summer 2015

boston symphony orchestra andris nelsons music director

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

134th season, 2014–2015

Trustees of the Boston Symphony Orchestra, Inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor •

Programs copyright ©2015 Boston Symphony Orchestra, Inc. Cover photo by Marco Borggreve James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

† Deceased

Established 1974 Berkshire Record Outlet

Thank you all for your past patronage. After forty-one consecutive summers, our retail store has closed.

Please visit our website: www.berkshirerecordoutlet.com Tanglewood The Tanglewood Festival

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

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

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifica- tions, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collabora- tion between the acoustical consultant Bolt Beranek and Newman and archi- tect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expan- sion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein

Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center, which celebrates its 75th anniversary this summer, has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other spe- cially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Then BSO music director Seiji Ozawa, with bass drum, lead- Alleluia for unaccompanied chorus, ing a group of Music Center percussionists during a rehearsal specially written for the ceremony, for Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) arrived less than an hour before the event began; but it made such an impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic direc- tor from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training— participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Seiji Ozawa, Leontyne Price, Ned Rorem, Cheryl Studer, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

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

Berkshire Music Center class photo, 1940 (BSO Archives) “Alleluia”—Celebrating the 75th Anniversary of the Tanglewood Music Center This summer marks the 75th anniversary of the Tanglewood Music Center, the BSO’s summer training institute for young musicians that was founded—as the Berkshire Music Center—by Serge Koussevitzky in 1940. To mark the occasion, the BSO Archives has mounted a special exhibit in the Tanglewood Visitor Center. Drawing on the Archives’ extensive collection of photographs, documents, and other memorabilia, the exhibit cele- brates more than seven decades of teaching and learning at the Music Center that have influenced generations of instrumentalists, conductors, vocalists, and composers who have studied with BSO musicians and conduc- Instrumental Fellows give a spontaneous tors, as well as a vast lunchtime concert on the Tanglewood grounds number of distin- in 1949 (Howard S. Babbitt, Jr./BSO Archives) guished composers and other visiting artists on the TMC faculty.

First page of the manuscript score of Randall BSO Music Director and TMC founder Serge Thompson’s “Alleluia,” which was composed Koussevitzky flanked by two of his conducting for the Opening Exercises of the Berkshire students—Leonard Bernstein (left) and Eleazar Music Center’s inaugural session in 1940 de Carvalho—who later became members of (BSO Archives) the faculty (Heinz Weissenstein, Whitestone Photo/BSO Archives)

Serge Koussevitzky rehearsing with the Berkshire Music Center Orchestra in the Tanglewood Shed, 1942 (BSO Archives) In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Smoking materials include cigarettes, cigars, pipes, e-cigarettes, and other smoking products. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, and skateboards are prohibited from the Tanglewood grounds. Small, open-sided tents and umbrellas are per- mitted in designated areas of the lawn provided that they are well secured but do not penetrate grounds infra- structure or unreasonably obstruct the view of other patrons. No area of the lawn may be staked or cordoned off for any reason. Please refrain from dumping melted candle wax on the lawn; aluminum tins are available at any entrance for that purpose. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert and that during Shed concerts, children may play ball only behind the Visitor Center or near Ozawa Hall. Shirts must be worn on the Tanglewood grounds, and both shirts and shoes must be worn inside concert halls. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all texting and other electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, all bags, purses, backpacks, and other containers are subject to search. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program infor- mation, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through inter- mission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10 a.m. to 5 p.m. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible rest- rooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sundays. Highwood Manor House is open Friday, Saturday, and Sunday, July 13 through August 23, prior to each BSO concert in the Shed. Call (413)637-4486 for reservations. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $32 (front and boxes) and $22 (rear); lawn tickets are $13. A half-hour pre-rehearsal talk is offered free of charge to all ticket hold- ers, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2015

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

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

Andris Nelsons

In the 2014-15 season, his first as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons led the Boston Symphony Orchestra in ten programs at Symphony Hall in Boston, repeating three of them at Carnegie Hall in New York this past April. Mr. Nelsons made his Boston Symphony debut at Carnegie Hall in March 2011, conducting Mahler’s Symphony No. 9; he made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert avail- able on DVD and Blu-ray, and telecast nationwide on PBS). He is the fif- teenth music director in the history of the Boston Symphony Orchestra. Maestro Nelsons’ September 2014 inaugural concert as BSO music director was recently televised by PBS in its “Great Performances” series. His first compact disc with the BSO (also available as a download)—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2, from con- cert performances at Symphony Hall in the fall of 2014—was released earli- er this season on BSO Classics. Also this season, he and the BSO, in collabo- ration with Deutsche Grammophon, have initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 (photo by Marco Borggreve) through 10, the Passacaglia from his opera Lady Macbeth of Mtsensk, and selections from Shostakovich’s incidental music to Hamlet and King Lear, all composed during the period the composer labored under the life-threatening shadow of Soviet dictator Joseph Stalin. Also on the schedule for Maestro Nelsons and the orchestra are two upcoming European tours: an eight-city tour late this summer, fol- lowing the BSO’s 2015 Tanglewood season, to major European capitals, including Berlin, Cologne, London, Milan, and Paris, as well as the Lucerne, Salzburg, and Grafenegg festivals; and, in May 2016, following the orchestra’s 2015-16 Symphony Hall season, a tour to eight cities in Germany, Austria, and Luxembourg. Previously, Andris Nelsons has been critically acclaimed as music director of the City of Birmingham Symphony Orchestra since assuming that post in 2008; he remained at the helm of that orchestra until this summer. Over the next few seasons he will con- tinue collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amster- dam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Sym- phony Orchestra, and the Philhar- monia Orchestra. He is a regular guest at the Royal Opera House, the Vienna State Opera, and New York’s Metropolitan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, a pro- duction by Hans Neuenfels that Mr. Nelsons premiered at Bayreuth in 2010. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott) career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the sub- ject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” A Brief History of the Boston Symphony Orchestra

Now in its 134th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the begin- ning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musi- cians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, intro- duced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 TMC faculty members Aaron Copland and Leonard Bernstein by William Steinberg. Seiji seated with Serge Koussevitzky during a Berkshire Music Center Ozawa became the BSO’s class photo shoot in the 1940s (Ruth Orkin/BSO Archives) thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations. Bernard Haitink, named principal guest conduc- tor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particu- larly from significant American composers; issued a number of live concert perform- ances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he assumed in September 2015, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, edu- cational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Friday, July 24, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA; JOEL MOERSCHEL, cello; WILLIAM ROUNDS, cello; JENNIFER CHEN, narrator Music of Bolcom and Shapero

Friday, July 24, 8:30pm 7 BOSTON SYMPHONY ORCHESTRA CHRISTOPH VON DOHNÁNYI conducting; VADIM GLUZMAN, violin All-Beethoven program

Saturday, July 25, 8:30pm 17 BOSTON SYMPHONY ORCHESTRA MICHAEL TILSON THOMAS conducting; EMANUEL AX, piano Music of Mozart and Mahler

Sunday, July 26, 2:30pm 31 BOSTON SYMPHONY ORCHESTRA CHRISTOPH VON DOHNÁNYI conducting All-Mozart program: The last three symphonies

“This Week at Tanglewood” Again this summer, patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 24, are conductor Michael Tilson Thomas and Tanglewood Music Center faculty composer Michael Gandolfi.

Saturday-Morning Open Rehearsal Speakers July 18; August 8, 15—Marc Mandel, BSO Director of Program Publications July 11, 25; August 1—Robert Kirzinger, BSO Assistant Director of Program Publications

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

This season’s program books for the Koussevitzky Music Shed are underwritten by a generous gift from Bob and Jane Mayer.

TANGLEWOODWEEK 4 TABLEOFCONTENTS 1 2015 Tanglewood

Prelude Concert Friday, July 24, 6pm THE VICKI AND ARTHUR LORING CONCERT

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA JAMES COOKE, violin CATHERINE FRENCH, violin DANIEL GETZ, viola TODD SEEBER, double bass with JOEL MOERSCHEL, cello WILLIAM ROUNDS, cello JENNIFER CHEN, narrator

BOLCOM “Fairy Tales” for viola, cello, and double bass (1987-88) I. Silly March (Allegro ben giocoso) II. The Fisherman and his Wife (Larghetto, mesto) III. Jorinda and Joringel (Comodo) IV. The Frog Prince (Valse mahlérienne) V. The Hare and the Hedgehog—Silly March II (Very fast) Messrs. GETZ, ROUNDS, and SEEBER JENNIFER CHEN, narrator Narration by Jennifer Chen and Molly O’Laughlin, based on the original Grimm fairy tales

SHAPERO Serenade in D for String Quintet, for two violins, viola, cello, and double bass (1945/1998) I. Adagio—Allegro II. Menuetto (scherzando): Allegretto II. Larghetto, poco adagio IV. Intermezzo: Andantino con moto V. Finale: Allegro, pochetto presto Mr. COOKE and Ms. FRENCH; Messrs. GETZ, MOERSCHEL, and SEEBER

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

2 NOTES ON THE PROGRAM

Near the end of his time at Harvard, a young Leonard Bernstein received a card from his mentor Aaron Copland. “Look to your laurels!” it jestingly warned. “There may be another composer in your neighborhood!” That composer was Harold Shapero (1920-2013), who was two years behind Bernstein at Harvard and a student of Walter Piston and Igor Stravinsky. A member of Tanglewood’s first Berkshire Music Center class in the summer of 1940, the young composer arrived in hopes of hearing his music performed, but composition teacher Paul Hindemith had other ideas. “He felt that if your work wasn’t good, then you should have a moral obliga- tion to keep it from being played,” Shapero explained later. Copland was much more receptive to the idea of student compositions being performed, and assembled an ad hoc orchestra to bring those pieces to life. The next year, Copland conducted Shapero’s Nine-Minute Overture, which won Shapero the Rome Prize. Shapero continued to write orchestral and chamber works for the next two decades, most famously the Symphony for Classical Orchestra, which Leonard Bernstein brought to Symphony Hall in 1948. Facing a barrage of criticism for his unflinchingly neo- classical style in the 1960s, he stopped composing regularly and dedicated himself to his life as a professor at Brandeis University, where he founded the school’s elec- tronic music studio and became chair of the music department. His work was never wholly forgotten, however, and after a critically acclaimed 1986 performance of the Symphony for Classical Orchestra under the baton of André Previn, Shapero was moti- vated to compose again. In his retirement he wrote pieces including the wind quintet Six for Five, a trumpet concerto, and the 24 Bagatelles for piano. “Even in his nursing home, in his last months, Mr. Shapero requested and was brought manuscript paper,” Anthony Tommasini wrote in Shapero’s 2013 New York Times obituary. The Serenade for String Quintet is a product of Shapero’s later creative resurgence. It is a reworking of an earlier piece, Serenade in D, which was written for string orchestra and completed in 1945 at the composer’s beloved MacDowell Colony. “Since the Serenade turned out to be a very difficult piece in its orchestral version, I have made a new arrangement for solo quintet, in the hope that the music might be heard more often,” Shapero wrote. Tommasini writes that Shapero’s music “fractures the classical models while paying homage.” This piece has a warm heart, firmly grounded in elegant tonality from the first notes. The languorous Adagio introduces material that the following Allegro elaborates upon; the faster music moves with a purpose, developing distinct motifs through different major keys. The brief second-movement Menuetto plays true to classical minuet form, beginning in agitated, choppy F minor, brightening to F major for the gracefully barbed Trio, and ending with a slightly modified repetition of the opening section.

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

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 3 The Larghetto is the most intimate movement, casting off with a gently rocking rhythm. The body of the movement is mostly made of meandering long lines and tender pizzicati. Momentary episodes of violent discord penetrate the peaceful tex- ture, including a lashing bass line and staggering runs of sixty-fourth-notes from the first violin, but the music always returns to its initial optimistic disposition. The fourth-movement Intermezzo is unanchored, shifting between odd time signa- tures (7/4, 5/4, 3/4) to create a sense of tenuousness but never fragility. Snatches of the first three movements drift through the air. Expressive statements from the low voices, the viola, and the first violin lead into a spacious, soft drone with occasional eddies of melody from solo instruments. The final Allegro launches without pause into a short solo from the first violin. The movement centers on a sprightly, optimistic figure in the opening material that is its backbone. In its expansive other sections, it explores lighthearted, intricate interplay and brilliant tumult. One moment’s screeching chords are oddly reminiscent of Bernard Herrmann’s iconic theme from Alfred Hitchcock’s Psycho (which was released twelve years after the original string orchestra version of the Serenade). A variant of the first theme and a compact coda finish off the piece. William Bolcom (b.1938) has had a long and flourishing relationship with Tangle- wood. He studied at the TMC with Gunther Schuller in 1966 as a Composition Fellow, and has returned many times since then as a faculty member or a guest speaker. He has won the Pulitzer Prize in Music, a Grammy Award, two Guggenheim Fellowships, and a National Medal of the Arts. He strives to smudge and erase the boundaries between popular and classical music, importing a mélange of styles from ragtime to

4 reggae to rock and roll into his works, which run the gamut from solo miniatures to a colossal song cycle for multiple choirs, soloists, and orchestras. Fairy Tales is on the smaller side of Bolcom’s works. It was written for the Trio Basso, a viola, cello, and contrabass ensemble. Like its source material, the piece is light- hearted with a dark edge. The initial “Silly March” is not based on a fairy tale in par- ticular, but the music itself has a distinct fairy-tale quality to it: a forest of pointed accents played almost entirely in unison, with short phrases smashing the ground like a giant’s “fee-fi-fo-fum.” In the second movement, “The Fisherman and his Wife,” the viola takes on the role of the greedy wife, continually nagging out a grating refrain after every brief moment of tense major-key concordance that represents her wishes being granted. The long- suffering fisherman and magic fish lament in the cello and bass. In “Jorinda and Joringel,” the evil fairy’s spells and the cries of the captive girls-become-birds come through in glissandos and ethereal harmonics. “The Frog Prince” is an ungainly “valse mahlerienne”; a splashing, insistent bass line and swampy pizzicato chords illus- trate the frog following the princess everywhere. The princess’s weeping voice is audible in the cello and viola’s harmonic arpeggios, becoming more and more exas- perated until both tale and movement come to an appropriately enchanted ending. The final movement, “The Hare and the Hedgehog,” sees a pair of crafty hedgehogs run a hare to death, the hedgehogs’ mocking voices echoing in three quick pizzi- catos from the cello and bass, changing the direction of the viola’s zips up and down the scale. The hare speeds up until it succumbs with a whimpering glissando, and the piece crashes back into a reprise of the “Silly March” without much ado.

