enchantment. In his dreams he sees a vision of Marguerite and calls out her name. The Ballet of the Sylphs completes the spell.

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

INTERMISSION

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

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

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

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

The chorus of the damned greet Faust in Pandæmonium. A first epilogue, on earth, records the closing of hell’s gate. In a second epilogue, in heaven, the seraphim beg redemption for Marguerite; pardoned, she rises to her apotheosis in heaven.

Hugh Macdonald

week 6 synopsis of the story 25 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

VAN CLEEF & ARPELS Diamond Necklace, SOLD: $256,200

GROGANCO.COM | 617.720.2020 20 CHARLES STREET, BOSTON, MA 02114 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF Hector Berlioz “La Damnation de Faust,” Dramatic legend THEIR FINE JEWELRY in four parts, Opus 24 AND PAINTINGS HECTOR BERLIOZ was born at La Côte-St-André (Départment of Isère), south of Lyon, France, on December 11, 1803, and died in Paris on March 8, 1869. He composed “La Damnation de SINCE 1987. Faust” between November 1845 and October 1846 and conducted the first performance on December 6, 1846, at the Opéra-Comique in Paris.

THE SCORE OF “THE DAMNATION OF FAUST” calls for mezzo-soprano (Marguerite), tenor (Faust), baritone or bass (Mephistopheles), and bass (Brander) soloists, mixed chorus, children’s choir, three flutes, three piccolos, two oboes and English horn, two clarinets and bass clarinet, four bassoons, four horns, two trumpets, two cornets à piston, three trombones, ophicleide (a part typically taken in modern performances by a second tuba), tuba, timpani, side drum, cym- bals, bass drum, triangle, tam-tam, bell, two harps, and strings, plus an offstage brass quartet consisting of two horns and two trumpets.

The theme of Faust runs through Berlioz’s creative life like a thread, interwoven with those of Shakespeare and Virgil. Shakespeare’s spell worked on him longer and deeper, and surfaced in a variety of works (an overture on King Lear, a symphony on Romeo and Juliet, a comic opera on Much Ado About Nothing, and others). Goethe provided inspiration through one work only, his Faust, the composer’s response reaching definitive form VAN CLEEF & ARPELS Diamond in The Damnation of Faust in 1846, at the midpoint of Berlioz’s career. “Shake speare and , SOLD Goethe, the silent confidants of my torments,” he wrote in 1828, “they hold the key to my life.”

1828 was indeed a year of torment for Berlioz, occasioned partly by a grandly romantic case of unrequited love, partly by the thrill of discovery. In close succession he had GROGANCO.COM 617.720.2020 20 CHARLES STREET, BOSTON, MA 02114 week 6 program notes 27 Program page for the first complete Boston Symphony Orchestra performances of Berlioz’s “La Damnation de Faust” on November 30 and December 1, 1934, with Serge Koussevitzky conducting (BSO Archives)

28 come upon the works of Shakespeare, Beethoven, and Goethe, new universes that seemed to provide limitless horizons for his still latent creative powers. Their effect was to challenge, not stifle, his ambitions, and he set to work at once to remodel their themes and ideas in his own mode of speech. A Romeo and Juliet began to take shape (and may have been set down on paper); a dramatic symphony based on his own life (the Fantastic Sym phony) was his response to Beethoven; and he began to set Goethe’s words to music, not intending to make a musical drama out of Faust but simply allowing the poetry to take on musical form.

It was in Gérard de Nerval’s French translation that Berlioz encountered Faust. “This translation,” he wrote, “made a strange and deep impression upon me. The marvelous book fascinated me from the first. I could not put it down. I read it incessantly, at meals, in the theater, in the street.” The translation was in prose, with certain scenes, ballads, hymns, and songs in verse. It was these that Berlioz singled out for setting, beginning with the Ballad of the King of Thule, which he sketched in a carriage on a visit to his parents near Lyons. Seven more settings followed swiftly, and by 1829 he yielded to the temptation to have these Eight Scenes from “Faust” engraved and published at his own expense.

But he soon withdrew the work in a fit of revulsion. With hindsight it is easy enough to perceive that the work was immature, not in the sense that Berlioz was not a proficient composer, but in the lack of maturation he had given the subject. Themes as grand as

week 6 program notes 29 Suzuki School of Newton Artist Concert Series 2017 presents

The Thoreau Piano Trio Saturday, November 4 at 7:30 pm tickets: thoreauSSN.bpt.me | 617.964.4522

Suzuki School of Newton is a member of the Newton Cultural Alliance. newtonculture.org

A WORLD PREMIERE TO DIE FOR THE NEFARIOUS, IMMORAL BU T HIGHLY PROFITABLE ENTERPRISE OF

MUSIC BY JULIAN GRANT LIBRETTO BY MARK CAMPBELL

THE CYCLORAMA AT THE BOSTON CENTER FOR THE ARTS

COMMISSIONED BY MUSICTHEATRE GROUP WITH A DARKLY COMEDIC TAKE THE SUPPORT OF BOSTON LYRIC OPERA ON THE TRUE STORY OF TWO TH CENTURY SERIAL KILLERS

SINGLE TICKETS FROM OPERA PACKAGES FROM JUST

BLO.ORG

30 “Goethe in the Campagna di Roma” by J.A.W. Tischbein

that of Faust were not to be set down on paper in instantaneous response; they needed years of organic growth, like a fine wine.Romeo and Juliet took twelve years to ripen; the Trojans, his great Virgilian opera, was completed more than forty years after he had acknowl edged his passion for the Aeneid.

So he came back to Goethe in 1845 and recast his music in a much more sophisticated and searching form. The eight separate pieces were all saved for the new work and incorporated in it. But they are no longer separate, they are fashioned into a dramatic narrative that more closely represents the character and fate of Faust from his unattain- able longings for youth, love, and the fount of knowledge to his dismal end in the abyss of hell. Berlioz characteristically did not think of this as an opera; he called it a “concert opera” or “dramatic legend” and always had the concert hall, not the theater, in mind. He wrote stage directions in his score while treating the conventions of stagecraft with disdain.

In 1845 the subject of Faust fired his enthusiasm, just as it had in 1828. In the uncom- fortable conditions of a long tour of Ger many, Austria, Hun gary, and Bohemia, Berlioz com posed the work on his knee, as it were, and completed it in Paris in time for a premiere at the Opéra-Comique in December 1846. It was not a success. In fact, Berlioz regarded the Parisians’ hostile reception of it as a bitter blow, confirming what had gradually been becoming obvious to him: Paris had lost its taste for fine music and its faith in art (see page 39). He never offered The Damnation of Faust there again, but played it only on his travels abroad, in Germany, in England, and in Russia. Certain German critics objected to his loose and idiosyncratic treatment of Goethe, a charge to which he responded in a reasoned, though pained, preface to the work when it was published in 1854. That publication bore a dedication to one of his closest friends, Liszt. In true brotherly spirit Liszt reciprocated by dedicating his own Faust-Symphony to Berlioz.

week 6 program notes 31 “In First Republic, we found a bank that is as passionate about our mission as we are.”

ISABELLA STEWART GARDNER MUSEUM Peggy Fogelman, Norma Jean Calderwood Director

(855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER

BostonSymphony 2017/18 ISG ND2017.indd 1 4/21/17 4:40 PM Faust, Marguerite, and Mephistopheles in an 1828 lithograph (“Faust seeks to seduce Marguerite”) by Eugène Delacroix

Eight years after Berlioz’s death The Damnation of Faust was once again heard in Paris. Rivalry between conductors Edouard Colonne and Jules Pasdeloup caused them both to conduct the work on the same day, February 18, 1877. Its success would have astonished Berlioz. Colonne played it 172 times before World War I, and it became the Berlioz work the French loved most, parallel with the prodigious popularity of Gounod’s Faust. A famous staging of the work in Monte Carlo by Raoul Gunsbourg in 1903 ex tended its success to the theater, a precedent that has been taken up by many stages in recent years.

At the time of the first performance the critic Scudo wrote: “M. Berlioz has disfigured one of the great conceptions of modern poetry. He has grasped neither the spirit nor the feeling of this drama. He has transformed Marguerite into a vulgar heroine who indulges in all the exaggerations of melodrama. Rarely has the alliance of drama and symphony been so unhappy. Not only is M. Berlioz incapable of writing for the human voice, but even his orchestration is simply a string of curious sound effects without substance or development.”