ZOË MADONNA Recipient of the Arno and Maria Maris Student Memorial Fellowship this summer, Zoë Madonna is the Tanglewood Music Center’s 2015 Publications Fellow. She is a graduate of Oberlin College and was awarded the 2014 Rubin Prize for Music Criticism. Walter H. Scott

TANGLEWOODWEEK 4 PRELUDEPROGRAMNOTES 5 The Boston Symphony Association of Volunteers Concert Friday, July 24, 2015 The performance on Friday evening is named in honor of the Boston Symphony Association of Volunteers (BSAV). The BSO has relied on the assistance of volunteers for decades, but in 1984, a group of loyal and dedicated supporters of the BSO and Tanglewood first joined forces to ensure that all aspects of the BSO’s many educa- tional, service, and fundraising initiatives were top-notch. Members of the BSAV are instrumental in helping the BSO carry out its musical mission. BSAV members play a vital role in many BSO initiatives and programs, such as the Instrument Playgrounds, flower decorating, exhibit docents, and Tanglewood Family Fun Fest, among many others. And if you have ever visited the Symphony Shop or Tanglewood Glass Houses, engaged the assistance of an usher at Tanglewood, or taken a tour of Symphony Hall or the Tanglewood campus, then you have likely encountered a member of the BSAV in action. During the 2013-14 season, some 720 volunteers donated more than 24,000 hours of their time in passionate support of the BSO. The BSAV continues to be a valued partner in helping the BSO maintain its legacy of musical excellence and sustain its community and educational outreach to spread the joy of music far and wide. Stu Rosner

6 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Friday, July 24, 8:30pm THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS CONCERT

CHRISTOPH VON DOHNÁNYI conducting

ALL-BEETHOVEN PROGRAM

Symphony No. 4 in B-flat, Opus 60 Adagio—Allegro vivace Adagio Allegro vivace Allegro ma non troppo

{Intermission}

Violin Concerto in D, Opus 61 Allegro ma non troppo Larghetto Rondo: Allegro VADIM GLUZMAN

The performance of Beethoven’s Violin Concerto is supported by a gift from Judy and Marty Isserlis.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

TANGLEWOODWEEK 4 FRIDAYPROGRAM 7

NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Symphony No. 4 in B-flat, Opus 60 First performance: (private) March 1807, at the Vienna town house of the composer’s patron Prince Lobkowitz, Beethoven cond.; (public) April 13, 1808, Burgtheater, Vienna, Beethoven cond. First BSO performance: December 3, 1881, Georg Henschel cond. First Tanglewood performance: August 11, 1940, Serge Koussevitzky cond. Most recent Tanglewood performance: August 12, 2012, Christoph von Dohnányi cond. The works Beethoven completed in the last half of 1806—the Fourth Symphony, the Violin Concerto, and the Fourth Piano Concerto among them—were finished rather rapidly by the composer following his extended struggle with the original version of his opera Fidelio, which had occupied him from the end of 1804 until April 1806. The most important orchestral work Beethoven had produced before this time was the Eroica, in which he had overwhelmed his audiences with a force- ful new musical language reflecting both his own inner struggles in the face of impending deafness and his response to the political atmosphere sur- rounding him. The next big orchestral work to embody this “heroic” style— with a striking overlay of defiance as well—would be the Fifth Symphony, which had begun to germinate in 1804, was worked out mainly in 1807, and was completed in 1808. But in the meantime, a more relaxed sort of expres- sion began to emerge, emphasizing a heightened sense of repose, a broadly lyric element, and a more spacious approach to musical architecture. The Fourth Symphony, the Violin Concerto, and the Fourth Piano Concerto share these characteristics to varying degrees, but it is also important to realize that these works, though completed around the same time, do not represent a unilateral change of direction in Beethoven’s approach to music, but, rather, the emergence of a particular element that appeared strikingly at this time. Sketches for the Violin Concerto and the Fifth Symphony in fact occur side by side, and that the two aspects— lyric and aggressive—of Beethoven’s musical expression are not entirely separable is evident also in the fact that ideas for both the Fifth and the Pastoral symphonies appear in the Eroica sketchbook of 1803-04. These two symphonies—the one strong- ly assertive, the other more gentle and subdued—were not completed until 1808, two years after the Violin Concerto. And it appears that Beethoven actually inter- rupted work on his Fifth Symphony so that he could compose the Fourth in response to a commission from the Silesian Count Franz von Oppersdorff, whom he had met through Prince Carl von Lichnowsky, one of his most important patrons during the early years in Vienna and the joint dedicatee, together with Count Razumovsky, of the Fifth and Sixth symphonies. So Beethoven’s Fourth Symphony partakes successfully and wonderfully of both these worlds, combining a relaxed and lyrical element with a mood of exuberantly aggressive high spirits. The key is B-flat, which suggests—insofar as we can describe the effects of different musical keys—a realm of spaciousness, relaxation, and warmth, in contrast, for example, to the “heroic” E-flat of the Third Symphony and Emperor Concerto, the “defiant” C minor of the Fifth, and the “heaven-storming” D minor of the Ninth. Beethoven actually begins the first movement with an Adagio introduction in a mys- teriously pianissimo B-flat minor, and the mystery is heightened as the music moves toward B-natural, via the enharmonic interpretation of G-flat to F-sharp, until trum- pets and drums force the music back to B-flat, and to the major mode, of the Allegro

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 9 vivace. (This same gambit will be repeated on a larger scale as the music of the Allegro moves from the development into the recapitulation, at which point, once again, the timpani will play a crucial role in telling us where we belong—this time with an extended drumroll growing through twenty-two measures from a pianissimo rumble to a further nine measures of thwacking fortissimo.) Once the Allegro is underway, all is energy and motion, with even the more seemingly relaxed utter- ances of the woodwinds in service to the prevailing level of activity. One more word about the first movement: one wants the exposition-repeat here, not just for the wonderful jolt of the first ending’s throwing us back to the home key virtually with- out notice, but also for the links it provides to the end of the introduction and the beginning of the coda. The E-flat major Adagio sets a cantabile theme against a constantly pulsating ac- companiment, all moving at a relaxed pace that allows for increasingly elaborate fig- uration in both melody and accompaniment as the movement proceeds. The second theme is a melancholy and wistful song for solo clarinet, all the more effective when it reappears following a fortissimo outburst from the full orchestra. The scherzo, another study in motion, is all ups and downs. Beethoven repeats the Trio in its entirety following the scherzo da capo (a procedure he will follow again in the third movement of the Seventh Symphony). A third statement of the scherzo is cut short by an emphatic rejoinder from the horns. The whirlwind finale (marked “Allegro ma non troppo,” “Allegro, but not too...”; the speed is built into the note values, and the proceedings shouldn’t be rushed by an overzealous conductor) is yet another exercise in energy, movement, and dynam- ic contrasts. Carl Maria von Weber, who didn’t much like this symphony when he was young and it was new, imagined the double bass complaining: “I have just come from the rehearsal of a Symphony by one of our newest composers; and though, as you know, I have a tolerably strong constitution, I could only just hold out, and five minutes more would have shattered my frame and burst the sinews of my life. I have been made to caper about like a wild goat, and to turn myself into a mere fiddle to execute the no-ideas of Mr. Composer.” Beethoven’s approach in this movement is wonderfully tongue-in-cheek and no-holds-barred: the solo bassoon, leading us into the recapitulation, is asked to play “dolce” (“sweetly”) when he’s probably thankful just to get the notes in, and only at the very end is there a brief moment of rest to prepare the headlong rush to the final cadence.

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

10 Ludwig van Beethoven Violin Concerto in D, Opus 61 First performance: December 23, 1806, Theater an der Wien, Vienna, Beethoven cond., Franz Clement, soloist. First BSO performance: January 5, 1884, Georg Henschel cond., Louis Schmidt, Jr., soloist. First Tanglewood performance: August 8, 1940, Serge Kousse- vitzky cond., Albert Spalding, soloist. Most recent Tanglewood performance by the BSO: August 8, 2010, Christoph von Dohnányi cond., Arabella Steinbacher, soloist. Most recent Tanglewood performance: Tanglewood Music Center Orchestra, Rafael Frühbeck de Burgos cond., Gil Shaham, soloist. At this performance, Vadim Gluzman plays cadenzas by Nathan Milstein. The works Beethoven finished in the last half of 1806—the Violin Concerto, the Fourth Symphony, and the Fourth Piano Concerto among them—were completed rather rapidly by the composer following his extended struggle with the original version of Fidelio, which had occupied him from the end of 1804 until April 1806. The most important orchestral work Beethoven had previously com- pleted was the Eroica, in which he overwhelmed his audiences with a forceful new musical language reflecting both his own inner struggles in the face of impending deafness and also his awareness of the political atmosphere around him. The next big orchestral work to embody this “heroic” style would be the Fifth Symphony, which began to germinate in 1804 but was completed only in 1808. Meanwhile, a more relaxed sort of expression began to emerge, incorporating a heightened sense of repose, a more broadly lyric element, and a more spacious approach to musical architecture. But while they share these characteristics, it is important to remember that the Violin Concerto, Fourth Symphony, and Fourth Piano Concerto do not represent a unilat- eral change of direction in Beethoven’s approach to music; rather they reflect the emergence of a particular element that appeared strikingly at this time. Sketches for the Violin Concerto and the Fifth Symphony in fact occur side by side; and that the two aspects—lyric and heroic—of Beethoven’s musical expression are not entirely separable is evident also in the fact that ideas for both the Fifth and Pastoral sym- phonies appear in the Eroica sketchbook of 1803-04, and that these two very differ- ent symphonies—the one strongly assertive, the other more gentle and subdued— were not completed until 1808, two years after the Violin Concerto. The prevailing lyricism and restraint of Beethoven’s Violin Concerto doubtless also reflect the particular abilities of Franz Clement, the violinist for whom it was written. More than just a virtuoso violinist, Clement was also an accomplished pianist, score- reader, and accompanist; from 1802 until 1811 he was conductor and concertmaster of Vienna’s Theater an der Wien. Beethoven headed the autograph manuscript with the dedication, “Concerto par Clemenza pour Clement, primo Violino e direttore al Teatro a vienna dal L.v. Bthvn 1806.” It seems that Beethoven completed the concerto barely in time for the premiere at the Theater an der Wien on December 23, 1806. Clement reportedly performed the solo part at sight, but this did not prevent the undaunt- able violinist from interpolating, between the two halves of the concerto, a piece of his own played with his instrument held upside down—or at least so it was said, for many years. Only later, however, did the concerto come to win its place in the reper- tory, after the thirteen-year-old violin virtuoso Joseph Joachim played it in London on May 27, 1844, with Felix Mendelssohn conducting.(Joachim left a set of cadenzas for the concerto that are sometimes still heard today, as did another famous inter- preter, Fritz Kreisler. In this evening’s, Vadim Gluzman plays cadenzas by the great Russian-born American violinist Nathan Milstein.)

TANGLEWOODWEEK 4 FRIDAYPROGRAMNOTES 11 By all reports, Clement’s technical skill was extraordinary and his intonation no less than perfect, but he was most highly regarded for his “gracefulness and tenderness of expression,” for the “indescribable delicacy, neatness, and elegance” of his play- ing, attributes certainly called for in this concerto. But this is not to say that Beetho- ven’s concerto is lacking in the virtuoso element, something we may claim to hear more readily in, say, the later-19th-century violin concertos by Brahms and Tchaikov- sky, both of which have more virtuosity written into the notes on the page, and which may seem bigger or grander simply because of their more romantically extrovert musical language. In fact, an inferior violinist will get by less readily in the Beethoven concerto than in any of the later ones: the most significant demand this piece places upon the performer is the need for utmost musicality of expression, virtuosity of a special, absolutely crucial sort. An appreciation of the first movement’s length, flow, and musical argument is tied to an awareness of the individual thematic materials. It begins with one of the most novel strokes in all of music: four isolated quarter-notes on the drum usher in the opening theme, the first phrase sounding dolce in the winds and offering as much melody in the space of eight measures as one might wish. The length of the move- ment grows from its duality of character: on the one hand we have those rhythmic drumbeats, which provide a sense of pulse and of an occasionally martial atmos- phere, on the other the tuneful, melodic flow of the thematic ideas, against which the drumbeat figure can stand in dark relief. The slow movement, in which flute and trumpets are silent, is a contemplative set of variations on an almost motionless theme first stated by muted strings. The solo violinist adds tender commentary in the first variation (the theme beginning in the horns, then taken by the clarinet), and then in the second, with the theme entrust- ed to solo bassoon. Now the strings have a restatement, with punctuation from the winds, and then the soloist reenters to reflect upon and reinterpret what has been heard, the solo violin’s full- and upper-registral tone sounding brightly over the orchestral string accompaniment. Yet another variation is shared by soloist and plucked strings, but when the horns suggest still another beginning, the strings, now unmuted and forte, refute the notion. The soloist responds with a trill and improvises a bridge into the closing rondo. By way of contrast, the music of this finale is mainly down-to-earth and humorous; among its happy touches are the outdoorsy fanfares that connect the two main

12 themes and, just before the return of these fanfares later in the movement, the only pizzicato notes asked of the soloist in the course of the entire concerto. These fan- fares also serve energetically to introduce the cadenza, after which another extend- ed trill brings in a quiet restatement of the rondo theme in an extraordinarily dis- tant key (A-flat) and then the brilliant and boisterous final pages, the solo violinist keeping pace with the orchestra to the very end.

MARC MANDEL

Guest Artists Christoph von Dohnányi Christoph von Dohnányi is recognized as one of the world’s preeminent orchestral and opera conductors. He started his career as assistant to Sir Georg Solti in Frankfurt and, after four years, became the youngest general music director in Germany, in Lübeck in 1957. Besides guest engagements with the major opera houses and orchestras of Europe and North America, his appointments have included opera directorships in Frankfurt and Hamburg, principal orchestral conducting posts in Germany, London, and Paris, and his legendary twenty-year tenure as music director of the Cleveland Orchestra, which in 2002 named him its first Music Director Laureate. In 2014-15 he conducts the Israel Philharmonic, the La Scala Orchestra in Milan, the Gewandhaus Orchestra in Leipzig, the Zurich Tonhalle, and the Orchestre de Paris. In this country he led a two-week Dvoˇrák Festival with the New York Philharmonic and two subscription weeks with the Boston Symphony Orchestra. Last season he led the BSO’s all-Brahms opening concert and the first subscription week featuring Mahler’s Symphony No. 2, returning later for a complete Beethoven piano concerto cycle with Yefim Bronfman. Since ending his tenure in Cleveland, Christoph von Dohnányi has been a regular guest conductor with the Boston Symphony, New York Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony, Chicago Symphony, and Los Angeles Philharmonic, as well as the Cleveland Orchestra. Herbert von Karajan invited him regularly to lead the Berlin Philharmonic. He and the Philharmonia Orchestra, of which he is Honorary Conductor for Life, have performed in Europe’s musical centers and for several seasons were in residence at the Théâtre du Châtelet in Paris. In summer seasons, he is a frequent guest at Tanglewood, leading concerts with the Boston Symphony Orchestra including, among many others, the opening concert of Tanglewood’s 75th Anniversary Season. He conducted the Tanglewood Music Center’s 2010 production of Ariadne auf Naxos and in 2013 a performance with the Tanglewood Music Center Orchestra of Mahler’s Symphony No. 1. He also conducts frequently at the world’s great opera houses, including Covent Garden, La Scala, the Vienna State Opera, Berlin, and Paris, and has been a frequent guest with the Vienna Philharmonic at the Salzburg Festival. With Zurich Opera he has led works by Strauss, Stravinsky, Bartók, Mozart, Verdi, Berg, Schoenberg, and Wagner. In this country he has been a guest conductor at the Metro- politan Opera, San Francisco Opera, and Lyric Opera of Chicago. He has made many critically acclaimed recordings with both the Cleveland Orchestra and the Vienna Philharmonic. With Vienna he recorded a variety of symphonic works and a number of operas. His large and varied Cleveland Orchestra discography includes, among many other things, Wagner’s Die Walküre and Das Rheingold, the complete symphonies of Beethoven, Brahms, and Schumann, and a commemorative box set celebrating his twenty years there. Christoph von Dohnányi made his BSO subscription series debut in

TANGLEWOODWEEK 4 GUESTARTISTS 13 14 February 1989 and has been a frequent guest with the orchestra at Symphony Hall and Tanglewood since his BSO subscription concerts of November 2002.

Vadim Gluzman Vadim Gluzman makes his Boston Symphony Orchestra and Tanglewood debuts this evening. Mr. Gluzman’s artistry harkens back to the glorious violin tradition of the 19th and 20th centuries. His wide repertoire also embraces contemporary music, and his performances are heard around the world through live broad- casts and an extensive catalogue of award-winning recordings exclusively on the BIS label. The Israeli violinist appears regularly with such major orchestras as the Chicago Symphony, Philadelphia Orchestra, London Philharmonic, Israel Philharmonic, London Symphony, Leipzig Gewandhaus, Munich Philharmonic, San Francisco Symphony, Minnesota Orchestra, and NHK Symphony, and with leading conductors including Neeme Järvi, Michael Tilson Thomas, Tugan Sokhiev, Andrew Litton, Marek Janowski, Jukka-Pekka Saraste, Itzhak Perlman, Paavo Järvi, Rafael Frühbeck de Burgos, Hannu Lintu, and Peter Oundjian. Festival appearances include Verbier, Ravinia, Lockenhaus, Pablo Casals, Colmar, Jerusalem, and the North Shore Chamber Music Festival in Northbrook, Illinois, which he founded with pianist Angela Yoffe, his wife and longstanding recital partner. The 2014-15 season brought Mr. Gluzman’s first appearances with the Berlin Philharmonic and Cleveland Orchestra, performing Prokofiev’s Violin Concerto No. 2 under Sokhiev, as well as debuts with the Orchestre National de France, Netherlands Philharmonic, and Orchestre National de Belgique. Other season highlights include performances with the Dresden and Seoul philharmonic orchestras, the Bournemouth Symphony, Orquesta Sinfónica de Minería in Mexico City, and the Royal Scottish National Orches- tra at the Edinburgh Festival, and recital appearances in Paris, Geneva, St. Petersburg, and Hamburg. Mr. Gluzman also leads performances with the Moscow Virtuosi, Dresden Philharmonic Chamber Orchestra, and I Musici de Montreal, and continues his collab- oration with the ProMusica Chamber Orchestra in Columbus, Ohio, as Creative Partner and Principal Guest Artist through the 2015-16 season. Mr. Gluzman has given live and recorded premieres of works by Giya Kancheli, Peteris Vasks, Lera Auerbach, and Sofia Gubaidulina. In recent seasons, he has given the UK premieres of Michael Daugherty’s Fire and Blood concerto with the London Symphony under Kristjan Järvi, and of Balys Dvarionas’s Violin Concerto with the BBC Symphony Orchestra conducted by Thomas Søndergard. His latest CD features music of Prokofiev (violin sonatas 1 and 2 and three transcriptions from Romeo and Juliet). Accolades for his recordings include the Diapason d’Or of the Year, Gramophone’s Editor’s Choice, Classica Magazine’s Choc de Classica award, and Disc of the Month honors from The Strad, BBC Music Magazine, ClassicFM, and others. Born in the former Soviet Union in 1973, Vadim Gluzman spent most of his childhood in Riga, Latvia, and was an early student of the legendary violin- ist Zakhar Bron in Russia. He moved in 1990 to Israel, where he was mentored by Isaac Stern, and later to the United States, where he worked with Arkady Fomin and Dorothy DeLay. He now divides his residency between Chicago and Tel Aviv. Mr. Gluzman plays the 1690 “ex-Leopold Auer” Stradivari, on extended loan to him through the generosity of the Stradivari Society of Chicago.

TANGLEWOODWEEK 4 GUESTARTISTS 15 The Carol and Joe Reich Concert Saturday, July 25, 2015 The performance on Saturday evening is supported by a generous gift from Great Benefactors Carol and Joe Reich. Carol and Joe have delighted in the sights and sounds of Tanglewood for more than forty years. Lovers of both the beauty of the landscape and the wonder of the music, Carol and Joe have proudly shared the joy of Tanglewood with their children and grandchildren. “The first thing I think about Tanglewood is its great beauty,” says Carol. “Tanglewood is a gift, and it is still a gift to us when we attend today. It is an important gathering and listening place that we love to share.” True advocates for Tanglewood, Carol and Joe have graciously donated to the BSO and Tanglewood for many years and are members of the Koussevitzky Society at the Founders level. Reflecting their shared dedication to education, they have generously supported education initiatives including Days in the Arts (DARTS) and the Tangle- wood Music Center. As leadership donors to many BSO fundraising initiatives, Carol and Joe hope to inspire others to support Tanglewood and its programs, regardless of giving level. “Whether it is $5 or $5,000, the idea is to give—it is all important,” says Carol. Carol and Joe have dedicated their other philanthropic efforts to ensuring that underserved children have access to high quality education. In 1992, they launched an innovative new public school in Brooklyn, which became one of the first charter schools in New York. They have written and published a book about the inspiring story of the school’s creation, entitled Getting to Bartlett Street: Our 25-Year Quest to Level the Playing Field in Education, which was released in 2012. William Mercer

16 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Saturday, July 25, 8:30pm THE CAROL AND JOE REICH CONCERT

MICHAEL TILSON THOMAS conducting

MOZART Piano Concerto No. 14 in E-flat, K.449 Allegro vivace Andantino Allegro ma non troppo EMANUEL AX

This summer, Emanuel Ax is one of the Boston Symphony Orchestra’s inaugural Koussevitzky Artists, acknowledging his commitment to teaching and performing at Tanglewood and his decades-long association with the BSO.

{Intermission}

MAHLER Symphony No. 5 Part I Funeral March: At a measured pace. Strict. Like a cortège Stormy, with utmost vehemence

Part II Scherzo: Energetic, not too fast

Part III Adagietto: Very slow Rondo-Finale: Allegro giocoso. Lively

The performance of Mozart’s Piano Concerto No. 14 in E-flat, K.449, is supported by a gift from Dr. Beth Sackler and Mr. Jeffrey Cohen.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

TANGLEWOODWEEK 4 SATURDAYPROGRAM 17 NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Piano Concerto No. 14 in E-flat, K.449 First performance: Entered into Mozart’s own catalogue of his compositions (as the first entry in that catalogue) on February 9, 1785, and probably played by Mozart in Vienna on March 17 that year; written for his pupil Barbara von Ployer, it was played at the Ployer house in Döbling, outside Vienna, the following week, on March 23, though whether by Mozart or his student is unclear. First BSO performance: November 1967, Erich Leinsdorf cond., Lilian Kallir, soloist. First Tanglewood performance: July 19, 1981, Andrew Davis cond., Pierre-Laurent Aimard, soloist. Most recent Tanglewood performance: August 6, 2010, Christoph von Dohnányi cond., Richard Goode, soloist. This concerto begins the amazing series of twelve piano concertos Mozart wrote in 1784-1786, the years when his popularity in Vienna was at its crest. Mozart worte this concerto and the one in G major, K.453, for his student Barbara von Ployer. Babette, as she was called, was a gifted and evidently delightful young woman whose father, Privy Councillor Gottfried Ignaz von Ployer, held responsible positions in several ministries—everything from Education and Justice to Mint and Mines—and who also had business connections with Salzburg. Mozart was much attached to Babette, to whom Haydn also dedicated one of his strongest piano pieces, the F minor Variations of 1793. The Allegro vivace is one of only three piano-concerto first movements by Mozart in triple meter. Its scale is as modest as its sonority—this is the shortest of Mozart’s mature concertos—but the temper of this music is anything other than bland: here is music that is peppery in spirit, often abrupt in gesture, full of surprises in strategy and detail. The manner of the Andantino is gentle, but this is music of affecting depth of feeling. This movement is also distinguished for its lovely scoring detail and for the lavish embellishments in the piano part. Perhaps if Mozart had been writing for himself rather than for a student, even one so gifted as Babette, he would have improvised the embellishments rather than writing them out.

18 It is, however, the finale that is the most striking part of K.449. Mozart was at this time interested in giving more weight and substance to his concerto finales, and it is a problem to which he finds many fascinating solutions: the elaborate minuet inter- ludes in K.271 and K.482, the opera buffa finale-within-a-finale in his other concerto for Babette, K.453, and the profusion of counterpoint in K.459 are among the most radical examples. In this concerto, too, Mozart achieves a piquant enlivening of the texture by means of polyphony, beginning at once with the first eight bars in the two groups of violins. The tempo of Allegro ma non troppo—full of energy but measured and articulated in a delightfully prickly sort of way—is itself as unusual as anything in the whole concerto, and it is slow enough to allow room for brilliant elaboration. Not least, one should mention the remarkable sense of unity in this finale, a movement in which everything seems to be witty expansion from a single point of departure.