A good starting point is to reverse the sense of every sentence in that notice, and a fair- er view of Berlioz emerges: he has grasped both the spirit and the feeling of Goethe— the thirst in Faust’s soul, the allure and fatal attraction of Mephistopheles’s charm, Marguerite’s innocence, the immensity of nature. Marguerite is anything but vulgar; her two solos, the Ballad in Part III and the Romance in Part IV (both salvaged from the original Eight Scenes) are as poignant and expressive as anything Berlioz wrote. The alliance of drama and symphony works peculiarly well, a mélange that he had already perfected in Romeo and Juliet and hinted at in the Fantastic Symphony; here he has stage directions and ballet (for the sylphs and the will-o’-the-wisps) to bring the work closer to the world of opera; his writing for the human voice is not, of course, of a kind that

week 6 program notes 33 2017-18

Our upcoming NOVEMBER concerts Founding Fathers Salem 11/17 8:00 Brookline 11/19 3:00 Salem Friday Evenings at 8:00 In historic Hamilton Hall Haydn Nov 17 | Jan 5 | Mar 9 | Apr 20 Quartet Opus 76 No. 4 in B-flat, “Sunrise” Quartet Opus 76 No. 2 in D minor, “Quinten” Schoenberg Brookline Quartet No. 2 for String Quartet and Soprano Sunday Afternoons at 3:00 in F-Sharp minor, Opus 10 In beautiful St. Paul’s Church Nov 19 | Jan 7 | Mar 11 | Apr 22 Tony Arnold – soprano, Bayla Keyes, Sharan Leventhal – violins, Lila Brown – viola, Jonathan Miller – cello You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

34 admirers of Italian opera like to hear, but it puts meaning and lyrical expression first and coloratura display last.

As for his orchestration, there can be nothing but astonished admiration for the extrovert force of the Hungarian March, for the coarseness of the brass in support of Leipzig’s drunken carousers, for the sheer masculine energy of the chorus of soldiers and students at the close of Part II, or for the expansive breadth of Faust’s Invocation to Nature in Part IV. Mephistopheles’s evocation of the will-o’-the-wisps in Part III calls for three flickering piccolos, and his serenade to Marguerite is accompanied by pizzicato strings acting like a giant guitar. His choice of viola solo for Marguerite’s first song and English horn for her second is exemplary. Berlioz regarded the ophicleide, his standard brass bass instrument (typically replaced nowadays by tuba, as in the present performances), as essential but vulgar, so it serves perfectly for the drunken chorus in Auerbach’s cellar, alongside the tuba, which was just coming into service in those years. Even in heaven, where a blanket of harp sound might be regarded as a mere cliché, Berlioz’s taste and imagination could hardly be bettered.

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

From a manuscript page of Berlioz’s draft for Chapter 54 of his “Memoirs,” with part of Faust’s Invocation to Nature (“Nature immense...”) at the bottom of the page

week 6 program notes 35 is mourned in a choral fugue on the word “Amen.” Berlioz regarded such things as anti- musical and hoped that audiences would catch the irony (they didn’t always).

We must not look in The Damnation of Faust for a close reflection of Goethe’s many philosophical themes; there is nothing, for example, about the regeneration of mankind. Faust is conclusively damned, not left free for later salvation and expiation. Marguerite is unequivocally saved, and Mephistopheles is more than a cardboard devil with horns. His presence is strong, especially when announced by a rasp from three trombones and piccolo, but he never upstages Faust. When singing a song of enchantment, inviting Faust to the delights of the sylphs’ scene on the banks of the Elbe in Part II, his duplicity is made plain to us, if not to Faust, by the suave elegance of the trombones that accompany him: trombones pretending to be strings are wolves in sheep’s clothing.

Goethe, like Shakespeare, satisfied Berlioz’s requirement of a great poet: that he should be a mirror in which everything, whether graceful or ugly, brilliant or somber, calm or agitated, intimate or grandiose, is reflected with burning truthfulness. No setting of Faust can match Goethe’s range, although each one adds something that music alone can offer. Almost every composer in Berlioz’s time tried his hand, with results that vary from the sublime to the ridiculous. Wagner’s Faust Overture and Liszt’s Faust-Symphony are unarguably fine; Schumann’sFaust-Szenen , Gounod’s Faust, and Boito’s Mefistofele have received both cheers and brickbats over the years; a Faust ballet Berlioz once saw in a Paris boulevard theater was definitely ridiculous. In the category of truly success- ful Faust settings we can safely place his own “dramatic legend” and enjoy it as the response of one great artist to another’s work, creating one of the most penetrating cross-collaborations of the Romantic Age.

Hugh Macdonald

hugh macdonald, general editor of the New Berlioz Edition, was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich, including biographies of Berlioz, Bizet, and Scriabin, and is currently writing a book on the operas of Saint-Saëns.

THE FIRST AMERICAN PERFORMANCE of any music from “La Damnation de Faust” was the “Marche hongroise,” played in New York on April 18, 1861. The first performance in America of the complete work was given in the Boston Music Hall on January 28, 1880, by the Thomas Orchestra under Theodore Thomas, with soloists including Clara Louise Kellogg, W.C. Tower, and Georg Henschel, who would soon become the first conductor of the Boston Symphony Orchestra. It was Henschel who first introduced music from this score into the BSO’s repertoire, when he conducted three excerpts (the Minuet of the Will-o’-the-Wisps, Ballet of the Sylphs, and the Hungarian March) in December 1882, during the orchestra’s second season (those same excerpts have been played on numerous occasions since then).

THE FIRST COMPLETE BSO PERFORMANCES OF “LA DAMNATION DE FAUST” were conducted by Serge Koussevitzky in November/December 1934, with soloists Beata Malkin, Ivan Ivantzoff,

36 Alexis Tcherkassky, and John Gurney (as Marguerite, Faust, Mephistopheles, and Brander, respec- tively) and the Cecilia Society Chorus, Arthur Fiedler, conductor. Charles Munch led the BSO in “The Damnation of Faust” on a number of occasions, always with the Harvard Glee Club and Radcliffe Choral Society, G. Wallace Woodworth, conductor: in February 1954 with Suzanne Danco, David Poleri, Martial Singher, and Donald Gramm; in July 1954 at Tanglewood, with Eleanor Steber, Poleri, Singher, and Gramm; in March 1955 in Boston and New York, again with Danco, Poleri, Singher, and Gramm (but with John McCollum then replacing Poleri out of town in Washington, Brooklyn, and another New York performance), and in August 1960 at Tanglewood with Steber, McCollum, Singher, and David Laurent (the chorus on that occasion being the Festival Chorus rather than the Harvard-Radcliffe group). Seiji Ozawa also led the BSO in “The Damnation of Faust” on numerous occasions, always with the Tanglewood Festival Chorus, John Oliver, conductor (excluding the European performances specified below): in August 1971 at Tanglewood (with Lois Marshall, John Alexander, Ezio Flagello, and Saverio Barbieri); in September 1973, to begin his tenure as BSO music director, in Boston and New York (with Edith Mathis; Stuart Burrows and Harry Theyard alternating as Faust; Donald McIntyre, and Thomas Paul); in August 1979 at Tanglewood (Julia Varady, Kenneth Riegel, Paul Plishka, and Douglas Lawrence), followed by European tour performances in Salzburg (Frederica von Stade, Veriano Luchetti, Dietrich Fischer-Dieskau, and Douglas Lawrence) and Berlin (Varady, Riegel, Fischer-Dieskau, and Lawrence); in January 1983 in Boston and New York (von Stade, Nicolai Gedda, Thomas Stewart, and Eric Halfvarson); and at Tanglewood on July 3, 1998 (von Stade, Vinson Cole, Philippe Rouillon, David Wilson-Johnson). The children’s chorus for Ozawa’s performances in this country between 1971 and 1983 was the Boston Boy Choir, Theodore Marier, director; in 1998 it was the PALS Children’s Chorus, Johanna Hill Simpson, artistic director.

Since then, the BSO has performed “La Damnation de Faust” under James Levine and Charles Dutoit. Levine led performances in February 2007 (the most recent subscription performances) followed by a Carnegie Hall performance that month, a Tanglewood performance that August, and European tour performances in late August/early September that summer in Lucerne, Essen, Paris, and London. The soloists for all of Levine’s performances were Yvonne Naef, Marcello Giordani, José van Dam, and Patrick Carfizzi; the chorus for all of them was the Tanglewood Festival Chorus, John Oliver, conductor; the children’s chorus for the Boston, New York, and Tanglewood performances was the PALS Children’s Chorus, Johanna Hill Simpson, conductor; and the children’s chorus in London was the Finchley Children’s Music Group, Grace Rossiter, music director. Charles Dutoit led a Tangle- wood performance (since Levine’s, the only other BSO performance of the complete work until this week) on July 28, 2012, with Susan Graham, Paul Groves, Sir Willard White, Christopher Feigum, the Tanglewood Festival Chorus, John Oliver, conductor, and the PALS Children’s Chorus, Andy Icochea Icochea, artistic director.

week 6 program notes 37 On “The Damnation of Faust,” from Berlioz’s “Memoirs”

On the composition of the work:

I began with Faust’s invocation to Nature [in Part IV], not trying either to translate or even to imitate Goethe’s masterpiece but only to use it as an inspiration, and extract all its musical substance.... My attempt gave me hopes of being able to continue.... Once launched, I wrote the rest by degrees, as my musical ideas came to me, and composed the score with a facility I have rarely experienced with any of my other works. I wrote when I could and where I could: in the coach, on the railroad, in steamboats, and even in towns, notwithstanding the various cares entailed by my concerts. Thus I wrote the introduction, “Le vieil hiver à fait place au printemps,” in an inn at Passau. At Vienna I did the Elbe scene, Mephistopheles’ song “Voici des roses,” and the sylphs’ ballet....