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

Gustav Mahler (1860-1911) Symphony No. 5 First performance: October 18, 1904, Cologne, Mahler cond. First BSO performance: February 2, 1906, Wilhelm Gericke cond. First Tanglewood performance: July 17, 1964, Erich Leinsdorf cond. Most recent Tanglewood performance: July 29, 2011, Hans Graf cond. Mahler finished his “first period” with his Fourth Symphony right at the end of the nineteenth century. The music he wrote at the beginning of the new century pointed in a new direction. The first four symphonies are all inspired by or based on songs, especially the songs of the collection of folk poetry known as Des Knaben Wunderhorn (The Youth’s Magic Horn). By the turn of the century, Mahler had stopped drawing upon that source for good, though with perhaps one last glimpse in the Fifth Symphony. His next songs were settings of the poet Rückert, including his finest cycle, Kindertotenlieder, three songs of which were completed before he began work on the symphony. The songs make them- selves felt here and there in the Fifth by way of brief reminiscences, but the symphony as a whole—like its two successors—is a purely orchestral work with no vocal parts and no hint of musical shapes dictated by song. The group of three instrumental symphonies—Nos. 5, 6, and 7—belongs together in another respect. Mahler’s orchestration is notably different from that of the earlier works. The parts are now often more independent of one another in a highly contrapuntal texture, and he more frequently uses small subsections of the orchestra—as if the entire ensemble consisted of an immensely varied series of chamber groups. At first the novelty of this approach gave Mahler considerable trou- ble. At a reading rehearsal in Vienna before the Cologne premiere of the Fifth, he was horrified to discover that he had seriously over-orchestrated large sections of the score. He took a red pencil to his manuscript and crossed out many parts. Still unsatisfied after the official premiere, Mahler continued touching up the scoring of the Fifth Symphony almost until the day he died.

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 19 The distinction between works written before and after the turn of the century is not cut-and-dried, to be sure. The Fourth Symphony already shows more independent instrumental writing, and the scoring of the Kindertotenlieder and other Rückert songs grows out of it. It leads as naturally into the instrumental style of the Fifth. The nov- elty is more a matter of degree than of kind. Still, the Fifth marks a perceptible turn- ing point in Mahler’s output, a determination to avoid programmatic elements (at least those of the kind inherent in the setting of a text or proclaimed to the public in a printed program note) and let the music speak for itself. Mahler anticipated the contrapuntal character of the Fifth in some conversations with his friend Natalie Bauer-Lechner while recuperating, in March 1901, from sur- gery for an intestinal hemorrhage that very nearly killed him. He talked to Natalie about the late Beethoven string quartets, describing them as “far more polyphonic than his symphonies.” He was obsessed with the idea of different themes that would combine and “develop freely, side by side, each with its own impetus and purpose, so that people will always be able to distinguish them one from another.” And he plunged into hours of study of the Bachgesellschaft edition of Bach’s works. His illness, he decided, had been caused in large part by the strains of conducting the rebellious Vienna Philharmonic, with many of whose members he had deep- rooted differences of opinion on matters of musical interpretation, and by the need to withstand the endless attacks of an anti-Semitic press. On returning from a holi- day on the Istrian peninsula, he submitted his resignation to the committee of the Philharmonic, retaining the music directorship of the opera, which brought him quite enough headaches. But as summer approached, Mahler was able to look forward to a summer vacation dedicated largely to composing in a newly built retreat all his own, a large chalet at

20 Maiernigg, a resort town in Carinthia on Lake Wörth. He had selected the site before the season of 1899-1900 and followed the construction of the house whenever he was not actually working on the Fourth Symphony in the summer of 1900. By 1901 it was ready for occupancy. Villa Mahler was situated between the forest and the water, arranged so that all the rooms had panoramic lake views. He worked several hours a day in a “Häuschen” (“little house”) not far away but com- pletely isolated, to give Mahler total silence while composing. He brought the Bach edition with him and spent hours study- ing in particular one of the eight-part motets. “The way the eight voices are led along in a polyphony which he alone mas- ters is unbelievable!” In addition to Bach he studied some songs of Schumann, whom he regard- ed as second only to Schubert in that genre, and he arranged evening musicales in the house. At first he didn’t worry about composition. By July he started Mahler’s villa at Maiernigg composing a few songs—the last of the Wunderhorn group (Tamboursg’sell) and the first of his Rückert songs. He determined to give himself two weeks of complete rest, and ironically, just at that point, he found himself immersed in a large project that was to become the Fifth Symphony. There were others in the household—his sister Justine; the violinist Arnold Rose, with whom Justine was having an affair and whom she later married; and Natalie Bauer-Lechner, a musician friend who kept an informative journal of her encounters with Mahler and who clearly suffered pangs of unrequited love (she disappeared from his life within days of his engagement to Alma Schindler). To them he said nothing about the new work. But as he spent more and more hours in the Häuschen, no one doubted that he was involved in something extensive. In fact, he was compos- ing two movements of the symphony (one of them the scherzo, which gave him an enormous amount of trouble) and turning now and then to further songs, including the finest of all, Ich bin der Welt abhanden gekommen. All too soon the summer was over, and the symphony had to remain unfinished as he took up his operatic duties in Vienna. Mahler was not able to return to work on the symphony until the following summer, but in the meantime a casual encounter at a dinner on November 7 changed his life. Seated opposite him at the table was a young woman of spectacular beauty and considerable self-assurance. Her name was Alma Schindler, and she had been study- ing composition with Alexander Zemlinsky. After dinner Alma and Mahler got into a heated argument about a ballet score that Zemlinsky had submitted to Mahler for possible production. Mahler had never replied to the submission, and she taxed him with rudeness. Before the evening was over Mahler was clearly enchanted with the girl’s beauty, but also by her wit and her fiery disposition. He made her promise to bring samples of her own work to the Opera. In less than two weeks it was clear to all concerned that something serious was in the wind. By November 27 Mahler was

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 21 22 already talking of marriage, and almost against her will Alma was realizing that “He’s the only man who can give meaning to my life, for he far surpasses all the men I’ve ever met.” Yet she was still confused, having recently been convinced that she was in love with Zemlinsky. But by December 9, when Mahler left for ten days in Berlin to conduct his Second and Fourth symphonies, she had made up her mind. Before Christmas they officially celebrated their engagement. When they married on March 9, Alma was already pregnant. It was only the least of the complications in their life together. In some respects two people can hardly have been less well suited to each other, whether by age, temperament, character, or interests. Mahler was passionately in love with her but was overbearing in his demands that she entirely devote her attention to him, even to the point of giving up her study of composition. Alma was capricious, flirtatious, and conceited, though she was also very intelligent and witty, musical, capable of great generosity and petty meanness. Yet virtually everything Mahler wrote for the rest of his life was composed for her, beginning with the conclusion of the Fifth Symphony. And whatever difficulties they may have experienced in their life together, there is little question that she inspired him to vast compositional achievements—seven enormous symphonies (counting Das Lied von der Erde and the unfinished Tenth) in less than a decade, during the first five years of which he was also in charge of the Vienna Opera and later of the New York Philharmonic. It is possible that Mahler wrote the famous Adagietto movement of the Fifth during the period before his marriage. At any rate, the conductor Willem Mengelberg wrote this note in his score: NB: This Adagietto was Gustav Mahler’s declaration of love to Alma! Instead of a letter he confided it in this manuscript without a word of explanation. She understood it and replied: He should come!!! (I have this from both of them!) W.M. Though Alma’s diary fails to mention such a musical missive, it is possible that the movement served in fact as a love letter (Mahler wrote her plenty of other letters, too, especially when he was away in Berlin). Since she was a musician and composi- tion student herself, she could be expected to be able to read the music and sense its emotional import, especially since its scoring—just strings and harp—is the sparest of any symphonic movement Mahler ever wrote. After their wedding Mahler and Alma took their honeymoon in Russia, where he conducted some performances in St. Petersburg. Then, after a short time in their Vienna apartment, they went to Krefeld, where Mahler conducted the first complete performance of his Third Symphony on June 9. This performance, a great success, was the beginning of Mahler’s fame outside of Vienna. Elated, he and Alma went to Maiernigg for the summer, where they enjoyed swims and long walks. He worked on completing the Fifth in the seclusion of his Häuschen, while she remained in the house preparing a fair copy of the finished pages of score. The work was completed in short score by autumn. Mahler wrote out the detailed orchestration during the winter by rising before breakfast and working on it until it was time to go to the opera house. One unusual aspect of the Fifth—the complete absence of a text or descriptive ex- planation from the composer—seems to have been motivated by the unhappy reac- tion of the audience at the premiere of the Fourth Symphony in November 1901, when Mahler conducted it in Munich to almost universal ridicule and misunder- standing. The success he had achieved with the Second so recently was completely undone. He attributed the critics’ lack of perception to their inability to follow an

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 23 abstract musical argument. It was all the fault of Berlioz and Liszt, he said, who began writing program music (though theirs had genius, he admitted, unlike the music of some later composers) so that the “plot” of the score had become a neces- sary crutch to listening. One result of this experience was Mahler’s determination to avoid giving any expla- nation of the “meaning” or “program” of his next symphony. Even when supportive musicians asked him for some guidance, he remained silent. He expressed himself with far greater vigor on the subject at a dinner in Munich following a performance of the Second Symphony. When someone mentioned program books, Mahler is reported to have leaped upon the table and exclaimed: Down with program books, which spread false ideas! The audience should be left to its own thoughts over the work that is performed; it should not be forced to read during the performance; it should not be prejudiced in any manner. If a composer by his music forces on his hearers the sensations which streamed through his mind, then he reaches his goal. The speech of tones has then approached the language of words, but it is far more capable of expression and declaration. He is then reported to have raised his glass, emptied it, and cried, “Pereat den Pro- grammen!” (“Let the programs perish!”). (When the Boston Symphony performed the Fifth for the first time in 1906, Philip Hale wrote in his program book essay, “Let us respect the wishes of Mr. Mahler.”) Following such an outburst, the annotator proceeds with trepidation. Still, Mahler’s pique was aimed at first-time listeners whose reaction might be prejudiced one way or another by an explanation. Eventually listeners may desire some consideration of the music, especially because Mahler’s music is no less expressive for all his eschew- ing of programs, and in some respects it is a good deal more complicated.

24

The symphony is laid out in five movements, though Mahler grouped the first two and the last two together so that there are, in all, three “parts” tracing a progression from tragedy to an exuberant display of contrapuntal mastery and a harmonic pro- gression from the opening C-sharp minor to D major. The keys of the intervening movements (A minor, D, and F) also outline a chord on D, which would therefore seem to be a more reasonable designation for the key of the symphony, with the opening C-sharp conceived as a leading tone. Nonetheless the Fifth is customarily described as being in the key of C-sharp minor. The opening movement has the character of a funeral march, rather martial in character, given the opening trum- pet fanfare (derived from the first movement of the Fourth Symphony*) and the drumlike tattoo of the strings and winds in the introductory passage. The main march theme is darkly somber, a melody related to the recently composed song Der Tamboursg’sell (a last echo of Des Knaben Wunder- horn). The Trio is a wild, almost hysterical outcry in B-flat minor gradually returning to the tempo and the rhythmic tattoo of the opening. The basic march returns and closes with a recollection of the first song from Kindertotenlieder, which Mahler was almost certainly composing while he worked on this movement as well. The second Trio, in A minor, is more subdued and given largely to the strings. Last echoes of the trumpet fanfare bring the movement to an end. The second movement, marked “Stormy, with utmost vehe- Alma Schindler-Mahler mence,” has a number of links to the first. It takes the fre- netic outbursts of the first movement as its basic character and contrasts them with a sorrowful march melody in the cellos and clarinets. They take turns three times (each varied and somewhat briefer than the one before). A premature shout of triumph is cut off, and the main material returns. The shout of triumph comes back briefly as a chorale in D (the key that will ultimately prevail), but for now the movement ends in hushed mystery. According to Natalie Bauer-Lechner, Mahler had an idea for the character of the scherzo, though he chose not to reveal it to the public. Following the dark and emo- tional character of Part I, the second part was to represent “a human being in the full light of day, in the prime of his life.” The scherzo is on an unusually large scale, but it moves with great energy and speed, much of it as a lilting and whirling waltz

* Much has been written about the numerous internal references between one work and another in Mahler’s output, and the Fifth Symphony is very much a case in point. It is worth recalling that Mahler was frequently conducting one work while finishing the scor- ing of another and planning the composition of yet a third. It would be very surprising, under the circumstances, if the musical world of one such piece did not make itself felt in his imagination when he was working out the details of a new piece. A composer who either did not conduct at all or could rely on others to introduce his music and give most of the performances would be more easily able to put a finished work entirely behind him.

TANGLEWOODWEEK 4 SATURDAYPROGRAMNOTES 25 26 with a featured solo horn. There are sardonic twists here and there, boisterous pas- sages, even brutal ones, and some that have the lilt and verve of The Merry Widow. The last part begins with the famous Adagietto, once almost the only movement of Mahler’s music that was heard with any frequency. When Mahler wrote it he was re- calling the musical worlds created for the second song of Kindertotenlieder and Ich bin der Welt abhanden gekommen, though he is not using either song to shape this exquis- itely restrained movement. The melody grows in sweeping arches to a climactic peak that is not hammered with fortissimos but whispered as if with bated breath. Mahler builds his finale as a grand rondo in which, after an opening horn call, a bassoon quotes a phrase from one of Mahler’s Wunderhorn songs, Lob des hohen Verstandes, which describes a singing contest the outcome of which is controlled by a donkey. Good-natured satire of academic pedantry is the point of the song, and Mahler here undertakes his own cheerful demonstration of counterpoint, the aca- demic subject par excellence in music theory, treated in a wonderfully exuberant and freewheeling way. He is concerned to build up a symphonic structure, alluding to the theme of the Adagietto with music of very different spirit. The climax of the symphony brings back the chorale theme from the second movement, the one earlier passage in all that tragic realm that hinted at the extroversion of D major, now finally achieved and celebrated with tremendous zest.

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

Guest Artists Michael Tilson Thomas During the 2014-15 season, Michael Tilson Thomas celebrates his 20th anniversary as music director of the San Francisco Symphony and his 70th birthday with a United States and European tour with the San Francisco Symphony; a tour of New York and the U.S. west coast with the London Symphony Orchestra (of which he is principal guest conductor); appearances in New York and Washington, D.C., with the New World Symphony (of which he is founder and music director), and concerts with the Vienna Philharmonic and Chicago Symphony. Born in Los Angeles, he began his formal studies at the University of Southern Cali- fornia, where he studied piano with John Crown and conducting and composi- tion with Ingolf Dahl. At nineteen he was named music director of the Young Musicians Foundation Debut Orchestra. He worked with Stravinsky, Boulez, Stockhausen, and Copland on premieres of their compositions at Los Angeles’s Monday Evening Concerts. During this same period he was the pianist and conductor for Gregor Piatigorsky and Jascha Heifetz. In 1969, after winning the Koussevitzky Prize at Tanglewood, he was appointed assistant conductor of the Boston Symphony Orchestra. That year he also made his New York debut with the BSO, gaining interna- tional recognition when he replaced music director William Steinberg in mid-concert. Subsequently named associate conductor and then principal guest conductor of the orchestra, he remained with the BSO until 1974. Mr. Tilson Thomas was music direc- tor of the Buffalo Philharmonic from 1971 to 1979, principal guest conductor of the Los Angeles Philharmonic from 1981 to 1985, and principal conductor of the London Symphony Orchestra from 1988 to 1995. His guest conducting engagements include

TANGLEWOODWEEK 4 GUESTARTISTS 27 frequent appearances with the major orchestras of Europe and the United States. His discography numbers more than 120 recordings, and his extensive television work includes a series with the London Symphony Orchestra for BBC Television, the telecasts of the New York Philharmonic Young People’s Concerts (1971 to 1977), and numerous productions on PBS’s “Great Performances.” In February 1988 he inaugurated the New World Symphony, an orchestral academy for graduates of prestigious music pro- grams. In addition to their regular season in Miami Beach, they have toured interna- tionally. New World Symphony graduates have gone on to major positions in orchestras worldwide. In 1991 Mr. Tilson Thomas and the orchestra were presented in a series of benefit concerts for UNICEF in the United States, featuring Audrey Hepburn as narra- tor of Mr. Tilson Thomas’s composition From the Diary of Anne Frank; the work has since been translated and performed in many languages worldwide. In August 1995 he led the Pacific Music Festival Orchestra in the premiere of his Shówa/Shóah, written in commemoration of the 50th anniversary of the bombing of Hiroshima. He has written song cycles for Thomas Hampson and Renée Fleming. As principal conductor of the London Symphony Orchestra, Mr. Tilson Thomas led the orchestra on regular tours in Europe, the United States, and Japan, as well as at the Salzburg Festival. Now LSO principal guest conductor, he continues to lead the orchestra in concerts in London and on tour. His twenty-year tenure in San Francisco has been broadly covered by the international press. With the San Francisco Symphony he has presented eight summer festivals and has made numerous tours of Europe, the United States, and the Far East. Mr. Tilson Thomas is a Chevalier dans l’Ordre des Arts et des Lettres of France, was Musical America’s Musician of the Year and Conductor of the Year, Gramophone maga- zine’s Artist of the Year, and has been profiled on CBS’s 60 Minutes and ABC’s Nightline. He has won eleven Grammy Awards for his recordings. In 2008 he received the Peabody Award for his radio series for SFS Media, The MTT Files. In 2010 President Obama awarded him the National Medal of Arts, the highest award given to artists by the United States Government. At Tanglewood this summer, in addition to his concert tonight with the Boston Symphony Orchestra, he is curator and conductor for this coming Monday night’s Tanglewood Music Center Orchestra concert in Ozawa Hall, closing the 2015 Festival of Contemporary Music with a program of Bernstein, Foss, Copland, and Ives.

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

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28 Emanuel Ax Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. He studied at the Juilliard School and Columbia University, cap- turing public attention in 1974 when he won the first Arthur Rubinstein Inter- national Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize. Highlighting his 2014-15 season are two major projects: curating a two- week “Celebrate the Piano” festival with the Toronto Symphony, to include per- formances by multiple pianists including Mr. Ax; and a European tour with the Philadelphia Orchestra and Yannick Nézet-Séguin preceded by a joint appear- ance at Carnegie Hall. Mr. Ax returns to the orchestras of New York, Los Angeles, San Francisco, Boston, Cincinnati, Dallas, Washington, Nashville, Atlanta, St. Louis, Montreal, and Ottawa. Recitals take him to Vancouver, San Francisco, and the midwest, ending in Lincoln Center’s Tully Hall, where he also appears in duo with baritone Simon Keenlyside. In Europe he returns to the Berlin Philharmonic followed by a tour to Vienna, Salzburg, Graz, and London performing Winterreise with Mr. Keenlyside; plays both Brahms concertos in Amsterdam and Paris with the Chamber Orchestra of Europe under Bernard Haitink; and appears with the London Symphony, Czech Philharmonic, Tonhalle Zurich, and the national orchestras of Toulouse and Lyon. The 2013-14 season included appearances at the Barbican Centre and Lincoln Center with the London Symphony Orchestra under Bernard Haitink; collaborations with the Concertgebouw Orchestra and Mariss Jansons in Amsterdam, Bucharest, China, and Japan; the realization of a project inspired by Brahms, which included new works linked to Brahms from composers Missy Mazzoli, Nico Muhly, and Brett Dean, commissioned jointly by the Los Angeles Philharmonic, Cal Performances Berkeley, Chicago Symphony, and Carnegie Hall, and including the participation of collabora- tors Anne-Sofie von Otter and Yo-Yo Ma; and concerts in Hong Kong and Australia, where he performed the complete Beethoven piano concertos with chief conductor David Robertson in Sydney and with Sir Andrew Davis in Melbourne. An exclusive Sony Classical recording artist since 1987, Mr. Ax has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms cello sonatas. Recent releases include Mendelssohn trios with Mr. Ma and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart, and discs of two- piano music by Brahms and Rachmaninoff with Yefim Bronfman. In recent years Mr. Ax has turned his attention toward the music of 20th-century composers, premiering works by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner. Also devoted to chamber music, he has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Mr. Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki; they have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia universities. Please visit www.emanuelax.com for more information. Emanuel Ax first appeared with the Boston Symphony Orchestra in 1978 at Tangle- wood, made his BSO subscription series debut in December 1980, and has since appeared with the orchestra at both venues on frequent occasions. This summer (along with Yo-Yo Ma) he is one of Tanglewood’s first Koussevitzky Artists, named for the legendary founder of the BSO’s summer music festival. Last Monday night he played the world premiere of Robert Zuidam’s TMC75 commission, Tanglewood Concerto, in the opening concert of this summer’s Festival of Contemporary Music. On Thursday evening, August 6, he collaborates with Leonidas Kavakov and Yo-Yo Ma performing Brahms’s three piano trios in Ozawa Hall.

TANGLEWOODWEEK 4 GUESTARTISTS 29

2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Sunday, July 26, 2:30pm

CHRISTOPH VON DOHNÁNYI conducting

ALL-MOZART PROGRAM

Symphony No. 39 in E-flat, K.543 Adagio—Allegro Andante con moto Menuetto: Allegretto Finale: Allegro

Symphony No. 40 in G minor, K.550 Allegro molto Andante Menuetto: Allegretto Allegro assai

{Intermission}

Symphony No. 41 in C, K.551, Jupiter Allegro vivace Andante cantabile Menuetto: Allegretto Molto Allegro

The performance of Mozart’s Symphony No. 41, “Jupiter,” is supported by a gift in memory of Marie Frances Fogg, from generous friends.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

TANGLEWOODWEEK 4 SUNDAYPROGRAM 31 NOTES ON THE PROGRAM

Wolfgang Amad`e Mozart (1756-1791) The Last Three Symphonies Introduction The very perfection of Mozart’s last three symphonies—No. 39 in E-flat, the great G minor, and the Jupiter—is miraculous, and the more so given how quickly they were composed. No less impressive is their diversity, and the clarity with which, in three quite different directions, they define the possibilities of Mozart’s art. Eric Blom puts it thus: “It is as though the same man had written Shakespeare’s Twelfth Night, Racine’s Phèdre, and Goethe’s Iphigenie within whatever period may be equivalent for the rapid execution of three plays as compared to three sym- phonies.” In view of how much Mozart’s compositions are as a rule bound to particular occasions, commissions, or concerts, another wonder is that these symphonies exist at all. They were completed respectively on June 26, July 25, and August 10, 1788. By then Mozart’s public career had begun to go badly. There had been a time when he could report, as he did in a letter to his father on March 3, 1784, that he had had twenty-two concerts in thirty-eight days: “I don’t think that in this way I can possibly get out of practice.” A few weeks later he wrote that for his own series of concerts he had a bigger subscription list than two other performers put together. Not many years later all this had changed. Figaro, new in 1786, was popular in Vienna, but not more so than other operas by lesser composers, and certainly not sufficiently to buoy up Mozart’s fortunes for long. Don Giovanni, first given in Vienna on May 7, 1788, failed to repeat the enormous success it had enjoyed in Prague, and the per- formance on December 15 of that year was the last one in the capital in the compos- er’s lifetime. By then, Mozart was in catastrophic financial straits. In June 1788, he wrote the first of the agonizing letters in which he entreated his brother Mason, Michael Puchberg, for help. He mentions a series of concerts about to begin at the Casino “next week” and encloses a pair of tickets. There is no evidence in newspa- pers or anywhere else that these concerts ever took place: this time, perhaps, the subscribers were too few. Nor did Mozart give other concerts of his own in Vienna after that.

32 It seems reasonable to connect Mozart’s last three symphonies with the projected Casino concerts. Little is known about their early history. Orchestra parts for them were printed by Johann André in Offenbach, Hesse, two years after Mozart’s death, but various libraries have also yielded manuscript copies, some of which certainly date to the composer’s lifetime. The G minor symphony was played in its revised version with added clarinets in April 1791, but whether Mozart ever heard the Jupiter or the E-flat we do not know.

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

Symphony No. 39 in E-flat, K.543 First performance: Undocumented; composed summer 1788 for a concert series that seems not to have taken place. First BSO performances: January 1884, Georg Henschel cond. First Tanglewood performance: August 7, 1937, Serge Koussevitzky cond. (the BSO’s first summer at Tanglewood). Most recent Tanglewood performance: July 19, 2009, James Levine cond. (a program, like this afternoon’s, of Mozart’s last three symphonies in a single concert—the last time this was done at Tanglewood). Mozart entered the opening measures of the Symphony No. 39 into his thematic cat- alogue on June 26, 1788; on the same day he entered “a little march,” the famous C major piano sonata “for beginners,” and an adagio introduction for string quartet to precede the C minor fugue that he had already composed. The last entry before June 26 in the thematic catalogue is that of a piano trio in E major (K.542) noted on June 22. It seems hardly likely that even Mozart composed an entire large symphony plus other tidbits in just four days. More likely, all the works had been in progress for some time and were simply finished more or less together. Clarinets were relatively new in the symphony orchestra (although long since a stan- dard component of Mozart’s opera orchestra), and it was by no means a foregone conclusion that they would be included. Mozart’s conscious choice of clarinets instead of oboes produces a gentler woodwind sonority especially appropriate to the rather autumnal lyricism of the Symphony No. 39. The first movement opens with a stately slow introduction with dotted rhythms pro- viding a nervous background for scale figures (which recur in the body of the move- ment), culminating in a grindingly dissonant appoggiatura. Just as we seem about to settle onto the dominant, ready to begin the Allegro, the activity decelerates and we are confronted with a stark, hushed chromatic figure recalling some of the “uncan- ny” moments in Don Giovanni. The melodic line of the introduction only comes to a close in the opening phrase of the smiling Allegro theme in the violins (with echoes in horns and bassoons), a calm pastoral scene following the tension of the preced- ing passage. The development section is one of the shortest in any Mozart sympho- ny, never moving far afield harmonically. Following a passage on the nearby key of A-flat, a vigorous modulation seems to be leading to C minor, but at the last moment a wonderful woodwind extension brings it around to the home key and ushers in the recapitulation. The slow movement, in A-flat, opens with deceptive simplicity; it is, in fact, a richly detailed movement, with progressive elaborations of the material throughout. Among

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 33 34 these delicious moments are the woodwind additions to the main material in the strings at the recapitulation of the opening theme. The main theme ends with a momentary turn to the minor just before the cadence; at the corresponding point in the recapitulation, this generates a surprising but completely logical passage in C-flat minor (written, however, as B minor) before the imitative woodwind theme returns in the tonic. The hearty minuet provides a strong contrast to the delicacies of the Andante; its Trio features a clarinet solo with little echoes from the flute. The finale is often called the most Haydnesque movement Mozart ever wrote, largely because it is nearly monothematic. The principal theme, beginning with a group of scurrying sixteenth-notes followed by a hiccup, produces a series of motives that carry the bulk of the discourse. The scurrying turn reappears alone or in combina- tions, turning to unexpected keys after a sudden silence; the “hiccup” often comes as a separate response from the woodwinds to the rushing figure in the strings.