One night, when I had lost my way in Pesth, I wrote the choral refrain of the Peasants’ Dance by the gaslight in a shop. At Prague I got up in the middle of the night to write down a melody I was afraid of forgetting, the angels’ chorus in Marguerite’s apotheosis: “Remonte au ciel, âme naive, que l’amour égara.” At Breslau I wrote the words and

A sketch by Berlioz for Faust’s Invocation to Nature (“Nature immense...”) from Part IV

38 music of the students’ Latin song: “Iam nox stellata velamina pandit.” On my return to France I composed the grand trio, “Ange adoré dont la céleste image,” while staying on a visit to the Baron de Montville, near Rouen.

The rest was written in Paris, but always improvised, either at my own house, or at the café, or in the Tuileries gardens, and even on a milestone in the Boulevard du Temple: I did not search for ideas, I let them come, and they presented themselves in the most unforeseen order. When at last the whole outline was sketched, I set to work to re-cast the whole, touch up the different parts, unite and blend them together with all the patience and pertinacity of which I am capable, and to finish off the instrumentation, which had been only indicated here and there. I look upon this as one of my best works....

On the unsuccessful first performances:

When Romeo and Juliet was first performed, I reflected, the eagerness of the public was so great that we had to issue corridor tickets to seat the crowd after the room was filled.... Since then my name has gone up in public opinion, and besides, my name in foreign parts has been so much talked of that it now carries a weight in France which was not formerly the case. The subject of Faust is quite as famous as that of Romeo. It is generally believed to be sympathetic to me, and I am thought likely to have treated it well. Everything combines, therefore, to make me hope there will be great curiosity to hear this new work, which is on a larger scale and more varied in effect than any of its predecessors....

Vain hope! Years had elapsed since the first performance of Romeo and Juliet [in Novem ber 1839], during which the indifference of the Parisian public about everything concerning literature and the arts had made incredible strides. At this period it had already ceased to be sufficiently interested, more especially in a musical ork,w to con- sent to be immured in the daytime (I never could give my concerts in the evening) in so un fashionable a theatre as that of the Opéra-Comique. It was the end of November, 1846; snow was falling, the weather was dreadful. I had no fashionable cantatrice to sing the part of Marguerite. As for Roger, who did Faust, and Herman Léon, who took the part of Mephistopheles, they might be heard any day in this same theatre; nor were they in fashion. The result was that Faust was twice performed to a half-empty room. The concert-going Parisian public, supposed to be fond of music, stayed quietly at home, caring as little about my new work as if I had been an obscure student at the Conservatoire; and these two performances at the Opéra-Comique were no better attended than if they had been the most wretched operas in the theatre’s repertory.

Nothing in all my artistic career ever wounded me so deeply as this unexpected indifference. It was a cruel discovery, but useful in the sense that I profited by it, and from that time forth never risked so much as a twenty-franc piece on the popularity of my music with the Parisian public. I sincerely hope this may never happen again, if I live a hundred years.

week 6 from berlioz’s “memoirs” 39

To Read and Hear More...

A comprehensive modern Berlioz biography in two volumes—Berlioz, Volume I: The Making of an Artist, 1803-1832 and Berlioz, Volume II: Servitude and Greatness, 1832-1869— by Berlioz authority David Cairns appeared in 1999 (University of California paperback). Other useful biographies include D. Kern Holoman’s Berlioz, subtitled “A musical biography of the creative genius of the Romantic era” (Harvard University Press); Hugh Macdonald’s Berlioz, in the “Master Musicians” series (Oxford paperback), and Peter Bloom’s The life of Berlioz, in the series “Musical lives” (Cambridge University paperback). Bloom was the editor for The Cambridge Companion to Berlioz (Cambridge Univer- sity paperback) and also for Berlioz: Past, Present, Future, a compendium of articles by various musical and cultural historians who examine, among other things, Berlioz’s own responses to music of his past, his interactions with musical contemporaries, and views proffered about him by subsequent generations (Eastman Studies in Music/University of Rochester Press). Julian Rushton’s The Music of Berlioz provides detailed consideration of the composer’s musical style and works (Oxford paperback). Brian Primmer’s The Berlioz Style offers another good discussion of the composer’s music (originally Oxford). Hugh Macdonald’s Berlioz article from the 1980 New Grove Dictionary of Music and Musicians was retained, with revisions to the discussion of the composer’s musical style, in the 2001 Grove. Macdonald also edited Selected Letters of Berlioz as translated by Roger Nichols (Norton). The best English translation of Berlioz’s Memoirs is David Cairns’s (Everyman’s Library); the much older translation by Ernest Newman also remains available (Dover paperback). Jacques Barzun’s two-volume Berlioz and the Romantic Century, first published in 1950, is a distinguished and still very important older study (Columbia University Press). Barzun’s own single-volume abridgment, Berlioz and his Century, remains available as a University of Chicago paperback.

There are two Boston Symphony recordings of Damnation of Faust: from 1954 (in stereo) under Charles Munch, with Suzanne Danco, David Poleri, Martial Singher, Donald Gramm, and the Harvard Glee Club and Radcliffe Choral Society (RCA), and from 1973 under Seiji Ozawa, with Edith Mathis, Stuart Burrows, Donald McIntyre, Thomas Paul, and the Tanglewood Festival Chorus (Deutsche Grammophon). There are also two recordings with Colin Davis conducting: from 1973 with Josephine Veasey, Nicolai Gedda, Jules Bastin, Thomas Van Allan, and the London Symphony Orchestra and Chorus, Ambrosian Singers, and Wandsworth School Boys Choir (Philips, made as part of Sir Colin’s historic Berlioz cycle for that company), and from 2000 with Enkelejda

week 6 read and hear more 41

Shkosa, Giuseppe Sabbatini, Michele Pertusi, David Wilson-Johnson, and the London Symphony Orchestra and Chorus (LSO Live). Susan Graham is the Marguerite in Kent Nagano’s recording with the Lyon Opera Orchestra and Chorus, which also features Thomas Moser and Frédéric Caton (Erato). Sir Georg Solti’s recording with the Chicago Symphony Orchestra and Chorus features Frederica von Stade, Kenneth Riegel, and José van Dam (Decca). Other recordings include Myung-Whun Chung’s with Anne Sofie von Otter, Keith Lewis, Bryn Terfel, Victor von Halem, and the Philharmonia Orchestra and Chorus (Deutsche Grammophon) and Daniel Barenboim’s with Yvonne Minton, Plácido Domingo, Dietrich Fischer-Dieskau, Jules Bastin, and the Orchestre de Paris (also Deutsche Grammophon). Worth seeking is a 1962 concert performance under Pierre Monteux’s direction, with Régine Crespin, André Turp, Michel Roux, and the London Symphony Orchestra and Chorus (BBC Legends). Noteworthy, too, is Igor Markevitch’s recording with the Lamoureux Orchestra and soloists Consuelo Rubio, Richard Verreau, and Michel Roux (Deutsche Grammophon “Originals”). Collectors may also want to know of a rather bizarre curiosity, namely a 1950 Lucerne Festival performance under Wilhelm Furtwängler, sung in German, with Elisabeth Schwarzkopf, Franz Vroons, and Hans Hotter (Archipel).

Marc Mandel

BERLIOZ: HAROLD IN ITALY KIM KASHKASHIAN, VIOLA

SIBELIUS: SYMPHONY NO. 2

THURSDAY, SATURDAY, SUNDAY, NOVEMBER 9 NOVEMBER 11 NOVEMBER 12 7:30PM 8:00PM 3:00PM SANDERS NEC’S SANDERS THEATRE JORDAN HALL THEATRE