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

Symphony No. 40 in G minor, K.550 First performance: Date unknown; completed July 15, 1788, for a concert series that seems not to have taken place. First BSO performance: November 1881, Georg Henschel cond. First Tanglewood performance: August 7, 1941, Serge Koussevitzky cond. Most recent Tanglewood performance: July 19, 2009, James Levine cond. (a program, like this afternoon’s, of Mozart’s last three symphonies in a single concert—the last time this was done at Tanglewood). Mozart reinforced the striking differences in mood within his last three symphonies —from mellow lyricism to darkly tragic grace to festive formality—with simple but significant differences in the instrumentation of the three pieces. In Symphony No. 39 he employed clarinets instead of oboes, whereas in No. 40 he preferred the sharper “bite” of the oboes (he added clarinets only later) but completely omitted trumpets and timpani, since their heroic gestures could play no role in so dark a work. Then in No. 41 he returned to the normal complement of brass, as in No. 39, while again including oboes rather than clarinets. Following the summer of 1788, Mozart gave no more “academies” (as concerts were called). In fact, he almost totally gave up taking part in the concert life of Vienna; only once more did he have occasion to write another concert piece for himself, the B-flat piano concerto, K.595, which he played in 1791. But his last symphonies, along with those of Haydn, highlight a miraculous decade of accomplishment between 1785 and 1795. Among the works that appeared in this period are Haydn’s six Paris symphonies (Nos. 82-87; 1785-86), Mozart’s Prague Symphony (1786), the two symphonies Haydn wrote for Johann Tost (Nos. 88-89; 1788), Mozart’s last three symphonies (1788), Haydn’s symphonies for Count d’Ogny (Nos. 90-92; 1788-89), and the twelve that Haydn wrote for London (Nos. 93-104; 1791-95). After 1795, Haydn, too, left off composing symphonies, and the monument that was the Vien- nese classical symphony was fully established. After finishing the E-flat symphony, K.543, on June 26, Mozart composed a few small pieces early in July: a little violin sonata in F “for beginners,” K.547, on July 10; a trio in C for piano, violin, and cello, K.548, on the 14th, and a vocal trio to an Italian

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 35 36 text, K.549, on the 16th. But the main composition of the month, completed on the 25th, was the symphony destined to become Mozart’s most famous, the G minor (called this despite the fact that he had written an earlier symphony in this key more than a decade before). The unrelieved “minorness” of the symphony, without even so much as a major-key coda at the very end, gives it a feeling of passionate violence that recommended the work to early 20th-century audiences, when so many of Mozart’s compositions were considered mere decorative playthings. But tastes and perceptions change. Astonish- ing as it may be to us, Robert Schumann failed to find any pathos in this symphony. The extravagant Romantic heights from which he viewed Mozart’s work had the ef- fect of foreshortening the peaks and valleys of the earlier composer’s expression, with the result that Schumann was able to perceive only grace and charm. In any case, minor keys were a serious business to Mozart, and when he chose to end the work still in the minor, that was the most serious of all. The slow movement is in the related major key of E-flat, but passing chromatic fig- ures and a surprising turn of modulation show that it comes from the same expres- sive world as the first movement. The minuet, in G minor, is much too severe a piece to suggest dancing at all, but the Trio, in G major, provides a brief welcome respite. In the finale, Mozart avoids the complexities of phrasing that were characteristic of the opening movement since he wants to bring the work to a stable conclusion, even though he intends to remain steadfastly in the minor, which, to 18th-century ears, was less final than the major. But the balance in the phrase articulation brings effec- tive closure to this symphony that ranks as richest in pathos of all forty-one, and per- haps richest of all Mozart’s works in any medium.

STEVEN LEDBETTER

Symphony No. 41 in C, K.551, “Jupiter” First performance: Date unknown; composed summer 1788 for a concert series that seems not to have taken place. First BSO performance: February 1885, Wilhelm Gericke cond. First Tanglewood performances: July 20 and 22, 1947, Serge Koussevitzky cond. Most recent Tanglewood performance: July 26, 2013, Edo de Waart cond. A word, first, about the symphony’s name. It is not Mozart’s, but it is old and per- haps the brainchild of Johann Peter Salomon, the German-born violinist and impre- sario most famous for having twice enticed Haydn to London. At any rate, in 1829, thirty-eight years after Mozart’s death and fourteen after Salomon’s, the English composer, organist, and publisher Vincent Novello and his wife Mary visited the Continent and spent a few summer days in Salzburg with Mozart’s widow and son. The Novellos kept separate journals, and in Vincent’s, on August 7, 1829, we may read the following: “Mozart’s son said he considered the Finale to his father’s Sin- fonia in C—which Salomon christened the Jupiter—to be the highest triumph of Instrumental Composition, and I agree with him.” In terms of Eric Blom’s literary comparison (see page 32), the Jupiter is Iphigenie: noble, at once subtle and grand, “classical.” The fences so recklessly torn down in the G minor Phèdre are restored. The opening gestures, with their orderly contrasts and symmetries, are more formal, indeed more formulaic, than anything else in the last three symphonies. But whatever Mozart touches becomes personal utterance. After an impressive drawing up to a halt, the opening music reappears, but what was assertive before is now quiet and enriched by softly radiant commentary from

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 37

the flute and the oboe. Another cadence of extreme formality, and a new theme appears. This, too, being full of gentle, unobtrusive complexities, is not so innocent as at first it seems. When he comes to his Andante—the strings are muted now—Mozart becomes more overtly personal, writing music saturated in pathos and offering one rhythmic sur- prise after another. The coda, which adds miracles at a point when we can hardly believe more miracles are possible, was an afterthought append- ed by Mozart on an extra leaf. The minuet, aside from having the proper meter and speed, is not particularly minuet-like. It is fascinating what a wide-ranging category “minuet” is for Mozart. The Jupiter minuet is wonderful in a quiet way: here is music that constantly blossoms into richesses Mozart carefully leads us not to expect. The Trio is, for the most part, an enchanting dialogue of ever so slightly coquettish strings and winds so soberly reticent that they seem able to do no more than make little cadences. There is one forte outburst lasting just a few seconds: here the orchestra sounds a new and brief phrase of striking profile. It demands attention, and, although just then it seems to pass with- out consequence, we shall soon discover why. That happens the moment the finale begins. Here Mozart picks up the four-note idea that had made such a startlingly forceful appearance in the Trio of the third movement. When first we heard it, it was on an odd harmonic slant; now it is set firmly in C major. This idea is in fact part of the common stock of the 18th-century vocabulary; Mozart himself had used it before on several occasions—in Masses, in the Symphony No. 33 in B-flat, in the great E-flat sonata for piano and violin, K.481—and as he is quick to remind us, it lends itself to contrapuntal elaboration. The Mozart monument in Vienna The music moves at a tempo swifter than any we have yet heard in this symphony. All the themes in this finale are short: they are material to work with more than objects presented for the sake of their intrinsic charm, and Mozart whirls them by us with a fierce energy that is rooted in his dazzling polyphony. Six years earlier, Mozart had come to know the music of J.S. Bach. Having begun by transcribing and imitating, Mozart has now achieved a complete and easy integra- tion of Baroque polyphony with the galant language that was his most direct inheri- tance, which he had learned at the knee of Sebastian Bach’s youngest son, Johann Christian. In his exuberantly energetic coda, Mozart unfurls a dazzling glory of polyphony to cap, in one of music’s truly sublime pages, a movement that is one of the most splendid manifestations of that rich gathering-in we call the classical style.

MICHAEL STEINBERG

Guest Artist

For a biography of Christoph von Dohnányi, see page 13.

TANGLEWOODWEEK 4 SUNDAYPROGRAMNOTES 39 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. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter and Anne 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 • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow • Ted and Debbie Kelly • Lizbeth and George Krupp • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • National Endowment for the Arts • Megan and Robert O’Block • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

Society Giving at Tanglewood

The following list recognizes gifts of $3,000 or more made since September 1, 2014 to the Tanglewood Annual Fund. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2014-2015 season. For further information on becoming a Society member, please contact Leslie Antoniel, Leadership Gifts Officer, at 617-638-9259.

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

Koussevitzky Society Founders $100,000+ Michael L. Gordon • Dorothy and Charlie Jenkins • Mrs. Irene Pollin • Carol and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Sue Rothenberg • Stephen and Dorothy Weber Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Ronald and Karen Rettner • Carol and Irv Smokler • Linda and Edward Wacks • June Wu Benefactor $20,000 to $24,999

Roberta and George ‡ Berry • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • Larry and Jackie Horn • Valerie and Allen Hyman •

40 Leslie and Stephen Jerome • The Edward Handelman Fund • Jay and Shirley Marks • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • The Ushers and Programmers Fund • Marillyn Zacharis Patron $10,000 to $19,999

Mr. Gerald Appelstein • Norm Atkin MD and Joan Schwartzman • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Beatrice Bloch and Alan Sagner • Marlene and Dr. Stuart H. ‡ Brager • Bonnie and Terry Burman • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Nancy J. Fitzpatrick and Lincoln Russell • Myra and Raymond ‡ Friedman • Lonnie and Jeffrey Garber • Dr Lynne B Harrison • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Kahn Family Foundation • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Elaine and Ed London • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Lucinda and Brian Ross • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Daniel and Lynne Ann Shapiro • JoAnne and Joel Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Jerry and Nancy Straus • Ted and Jean Weiller • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous Prelude $7,500 to $9,999

Gideon Argov and Alexandra Fuchs • Hildi and Walter Black • Brad and Terrie Bloom • Jane Braus • Judith and Stewart Colton • Robert and Stephanie Gittleman • Martha and Todd Golub • Mr. and Mrs. Martin G. Isserlis • Norma and Sol D. Kugler • Arlene and Jerome Levine • Mr. and Mrs. Arthur S. Loring • Judy and Richard J. Miller • Kate and Hans Morris • Elaine and Simon Parisier • Mary Ann and Bruno A. Quinson • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Dr. Beth Sackler • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest ‡ Schnesel • Lynn and Ken Stark • Roz and Charles Stuzin • Lois and David Swawite • Aso O. Tavitian • Karen and Jerry Waxberg • Gail and Barry Weiss • Anonymous (2) Member $5,000 - $7,499

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Mr. Michael P. Albert • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Dr. Mark Belsky and Ms. Nancy Kaplan Belsky • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Drs. Judith and Martin Bloomfield • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Mr. and Mrs. Scott Butler • David and Maria Carls • Mr. Jim Chervenak • Carol and Randy Collord • Jill K. Conway • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Saul Eisenberg • Eitan and Malka Evan • Marie V. Feder • Gigi Douglas and David Fehr • Eunice and Carl Feinberg • Nancy Edman Feldman and Mike Chefetz • Deborah Fenster-Seliga and Edward Seliga • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Mr. and Mrs. Kenneth G. Friedman • Audrey and Ralph Friedner • Thomas M. Fynan and William F. Loutrel • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Leslie and Joanna Garfield • Drs. Anne and Michael Gershon •

TANGLEWOODWEEK 4 SOCIETYGIVINGATTANGLEWOOD 41 Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Ms. Susan P. Goodfellow • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David W. Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Enid and Charles ‡ Hoffman • Richard Holland • Nancy and Walter Howell • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Mr. Chaim Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • The Messinger Family • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Barbara and Michael Rosenbaum • Edie and Stan Ross • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. Marvin Seline • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Margery and Lewis Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jean C. Tempel • Mr. ‡ and Mrs. Wilmer J. Thomas, Jr. • Dr. Adrian Tiemann • Jerry and Roger Tilles • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • The Ushers and Programmers Fund • Antoine and Emily van Agtmael • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Mrs. Charles H. Watts II • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Mr. Lyonel E. Zunz ‡ • Anonymous (3) Bernstein Society $3,000 to $4,999

Dr. and Mrs. Bert Ballin • Dr. and Mrs. Benjamin R. Barber • Ms. Shirley B. Barnes • Mr. Michael Beck and Mr. Beau Buffier • Cindy and David Berger • Helene Berger • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • William E. Briggs and the Briggs Family • Sandra L. Brown • Rhea and Allan Bufferd • Mrs. Laura S. Butterfield • Antonia Chayes • Mr. and Mrs. Bertram Chinn • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • In memory of D.M. Delinferni • Mr. Clark Downs • Terry and Mel Drucker • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Eric Egan • Miss Diana Engelhorn • Dr. and Mrs. Gerald D. Falk •

42 Mr. Earl N. Feldman and Mrs. Sarah Scott • Dr. and Mrs. Steve Finn • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. and Mrs. Michael Friedman • Mr. David Friedson and Ms. Susan Kaplan • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. James W. Giddens • Mr. and Mrs. David L. Glodt • Rita Sue and Alan J. Gold • Mr. and Mrs. Andrew Goldfarb • Mr. Malcolm Griggs • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Adam Hersch • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Deko and Harold Klebanoff • Margaret and Joseph Koerner • Dr. and Mrs. Stephen Kulvin • Mr. and Mrs. Arthur J. Levey • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Thomas and Adrienne Linnell • Dr. and Mrs. Benjamin Liptzin • Dr. and Mrs. Richard E. Litt • Dr. Nancy Long and Mr. Marc Waldor • Susan and Arthur Luger • Mr. and Mrs. Evan Mallah • Mr. and Mrs. Frank Martucci • Dr. and Mrs. Malcolm Mazow • Mr. Terence McInerney • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Mike, Lonna and Callie Offner • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Fred and Judy Robins • Mr. and Mrs. Richard S. Rocap • Barbara Rubin • Larry and Pat Rutkowski • Ms. Susan Schaeffer • Dr. and Mrs. David Schottenfeld • Jane and Marty Schwartz • Mr. and Mrs. John Schwebel • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Ms. Lori Signer • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Elaine Sollar and Edwin R. Eisen • Mr. and Mrs. Edward Streim • Flora and George Suter • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Nancy Whitson-Rubin • Pamela Wickham • Mr. and Mrs. Allan Yarkin • Mr. and Mrs. Michael Zaccaro • Anonymous (4)

TANGLEWOODWEEK 4 SOCIETYGIVINGATTANGLEWOOD 43 44

From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

46 Tanglewood Major Corporate Sponsors 2015 Season

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

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

Dawson Rutter Commonwealth Worldwide Chauffeured Transportation is President and CEO proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a cen- tury and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come.