FULL SEASON SUBSCRIPTIONS STILL AVAILABLE! TICKETS FROM $15 / STUDENTS $10 / CALL 617.236.0999 BUY TICKETS AT BOSTONPHIL.ORG

week 6 read and hear more 43

Guest Artists

Charles Dutoit Charles Dutoit recently became the 103rd recipient of the Royal Philharmonic Society Gold Medal, founded in 1870 in celebration of the centenary of Beethoven’s birth. Since his ini- tial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, he has returned frequently to the BSO podium at both venues, most recently leading two concerts this past summer at Tanglewood. A student there in 1959, he was Tanglewood’s 2016 Koussevitzky Artist, acknowledging his commitment to teaching and performing at Tanglewood and his decades-long association with the Boston Symphony Orchestra. In the spring of 2014, substituting at short notice for Lorin Maazel, he led the final three programs of the BSO’s 2013-14 subscription season followed by the orchestra’s tour to China and Japan. Currently artistic director and principal conductor of London’s Royal Philharmonic Orchestra, Maestro Dutoit recently celebrated his thirty-year artistic collaboration with the Phila- delphia Orchestra, which, in turn, bestowed upon him the title of conductor laureate. He collaborates each season with the orchestras of Boston, Chicago, San Francisco, New York, and Los Angeles, and is also a regular guest on the concert stages of London, Berlin, Paris, Munich, Moscow, Sydney, Beijing, Hong Kong, Shanghai, and Tokyo, among others. He was artistic director of the Montreal Symphony Orchestra for twenty-five earsy and has also held posts with the Orchestre National de France and NHK Symphony in Tokyo, of which he is currently music director emeritus. He was music director of the Philadelphia Orchestra’s season at the Mann Music Center for ten years and at the Saratoga Performing Arts Center for twenty-one years. Strongly interested in the younger generation of musicians, he has been music director of both the Sapporo Pacific Music Festival and the Miyazaki Interna- tional Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou and the Lindenbaum Festival in Seoul. Music director of the Verbier Festival Orchestra from 2009 to 2017, he is now that orchestra’s conductor emeritus. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to conduct the Vienna State Opera. He has since conducted at Covent Garden, the Metropolitan Opera, Deutsche Oper Berlin, Rome Opera, and the Teatro Colón in Buenos Aires. In 1991 he was made Honorary Citizen of the City of Philadelphia; in 1995, Grand Officier de l’Ordre National du Québec, and in 1996, Commandeur de l’Ordre des Arts et des Lettres by the government of France. In 1998 he was invested as Honorary Officer of the Order of Canada. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award from the International Classical Music Awards. Charles Dutoit holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. His more than 200 recordings have garnered multiple awards

week 6 guest artists 45 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. and distinctions, including two Grammys. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, Charles Dutoit has traveled in all the nations of the world. Maestro Dutoit returns to the Symphony Hall podium in February, collaborating with pianist Jean-Yves Thibaudet and the Tanglewood Festival Chorus in music of Ravel, to mark the 90th anniversary of Ravel’s conducting the BSO here while visiting America in 1928.

Susan Graham Susan Graham’s operatic roles span from Monteverdi’s Poppea to Sister Helen Prejean in Jake Heggie’s Dead Man Walking, which was written especially for her. She won a Grammy Award for her collection of Ives songs, and composers from Purcell to Sondheim are represented on her most recent album, “Virgins, Vixens and Viragos.” One of the foremost exponents of French vocal music, the Texas native was awarded the title Chevalier de la Légion d’Honneur by the French government. In the 2017-18 season Ms. Graham reprises the title role in Susan Stroman’s production of Lehár’s The Merry Widow at the Metropolitan Opera, joins Nathan Gunn for Bernstein’s Trouble in Tahiti at Lyric Opera of Chicago, and returns to Opera Theatre of Saint Louis for Blitzstein’s Regina. With the Boston Symphony Orchestra this season she sings Berlioz’s La Damnation de Faust under Charles Dutoit and, in January, Mahler’s Third Symphony under Andris Nelsons. She reunites with Dutoit for Ravel’s Shéhérazade with the San Francisco Symphony, headlines a gala concert celebrating Tulsa Opera’s 70th anniversary, gives solo recitals at Emory University and Washington University, and sings a night of cabaret at New York’s Park Avenue Armory. Last season she joined Renée Fleming for the San Francisco Symphony’s opening gala; joined a host of singers in a concert marking the Metropolitan Opera’s five decades at Lincoln Center; starred in Washington National Opera’s revival of Dead Man Walking, making her role debut as the convict’s mother; returned to Santa Fe Opera as Prince Orlofsky in Die Fledermaus; sang Dido in Les Troyens at Lyric Opera of Chicago; performed selections from Mahler’s Des Knaben Wunderhorn at Carnegie Hall and Canteloube’s Chants d’Auvergne with the Philadelphia Orchestra; gave U.S. recitals of

Bo on Early Music Fe ival

n FRI,s NOVEMBER 10 | 8PM s Le POème HarmOnique Danza! Spanish Dances in 17th-century France

n SAT, NOVEMBER 25 | 8PM n SUN, NOVEMBER 26 | 3PM HandeL’s AlmirA: OPera in COnCert Order tOday! Paul O’Dette & Stephen Stubbs, Musical Directors WWW.BEMF.ORG | 617-661-1812

week 6 guest artists 47 TRIAL BY FIRE: JOAN OF ARC AND THE HUNDRED YEARS’ WAR

DONIZETTI

(THE SIEGE OF CALAIS)

OCTOBER 26 & 28, 2017 7:30PM / HUNTINGTON AVENUE THEATRE

LEARN MORE AND BUY TICKETS AT ODYSSEYOPERA.ORG

48 her “Frauenliebe und -leben: Variations” program (inspired by Schumann’s song cycle), and expanded her discography with the DVD release of the Metropolitan Opera’s recent production of Berg’s Lulu, which captured her role debut as Countess Geschwitz. Ms. Graham created leading roles in the Metropolitan Opera’s world premieres of Harbison’s The Great Gatsby and Picker’s An American Tragedy, and made her Dallas Opera debut as Tina in Argento’s The Aspern Papers. As Houston Grand Opera’s Lynn Wyatt Great Artist, she starred there as Prince Orlofsky before singing Sycorax in the Met’s Baroque pastiche The Enchanted Island and making her acclaimed musical theater debut in Rodgers and Hammerstein’s The King and I in Paris. Her affinity for French repertoire, including Berlioz’sLa Mort de Cléopâtre and Les Nuits d’été, Ravel’s Shéhérazade, and Chausson’s Poème de l’amour et de la mer, also serves as the foundation for her extensive concert and recital career. In addition to many recordings of complete operas, she has released several solo albums. Since her November 1994 BSO debut under Seiji Ozawa in several Berlioz works that were immediately repeated on tour in Hong Kong and Tokyo, Susan Graham has appeared numerous times with the orchestra in Boston and at Tanglewood, most recently for Berlioz’s La Damnation de Faust at Tanglewood in 2012 under Charles Dutoit; Ravel’s Shéhérazade in January 2014 under Bernard Haitink, followed by a repeat performance at Carnegie Hall in New York; and as Octavian opposite Renée Fleming’s Marschallin in Symphony Hall performances of Strauss’s Der Rosenkavalier led by Andris Nelsons in September/October 2016.

Paul Groves American tenor Paul Groves began his 2017-18 season with Britten’s War Requiem with Opéra de Lyon, followed by this week’s performances in La Damnation de Faust with the Boston Symphony Orchestra. After performances of Beethoven’s Symphony No. 9 with the Rochester Philharmonic, he returns to the Metropolitan Opera, as Danilo in Susan Stroman’s production of The Merry Widow, marking the 25th season he has been invited to return to the Met since his 1992 debut there as the Steersman in Der fliegende Holländer. He performs with the Prague Philharmonia in Haydn’s Cre- ation under Emmanuel Villaume, and the two continue their collaboration when Mr. Groves travels to Texas to perform as Wilhelm Arndt in The Ring of Polykrates with Dallas Opera. To close the season, Mr. Groves sings Mahler’s Das Lied von der Erde alongside Sasha Cooke at the Santa Fe Chamber Music Festival. Recent high- lights include a rare role debut, singing Alessandro Cesare in Cavalli’s Eliogabalo with Opéra National de Paris; his first performances as Wagner’s Parsifal with Lyric Opera of Chicago; Admète in Gluck’s Alceste with Madrid’s Teatro Real, Nicias in Massenet’s Thaïs with Los Angeles Opera, and Pylade in Iphigénie en Aulide at Vienna’s Theater an der Wien. Last season he performed Das Lied von der Erde with both the Cleveland Orchestra and the Indi- anapolis Symphony, Berlioz’s Requiem with the San Francisco Symphony, and Stravinsky’s Perséphone with the Oregon Symphony. Paul Groves came to national attention as a winner of the Met’s National Council Auditions and a graduate of the Metropolitan Opera’s Young Artists Development Program. He has appeared in multiple roles at the Met and with San Francisco Opera, Lyric Opera of Chicago, Los Angeles Opera, Washington Opera, and Santa Fe Opera. In Europe he has sung at La Scala, the Théâtre du Châtelet in Paris, Opéra de Paris, the Royal Opera–Covent Garden, Vienna Staatsoper, Opéra National du Rhin, Frankfurt Opera, Deutsche Oper Berlin, Netherlands Opera, the Bayerische Staatsoper in

week 6 guest artists 49 WHERE EXCELLENCE LIVES

CONCORD, MASSACHUSETTS CHESTNUT HILL, MASSACHUSETTS Architectural masterpiece provides 10,395sf and fully inte- Private, 1 + acre estate in Olde Chestnut Hill, accessed by private grates smart-house technology. 23.5 acres offer privacy, driveway features grand living spaces, well-appointed kitchen, extraordinary manicured gardens and woodlands with trails. impressive master suite, and English Boxwood Gardens. $12,500,000 $6,850,000 Represented by: Jonathan P. Radford, Sales Associate Represented by: Deborah M. Gordon, Sales Associate C. 617.335.1010 C. 617.974.0404