TANGLEWOODWEEK 4 MAJORCORPORATESPONSORS 47 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives)

48

July at Tanglewood Monday, July 6, 7pm MEMBERS OF THE BOSTON POPS BRASS & PERCUSSION SECTIONS Wednesday, July 1, 8pm BOSTON CRUSADERS BOSTON SYMPHONY CHAMBER PLAYERS BLUE DEVILS RANDALL HODGKINSON, piano Tanglewood Brass Spectacular! NATHAN Why Old Places Matter, for oboe, Wednesday, July 8, 8pm horn, and piano NIELSEN Wind Quintet, Op. 43 LEON FLEISHER and THE FLEISHER- JACOBSON PIANO DUO BRAHMS (arr. BOUSTEAD) Serenade No. 1 in D, Op. 11, arranged for winds and strings LEON FLEISHER, piano KATHERINE JACOBSON, piano Thursday, July 2, 8pm Music of Bach, Debussy, Brahms, Schubert, APOLLO’S FIRE—The Cleveland Baroque and Ravel Orchestra Thursday, July 9, 8pm JEANNETTE SORRELL, music director and conductor BRYN TERFEL, bass-baritone A Night at Bach’s Coffee House NATALIA KATYUKOVA, piano Music of J.S. Bach, Telemann, Handel, and Friday, July 10, 6pm (Prelude Concert) Vivaldi MEMBERS OF THE BSO Friday, July 3, 6pm (Prelude Concert) All-Dvoˇrák program

BOSTON CELLO QUARTET Friday, July 10, 8:30pm A program of Spanish and Latin music BSO—STÉPHANE DENÈVE, conductor Friday, July 3, 8:30pm CAMERON CARPENTER, organ Opening Night at Tanglewood BARBER Adagio for Strings All-American Program POULENC Concerto for Organ, Strings, and BSO—JACQUES LACOMBE, conductor Timpani KIRILL GERSTEIN, piano SAINT-SAËNS Symphony No. 3, Organ JESSYE NORMAN, speaker To be followed at 10:45 by a short solo organ recital by Cameron Carpenter HARBISON Remembering Gatsby (Foxtrot for Orchestra) Saturday, July 11, 10:30am GERSHWIN Piano Concerto in F Open Rehearsal (Pre-Rehearsal Talk, 9:30am) COPLAND Lincoln Portrait BSO program of Sunday, July 12 ELLINGTON Harlem Saturday, July 11, 8:30pm Saturday, July 4, 11am BSO—BRAMWELL TOVEY, conductor FAMILY CONCERT SONDRA RADVANOVSKY, GWYN HUGHES Music for brass quintet JONES, BRYN TERFEL, JOHN DEL CARLO, Saturday, July 4, 7pm and RYAN SPEEDO GREEN, vocal soloists TANGLEWOOD FESTIVAL CHORUS JAMES TAYLOR AND HIS ALL-STAR BAND Fireworks to follow the concert All-Italian program including PUCCINI Tosca, Act I Sunday, July 5, 2:30pm Sunday, July 12, 2:30pm BOSTON POPS ORCHESTRA KEITH LOCKHART, conductor BSO—LUDOVIC MORLOT, conductor BERNADETTE PETERS PINCHAS ZUKERMAN, violin JOHN LUTHER ADAMS The Light That Fills Sunday, July 5, 8pm Ozawa Hall the World TMC ORCHESTRA—STEFAN ASBURY MOZART Violin Concerto No. 3 in G, K.216 and TMC Conducting Fellows MARZENA DVORÁKˇ Symphony No. 7 KIAKUN and RUTH REINHARDT, conductors Music of Britten, Brahms, Williams (TMC75 Monday, July 13, 8pm world premiere), and Sibelius TMC ORCHESTRA—LUDOVIC MORLOT and TMC Conducting Fellows MARZENA KIAKUN and RUTH REINHARDT, conductors JAMES SOMMERVILLE, horn Music of Wagner, Hindemith, Golijov (TMC75 world premiere), and Debussy

Tuesday, July 14, 8pm Tuesday, July 21, 8pm JAZZ AT LINCOLN CENTER ORCHESTRA PAUL LEWIS, piano with WYNTON MARSALIS All-Beethoven program: the last three piano sonatas, Opp. 109, 110, 111 Thursday, July 16, 8pm BAIBA SKRIDE, violin Wednesday, July 22, 8pm SARAH CONNOLLY, mezzo-soprano EMERSON STRING QUARTET CHRISTIAN ZACHARIAS, piano Music of Ives, Liebermann, and Beethoven CATHY BASRAK, viola Music of Mozart and Schumann Friday, July 24, 6pm (Prelude Concert) MEMBERS OF THE BSO Friday, July 17, 6pm (Prelude Concert) Music of Bolcom and Shapero MEMBERS OF THE BSO Music of Barber and Shostakovich Friday, July 24, 8:30pm BSO—CHRISTOPH VON DOHNÁNYI, Friday, July 17, 8:30pm conductor BSO—CHRISTIAN ZACHARIAS, conductor VADIM GLUZMAN, violin BAIBA SKRIDE, violin ALL-BEETHOVEN PROGRAM SCHUMANN Manfred Overture Symphony No. 4; Violin Concerto MOZART Rondo in C, K.373, for violin and orchestra Saturday, July 25, 10:30am MOZART Violin Concerto No. 5 in A, K.219 Open Rehearsal (Pre-Rehearsal Talk, 9:30am) SCHUMANN Symphony No. 2 BSO program of Sunday, July 26

Saturday, July 18, 10:30am Saturday, July 25, 8:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—MICHAEL TILSON THOMAS, BSO program of Sunday, July 19 conductor EMANUEL AX, piano Saturday, July 18, 8:30pm MOZART Piano Concerto No. 14 in E-flat, BSO—CHRISTIAN ZACHARIAS, conductor K.449 and pianist MAHLER Symphony No. 5 SARAH CONNOLLY, mezzo-soprano Sunday, July 26, 2:30pm ALL-MOZART PROGRAM Piano Concerto No. 25 in C, K.503; “Ch’io mi BSO—CHRISTOPH VON DOHNÁNYI, scordi di te,” Concert aria for soprano and conductor orchestra with piano, K.505; “Deh per questo ALL-MOZART PROGRAM istante solo” from La clemenza di Tito; Symphonies 39, 40, and 41, Jupiter Symphony No. 38, Prague Thursday, July 30, 8pm Sunday, July 19, 2:30pm THE KNIGHTS BSO—SIR NEVILLE MARRINER, conductor AWET ANDEMICAEL, NICHOLAS PHAN, PAUL LEWIS, piano and KYLE KETELSEN, vocal soloists MOZART Symphony No. 35, Haffner KEVORK MOURAD, visual artist SCHUMANN Piano Concerto Music of Boccherini, Ravel, Falla, de Lucía, MOZART Symphony No. 36, Linz de Nebra, and Geminiani; readings of Pablo Neruda poetry with musical improvisation; Sunday, July 19, 8pm and Falla’s Master Peter’s Puppet Show AUDRA MCDONALD Friday, July 31, 6pm (Prelude Concert) ANDY EINHORN, music director and piano MARK VANDERPOEL, string bass MEMBERS OF THE BSO GENE LEWIN, drums Music of Frescobaldi, Berger, and Stravinsky Friday, July 31, 8:30pm BSO—KEN-DAVID MASUR, conductor GARRICK OHLSSON, piano WEBER Overture to Der Freischütz SCHUBERT Symphony No. 4, Tragic BEETHOVEN Piano Concerto No. 5, Emperor

Programs and artists subject to change. 2015 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge  Admission free, but restricted to that evening’s concert ticket holders ♦ Includes music commissioned for TMC75

Saturday, June 20, 8pm * Sunday, July 12, 10am BOSTON POPS ESPLANADE ORCHESTRA Chamber Music ♦ KEITH LOCKHART, conductor Sunday, July 12, 8pm KATE BALDWIN and JASON DANIELEY, Vocal Concert special guests TMC VOCAL FELLOWS Monday, July 13, 6pm  “Simply Sondheim” Prelude Concert Thursday, June 25 and Monday, July 13, 8pm Friday, June 26, 8pm * The Daniel Freed and Shirlee Cohen Freed MARK MORRIS DANCE GROUP Memorial Concert TMC FELLOWS TMC ORCHESTRA—LUDOVIC MORLOT and MARK MORRIS, conductor and choreographer TMC CONDUCTING FELLOWS, conductors JAMES SOMMERVILLE, horn Sunday, June 28, 10am Music of WAGNER, HINDEMITH, GOLIJOV Chamber Music for Winds, Brass, and (TMC75 world premiere), and DEBUSSY Percussion ♦ Saturday, July 18, 6pm  Monday, June 29, 1pm, 4pm, and 8pm Prelude Concert STRING QUARTET MARATHON One ticket provides admission to all three concerts. Sunday, July 19, 10am Chamber Music ♦ Sunday, July 5, 10am Chamber Music ♦ Monday, July 27, 8pm * The Margaret Lee Crofts Concert Sunday, July 5, 8pm * TMC ORCHESTRA—MICHAEL TILSON The Phyllis and Lee Coffey Memorial Concert THOMAS and TMC CONDUCTING TMC ORCHESTRA—STEFAN ASBURY and FELLOWS, conductors TMC CONDUCTING FELLOWS, conductors BUTI YOUNG ARTISTS CHORUS Music of BRITTEN, BRAHMS, WILLIAMS WILLIAM HUDGINS, clarinet (TMC75 world premiere), and SIBELIUS Music of COPLAND, FOSS, BERNSTEIN, Tuesday, July 7, 8pm and IVES Vocal Concert: Songs of the WWI Era Saturday, August 1, 6pm  Saturday, July 11, 6pm  Prelude Concert Prelude Concert Sunday, August 2, 10am Chamber Music ♦

TMC Orchestra Concerts in Ozawa Hall (July 5, 13, 27; August 2), $55, $45, and $35 (lawn admission $12). TMC Recitals, Chamber Music, String Quartet Marathon: $12. Festival of Contemporary Music Concerts (excluding 7/27 TMCO concert), $12. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $100: TMC Orchestra, TMC Recital, and BUTI concert tickets are available in advance online, by phone, or in person at the box office. On the day of the concert, tickets to TMC and BUTI recitals in Ozawa Hall may be purchased up to one hour before concert start time with cash only, and only at the Ozawa Hall Bernstein Gate. TMC Orchestra concerts (excluding 7/20) may be purchased on the day of the concert at the Ozawa Hall box office. Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $100 level receive one free admission and Friends at the $200 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $12. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or visit tanglewood.org/contribute. Sunday, August 2, 8pm Monday, July 20—Monday, July 27 A TMC75 Opera Celebration FESTIVAL OF CONTEMPORARY MUSIC TMC ORCHESTRA—KEN-DAVID MASUR and John Harbison, Michael Gandolfi, and TMC CONDUCTING FELLOWS, conductors Oliver Knussen, Festival Curators DAWN UPSHAW, soprano The 2015 Festival of Contemporary Music TMC VOCAL FELLOWS focuses on TMC faculty and alumni com- Excerpts from Mozart’s Idomeneo, Golijov’s posers, and includes fifteen works, twelve Ainadamar, and Britten’s Albert Herring of them world premieres, commissioned for the TMC’s 75th anniversary. The July 27 Tuesday, August 4 * TMCO concert has been programmed by TANGLEWOOD ON PARADE TMC alumnus Michael Tilson Thomas; the 2:30pm: TMC Cello Ensemble July 23 concert honors composer and former 3:30pm: TMC Piano Concert TMC director Gunther Schuller. Complete 4pm: BUTI Young Artists Orchestra and program details are available at the Tangle- Chorus (Shed) wood Main Gate, at bso.org, and in the TMC program book. 5pm: TMC Vocal Concert 8pm: TMC Brass Fanfares (Shed) ♦ Monday, July 20, 8pm 8:30pm: Gala Concert (Shed) TMC ORCHESTRA—STEFAN ASBURY TMCO, BSO, and BOSTON POPS ORCHESTRA and TMC CONDUCTING FELLOWS, STÉPHANE DENÈVE, KEITH LOCKHART, conductors; EMANUEL AX, piano; ANDRIS NELSONS, and JOHN WILLIAMS, SAMANTHA BENNETT, violin; THE conductors NEW FROMM PLAYERS Music of SHOSTAKOVICH, RAVEL Thursday, July 23, 8pm WILLIAMS, and TCHAIKOVSKY OLIVER KNUSSEN and JONATHAN Fireworks to follow the concert BERMAN, conductors; PETER SERKIN, Saturday, August 8, 6pm  piano; NICHOLAS PHAN, tenor; THE Prelude Concert NEW FROMM PLAYERS; TMC FELLOWS Saturday, August 8, 8:30pm (Shed) * Friday, July 24, 2:30pm TMC 75th Anniversary Gala The Fromm Concert at Tanglewood The Leonard Bernstein Memorial Concert JOHN HARBISON, conductor TMC ORCHESTRA—ANDRIS NELSONS, URSULA OPPENS, piano; WENDY conductor PUTNAM, violin; MICKEY KATZ, cello; ERIN WALL, CHRISTINE GOERKE, TMC FELLOWS ERIN MORLEY, LIOBA BRAUN, Saturday, July 25, 2:30pm JANE HENSCHEL, KLAUS FLORIAN VOGT, DAWN UPSHAW, soprano; ROBERT MATTHIAS GOERNE, and AIN ANGER, SHEENA, English horn; GEORGE NIXON, vocal soloists marimba; THE NEW FROMM PLAYERS; TANGLEWOOD FESTIVAL CHORUS TMC FELLOWS BUTI CHORUS AMERICAN BOYCHOIR Saturday, July 25, 6pm  (Prelude Concert) MAHLER Symphony No. 8 LUCY SHELTON, soprano; THE NEW FROMM PLAYERS; TMC FELLOWS Sunday, August 9, 10am Chamber Music Sunday July 26, 10am STEFAN ASBURY, conductor Tuesday, August 11, 8pm STEPHEN DRURY, piano; THE NEW ♦ Vocal Concert FROMM PLAYERS; TMC FELLOWS Saturday, August 15, 6pm  Monday, July 27, 8pm * ♦ Prelude Concert TMC ORCHESTRA—MICHAEL TILSON Sunday, August 16, 10am THOMAS and TMC CONDUCTING Chamber Music ♦ FELLOWS conducting; BUTI CHORUS; WILLIAM HUDGINS, clarinet; BONNIE Sunday, August 16, 2:30pm (Shed) * BEWICK, violin BSO (Beethoven) and TMCO (Copland)— ASHER FISCH, conductor The Festival of Contemporary Music has been JULIANNA DI GIACOMO, RENÉE TATUM, endowed in perpetuity by the generosity of Dr. PAUL GROVES, and JOHN RELYEA, vocal Raymond H. and Mrs. Hannah H. Schneider, soloists with additional support from the Aaron Copland TANGLEWOOD FESTIVAL CHORUS Fund for Music, the Fromm Music Foundation, COPLAND Symphonic Ode the National Endowment for the Arts, and the BEETHOVEN Symphony No. 9 Helen F. Whitaker Fund.