WEST NEWTON HILL, MASSACHUSETTS WESTON, MASSACHUSETTS Magnificent 1890 Victorian home offering timeless design, 15 Gorgeous Brick Front Colonial estate in desirable Weston Country rooms, beamed ceiling, 5 fireplaces, gorgeous kitchen, 7 bed- Club with pond views, 17 rooms, 5 bedrooms, open floor plan, cus- rooms, roof deck, wine room, and carriage house. tom kitchen, patio, plus finished 3rd floor and lower level playroom. $5,500,000 $4,850,000 Represented by: Maxine Burtman & Mitchel Bernstein, Sales Associates Represented by: Kathryn Alphas-Richlen, Sales Associate MB. 617.818.2447 | MB. 617.645.1360 C. 781.507.1650

DUXBURY, MASSACHUSETTS DUNSTABLE, MASSACHUSETTS Rare 19th century coastal architecture home offering 4 bed- Restored 1812 Federal Colonial home with authentic country rooms, 3.5 baths, 11 ft. ceilings, updated kitchen and master kitchen, 8 bedrooms, post and beam barn, greenhouse, up- bath, wrap-around porch, boathouse, plus deeded beach rights. dated systems, 2-story porch, verandas, and 6-bay garage. $1,597,000 $1,350,000 Represented by: Chris Swem, Sales Associate Represented by: Maureen Harmonay, Sales Associate C. 781.561.5163 C. 978.502.5800

COLDWELLBANKERLUXURY.COM COLDWELL BANKER RESIDENTIAL BROKERAGE

The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor agents and are not employees of the Company. ©2017 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Operated by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo are service marks registered or pending registrations owned by Coldwell Banker Real Estate LLC. 179267NE_9/17 Munich, and the Salzburg Festival. In demand for concerts with the world’s leading orchestras and conductors, he made his Boston Symphony Orchestra debut in March 2003 in the world premiere of John Harbison’s Requiem, returning for BSO performances of Wagner’s Der fliegende Holländer, Tippett’s A Child of Our Time, Schoenberg’s Gurrelieder, Berlioz’s La Damnation de Faust (in February 2007 under James Levine in Boston and New York, and in July 2012 at Tanglewood with Charles Dutoit), Beethoven’s Symphony No. 9, and Berlioz’s Te Deum (his most recent subscription appearances in February 2016, and his most recent Tanglewood appearance in July 2017, with Charles Dutoit on both occasions). Abroad he has sung with the Munich Philharmonic, Bayerische Rundfunk, Berlin Philharmonic, BBC Sym- phony, London Philharmonic, Orchestre de Paris, and Orchestre National de Radio France, among many others. Recital appearances have taken him to Alice Tully Hall, Lincoln Center’s “Art of the Vocal Recital” series, La Scala, Amsterdam’s Concertgebouw, the Théâtre de la Monnaie in Brussels, and London’s Wigmore Hall. Mr. Groves’s many recordings include DVD releases of his performances in the Salzburg Festival’s productions of Die Zauberflöte and La Damnation de Faust.

John Relyea John Relyea has appeared in many of the world’s most celebrated opera houses, including the Metropolitan Opera, San Francisco Opera (where he is an alumnus of the Merola Opera Program and a former Adler Fellow), Lyric Opera of Chicago, Seattle Opera, Cana- dian Opera Company, Royal Opera House–Covent Garden, Paris Opera, Teatro alla Scala, Bayerische Staatsoper, Vienna State Opera, Vienna’s Theater an der Wien, and the Mariinsky Theater. His roles include the title roles in Attila, Don Quichotte, and Aleko; Figaro in Le nozze di Figaro, Bluebeard in Bartók’s Bluebeard’s Castle, Zacca- ria in Nabucco, Bertram in Roberto le Diable, Pagano in I lombardi, Raimondo in Lucia di Lammermoor, Colline in La bohème, Don Alfonso in Lucrezia Borgia, Don Basilio in Il barbiere di Siviglia, Alidoro in La Cenerentola, Giorgio in I puritani, Enrico in Anna Bolena, Banquo in Macbeth, Garibaldo in Rodelinda, Méphistophélès in both Faust and La Damnation de Faust, the Four Villains in Les Contes d’Hoffmann, Escamillo in Carmen, Marke in Tristan und Isolde, Caspar in Der Freischütz, Nick Shadow in The Rake’s Progress, Collatinus in The Rape of Lucretia, the Water Sprite in Rusalka, and King René in Iolante. In concert he appears regularly with the major orchestras of Boston, Chicago, Cleveland, Philadelphia, New York, Pittsburgh, and Atlanta, as well as with the Swedish Radio Symphony, Scottish Chamber Orchestra, Philharmonia Orchestra, and Berlin Philharmonic. He has appeared at the Tanglewood, Ravinia, Blossom, Cincinnati May, Vail, Lanaudière, Salzburg, Edinburgh, Lucerne, and Mostly Mozart festivals, and the BBC Proms. In recital he has been presented at New York’s Weill Hall and Metropolitan Museum of Art, London’s Wigmore Hall, the University Musical Society in Ann Arbor, and the University of Chicago Presents series. This season’s engagements include returns to the Paris Opera for Bluebeard’s Castle and to the Teatro dell’Opera di Roma as Claggart in Billy Budd, his debut at the Teatro di San Carlo as Fiesco in Simon Boccanegra, and concerts with the New York Philharmonic, Orchestre de Paris, Netherlands Radio Philharmonic, and Sydney Symphony. Last season he returned to the Metropolitan Opera for Guillaume Tell, made his Rome Opera debut in Tristan und Isolde, and appeared in concert with the New York Philharmonic, Philadelphia Orchestra, Dallas Symphony, St. Louis Symphony, and NDR Symphony Orchestra. Summer appear-

week 6 guest artists 51 EXTRAORDINARY LUXURY AND TECHNOLOGY, CLEVERLY DISGUISED AS STANDARD.

THE GENEROUSLYAPPOINTED LEXUS ES & ES HYBRID With all its standard amenities, the ES is one not-so-standard luxury sedan.With innovative technologylikeLexusSafetySystem+,1 handcrafted details and exceptional comfort, including class-leading rear legroom.2 Experience a sanctuary from the ordinary. lexus.com/ES | #LexusES

IRA LEXUS IRA LEXUS OF MANCHESTER LEXUS OF NORTHBOROUGH Danvers, MA (978) 777-7777 Bedford, NH (603) 644-5600 Northborough, MA (508) 870-3222

HERB CHAMBERS LEXUS OF HINGHAM HERB CHAMBERS LEXUS LEXUS OF WATERTOWN Hingham, MA (781) 210-5200 Sharon, MA (781) 255-2000 Watertown, MA (617) 393-1000

Options shown. 1. Drivers are responsible for their own safe driving. Always pay attention to your surroundings and drive safely. Depending on the conditions of roads, weather and the vehicle, the system(s) may not work as intended. See Owner’s Manual for additional limitations and details. 2. Based on manufacturers’ published data. ©2017 Lexus

JOB DESCRIPTION IDEA TEAM Client: LDA National Account Executive: Robin Meselson Headline: Extraordinary Luxury Assistant Account Executive: Hannah Deverich Job Number: 420LDAES-P83465 Project Manager: Rachel King Altair Number: Executive Creative Director: Jason Stinsmuehlen Bill to Job Number: 420LDAES-P83283 Associate Creative Director: Jon King Version: L Producer 1: Lynn Welsh Ad Unit: Page Strategic Planner: Kristen Foss Publication(s): Cost Control Specialist: Gus Zepeda Shot List: LEX-ESG-MY16-0011.07 Art Studio: Tim Takanashi Bleed size: 6.75 x 9.75 Art Director: Trim size: 6.625 x 9.625 Safety size: 6.5 x 9.5 Gutter: Vendor: Orora Visual # of Colors: 4/c Insertion Date:

Client - Team One Job # - 144448 Ver. - AD01 Cyan Magenta Yellow Black ances included the Hollywood Bowl and the Aspen, Tanglewood, and Ravinia festivals. His recordings include Verdi’s Requiem (LSO Live), Idomeneo with Sir Charles Mackerras and the Scottish Chamber Orchestra (EMI), Mahler’s Symphony No. 8 with Sir Simon Rattle and the City of Birmingham Symphony Orchestra (EMI), and the Metropolitan Opera’s DVD presentations of Don Giovanni, I puritani, and Die Meistersinger von Nürnberg (Deutsche Grammophon) and Macbeth (Metropolitan Opera HD Live Series). John Relyea is the winner of the 2009 Beverly Sills Award and the 2003 Richard Tucker Award. He has appeared on numerous occasions with the BSO since his Tanglewood debut in 1999, singing music of Beethoven (including the Ninth Symphony at Tanglewood several times between 2006 and 2017), Mahler (the Symphony No. 8 with James Levine conducting at Symphony Hall, Carnegie Hall, and Tanglewood), Mozart (the Great C minor Mass and the Requiem), Verdi (Requiem), and Walton (Belshazzar’s Feast).

David Kravitz This season baritone David Kravitz returns to Odyssey Opera as Dunois in The Maid of Orleans and to the Boston Symphony Orchestra as Brander in The Damnation of Faust and as Kurwenal in Act II of Tristan und Isolde, the latter to be performed in April both in Boston and at New York’s Carnegie Hall. He also returns to Emmanuel Church in Boston for its “Late Night at Emmanuel” series, singing two settings of Allen Ginsberg’s poem A Supermarket in California. Last season he joined the Center for Contemporary Opera in a collaboration with Laboratorio Opera for the premiere of Love Hurts (music by Nicola Moro, libretto by Lisa Hilton), singing the role of Marquis de Sade/Gilles de Rais. He made his Opera Santa Barbara debut as the Forester in The Cunning Little Vixen and joined the Boston Symphony Orchestra as the Notary in Der Rosenkavalier. Recent seasons have included Mr. Kravitz’s role debut as Scarpia in Tosca with Skylight Opera, Handel’s Messiah with the Virginia Symphony, a company debut with Palm Beach Opera, as the Rabbi in the world premiere of Enemies, A Love Story, the workshop and acclaimed world premiere of Matthew Aucoin’s Crossing: A New American

2O17 2O18 SEASON

Eerie Company October 28, 2017 8pm Andrew Norman Sacred Geometry Joseph Schwantner Magabunda “Four Poems of Agueda Pizarro” TSAI PERFORMANCE CENTER Sarah Pelletier, soprano BOSTON UNIVERSITY Peter Child Punkie Night TICKETS ON SALE Igor Stravinsky Petrushka NEPHILHARMONIC.ORG

week 6 guest artists 53 SEASON TICKETS TO AN EXCEPTIONAL LIFESTYLE DISCOVER NEW ADVENTURES EVERY DAY AT

299 Cambridge Street Winchester, MA 01890 781-756-1026

OUR LIFESTYLE360 PROGRAMMING INCLUDES: • Season Tickets to Boston • Off-site Tours of Fenway Park Pops, Symphony • Local Shopping Outings • Trips to the Boston Library • Theatre Shows and Museums Call 781-756-1026 to join us for a Lifestyle360 activity. www.TheGablesAtWinchester.com INDEPENDENT & ASSISTED LIVING • RESPITE STAYS ©2017 Five Star Senior Living

EXPERIENCE THE Difference

We believe we’re a little different from other independent schools. We are a student-centered community where you can be you. Fall Open House Through rigorous academics, strong leadership opportunities, competitive athletics, and inspiring arts programs, we are focused October 22 and

on helping students become the best versions of themselves. Join November 5 us for one of our fall Middle and Upper School Open Houses. 11:00 AM - 2:00 PM

RSVP at worcesteracademy.org/openhouse or 508-459-5841.

54 Opera with American Repertory Theater, and a return to Boston Lyric Opera as Baron Dup- hol in La traviata. Mr. Kravitz has performed world or regional premieres of numerous contemporary works, earning acclaim as Leontes in John Harbison’s Winter’s Tale with Boston Modern Orchestra Project. He has sung Dominick Argento’s song cycle The Andrée Expedi- tion, newly commissioned songs by Andy Vores and James Yannatos, the world premiere of an oratorio by Kareem Roustom, and the world premieres of Thomas Whitman’s A Scandal in Bohemia with Orchestra 2001; James Yannatos’s Lear Symphony with the Harvard- Radcliffe Orchestra; Julian Wachner’s My dark-eyed one with Back Bay Chorale, and short operas by Andy Vores and Theo Loevendie with Boston Musica Viva. His recordings include Bach’s Cantata No. 20 and St. John Passion with Emmanuel Music, and Harbison’s Four Psalms and Peter Child’s Estrella with the Cantata Singers. Before devoting himself full-time to a career in music, David Kravitz had a distinguished career in the law that included clerkships with U.S. Supreme Court Justices Sandra Day O’Connor and Stephen Breyer. He later served as Deputy Legal Counsel to the Governor of Massachusetts. Mr. Kravitz made his BSO debut in Schoenberg’s Moses und Aron under James Levine in 2006, subsequently returning for Bach’s St. Matthew and St. John Passions; Berlioz’s Les Troyens also under James Levine (in 2008 at Symphony Hall and at Tanglewood), Stravinsky’s The Nightingale, and, most recently, in the opening program of the 2016-17 subscription season, Strauss’s Der Rosenkavalier.

Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate

This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances of Mahler’s Symphony No. 3 and Schumann’s Nachtlied and Neujahrslied under BSO Music Director Andris Nelsons; Grieg’s incidental music to Peer Gynt under BSO Associate Conductor Ken-David Masur; Berlioz’s The Damnation of Faust and Ravel’s complete Daphnis et Chloé under Charles Dutoit, and Leonard Bernstein’s Symphony No. 3, Kaddish, under Giancarlo Guerrero. Members of the chorus also participated in this season’s all-Bernstein program on Opening Night. Originally formed under the joint spon- sorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tangle- wood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of the 2014 Tanglewood season. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center. In February 2017, following appearances as guest chorus conductor at both Symphony Hall and Tanglewood, and having prepared the chorus for that month’s BSO performances of Bach’s B minor Mass led by Andris Nelsons, the British-born James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Choral Director.

Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as

week 6 guest artists 55

BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occasions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Per- formance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a 2009 Grammy- winner for Best Orchestral Performance), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the BSO, TFC members have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

week 6 guest artists 57 James Burton James Burton was appointed Conductor of the Tanglewood Festival Chorus, and to the new position of BSO Choral Director, in February 2017. Born in London, Mr. Burton began his training at the Choir of Westminster Abbey, where he became head chorister. He was a choral scholar at St. John’s College, Cambridge, and holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Freder- ik Prausnitz and Gustav Meier. He has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata; in early 2016 he made his debut with the Orquestra Sinfònica Nacional with concerts in the Palacio de Bellas Artes in Mexico City. Opera credits include Don Giovanni and La bohème at English National Opera, Così fan tutte at English Touring Opera, The Magic Flute at Garsington, and Gianni Schicchi and Suor Angelica at the Prague Summer Nights Festival. He has served on the music staff of the Metropolitan Opera, Opéra de Paris, English National Opera, Opera Rara, and Garsington Opera, where he was honored with the Leonard Ingrams Award in 2008. He has also conducted in London’s West End and led a UK tour of Bernstein’s Wonderful Town in 2012. His extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Singers, with whom he performed at the Dubai Opera house in its inaugural season earlier this year. From 2002 to 2009 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. He returned to Manchester in 2014, preparing the choirs for a Grammy- nominated recording under Sir Mark Elder of Vaughan Williams’s A Sea Symphony. From 2002 to 2017 he was music director of the chamber choir Schola Cantorum of Oxford, touring all over the world and recording with Hyperion Records. He collaborates regularly with leading young musicians and in 2017 appeared as guest director of the National Youth Choir of Japan and the Princeton University Glee Club, as well as the Genesis Sixteen. He teaches conducting, and has given master classes at the Royal Academy of Music and the Royal Welsh College of Music. In 2011 he founded a conducting scholarship with Schola Cantorum of Oxford. His compositions and arrangements have been performed internationally, and his orchestral arrangements for Arlo Guthrie have been performed by the Boston Pops, by many other leading U.S. orchestras, and at the Kennedy Center and Carnegie Hall. His commissions have included the music for the 2010 World Equestrian Games opening ceremony, a setting for chorus and orchestra of Thomas Hardy’s The Convergence of the Twain commemorating the 100th anniversary of the Titanic disaster, and a recent Christmas carol premiered by the Choir of St. John’s College, Cambridge, live on BBC Radio 3. His choral works are published by Edition Peters. As BSO Choral Director and Conductor of the Tanglewood Festival Chorus, James Burton occupies the Alan J. and Suzanne W. Dworsky Chair, endowed in perpetuity.

58 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate

(Berlioz La Damnation de Faust, October 26, 27, and 28, 2017)

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

Deborah Abel • Michele Bergonzi# • Joy Emerson Brewer • Norma Caiazza • Jeni Lynn Cameron • Catherine C. Cave # • Anna S. Choi • Lisa Conant-Nielsen • Emilia DiCola • Mary A.V. Feldman* • Kaila J. Frymire • Cynde Hartman • Kathy Ho • Donna Kim # • Nancy Kurtz # • Barbara Abramoff Levy§ • Kieran Murray • Laurie Stewart Otten • Kimberly Pearson • Livia M. Racz # • Melanie Salisbury # • Johanna Schlegel • Joan P. Sherman§ • Kirstie Wheeler • Lauren Woo • Meghan Renee Zuver mezzo-sopranos

Martha Reardon Bewick • Betty Blanchard Blume # • Lauren A. Boice • Donna J. Brezinski • Janet L. Buecker • Abbe Dalton Clark • Barbara Durham • Barbara Naidich Ehrmann# • Debra Swartz Foote • Dorrie Freedman§ • Irene Gilbride* • Mara Goldberg • Julie Hausmann • Betty Jenkins • Evelyn Eshleman Kern* • Eve Kornhauser • Nora Kory • Gale Tolman Livingston* • Anne Forsyth Martín • Louise-Marie Mennier • Fumiko Ohara* • Andrea Okerholm Huttlin • Maya Pardo • Kathleen Hunkele Schardin • Lelia Tenreyro-Viana • Michele C. Truhe • Martha F. Vedrine • Cindy M. Vredeveld • Christina Wallace Cooper # • Marguerite Weidknecht # • Karen Thomas Wilcox tenors

John C. Barr# • Jiahao Chen • Stephen Chrzan • Andrew Crain# • John Cunningham • Len Giambrone • J. Stephen Groff* • David Halloran # • Stanley G. Hudson* • Timothy O. Jarrett • James R. Kauffman# • Michael Levin • Lance Levine • Justin Lundberg • Henry Lussier§ • Daniel Mahoney • Mark Mulligan • David Norris* • Adam Ouellet • Dwight E. Porter § • Guy F. Pugh • Lee Ransom • Brian R. Robinson • Arend Sluis • Don P. Sturdy* • Martin S. Thomson • Stratton Vitikos • Joseph Y. Wang • Hyun Yong Woo basses Scott Barton • Daniel E. Brooks* • Eric Chan • William Farrell • Mark Gianino • Jim Gordon • Marc J. Kaufman • David M. Kilroy • Paul A. Knaplund • G.P. Paul Kowal # • Bruce Kozuma # • Timothy Lanagan # • Christopher T. Loschen • Greg Mancusi-Ungaro • Lynd Matt • Eryk P. Nielsen • Donald R. Peck # • Michael Prichard # • Jonathan Saxton • Karl Josef Schoellkopf# • Andrew Scoglio • Kenneth D. Silber • Bradley Turner # • Thomas C. Wang # • Terry Ward# • Peter J. Wender§ • Channing Yu

Ian Watson, Rehearsal Pianist Pamela Dellal, French Diction Coach Jennifer Dilzell, Chorus Manager Micah Brightwell, Assistant Chorus Manager

week 6 guest artists 59 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives.

We look forward to welcoming you at one of our Open Houses: Wednesday Sunday Thursday Wednesday October 18 November 5 December 14 January 17 9:30 a.m. - 11:30 a.m. 11:00 a.m. - 1:00 p.m. 9:30 a.m. - 11:30 a.m. 9:30 a.m. - 11:30 a.m.

www.naejuilliard.com/bisboston The Choir of St. Paul’s, Harvard Square John Robinson, Conductor

The St. Paul’s Choristers all attend St. Paul’s Choir School in Harvard Square. At St. Paul’s Church, they sing music ranging from Gregorian chant to new commissions and everything in between. The Choir of St. Paul’s has recently released several recordings and is engaged in a busy schedule of concerts and special events, as well as in its daily routine of rehearsals and services. A unique school for boys in grades four to eight, St. Paul’s Choir School welcomes applications for places throughout the year.

John Robinson is the Organist and Master of the Choristers at St. Paul’s Church in Harvard Square. He has held positions at St. John’s College Cambridge, and Carlisle and Canterbury Cathedrals in England. He is active as an organ recitalist and leads choral festivals for organizations including Pueri Cantores of the RSCM.

The Choir of St. Paul’s, Harvard Square

Christopher Allan • Peter Andaloro • Lucas Aranha Carvalho • Joshua Beresford • Kacper Borkiewicz • Grant Brady-Lopez • Thomas Celano • Philip Chamian • Michael Connelly • James Delaney • Andrew Driscoll • Benedikt Ehrhardt • Juan Pablo Fernandez-del-Castillo • Harry Ford • Thomas Germain • Sebastian Haferd • Jan Kotecki • Dominic Landry • Alejandro Latorre • Myles Litman • Andrew Mak • David Marino • Graham Minnich • Jack Mullin • Matthew Orlik • Christopher Papazian • Leonardo Pestretto • Michael Thekaekara • Simon Tougas • Mathias Why • Nicholas Ying

week 6 guest artists 61 C

Get a deeper understanding of the issues that matter most.

wgbhnews.org 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

Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

five million

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

two and one half million

Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ •

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

64 one million

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

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

Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

‡ Deceased week 6 the great benefactors 65 The Perfect Finale to Your Day INTRODUCING THE SLEEP NUMBER 360™ SMART BED

Discover the smartest, most adjustable sleep of your life. Responsive Air™ technology senses and effortlessly adjusts for your ideal comfort. Partner Snore™ technology* helps you sleep in peace. It’s even designed to warm your feet to help you fall asleep faster.

DOES YOUR BED DO THAT?™

SleepIQQ® Score

Adjust ﬁ rmness on Senses and automatically Foot warming— Gently raise your Control your comfort and each side—your responds to you designed to help you partner’s head to help see how you’ve slept with Sleep Number® setting fall asleep faster alleviate mild snoring* SleepIQ® technology

25-YEAR LIMITED WARRANTY† LASTS TWICE AS LONG 91% OF BED OWNERS‡ lets you sleep with peace of mind as an innerspring say they’d recommend Sleep Number

Visit one of our 13 Boston area Sleep Number® stores.

*May temporarily relieve common mild snoring in otherwise healthy adults. Partner Snore™ technology is available with Split King and FlexTop® King mattresses on FlexFit™ adjustable bases. †2-Year Limited Warranty on SleepIQ® technology. Warranties available at sleepnumber.com. ‡Results from a 2015 Sleep Number survey of 1,797 customers asked about their likelihood to recommend Sleep Number to a friend, family member, or colleague. SLEEP NUMBER, SELECT COMFORT, SLEEPIQ and the Double Arrow Design are registered trademarks and IT is a trademark of Select Comfort Corporation. ©2017 Select Comfort Corporation. The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2016-17 season. ‡ This symbol denotes a deceased donor.

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

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

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by August 31, 2017. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2)

week 6 the maestro circle 67 BOSTON CHAMBER MUSIC SOCIETY

Marcus A. Thompson, Artistic Director Sat. 11/11 • 11:30 am | Arlington St Church Brahms Scherzo in C minor, from the F.A.E. Sonata Piano Quartet in G minor, Op. 25

Sun. 11/12 • 7:30 pm | Sanders Theatre Schumann Piano Trio in F major, Op. 80 Schoenberg Ode to Napoleon Buonaparte, for reciter & piano quintet Featuring David Kravitz, baritone Brahms Piano Quartet in G minor, Op. 25

th Season 2017–18 35 Anniversary 617.349.0086 • www.bostonchambermusic.org

Sunday, January 28, 2018 at 3pm Sanders Theatre at Harvard University Boston Youth Symphony Federico Cortese, Conductor Edward Berkeley, Stage Director

BIZET CARMEN www.BYSOweb.org/carmen or 617-496-2222

68 encore Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Mrs. Philip W. Bianchi ‡ • Joan and John ‡ Bok • Mr. and Mrs. William N. Booth • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Sandra Moose and Eric Birch • Megan and Robert O’Block • William and Lia Poorvu • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Robert and Rosmarie Scully • Richard and Susan Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (6) patron Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois ‡ and Harlan Anderson • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. ‡ Casty • Katherine Chapman and Thomas Stemberg ‡ • Ernest Cravalho and Ruth Tuomala • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Pamela Everhart and Karl Coiscou • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Rebecca Henderson and James Morone • Albert A. Holman III and Susan P. Stickells • Anne and Blake Ireland • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Mr. and Mrs. Mark A. Jung • Steve Kidder and Judy Malone • Dr. Nancy Koehn • Meg and Joseph Koerner • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Jane and Robert J. Mayer, M.D. • Kurt and Therese Melden • Jack and Elizabeth Meyer • Dr. Martin C. Mihm, Jr. • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • William and Helen Pounds • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Blair Trippe • Harvey and Joëlle Wartosky • Elizabeth and James Westra • Anonymous (2) sponsor Nathaniel Adams and Sarah Grandfield • Ms. Deborah L. Allinson • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • John and Molly Beard •

week 6 the higginson society 69 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

Steinway and other pianos of distinction park plaza, boston natick mall, natick msteinert.com

We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. Deborah Davis Berman and William H. ‡ Berman • Jim and Nancy Bildner • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Ronald and Judy Clark • Arthur Clarke and Susan Sloan • Mr. and Mrs. Frederic M. Clifford • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Robert and Sara Danziger • Charles and JoAnne Dickinson • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Mrs. Richard S. Emmet • Shirley and Richard ‡ Fennell • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Jim and Becky Garrett • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Mr. and Mrs. Paul B. Gilbert • Jordan and Sandy Golding • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Raymond and Joan Green • Marjorie and Nicholas Greville • John and Ellen Harris • Carol and Robert Henderson • Mrs. Nancy R. Herndon • Drs. James and Eleanor Herzog • Mr. ‡ and Mrs. Richard D. Hill • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Ms. Emily C. Hood • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Intercontinental Real Estate Corporation, Peter Palandjian • Nancy and G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Mr. Robert K. Kraft • Pamela S. Kunkemueller • Mr. and Mrs. ‡ Benjamin H. Lacy • Rosemarie and Alexander Levine • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Nancy Lurie Marks Family Foundation • Dr. and Mrs. Joseph B. Martin • Ann Merrifield and Wayne Davis • Jo Frances and John P. Meyer • Anne M. Morgan • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • Ms. Cecilia O’Keefe • John O’Leary • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Rita and Norton Reamer • Peggy Reiser and Charles Cooney • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Debora and Alan Rottenberg • William and Kathleen Rousseau • Darin S. Samaraweera • Joanne Zervas Sattley • Norma and Roger A. Saunders • Lynda Anne Schubert • Betsy and Will Shields • Marshall Sirvetz • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Tazewell Foundation • Charlotte and Theodore Teplow • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • Mrs. Polly J. Townsend • John Travis • Mark and Martha Volpe • Linda and Daniel Waintrup • Eric and Sarah Ward • Mr. and Mrs. David Weinstein • Drs. Christoph and Sylvia Westphal • Lynn Dale and Frank Wisneski • Rosalyn Kempton Wood ‡ • Dr. and Mrs. Michael J. Yaremchuk • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (11)

week 6 the higginson society 71 Memory Care Bon Appétit! White Oak Cottages at Fox Hill Village off ers a unique alternative Live well, eat well in retirement. for those who can no longer live at home due to memory impairment. With 5 star chefs, the culinary team at Fox Hill With our specially designed Village continues to excel in creating remarkable cottages, philosophy of care, dining experiences for all of our residents and and unique staffi ng model, their guests! we provide the very best living options for our Whether you prefer formal dining–or residents with demen- casual– our 3 full service restaurants tia and Alzheimer’s have all of your dining needs under one disease. We are a proud roof. Our options are designed to entice an array partner of of fi ne palates while also providing for multiple The Green House® Project, a national movement to dietary restrictions. Menus have regular and seasonal staples as well as transform long-term care. specials that change daily. To learn more, call In addition to our phenomenal menus, we off er: 781-320-1999 • Cooperative Ownership • Floorplans from 615 to 1,900 sq. ft. or visit WhiteOakCottages.com • Privacy and Security • Over 100 Beautiful Acres WHITE OAK Call today to schedule your private tour 781-493-6805. COTTAGES Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090 AT FOX HILL VILLAGE

Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! Administration

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

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

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

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

week 6 administration 73 Senior Living. Exceptional Assisted Living Steps from Symphony Hall Perfectly Orchestrated.

● Chef-Prepared Meals ● Spacious Modern Apartments ● Medication Monitoring ● Regular Berklee College & NE Conservatory Performances

Call Doug Warren Susan Bailis 617-247-1010 Personalized Assisted Living or stop in for a Private Tour 352 Massachusetts Ave, Boston SusanBailisAL.com

74 development

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

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

week 6 administration 75 BEETHOVEN HANDEL MESSIAH BACH MASS SYMPHONY NO. 9 Dec 1 + 2 + 3 IN B MINOR Oct 6 + 8 Mar 23 + 25 BACH CHRISTMAS MOZART + Dec 14 + 17 PURCELL BEETHOVEN THE FAIRY QUEEN Oct 27 + 29 MOZART + HAYDN Apr 6 + 8 Jan 26 + 28 AMADEUS LIVE HANDEL HERCULES Nov 10 + 11 + 12 BACH BRANDENBURG May 4 + 6 CONCERTOS Complete film with soundtrack Feb 16 + 18 performed live by the H+H Orchestra and Chorus.

HANDELANDHAYDN.ORG 617.266.3605

Give the gift of an exciting musical experience!

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

76 information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Lead • Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Systems Architect • Brian Van Sickle, User Support Specialist public relations

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

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Senior Director of Marketing and Branding • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Hester C.G. Breen, Corporate Partnerships Coordinator • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Leslie Wu Foley, Associate Director of Audience Development • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Manager of Digital Marketing and Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Digital Media Manager • Greg Ragnio, Subscriptions Representative • Daniel Sagastume, Symphony Charge Representative • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center

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

week 6 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Chair-Elect, Gerald L. Dreher Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Nancy Finn • Gabriel Kosakoff • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2017-18

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Connie Hill • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

week 6 administration 79 Next Program…

Thursday, November 16, 8pm Friday, November 17, 1:30pm Saturday, November 18, 8pm

Please note that Andris Nelsons will conduct these concerts in place of Christoph von Dohnányi, who regretfully cannot be here while continuing to recover from a fall he suffered earlier this year.

andris nelsons conducting

beethoven piano concerto no. 3 in c minor, opus 37 Allegro con brio Largo Rondo: Allegro martin helmchen

{intermission}

mahler symphony no. 1 in d Langsam. Schleppend [Slow. Dragging] Kräftig bewegt, doch nicht zu schnell; [With powerful motion, but not too fast] Trio: Recht gemächlich [Pretty easygoing] Feierlich und gemessen, ohne zu schleppen [Solemn and measured, without dragging] Stürmisch bewegt [With tempestuous motion]

The young, Berlin-born pianist Martin Helmchen, who made his BSO debut in 2011 at Tangle- wood with Schumann’s Piano Concerto and his subscription series debut in 2015 with Beethoven’s Piano Concerto No. 5, Emperor, is featured here in Beethoven’s Piano Concerto No. 3, which pays homage to Mozart and Haydn while also exhibiting Beethoven’s own intense individuality. Written nearly a century later, the first of Mahler’s nine symphonies employs folk-music refer- ences and a conventional four-movement form that have their foundations in Haydn’s time. Its expanded scope and instrumentation are evidence of the genre’s 19th-century transformation as well as Mahler’s own stretching of the form.

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

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

From Friday, November 3, through Thursday, Thursday ‘C’ January 4, 8-9:55 November 9, Andris Nelsons and the Boston Friday Evening January 5, 8-9:15 Symphony Orchestra play concerts in Japan, (Casual Friday, with introductory comments in Nagoya, Osaka, Kawasaki, and Tokyo. by a BSO member and no intermission) Saturday ‘A’ January 6, 8-9:55 Tuesday ‘B’ January 9, 8-9:55 Thursday ‘A’ November 16, 8-10:05 FRANÇOIS-XAVIER ROTH, conductor Friday ‘A’ November 17, 1:30-3:35 BENJAMIN GROSVENOR, piano Saturday ‘B’ November 18, 8-10:05 MÉHUL Overture to The Amazons, ANDRIS NELSONS, conductor or The Founding of Thebes MARTIN HELMCHEN, piano (Jan 4, 6, and 9 only) BEETHOVEN Piano Concerto No. 3 MOZART Piano Concerto No. 21 in C, MAHLER Symphony No. 1 K.467 BEETHOVEN Symphony No. 5

Tuesday ‘C’ November 21, 8-10:10 Friday ‘B’ November 24, 1:30-3:40 Thursday ‘D’ January 11, 8-9:55 Saturday ‘B’ November 25, 8-10:10 Friday ‘B’ January 12, 1:30-3:25 ANDRIS NELSONS, conductor Saturday ‘A’ January 13, 8-9:55 RUDOLF BUCHBINDER, piano FRANÇOIS-XAVIER ROTH, conductor BEETHOVEN Piano Concerto No. 1 PIERRE-LAURENT AIMARD, piano BRUCKNER Symphony No. 4, Romantic WEBERN Passacaglia, Op. 1 BARTÓK Piano Concerto No. 1 STRAVINSKY The Firebird (complete) Thursday, November 30, 10:30am (Open Rehearsal) Thursday ‘D’ November 30, 8-10:05 Friday ‘A’ December 1, 1:30-3:35 Thursday ‘A’ January 18, 8-9:45 Saturday ‘A’ December 2, 8-10:05 Friday ‘A’ January 19, 1:30-3:15 ANDRIS NELSONS, conductor Saturday ‘B’ January 20, 8-9:45 LEONIDAS KAVAKOS, violin ANDRIS NELSONS, conductor DEREK BERMEL Elixir SUSAN GRAHAM, mezzo-soprano PROKOFIEV Violin Concerto No. 2 WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, conductor STRAUSS An Alpine Symphony BSO CHILDREN’S CHOIR

MAHLER Symphony No. 3

The BSO’s 2017-18 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

week 6 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information 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, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. 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 5 p.m. Monday through Friday (12:30 p.m. to 4:30 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 $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

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

week 6 symphony hall information 83 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. 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 balcony, 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 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

84 Oliver Wyman is a global leader IMPACT in management consulting that combines deep industry knowledge THROUGH with specialized expertise in strategy, operations, risk management, and SPECIALIZATION organization transformation.

Visit us at www.oliverwyman.com