Boston University Tanglewood Institute (BUTI) The Boston University Tanglewood Institute (BUTI) is recognized internationally as one of the premier summer training programs for advanced high-school age musicians and is the only program of its kind associated with one of the world’s great orchestras. Founded in 1966, BUTI is a result of the collaborative vision of Erich Leinsdorf, then music director of the Boston Symphony Orchestra, who invited the College of Fine Arts at Boston University to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Today, nearly 50 years later, BUTI continues to build upon its legacy of excellence, offering a transformative experience to more than 350 budding instrumentalists, composers, and singers who reside at its 64-acre campus in Lenox, Massachusetts. Its intensive programs, distin- guished faculty, and the opportunities afforded through its unique affiliation with the BSO and TMC have com- bined to give BUTI a celebrated and distinctive reputa- tion among summer music programs of its kind. BUTI’s season includes six performances at Seiji Ozawa Hall and more than fifty concerts and recitals in and around Lenox. BUTI alumni contribute to today’s musical world as prominent performers and conduc- tors, composers and educators, and administrators and board members. Currently, sixteen members of the BSO are BUTI alumni. The program demonstrates great commitment to students from around the country and world, nearly half of whom are supported by the BUTI Scholarship Fund, made possible by contributions from individuals, founda- tions, and corporations. If you would like further information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

2015 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 18, 2:30pm, Ankush Kumar Bahl conducts Beethoven’s Egmont Overture, Copland’s Appalachian Spring, and Elgar’s Enigma Variations. Saturday, August 1, 2:30pm, Paul Haas conducts Bernstein’s Candide Overture and Chichester Psalms (joined by the Young Artists Chorus) and Bartók’s Concerto for Orches- tra. Saturday, August 15, 2:30pm, Paul Haas conducts Tchaikovsky’s Romeo and Juliet Fantasy-Overture and Prokofiev’s Symphony No. 5.

WIND ENSEMBLE PROGRAMS: Sunday, July 19, 2:30pm, David J. Martins conducts Shostakovich, Pann, George, Mackey, Hindemith/Wilson, Iannaccone, and Husa. Sunday, August 2, 2:30pm, H. Robert Reynolds conducts Strauss, Lauridsen/Reynolds, Salfelder, Grantham, Williams/Lavender, Ticheli (featuring Jennifer Bill, saxophone), and Daugherty.

VOCAL PROGRAMS: Tuesday, August 4, 4pm (Tanglewood on Parade), Ann Howard Jones conducts choral works by Biebl, Dove, Mendelssohn, Mozart, Poulenc, Rautavaara, Rossini, and Sullivan at the Koussevitzky Music Shed.

HONORS CONCERT: Saturday, August 8, 2:30pm, a special concert featuring solo and chamber music performances by select BUTI students.

Young Artists Orchestra concert tickets may be purchased for $12 each at the door of Seiji Ozawa Hall on the Tanglewood main grounds directly prior to the concert event or online at bso.org. Young Artists Wind Ensemble concerts and the Honors Concert are not tick- eted and are open to the public. For a full listing of events, visit bu.edu/tanglewood.

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Andrew Tremblay, Tanglewood Artist Liaison

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

Boston Pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller Sophia Bennett, Staff Accountant • Angelina Collins, Accounting Manager • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Katherine Laveway, Major Gifts Coordinator • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Maggie Rascoe, Annual Funds Coordinator • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Manager, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement

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

Human Resources

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

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

Public Relations

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

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

Sales, Subscription, and Marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, Symphony- Charge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Karen Cubides, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Melissa Farrington, Associate Director of Special Events, Promotions, and Social Media • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager, Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Symphony Hall Box Office Manager • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Tanglewood Box Office Manager/Tessitura Liaison • Nicholas Vincent, Assistant Manager Box Office Representatives Jane Esterquest • Arthur Ryan Event Services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Amanda Canale, Visitor Center Manager • Tammy Lynch, Tanglewood Front of House Manager • Peggy and John Roethel, Seranak Managers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Gerald L. Dreher Vice-Chair, Tanglewood, and Chair-Elect Martin Levine Secretary Susan Price

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

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

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick Tanglewood Project Leads 2015 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein and Gayle Moskowitz • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Nancy Finn • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Elliot Slotnick and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Gerald and Joanne Dreher and David and Janet Rothstein • Tour Guides, Howard Arkans and Mort and Sandra Josel • Young Ambassadors, William Ballen and Carole Siegel FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITERESTAURANTSOFTHEBERKSHIRES Stu Rosner Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2015 season. An eighth note  denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-chair, Tanglewood Business Partners Committee Mary Jane White, Co-chair, Tanglewood Business Partners Committee Accounting/Tax Services Mark Friedman, CPA • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates  • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Sheer & Company, in memory of Alfred Schnieder  Advertising/Marketing/Consulting Barry L. Beyer  • Ed Bride Associates • The Cohen Group  • Pilson Communications, Inc.  • RL Associates  Architecture/Design/Engineering Easton + Combs Architects • edm - architecture | engineering | management  • Foresight Land Services, Inc.  • Hill-Engineers, Architects, Planners, Inc. • Barbara Rood Interiors Art/Crafts/Antiques Elise Abrams Antiques • An American Craftsman • Asiabarong Gallery • Joanie Ciolfi Paintings • Colorful Stitches • HISTORY OF TOYS GALLERY • Hoadley Gallery  • Schantz Galleries Contemporary Glass  • Stanmeyer Gallery & Shaker Dam Coffee House  Automotive Autobahn Service • Balise Lexus  • BIENER AUDI • Haddad Dealerships (Toyota, Suburu, Hyundai, Nissan)  Aviation Lyon Aviation, Inc.  Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • Pittsfield Cooperative Bank • Salisbury Bank and Trust Company • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc.  • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc.  Building/Contracting ALLEGRONE COMPANIES • Great River Construction Co. Inc.  • Luczynski Brothers Building • J.H. MAXYMILLIAN, INC. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC Catering International Polo Club Catering LLC  • Savory Harvest Catering  Education American Institute for Economic Research  • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc.  Energy Lipton Energy  • VIKING FUEL OIL CO. INC. Financial Services American Investment Services  • Frank Battista, CFP®  • BERKSHIRE BANK • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James  • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates  • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii  • TD Wealth • UBS Food/Beverage Wholesale Barrington Coffee Roasting Co. • Crescent Creamery  • KOPPERS CHOCOLATE Insurance BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC Insurance  • Jacqueline A. Metsma • Toole Insurance Agency, Inc.  Legal Cianflone & Cianflone P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA LEFFERT, J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper, Esq.  • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn  • Berkshire Days Inn  • Berkshire Fairfield Inn & Suites  • Berkshire Legacy  • Birchwood Inn  • BLANTYRE • The Briarcliff Motel • Brook Farm Inn  • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox  • The Cornell Inn  • CRANWELL SPA AND GOLF RESORT • Crowne Plaza Hotel – Berkshires  • Devonfield Inn  • An English Hideaway Inn  • THE GARDEN GABLES INN • Gateways Inn  • Hampton Inn & Suites  • Hampton Terrace Bed & Breakfast Inn • Hilton Garden Inn • Hotel on North  • Inn at Green River  • The Inn at Stockbridge  • Kemble Inn  • THE PORCHES INN AT MASS MoCA • THE RED LION INN • The Rookwood Inn  • Seven Hills Inn  • Stonover Farm Bed & Breakfast  • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products BELL CONTAINER CORP. • BROADWAY LANDMARK CORPORATION • General Dynamics • Ted and Barbara Ginsburg • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc.  • RTR Technologies, Inc. Medical 510 Medical Walk-In  • J. Mark Albertson, D.M.D., PA  • Berkshire Health Systems, Inc. • Stanley E. Bogaty, M.D. • County Ambulance Service  • Lewis R. Dan, M.D.  • Eye Associates of Bucks County  • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Carol R. Kolton, MSW • Dr. Joseph Markoff  • JJ Nacht D.M.D. • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Optical Care Associates • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services  • Chelly Sterman Associates • Suburban Internal Medicine  • Dr. Natalya Yantovsky DMD, Dentist Moving/Storage Quality Moving & Storage  • SECURITY SELF STORAGE Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Crocus Hale Flowers • Garden Blossoms Florist  • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS, LLC Real Estate 67 Church Street, LLC • Ashmere Realty, Inc. • BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate  • Brause Realty, Inc.  • Cohen + White Associates  • Steve Erenburg, Cohen + White Associates  • Robert Gal L.L.C. • Barbara K. Greenfeld  • Hill Realty, Inc. • LD Builders • MacCaro Real Estate • McLean & McLean Realtors, Inc. • Overlee Property Holdings LLC • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Scarafoni Associates • Anita Schilling, Sotheby’s International Realty • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate, Inc.  • Tucker Welch Properties • Wheeler & Taylor Real Estate Resort /Spa CANYON RANCH IN LENOX • CRANWELL SPA AND GOLF RESORT • Elm Court Estate Restaurant Alta Restaurant & Wine Bar  • Baba Louie’s Pizza Company • Bagel + Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant and Sushi Bar • Brava • Café Lucia  • Chez Nous • Church Street Café  • Cork ’N Hearth • CRANWELL SPA AND GOLF RESORT • Electra’s Café • Firefly New American Bistro & Catering Co.  • Flavours of Malaysia • Frankie’s Ristorante  • Haven Café & Bakery • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café  • Pleasant and Main Café & General Store • Rouge Restaurant • Table Six Restaurant  Retail: Clothing Arcadian Shop  • Ben’s • CASABLANCA • Castle & Main • Church Street Trading Co. And Hillary Rush berkshires • GB9 • The Gifted Child • GLAD RAGS • J.McLaughlin • Purple Plume • Shooz • Swtrz • twiGs Retail: Food Berkshire Mountain Bakery, Inc. • BIG Y SUPERMARKETS, INC. • Chocolate Springs Café  • Guido’s Fresh Marketplace  • The Meat Market & Fire Roasted Catering  • Oliva! Gourmet Olive Oils & Vinegars of the Berkshires • The Scoop/Blondie’s Homemade  • SoCo Creamery  • STOP & SHOP SUPERMARKETS Retail: Home/Electronics COUNTRY CURTAINS • Local • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design • Second Home • Tune Street • Willowbrook Home Retail: Jewelry Laurie Donovan Designs • Jewelz Fine Jewelry • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS, INC. • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited  Salon Peter Alvarez Salon • SEVEN salon.spa  • Shear Design  Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer  • Aladco Linen Services  • Braman Termite & Pest Elimination • Classical Tents & Party Goods  • Greylock Design Associates  • Mahaiwe Tent, Inc.  • Shire Cleaning and Janitorial Specialty Contracting R.J. Aloisi Electrical Contracting Inc.  • Pignatelli Electric  • Michael Renzi Painting Co. LLC  Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • All Points Driving Service • Tobi’s Limousine Service, Inc. • Traveling Professor Video/Special Effects/Fireworks Atlas PyroVision • MYRIAD PRODUCTIONS Yoga/Wellness/Health BERKSHIRE TRAINING STATION • Dharma Coach • EASTOVER ESTATE AND RETREAT • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

Alli and Bill Achtmeyer • Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber • Anonymous

Two and One Half Million

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

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • William I. Bernell ‡ • Roberta and George ‡ Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Bob and Happy Doran • Alan and Lisa Dynner and Akiko Dynner • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • 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 • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall