Week 11 2016–17 Season Barber Riley ELGAR

2016–17 season andris nelsons music director

week 11 barber riley elgar

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

Through January 16, 2017

mfa.org/chase

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

William Merritt Chase, The Young Orphan (An Idle Moment) (detail), 1884. Oil on canvas. NA diploma presentation, November 24, 1890. National Academy Museum, New York (221-P). Table of Contents | Week 11

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 a case for quality by gerald elias 2 8 this week’s program

Notes on the Program

30 The Program in Brief… 31 Samuel Barber 39 Terry Riley 40 Symphony Hall's Aeolian-Skinner Organ 49 Edward Elgar 63 To Read and Hear More…

Guest Artists

67 Bramwell Tovey 69 Cameron Carpenter

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

the friday preview on january 13 is given by bso associate director of program publications robert kirzinger.

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

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

trustees of the boston symphony orchestra, inc.

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

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

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

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

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

week 11 trustees and overseers 3 WEALTH MANAGEMENT SINCE 1838

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

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

† Deceased

week 11 trustees and overseers 5 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. BSO News

Two 2017 Grammy Nominations for Andris Nelsons and the Boston Symphony Orchestra Last summer’s release in the BSO’s continuing Shostakovich series “Shostakovich Under Stalin’s Shadow,” on Deutsche Grammophon—a two-disc set with Andris Nelsons leading the BSO in live Symphony Hall performances of Shostakovich’s symphonies 5, 8, and 9 plus selections from his incidental music to Hamlet—has received two Grammy nominations, in the categories of Best Orchestral Performance and Best Engineered Album, Clas- sical. The 2017 Grammy Awards ceremony is scheduled for February 12 in Los Angeles. Coming up next in the series “Shostakovich Under Stalin’s Shadow” and due for release this summer is a two-disc set of the symphonies 6 and 7 (Leningrad) plus selections from the composer’s incidental music to King Lear, all to be taken from the current season’s upcoming BSO performances of those works.

“Onstage at Symphony” The 2016-17 season sees the return of the BSO’s “Onstage at Symphony,” a program convening amateur musicians of all backgrounds from across Massachusetts for a set of rehearsals culminating in a performance on the Symphony Hall stage. Designed for adult amateur musicians residing in Massachusetts who have a true love for musical performance but have pursued alternate career paths, this program gives community musicians an opportunity to experience a “day in the life” of a professional musician under the leadership of BSO Germeshausen Youth and Family Concerts Conductor Thomas Wilkins. Activities began this Thursday, January 11; the group’s Symphony Hall performance—this Saturday afternoon, January 14, at 1:30 p.m.—is free and open to the public. For more information, please visit bso.org/onstageatsymphony.

Boston Symphony Chamber Players, Sunday, January 22, at 3 p.m. at Jordan Hall The second concert of the Boston Symphony Chamber Players’ 2016-17 four-concert series at Jordan Hall at New England Conservatory takes place on Sunday, January 22, at 3 p.m. Guest pianist Randall Hodgkinson joins the Chamber Players for this program, which includes Taffanel’s Wind Quintet in G minor; Saint-Saëns’s Septet in E-flat for piano, trumpet, and strings, Opus 65; Eric Tanguy’s Afterwards, for flute and piano, and Françaix’s

week 11 bso news 7 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . Octet for winds and strings. For single tickets at $38, $29, and $22, visit the Symphony Hall box office or bso.org, or call SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets can only be purchased at the Jordan Hall box office.

“Do You Hear What I Hear?” Thursday, January 26, at 6 p.m. in Williams Hall at New England Conservatory A collaboration between the Boston Symphony Orchestra and New England Conserva- tory, “Do You Hear What I Hear?” offers a series of free hour-long events that introduce audiences to composers working with the BSO, via composer-curated chamber music programs performed by NEC students, with coaching by NEC faculty and the composers themselves. Moderated by BSO Assistant Artistic Administrator Eric Valliere, with pianist Stephen Drury as musical consultant, the second of this season’s three sessions—to include music of Julian Anderson, Schubert, and Ravel on Thursday, January 26, at 6 p.m. in NEC’s Williams Hall—features a discussion with composer Julian Anderson, whose Incantesimi receives its American premiere with the BSO at 8 p.m. that same evening. The season’s third and final session of “Do You Hear What I Hear?” is scheduled for Thursday, February 23, at 6 p.m. in NEC’s Brown Hall, with composer Sofia Gubaidulina, whose Triple Concerto for violin, cello, and bayan receives its world premiere on that evening’s BSO concert.

Charles Munch’s Complete BSO Recordings For RCA Reissued in 86-CD Box Set Recently issued on the RCA Red Seal label by Sony Classical, “Charles Munch/Boston Symphony Orchestra/The Complete RCA Album Collection” brings together on 86 CDs every recording made by Charles Munch with the BSO during his tenure as the BSO’s music director from 1949 to 1962, as well as a number of recordings Munch made for Columbia with the New York Philharmonic between 1947 and 1949 and with the Phila- delphia Orchestra in 1963—all encompassing music by more than forty composers spanning two centuries. The lavishly illustrated booklet includes notes by D. Kern Holoman, author of the biography Charles Munch (Oxford University Press, 2012); recording and release dates for all of the musical selections, as well as the original catalog numbers; and reproductions of the original LP album covers, which also appear on the individual CD envelopes, along with the original liner notes. “Charles Munch/The Boston Symphony Orchestra/The Complete RCA Album Collection” is available at the Symphony Shop and online at bso.org.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on January 13 is given by Robert Kirzinger. Friday Previews in the weeks ahead will be given by Harlow Robinson of Northeastern University on January 20 and Robert Kirzinger on January 27.

week 11 bso news 9 individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Boston Symphony Association of Volunteers Concert, Saturday, wood campus, then you have likely encountered a member of the BSAV in action. January 14, 2017 During the 2015-16 season, some 750 volun- The performance on Saturday evening is teers donated nearly 26,000 hours of their named in honor of the Boston Symphony time in passionate support of the BSO. The Association of Volunteers (BSAV). The BSO BSAV continues to be a valued partner in has relied on the assistance of volunteers helping the BSO maintain its legacy of musi- for decades, but in 1984, a group of loyal cal excellence and sustain its community and dedicated supporters of the BSO and and educational outreach to spread the joy Tanglewood first joined forces to ensure that of music far and wide. all aspects of the BSO’s many educational, service, and fundraising initiatives were top- notch. BSO Broadcasts on WCRB Members of the BSAV are instrumental in BSO concerts are heard on the radio at 99.5 helping the BSO carry out its musical mis- WCRB. Saturday-night concerts are broad- sion. They diligently dedicate hours upon cast live at 8 p.m. with host Ron Della Chiesa, hours to the behind-the-scenes elements for and encore broadcasts are aired on Monday marquee events such as A Company Christ- nights at 8 p.m. In addition, interviews with mas at Pops and Presidents at Pops. BSAV guest conductors, soloists, and BSO musi- members also play a vital role in many BSO cians are available online, along with a one- initiatives and programs, such as the Instru- year archive of concert broadcasts. Listeners ment Playgrounds, flower decorating, exhibit can also hear the BSO Concert Channel, docents, and greeting patrons in Symphony an online radio station consisting of BSO Hall and at Tanglewood, among others. And concert performances from the previous if you have ever visited the Symphony Shop twelve months. Visit classicalwcrb.org/bso. or Tanglewood Glass Houses, engaged the Current and upcoming broadcasts include assistance of an usher at Tanglewood, or last week’s concerto program featuring BSO taken a tour of Symphony Hall or the Tangle- soloists under the direction of Ken-David

10 Masur (encore January 16); this week’s pro- Go Behind the Scenes: gram of music by Barber, Terry Riley, and The Irving W. and Charlotte F. Rabb Elgar with organist Cameron Carpenter Symphony Hall Tours and conductor Bramwell Tovey (January 14; encore January 23); music of Prokofiev, The Irving W. and Charlotte F. Rabb Sympho- Weinberg, and Tchaikovsky with conductor ny Hall Tours, named in honor of the Rabbs’ Juanjo Mena and violinist Gidon Kremer devotion to Symphony Hall through a gift (January 21; encore January 30), and music from their children James and Melinda Rabb of Julian Anderson (a BSO co-commission), and Betty (Rabb) and Jack Schafer, provide Schumann, and Schubert with conductor a rare opportunity to go behind the scenes Christoph von Dohnányi and pianist Jean at Symphony Hall. In these free, guided Frédéric Neuburger (January 28; encore tours, experienced members of the Boston February 6). Symphony Association of Volunteers unfold the history and traditions of the Boston Sym- phony Orchestra—its musicians, conductors, Join Our Community of and supporters—as well as offer in-depth Music Lovers— information about the Hall itself. Tours are The Friends of the BSO offered on selected weekdays at 4 p.m. and some Saturdays during the BSO season. Attending a BSO concert at Symphony Hall Please visit bso.org/tours for more informa- is a communal experience—thousands tion and to register. of concertgoers join together to hear 100 musicians collaborate on each memorable performance. Without an orchestra, there is The Information Stand: Find Out no performance, and without an audience, What’s Happening at the BSO it is just a rehearsal. Every single person is important to ensuring another great expe- Are you interested in upcoming BSO concert rience at Symphony Hall. There’s another information? Special events at Symphony community that helps to make it all possible, Hall? BSO youth activities? Stop by the infor- one that you might not notice while enjoying mation stand in the Brooke Corridor on the a concert—the Friends of the BSO. Every $1 Massachusetts Avenue side of Symphony the BSO receives through ticket sales must Hall (orchestra level), and in the Cohen Wing be matched by an additional $1 of contribut- during Pops concerts. There you will find the ed support to cover annual expenses. Friends latest information on performances, mem- of the BSO help bridge that gap, keeping the bership, and Symphony Hall, all provided music playing to the delight of audiences all by knowledgeable members of the Boston year long. In addition to joining a commu- Symphony Association of Volunteers. The nity of like-minded music lovers, becoming BSO Information Stand is staffed before each a Friend of the BSO entitles you to benefits concert and during intermission. that bring you closer to the music you cher- ish. Friends receive advance ticket ordering Friday-afternoon Bus Service privileges, discounts at the Symphony Shop, to Symphony Hall and access to the BSO’s online newsletter InTune, as well as invitations to exclusive If you’re tired of fighting traffic and search- donor events such as BSO and Pops working ing for a parking space when you come to rehearsals, and much more. Friends member- Friday-afternoon Boston Symphony concerts, ships start at just $100. To join our commu- why not consider taking the bus from your nity of music lovers in the Friends of the BSO, community directly to Symphony Hall? The contact the Friends Office at (617) 638-9276 BSO is pleased to continue offering round- or [email protected], or join online at trip bus service on Friday afternoons at cost bso.org/contribute. from the following communities: Beverly,

week 11 bso news 11 12 Canton, Cape Cod, Concord, Framingham, Performing Arts Center, 166 Main Street, the South Shore, Swampscott, Wellesley, Concord, MA. Tickets are $42 and $33 Weston, and Worcester in Massachusetts; (discounts for seniors and students). For Nashua, New Hampshire; and Rhode Island. more information, call (978) 371-9667 or In addition, we offer bus service for selected visit www.concordchambermusic.org. concerts from the Holyoke/Amherst area. Taking advantage of your area’s bus service not only helps keep this convenient service Those Electronic Devices… operating, but also provides opportunities As the presence of smartphones, tablets, to spend time with your Symphony friends, and other electronic devices used for com- meet new people, and conserve energy. For munication, note-taking, and photography further information about bus transportation has increased, there have also been continu- to Friday-afternoon Boston Symphony con- ing expressions of concern from concertgoers certs, please call the Subscription Office at and musicians who find themselves distracted (617) 266-7575. not only by the illuminated screens on these devices, but also by the physical movements that accompany their use. For this reason, BSO Members in Concert and as a courtesy both to those on stage and Collage New Music, founded by former those around you, we respectfully request BSO percussionist Frank Epstein and whose that all such electronic devices be completely membership includes BSO violinist Cath- turned off and kept from view while BSO per- erine French and former BSO cellist Joel formances are in progress. In addition, please Moerschel, continues its season with a also keep in mind that taking pictures of the concert on Sunday, January 15, at 8 p.m. orchestra—whether photographs or videos— at Edward M. Pickman Concert Hall at the is prohibited during concerts. Thank you very Longy School of Music of Bard College, 27 much for your cooperation. Garden Street, Cambridge. Soprano Janet Brown is soloist in a program led by Col- lage’s music director, David Hoose, of works Comings and Goings... by Daniel Strong Godfrey, Marjorie Merry- Please note that latecomers will be seated man, Gordon Beeferman, Seymour Shifrin, by the patron service staff during the first and Carl Schimmel. General admission is convenient pause in the program. In addition, $30 (discounts for seniors and students), please also note that patrons who leave the available at the door. auditorium during the performance will not be allowed to reenter until the next conve- The Concord Chamber Music Society, nientpause in the program, so as not to dis- founded by BSO violinist Wendy Putnam, turb the performers or other audience mem- performs music of Beethoven, Yehudi bers while the music is in progress. We thank Wyner, Zemlinsky, and Schoenfeld on you for your cooperation in this matter. Sunday, January 29, at 3 p.m. (pre-concert lecture at 2 p.m.) at the Concord Academy

week 11 bso news 13 MASTERCARD® IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA

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Certain terms and restrictions apply. Quantities are limited. For MasterCard® cardholders only. MasterCard, World MasterCard, Priceless and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. © 2016 MasterCard. on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

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

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

week 11 on display 15 Marco Borggreve

Andris Nelsons

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

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

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

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

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

week 11 andris nelsons 17 Boston Symphony Orchestra 2016–2017

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

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

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

week 11 boston symphony orchestra 19 OYSTER PERPETUAL DATEJUST 36

rolex oyster perpetual and datejust are ® trademarks. Marco Borggreve

A Case for Quality by Gerald Elias

Prompted by his experience on the BSO’s eight-city European tour last spring, former Boston Symphony violinist Gerald Elias reflects on the enduring strengths of symphony concerts.

Last April I had the opportunity to perform Mahler’s Ninth Symphony with the BSO at Symphony Hall and on its spring European tour. The ninety-minute symphony is a challenge both for the musicians and audience. Its relentless intensity and extended tonality keep it always outside the edge of our aural comfort zone, especially compared to the facile lyricism of a Tchaikovsky or Dvoˇrák. When the Symphony Hall performance ended and the musicians stood up to take our bows, I looked out into the audience. There usually is enough light in the hall to see the faces of concertgoers applauding, at least near the stage. Their expressions are a good gauge of how much they enjoyed the concert.

What I saw was more than gratifying. Not only was it clear the performance had been deeply appreciated, I was pleasantly surprised to see a fairly evenly balanced demo- graphic division of people in their twenties and thirties, forties and fifties, and sixties and seventies. And it wasn’t just a fluke. It turned out to be the case time and time again—in Vienna, in Leipzig, in Dresden, in Luxembourg—as well as at Symphony Hall. I suppose I was surprised because there has been a drumbeat of naysayers who prophesy the doom of symphony orchestras, telling us in somber tones that only rich, old folks go to concerts these days. I’m sorry, but that’s not how I’ve seen things. Is

Andris Nelsons and the BSO at the Musikverein in Vienna, May 9, 2016

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Andris Nelsons and the BSO performing Mahler's Symphony No. 9 at the Gewandhaus in Leipzig, May 5, 2016

there a greater preponderance of older people attending symphony concerts than rock concerts? No doubt. But no one seems to worry about Justin Bieber’s future simply because his audience is severely limited to teeny-boppers. And to the notion that symphonies have priced themselves out of the entertainment market: going to a symphony concert is no more expensive than the average ticket for a Red Sox game, and a lot less than a box seat. So if you can afford to sit in the bleachers and polish off a Fenway frank and a Samuel Adams, you can afford the Boston Symphony.

A prevailing narrative, promulgated, amazingly enough, by some symphony orchestras’ own administrations (though fortunately not the BSO’s), runs like this: (A) Symphony orchestras are in dire trouble. (B) The traditional symphonic format—the repertoire, the two-hour concert, the white-tie-and-tails, the formidable concert hall—is no longer relevant to contemporary society. (C) For the concert experience to be meaningful, and therefore in order for orchestras to survive, it has to connect with a more diverse local community and compete more actively in the entertainment arena. The proposed solution: Orchestras need to jettison the “standard” repertoire and create new formats in less formal, more personalized settings that will attract a more contemporary crowd. In other words, symphony orchestras should cool it with the symphonies. Otherwise, we might as well pack our bags and go home.

I admit I’m exaggerating the argument, but not by much. Nevertheless, I find this narrative not only to be frightening, considering that the source of it is often the organization itself, but also flawed. First, I don’t see that orchestras are on the verge of extinction. On the contrary. People who make this argument are myopically fixated on only the top iert of professional symphony orchestras, and even in this regard it’s somewhat of a fiction. There is no doubt that, as is the case with most nonprofits, raising money is a nonstop challenge. When economic times are tough, orchestras struggle. (Yes, there are some orchestras that continue to struggle regardless of the economy, and some have tragically

week 11 a case for quality 23 24 Sebastien Grebille

Performing Mahler's Ninth at the Philharmonie Luxembourg, May 12, 2016

shut their doors, but in general when times get better, orchestras rebound.) In other words, they’re like any other business. We don’t write off the retail industry when Sears hits the skids. Why would we do that with orchestras? And don’t forget that during the supposed “golden age” of American symphony orchestras in the 1930s and ’40s, when radio stations like NBC supported their own magnificent in-house orchestras and even movie theaters had their own live musicians, there were comparatively few orchestras that provided anything close to a year-round concert schedule and full-time employment for the musicians, let alone health care and retirement benefits.

Going beyond fully professional orchestras, when you look how deeply embedded the culture of symphonic music is in American society, including hundreds of semi- professional, community, youth, college, festival, and school orchestras, a strong case can be made that symphony orchestras have never been healthier. The same week that I played the Mahler with the Boston Symphony at Symphony Hall, I performed as a soloist with the Long Island Youth Orchestra, which was celebrating its fiftieth anniversary! The same week I played the Mahler at Tanglewood, I coached the string section of the all-amateur Stockbridge Sinfonia for their well-attended annual concert. Going beyond our own shores, the explosion of symphonic music in Asia and South America over the past half-century has been nothing short of mind-boggling. Even if classical music in the U.S. and Europe were suddenly to cease tomorrow, the future of orchestral music would still shine brightly around the world.

And you know what music everyone’s playing? Mozart and Beethoven, Mahler and Strauss, Tchaikovsky and Rimsky-Korsakov, Debussy and Ravel. You know why? It’s simple. They composed great music. Musicians love to play it and audiences love to hear it. So far, no one has tired of gawking at the Mona Lisa or the statue of David. Why should listening to Beethoven’s Fifth be any different? Should symphony orchestras

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performanc ® sound for yourself. of their their of And our And s. e— he he e . program more music of contemporary, ethnically diverse composers? Absolutely! If it’s worthy music, by all means. But it’s ass backwards if the motivation is out of fear that otherwise symphony orchestras will die.

But what about the format? The presentation? What about those stuffy concert halls where you have to sit quietly for two hours and not use your cell phones? Isn’t there a better way to connect with the community? Outreach and education activities are great, especially considering the dwindling funding of public school music education. The more the better. But how can such activities “save the symphony” if at the same time the raison d’être—playing symphonies—is devalued by the very organizations trying to “save” it? What would the purpose be of such efforts? If a group of symphony musicians playing Piazzolla tangos in a pub floats their boat, that’s great. That would be a lot of fun. Go for it! Getting to know the musicians up close and personal is a wonderful way for the public to connect. And maybe it would eventually attract some people to go to a real symphony concert. (Personally, when I’m at a pub, I’d rather watch a ball game while I’m drinking my Rolling Rock than listen to string quartets. But, hey, that’s just me.)

But here’s the problem. Outreach has its limits. It’s a challenge to play Tchaikovsky's Fifth Symphony in a bar. I’m not sure how you’d squeeze all those brass players in there. Maybe behind the pool tables. At some point it comes back to concert halls. Sympho- ny orchestras have no choice but to play symphonies in concert halls. And you know what? Some people think it’s very special to go to a concert hall. In fact, a lot of people feel that way. It gives them a sense of being part of something very unique and special. Maybe that’s why they’ve kept coming for three hundred years. We are fortunate that the Boston Symphony was founded upon that principle and has steadfastly maintained it to this day.

In this day and age when we’re surrounded by external stimuli 24/7, when our world view is reduced to a two-by-four-inch cell phone screen, when our computerized exis- tence frames us into thinking and feeling and responding in nanoseconds, the appeal of two hours in the comfort of an impressively expansive and comfortable concert hall, listening to an engaging Rossini overture, a sublime Mozart piano concerto, and a heartwarming Brahms symphony may actually be something that people are more inclined to enjoy more now than ever before. To paraphrase Mark Twain, the reports of the death of the symphony orchestra have been greatly exaggerated. gerald elias, formerly a BSO violinist and associate concertmaster of the Utah Symphony, continues to perform with the BSO at Tanglewood and on tour. Currently music director of Vivaldi by Candlelight in Salt Lake City, he is also author of the award-winning Daniel Jacobus mystery series set in the dark corners of the classical music world. For more information, please visit geraldeliasmanofmystery.wordpress.com.

week 11 a case for quality 27 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 136th season, 2016–2017

Thursday, January 12, 8pm Friday, January 13, 1:30pm Saturday, January 14, 8pm | the boston symphony association of volunteers concert

bramwell tovey conducting

barber “toccata festiva” for organ and orchestra, opus 36 cameron carpenter, organ

Terry riley “at the royal majestic,” concerto for organ and orchestra I. Negro Hall II. Lizard Tower Gang III. Circling Kailash cameron carpenter

{intermission} Peter Vanderwarker

From the BSO library in Symphony Hall

28 elgar variations on an original theme, opus 36, “enigma” Theme (Andante) 8. W.N. (Allegretto) 1. C.A.E. (L’istesso tempo) 9. Nimrod (Adagio) 2. H.D.S.-P. (Allegro) 10. Intermezzo (Dorabella) 3. R.B.T. (Allegretto) (Allegretto) 4. W.M.B. (Allegro di molto) 11. G.R.S. (Allegro di molto) 5. R.P.A. (Moderato) 12. B.G.N. (Andante) 6. Ysobel (Andantino) 13. ***Romanza (Moderato) 7. Troyte (Presto) 14. Finale. E.D.U. (Allegro)

bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

The evening concerts will end about 9:55, the Friday concert about 3:25. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 11 program 29 The Program in Brief...

American virtuoso organist Cameron Carpenter gives Symphony Hall’s grand Aeolian- Skinner organ a good workout in these concerts: it is featured as a solo instrument in Samuel Barber’s Toccata Festiva and Terry Riley’s concerto At the Royal Majestic, both of which are new to the BSO, and Carpenter also plays the organ part in Elgar’s Enigma Variations. (To read about the Symphony Hall organ, see page 40.)

Barber wrote his fifteen-minute showpiece to inaugurate a new organ for the cademyA of Music, home of the Philadelphia Orchestra. The funding for the organ was provided by Mary Louise Curtis Bok Zimbalist, who was also a major patron of Barber’s alma mater, the Curtis Institute of Music. This robust and energetic work, not a concerto per se but more of a duet for organ and orchestra, was premiered by the Philadelphia Orchestra in September 1960.

Terry Riley, the influential American minimalist composer, wroteAt the Royal Majestic expressly for Cameron Carpenter to perform on the organ of the Walt Disney Concert Hall with the Los Angeles Philharmonic. He gave the premiere in April 2014 and has since taken the piece to a number of other cities and orchestras. Based on the composer’s improvisations on the Disney organ as well as on an earlier opera, At the Royal Majestic is a kind of tour through a number of far-flung influences. The jazz-blues flavors of the opening movement are Terry Riley’s responses to the work of the Swiss “outsider artist” Adolf Wölfli, whose colorful, marvelously imaginative, and obsessive drawings include “Negro Hall,” from which the first movement takes its title. The last movement’s allusion to Tibet’s Mount Kailash, a place sacred to the Hindu religion, is made clear in the drama and Hindustani colorings of its music.

Closing the program is Edward Elgar’s evergreen orchestral showpiece, the Enigma Variations. Mostly self-taught and having achieved local renown as a composer, Elgar began writing the Variations on an Original Theme for orchestra in 1899, at age forty- two. Upon its completion he sent it to the eminent conductor Hans Richter, who decid- ed to program the piece. Its premiere in London was a sensational success, almost immediately establishing Elgar’s reputation far beyond provincial England. Apart from being a tour de force of compositional skill and orchestral brilliance, the “Enigma” aspect of the piece titillated: Elgar produced fourteen wide-ranging character sketches of friends and acquaintances based on his original theme, beginning with his wife Alice and ending with himself. Although he later revealed to the public most of the person- alities sketched in his piece, one (Variation 13) has never been satisfactorily identified. Further, in Elgar’s words, “through and over the whole set another theme ‘goes’ but is not played.” He never revealed that unheard theme—an enigma, in spite of the sweat of many musicologists’ brows, that remains unraveled.

Robert Kirzinger

30 Samuel Barber “Toccata Festiva,” Opus 36

SAMUEL OSBORNE BARBER II was born in West Chester, Pennsylvania, on March 9, 1910, and died in New York City on January 23, 1981. He composed his “Toccata Festiva” on a commission from Mary Curtis Zimbalist for the dedication of a new organ at the Academy of Music in Phila- delphia, where Eugene Ormandy led the first performance on September 30, 1960, with organist Paul Callaway and the Philadelphia Orchestra. The present performances are the first of Barber’s “Toccata Festiva” by the Boston Symphony Orchestra.

THE SCORE OF THE “TOCCATA FESTIVA” calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (tam-tam, bass drum, cymbal, triangle, snare drum, xylophone), solo organ, and strings.

Mary Louise Curtis Bok Zimbalist was—across the span of her very long life (1876- 1970)—one of the most generous patrons of music in American history. She founded both the Settlement School of Music and the Curtis Institute of Music in Philadelphia, served as president of the Curtis Institute, was on the board of the Philadelphia Grand Opera Company, and was a longtime friend of Eugene Ormandy and the Philadelphia Orchestra. That orchestra played in the Academy of Music, a hall that did not have an organ, thereby preventing them from playing a number of pieces, so in 1960 Zim- balist set out to solve that problem. She underwrote the purchase of a magnificent new Aeolian-Skinner organ for the Academy of Music, and her gift was generous: the $150,000 she contributed would be about a million and a quarter dollars today. The organ was movable: it could be partially disassembled and moved offstage when the orchestra was playing works that did not require organ.

For the dedication of the new organ, Zimbalist commissioned one of Curtis’s most famous graduates, Samuel Barber, to compose a piece for organ and orchestra. Barber had entered the Curtis Institute at age fourteen as part of its first class—he later said

week 11 program notes 31 that he had been “the second person through the door” at Curtis—and remained there for eight years. His success as a composer was meteoric. A program of his music was broadcast nationwide shortly before his twenty-fifth birthday, an unprecedented honor for someone so young, and his music—beautifully crafted and unfailingly lyric—was quickly taken up by the leading performers of the day. Rodzinski led his First Symphony at the 1937 Salzburg Festival (it was the first work by an American composer ever performed at that festival), and the following year Toscanini led the premiere of his Adagio for Strings, which remains his most famous work. Bruno Walter and the New York Phil- harmonic recorded the First Symphony in 1945, and Serge Koussevitzky soon became Barber’s advocate, leading the Boston Symphony in the premieres of his Second Sym- phony (1944), Cello Concerto (1945), and Knoxville: Summer of 1915 (1948). Vladimir Horowitz gave the first performance of Barber’s Piano Sonata in 1949; Erich Leinsdorf led the premiere of his Piano Concerto with John Browning and the Boston Symphony Orchestra in 1962, during the inaugural week of concerts at New York’s Philharmonic Hall in Lincoln Center; and Barber’s preeminence as perhaps the leading American composer of his era was confirmed when he was commissioned to writeAntony and Cleopatra for the opening of the new Metropolitan Opera House in 1966.

Zimbalist’s commission for a piece for organ and orchestra found Barber at the height of his powers; these were the years between his two Pulitzer Prizes for music—for the opera Vanessa (1958) and the Piano Concerto. Zimbalist asked that the new piece be dedicated to the memory of her father, who had played the organ; as a gesture of

week 11 program notes 33 Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of the world’s greatest orchestras, the Boston Symphony and the Boston Pops.

For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston Mary Louise Curtis Bok Zimbalist (1876-1970) and Samuel Barber

gratitude for her generosity, Barber refused to accept any fee for the new composition. A fine pianist, Barber also played the organ and knew the instrument well (as a twelve- year-old he had served briefly as a church organist). He began work on the new organ piece early in 1960, just as he was making his first sketches for the Piano Concerto, and completed it two months later while on a visit to Munich. Paul Callaway, organist and choir director of the Cathedral Church of Saint Peter and Saint Paul in Washington, D.C., was soloist at the premiere on September 30, 1960, with Eugene Ormandy leading the Philadelphia Orchestra.

Toccata Festiva is not an organ concerto but a virtuoso piece for organ and orchestra. In this music Barber wanted to celebrate the fact that the Philadelphia Orchestra finally had an organ, as well as the new possibilities that organ opened up for the orchestra, so his piece celebrates organ and orchestra equally. A toccata (Italian for “touched”) was originally a composition designed to show off a keyboard player’s skill in fast passages, but over the centuries it has also come to suggest a fast and spirited piece; there have been a number of works called “Toccata” that do not involve a keyboard instrument.

Toccata Festiva bursts to life with a thunderous eruption of sound (“Allegro con brio”— “with spirit”—says Barber in the score, and he means it); within seconds the brass—first trumpets and then horns—outline a thematic shape that will reappear throughout in many different forms. The organ enters as part of this fierce opening statement, though Mahler’s No. 4 or Mozart’s No. 40? calm is soon restored by the strings’ lovely, chorale-like second subject, very much in the dark, romantic Barber vein. The composer’s deep understanding of the organ is At Fairmont Copley Plaza, we appreciate evident throughout Toccata Festiva. Barber was writing specifically for the Aeolian- Skinner organ, which had a huge variety of stops and instrumental sounds, but took all our guests’ preferences. care to write alternate cues for the orchestra in the event that the piece is performed on an organ that does not have all those options. The music moves into what might be its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of called its development section, marked “Fast and joyous,” on a series of timpani salvos, www.fairmont.com/copley-plaza-boston week 11 program notes 35

Organist Paul Callaway (1909-1995), who played the premiere of Barber’s “Toccata Festiva”

and a brassy buildup leads to the cadenza. Barber specifies that this is to be performed “Per pedali”: that is, entirely with the organist’s feet. This requires some very fancy foot- work indeed, and eventually reaches a moment of calm. The orchestra makes a quiet return, and Toccata Festiva drives to its rousing conclusion with all forces—including organ, pounding timpani, and massed brass—contributing to the festive occasion.

Ormandy and the Philadelphia Orchestra were delighted to have the new organ, and with E. Power Biggs they soon recorded the Toccata Festiva and Saint-Saëns’ Organ Symphony—though the organ did not prove a good acoustical fit in the vast Academy of Music. When, forty years later, the Philadelphia Orchestra moved to its new home in Verizon Hall, which has an organ of its own, the Aeolian-Skinner organ became the property of a church in suburban Philadelphia.

Eric Bromberger eric bromberger is program annotator for the Minnesota Orchestra, San Diego Symphony, Washington Performing Arts, San Francisco Performances, Santa Fe Chamber Music Festival, LA Music Society, and others. He wrote the liner notes for the Alexander String Quartet’s recent recordings of the quartet cycles of Mozart, Beethoven, Bartók, and Shostakovich.

week 11 program notes 37

Chris Felver

Terry Riley “At the Royal Majestic,” Concerto for Organ and Orchestra

TERRENCE MITCHELL “TERRY” RILEY was born in Colfax, California, on June 24, 1935, and lives in Camptonville, California. He composed “At the Royal Majestic” for Cameron Carpenter; the piece was jointly commissioned by the Los Angeles Philharmonic, Gustavo Dudamel, music director; the Orchestre de la Suisse Romande, Neeme Järvi, artistic and music director; the Southbank Centre, and the Deutsches Symphonie-Orchester, Berlin, Tugan Sokhiev, music director. With Cameron Carpenter as soloist, John Adams led the Los Angeles Philharmonic in the world premiere on April 11, 2014, at the Walt Disney Concert Hall in Los Angeles. The present performances by the Boston Symphony Orchestra are the BSO’s first of any music by Terry Riley. The duration of the piece is about thirty minutes.

IN ADDITION TO THE SOLO ORGAN, the score of “At the Royal Majestic” calls for an orchestra of three piccolos, two flutes, alto flute, two bass clarinets, alto saxophone, five bassoons, contrabassoon, two horns, four trumpets, flugelhorn, two trombones, two tubas, timpani, percussion (five players, performing variously on wind chimes, xylophone, vibraphone, bell tree, tubular bells, glockenspiel, sleigh bells, tam-tams, Thai gongs, Chinese gongs, suspended cymbals, crash cymbals, splash cymbal, hi-hat, wood blocks, roto-toms, tom-toms, and bass drum), and strings. The piece is in three movements lasting about thirty-five minutes.

Terry Riley has had an immense influence on the world of classical music, and beyond, over the past fifty-plus years as a composer, performer, spiritual guide, and provocateur. He is the creator of one of the most famous and influential concert-music works of the past century: his 1964 classic In C, which many people credit with triggering the ascendency of musical minimalism. For better or worse, the “minimalism” label has long been in common use for describing a certain swath of musical style, but while some composers associated with the term, notably Steve Reich and Philip Glass, have rejected it as overly simplis- tic, Riley has embraced it. This is not to say that he set out to be a minimalist composer, or that he tries to adhere to some discrete aesthetic principal that the term defines. His openness to a variety of influences from traditional and

week 11 program notes 39 Symphony Hall’s Aeolian-Skinner Organ

The Aeolian-Skinner organ, Opus 1134, is one of Symphony Hall’s most prominent features. Built in 1947 to replace the Hall’s original Hutchings organ of 1900, the instrument was designed by G. Donald Harrison, President and Tonal Director of Aeolian- Skinner of Boston, the preeminent American organ builders during the first half of the 20th century. When first installed, it was widely recognized as one of the most ersatilev concert hall organs in the world. Inaugural concerts with the BSO took place in October 1949 with renowned organist E. Power Biggs at the keyboard, and organ recitals were for many years a regular feature of Symphony Hall programming. Following a renovation completed in the summer of 2004, the organ was reintroduced to BSO audiences in performances in the 2004-05 season of works including Mahler’s Symphony No. 8 and Respighi’s Pines of Rome, and to the general public in a number of recitals and silent-film screenings as part of a Symphony Hall Open House that November.

Initiated as one of numerous projects marking the 100th anniversary in 2000 of Sym- phony Hall, the renovation of the Aeolian-Skinner organ began in January 2003, when the entire instrument—including some 5,000 pipes—was removed from the organ chamber, which was itself completely refurbished. The renovated organ—incorporating some new pipes and divisions, as well as a new console design—was reinstalled during the summer of 2003; tonal finishing and tuning was completed in the summer of 2004. Of equal importance to the renovation of the organ was the establishment of a perma- nently endowed fund for its care, enabling the BSO to remedy mechanical problems common to the aging process as they occur, and to undertake necessary cleaning and other maintenance on a regular basis. Peter Vanderwarker

Some of the 51 gilded façade pipes (dating from 1900) on the floor of Symphony Hall in the summer of 2003, during the organ renovation project

40 courtesy Los Angeles Philharmonic Craig T. Mathew/Mathew Imaging,

Organist Cameron Carpenter with composer Terry Riley following the premiere of “At the Royal Majestic” in Los Angeles in April 2014

vernacular music throughout the world has enriched his fundamentally intuitive voice both in performance and in his thoroughly composed work.

Growing up in California, Riley studied piano and earned degrees in composition from San Francisco State University and the University of California, Berkeley. He worked with the experimental composer Robert Erickson, among others, but an encounter with La Monte Young in 1959 had an effect as profound as his formal studies. Riley was a founding member of the important San Francisco Tape Music Center and was interested in the work of such avant-garde composers as Karlheinz Stockhausen; he even attended the Darmstadt Summer Courses. The details of his music continued to change after the breakthrough of In C, and another major influence was his work with the Lahore-born Hindustani classical singer Pran Nath.

The term “minimalism” to designate works of art (as distinct from the term’s latter-day use to designate a simplified lifestyle) has been around since the immediate post-World War II era. It was first used to designate visual art, and made its way to music as of the 1960s. Minimalism has always had a much higher profile in the U.S. than elsewhere. Its perceptive and aesthetic significance, which is related to Indian and East Asian aesthetic concepts, partly lies in the idea that repetition and reduction can help focus and guide the mind and spirit. Minimalism’s focus on easily identifiable and apprehendable elements was a direct counter to pre- and post-war density and complexity. In visual art, these elements include very simple, immediately graspable geometric shapes, usually in tandem with primary colors or clear gradations of color, use of repeated or slightly varied patterns and motifs, or abstruse concepts distilled into apparently simple objects. Practitioners in the visual arts have included Robert Ryman, Agnes Martin, Frank Stella, and Carl Andre, to name a few.

In minimalist music, diatonicism (e.g., a major or minor scale), limited harmonies, and, crucially, clear rhythmic pulse, together with long-term, often slow structural trans-

week 11 program notes 41 formation, were stylistic traits already familiar to mainstream American audiences listening to rock and folk music. One of the most important aspects of the style was its easy assimilation into the fabric of mainstream popular and film music. Pop musicians and film composers took notice of minimalism’s experiments almost immediately, and the style is now an inextricable part of mainstream culture, from advertising jingles to art rock. Its pop-art connotations, as well as its frequently non-standard instrumental requirements, have made this music somewhat resistant to more traditional ensembles and venues.

Naturally enough, the work of composers associated with minimalism, regardless of their rejection or acceptance of the term, is often similar only in the most superficial of ways. Just as Frank Stella and Agnes Martin are very distinct artists, Steve Reich’s music sounds no more like Terry Riley’s than Tchaikovsky’s sounds like Brahms. So while “minimalism” is an important fact of Riley’s history, it implies no limitation of his interests or his actual work. His music has points of contact with Hindustani classical music but also with the long, meditative improvisations of Jerry Garcia, as well as jazz and other popular music. Defying categorization, his recordings and live performances are sought out not only by those interested in Western classical music but by fans of Indian, rock-n-roll, free jazz, world, and new age music.

Terry Riley had an important career as a teacher (most notably at Mills College in Oakland), and among classically oriented ensembles his work has been an excellent fit with the cross-genre interests of the Kronos Quartet. He has written more than a dozen

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

week 11 program notes 43 works for Kronos, including the enormous Salome Dances for Peace. In the later years of his career orchestral works, especially concertos, have figured prominently. The venerable Salzburg Festival commissioned The Sands for the Kronos Quartet and the Deutsche Kammerphilhamonie in 1991. He wrote a forty-minute concerto, SolTierraLuna for the guitarists Gyan Riley (the composer’s son) and David Tanenbaum in 2007; a violin concerto, Zephyr, for Francesco D’Orazio in 2009; the six-string electric violin concerto The Palmian Chord Ryddle for Tracy Silverman and the Nashville Symphony in 2011; and the present organ concerto, At the Royal Majestic, for Cameron Carpenter, the Los Angeles Philharmonic, and the Walt Disney Concert Hall organ in 2013.

The myriad origins and impulses behind At the Royal Majestic are discussed at length by the composer in his own note on the piece (see below). Whether this generous, multi-layered, joyful work is “minimalist” music in the generally understood sense is, ultimately, neither here nor there: what is beyond doubt is that it’s Terry Riley through and through.

Robert Kirzinger

Composer/annotator robert kirzinger is Associate Director of Program Publications of the Boston Symphony Orchestra.

A LITTLE HISTORY In 1966 I got my first electronic organ, a Vox Super Continental 2 manual with draw bars, modeled somewhat on the Hammond B3. I started doing late-night and all-night concerts using tape delays to beef up the sound and to make a “shadow” part to inter- act with the primary signal. Around 1970, the Vox was replaced with a Yamaha YC 45 D 2 manual organ that my technical assistant, Chester Wood, modified to output ste- reophonically. He also added a tuning function that made playing in just intonation possible. Chet built one of the first digital delays fashioned out of an old 1950s computer we purchased from Don Buchla. This new digital delay dubbed “the shadow” made pos-

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44 sible live performance in quadraphonic sound. The last phase of this organ performance period came in 1980, when I finally made the move to synthesizers and started using 2 Prophet V synthesizers stacked like a two manual organ in tandem with a poly- phonic sequencer. I composed several long duration modal pieces for this setup, performances having a quasi-raga like form with codified themes and extended improvisation. A Rainbow in Curved Air, The Persian Surgery Dervishes, The Ten Voices of the Two Prophets, and Shri Camel are a few of the works from this period 1966-1982.

Fast forward to 2008. I was commissioned by the Los Angeles Philharmonic to compose a new work for Hurricane Mama, the magnificent organ residing in the Walt Disney concert hall. The LA Philharmonic generously allowed me to have numerous all-night sessions with the organ in Disney Hall to compose and prepare The Universal Bridge, premiered in 2009. Some of the unused improvisations and sketches I made then later found their way into At the Royal Majestic.

“AT THE ROYAL MAJESTIC” From an e-mail from Cameron Carpenter: “Terry, that is great. Vintage, showbiz sug- gestive. Etc... Showman=Shaman”

I. Negro Hall The first movement, Negro Hall, is based on a colored-pencil drawing called “Negro Hall” by the great Swiss outsider artist, Adolf Wölfli, whose work I first encountered at the Museum in Bern in 1987. I was intrigued by what Wölfli, who never traveled outside of Switzerland and who lived the last half of his life in a mental institution, thought about Negro culture. I tried to imagine what a dance hall in the Waldorf Astoria NYC in the 1930s might be like (from Wölfli’s perspective), a gaggle of black dancers in out- landish jitterbug and boogie-woogie routines in a polymetric changing tempo frenzy. I used Wölfli’s beautifully geometric mandala-like drawings to inspire my own composing process. The wish was to set down music with an identifiable pop/jazz framework of the 1930s but transformed by a dreamlike vision. A cosmic cartoon if you will.

The first movement of the concerto draws on themes from the Negro Hall section of the chamber opera, The Saint Adolf Ring (1990). (The chamber opera libretto written by John Deaderick is derived from Wölfli’s oeuvre and life’s work,From the Cradle to the Grave. The opera portrays Adolf Wölfli visiting Negro Hall in New York’s 19th-century Waldorf Astoria Hotel where he meets and gives vivid and hilarious descriptions of an imaginary New York City, ruled by the Vanderbilts, the Rockefellers, and other luminaries.)

The concerto begins simply with the organist playing a relaxed gospel-flavored solo that eventually winds its way to a darker, edgier mood. The orchestra joins the soloist and builds to a full crescendo just before polytonal block chords in the organ give way to a slow rocking minor-third pulse supporting a sinuous virtuosic bass-clarinets duel. Fol- lowing sections display quickly shifting metric pattern development, unveiling disjoint- ed, psychedelic, jitterbug extravaganzas propelling the orchestra into sudden shifts in meter and tempo. A slow ABA romantic waltz elbows its way into the plot, undergoes a

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46 quick development, and gives way to more polymetric patterns and unison crescendos before closing with punched out syncopated chords.

II. The Lizard Tower Gang This short movement attempts to juggle chaos and symmetry in its opening statement displaying a jagged alto saxophone solo, alternating Chinese gong pulses, water drum heartbeats, string glissandos, ripping elephant tubas, chattering flutes, bassoons, and trumpets. The organ enters with rich chords punctuated over a suspended drone. A slow ragtime-like sequence in the organ introduces part two, a grinding blues dirge giving way to the coda closing the movement.

III. Circling Kailash Each year thousands of pilgrims from throughout the world, seeking enlightenment and blessings, circumambulate Mount Kailash, a sacred mountain in Tibet, believed to be the abode of the Hindu God, Lord Shiva. In a strenuous trek of some fifty-two kilo- meters, some of the more devout pilgrims inch along in full body prostrations for the entire journey!

The opening theme of this final movement is first stated in the violas and cellos and then taken up by the organ, brass, and bassoons. It is interrupted by an eleven-beat descending pattern passed around the orchestra before the opening theme returns and the section idles to a close. The second part of the movement is marked by a slow theme outlined by pizzicato basses. A variation of the theme is then turned into a chorale for organ and brass. Crystalline C major patterns led by the mallet instruments combine with a restating of the theme in diatonic clusters by the organ to announce the closing section. The C major patterns pass around the orchestra as they undergo pan-modal coloration changes. The movement ends with a short plaintive solo organ phrase over an E Phrygian modality.

In these three movements many extensive, intricate dialogues between the organ and the orchestra are found sometimes competing with each other in dense textures of polyphony. Waves build up (in both organ and orchestra) of repeating melodic patterns, both in unison and canon, which, in their shifting alignments and changes of direction, attempt something like the aural equivalent of geometric formations seen in starling flight patterns.

The soloist in At the Royal Majestic is called on to explore many different roles. Shifting, as its title suggests, from sounds reminiscent of the Mighty Wurlitzer housed in the grand movie palaces, to fragments of Calliope, Baroque chorales, occasional craggy dissonance of clashing pipes and boogie. At times he is also asked to coexist in a large orchestral soup with many parts having equal prominence. I feel fortunate to have this work premiered by Cameron Carpenter, a brilliant young star whose career is illuminat- ing an exciting pathway for the 21st-century organ.

Terry Riley

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EDWARD ELGAR was born at Broadheath, near Worcester, England, on June 2, 1857, and died in Worcester on February 23, 1934. He began the “Enigma” Variations in October 1898 and completed them on February 19, 1899. The score bears the dedication “To my friends pictured within.” The first performance was given in London on June 19, 1899, with Hans Richter conducting.

THE SCORE OF THE “ENIGMA” VARIATIONS calls for two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, side drum, triangle, bass drum, cymbals, organ (ad lib.), and strings. Cameron Carpenter is the organist in this week’s performances.

Edward Elgar was in almost every respect an outsider: largely self-taught in a day when only strict academic training, preferably including one of the two universities, was considered absolutely essential; Roman Catholic in a country officially Protestant; a musician of deep feeling and commitment in a culture that viewed music as an insignifi- cant entertainment. But most galling was the fact that he was the son of a shopkeeper in a class-ridden society that could never get over looking down its nose at people “in trade.” And yet, ironically, it is just those facts, the very things that made him feel ever the outsider, that also allowed him to develop his musical talents as a composer of marked originality.

He spent his youth in Worcester, a sleepy cathedral town in western England, living over the family music shop. He spent much time absorbing the scores in stock, pursuing his own original course in music rather than the stodgy academic instruction prevalent at the official schools. Except for violin lessons he had no formal training, but already as a child he showed promise of an original talent. At sixteen he left business forever and supported himself as a freelance musician in Worcester, filling various positions as violinist, conductor, and even bassoonist in a wind quintet, as well as teacher of violin. Five years spent as conductor of an “orchestra” made up of staff members of the county mental asylum in nearby Powick were invaluable. He composed original music and

week 11 program notes 49 Program page for the first Boston Symphony Orchestra performances of Elgar’s “Enigma” Variations on December 24 and 26, 1903, with Wihelm Gericke conducting (BSO Archives)

50 Caroline Alice Elgar, the composer’s wife, the subject of Variation I (“C.A.E.”)

rescored the classics for whatever instruments were available each week, gaining in this way a thorough practical knowledge of how instruments sound in performance. He later used to boast that he had never had to reorchestrate a passage after hearing it in performance because it always sounded exactly as he had imagined it would.

In 1889 he married Caroline Alice Roberts, a woman convinced of his genius. Alice was eight years his senior and far his social superior (this was a time when such things were considered to be very important), but she had the backbone to withstand the rel- atives who objected to the match. She encouraged Elgar to compose the great works that she knew he had in him. During the thirty years of their marriage, Elgar became England’s first composer of international stature in two centuries—and after her death, which occurred fourteen years before his own, he was never able to complete another large work.

Until he was forty Elgar remained a purely local celebrity. Shortly after the premiere of his cantata Caractacus at the Leeds Festival in October 1898, Elgar sat musing at the piano one day, idly playing a pensive melody that had occurred to him. When his wife asked what it was, he said, “Nothing, but something might be made of it.” He named several of their friends. “Powell would have done this, or Nevinson would have looked at it like this.” Alice commented, “Surely you are doing something that has never been done before?” Thus encouraged, Elgar sketched out an entire set of variations on his original theme. On Oc to ber 24 he wrote to his friend August Jaeger at Novello’s music publishers to announce that he had sketched a set of orchestral variations. “I’ve labelled ’em with the nicknames of my particular friends—you are Nimrod. That is to say I’ve written the variations each one to represent the mood of the ‘party’ writing the var[iation] him (or her)self and have written what I think they wd. have written—if they were asses enough to compose.”

On November 1, the Elgars’ young friend, Dora Penny, was invited to lunch and to hear

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52 Elgar’s new piece. The composer played the piano, while Dora turned pages for him. He played the theme and started in on the variations. Then he turned over two pages and I saw No. III, R.B.T., the initials of a connexion of mine. This was amusing! Before he had played many bars I began to laugh, which rather annoyed me. You don’t generally laugh when you hear a piece of music for the first time dedicated to someone you know, but I just couldn’t help it, and when it was over we both roared with laughter! “But you’ve made it like him! How on earth have you done it?” Dora Penny (herself a “variation” named “Dorabella”) was probably the first person outside the Elgar household to learn the secret of the variations.

After completing the orchestration, between February 5 and 19, 1899, Elgar sent the score off to Hans Richter, and waited a nervous month before learning that he would program the work. At the premiere, on June 19, a few critics were miffed at not being let in on the identity of the friends whose initials appeared at the head of each movement. But the work itself achieved a sensational success.

All but one of the friends have long since been identified, so that mystery is solved. But another mystery about the Enigma Variations will probably be argued over forever. It has to do with the title and a statement Elgar made in the program note at the work’s premiere. The manuscript of the score simply bears the title “Variations for orchestra composed by Edward Elgar, Op. 36.” Over the theme, though, someone has written in pencil the word “Enigma.” The handwriting appears not to be Elgar’s. Still, he did not object to the word, and in fact his program note implied the presence of a mystery, a “dark saying” that “must be left unguessed.” He added, “through and over the whole set another larger theme ‘goes’ but is not played.” The mysteries of the “dark saying” and the “larger theme” have exercised the ingenuity of many people since 1899. Every few years a new “solution” is proposed, and the arguments start all over again. Recent solutions, convincing to varying degrees, suggest Mozart’s Prague Symphony and Beethoven’s Pathétique piano sonata. Since enjoyment of the music does not require an answer to the mystery, however, I will not discuss it further here. In the end, it is only the quality of the music that determines how frequently we wish to hear the Enigma Variations.

Elgar himself revealed the identity of the “Variations” in a set of notes written in 1913, later published with photographs of each of the individuals. Elgar’s remarks will be quot- ed in the discussion below.

The theme is remarkable in itself. It goes by stops and starts, broken up into little fragments which, at the outset, hardly seem “thematic.” It has been pointed out that the first four notes provide a perfect setting, in rhythm and pitch, of the name “Edward Elgar,” who thus writes his signature, so to speak, on the whole work.

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It begins in G minor, has four rising bars in the major, then is restated in the minor with an expressive new counterpoint. It leads directly into:

I. (C.A.E.) Caroline Alice Elgar, the composer’s wife. “The variation is really a prolonga- tion of the theme with what I wished to be romantic and delicate additions; those who know C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.” Oboe and bassoon have a little triplet figure in the opening measures that had a private resonance for the composer and his wife: it was the signal he used to whistle when he came home (it reappears in the last variation).

II. (H.D.S.-P.) Hew David Steuart-Powell played piano in a trio with Elgar (violin) and Basil Nevinson (Variation XII). “His characteristic diatonic run over the keys be fore beginning to play is here humorously travestied in the semiquaver passages; these should suggest a Toccata, but chromatic beyond H.D.S.-P’s liking.” The chromatic fig- ures race along in the strings and woodwinds; eventually the theme appears in longer note values softly in the cellos and basses.

III. (R.B.T.) Richard Baxter Townshend was an author of a series of Tenderfoot books (A Tenderfoot in Colorado and A Tenderfoot in New Mexico), as well as a classical scholar and a lovable eccentric. Elgar says that the variation refers to his performance as an old man in some amateur theatricals in which his voice occasionally cracked to “soprano” timbre (the oboe with the main part of the theme, later joined by the flute).

IV. (W.M.B.) William Meath Baker, a country squire with a blustery way about him. He tended to give “orders of the day” to his guests, especially with regard to arrangements for carriages. Elgar depicts his forcible delivery. The middle section of this very fast movement contains “some suggestions of the teasing attitude of the guests.”

V. (R.P.A.) Richard Penrose Arnold, a son of Matthew Arnold, a self-taught pianist. “His serious conversation was continually broken up by whimsical and witty remarks. The

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theme is given by the basses with solemnity and in the ensuing major portion there is much lighthearted badinage among the wind instruments.”

VI. (Ysobel) Isabel Fitton was an amateur viola player, whom Elgar draws into the music by writing a leading part for her instrument built on a familiar exercise for crossing the strings, “a difficulty for beginners; on this is built a pensive, and for a moment, romantic movement.”

VII. (Troyte) One of Elgar’s closest friends, Arthur Troyte Griffith, an architect in Malvern. Elgar said that the variation represented “some maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.”

VIII. (W.N.) Winifred Norbury is the bearer of the initials, but Elgar commented that the variation was “really suggested by an eighteenth-century house. The gracious per- sonalities of the ladies are se dately shown.” But because W.N. was also involved with music—she was a competent pianist—Elgar makes specific reference to her characteristic laugh.

IX. (Nimrod) August Jaeger (“Jaeger” is German for “hunter,” and Nimrod is the “mighty hunter” of the Old Testament) worked for Elgar’s publisher, Novello, and often provided enthusiasm and moral support for the composer, who rarely in those years found encouragement from anyone but Alice. The variation is a record of a “long summer evening talk, when my friend discoursed eloquently on the slow movements of Beetho ven.” According to Mrs. Powell, Jaeger also discoursed eloquently on the hard- ships Beethoven endured in his life, and he encouraged Elgar not to give up. In any case, the theme is arranged so as to suggest a hint of the slow movement of Beethoven’s Pathétique Sonata, Opus 13. This Adagio is the best-known single excerpt from the

week 11 program notes 57

The subjects of Variation XI: Dr. George R. Sinclair with his bulldog Dan

Variations, noble, poignant, and deeply felt. In England it has become a traditional piece to commemorate the dead. Elgar, writing after Jaeger’s own death, said, “Jaeger was for many years my dear friend, the valued adviser and the stern critic of many musicians besides the writer; his place has been occupied but never filled.”

X. (Dorabella) Dora Penny, later Mrs. Richard Powell, who first heard the variations even before Elgar had orchestrated them. The “intermezzo” that comprises this movement is a lighthearted contrast to the seriousness of “Nimrod.” It is also the farthest away from the theme of any of the variations in the set.

XI. (G.R.S.) Dr. George R. Sinclair, organist of Hereford Cathedral, though the variation has more to do with his bulldog Dan, who was a well-known character. As Elgar explained, the opening had to do with Dan “falling down the steep bank into the river Wye; his paddling upstream to find a landing place; and his rejoicing bark on landing. G.R.S. said, ‘Set that to music.’ I did; here it is.”

XII. (B.G.N.) Basil G. Nevinson was a fine amateur cellist who performed with Elgar and Steuart-Powell (Var. II) in a trio. The variation features a melody, marked “molto espressivo,” for cello solo in “tribute to a very dear friend whose scientific and artistic attainments, and the wholehearted way they were put at the disposal of his friends, particularly endeared him to the writer.”

XIII. (***) Another mystery: It has often been asserted that the asterisks represent Lady Mary Lygon, who was supposedly on a sea voyage to Australia at the time of composition (she wasn’t), hence the clarinet quoting Mendelssohn’s Calm Sea and Pros perous Voyage. Other candidates have been put forward, some of which would seem to have a more intimate relationship with the composer. The variation is highly atmospheric, as the “drums suggest the distant throb of the engines of a liner” under the Mendelssohn quotation.

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TICKETS FROM $15 / STUDENTS $10 / CALL 617.236.0999 BUY TICKETS AT BOSTONPHIL.ORG XIV. (E.D.U.) Elgar himself. When Dora Penny first heard this movement in Elgar’s study, she couldn’t figure out whose initials stood at the head of the page. Only after he dropped a broad hint did she realize that it was Alice’s nickname for Elgar—“Edu”— written as if it were initials. Elgar wrote that the movement was “written at a time when friends were dubious and generally discour aging as to the composer’s musical future.” During the course of the movement he re fers especially to C.A.E. and to Nimrod, “two great influences on the life and art of the composer.” As Elgar correctly noted, “The whole of the work is summed up in the triumphant, broad presentation of the theme in the major.”

The Enigma Variations remains, justifiably, Elgar’s best-known work. In its invention, its range of expression, its play of light and dark between movements and keys, the craftsmanship of its links between movements, its exploiting of the various possibilities of the orchestra, its melodic fertility—in all of these things, the work is quite simply a masterpiece. If we remember that it appeared unannounced in a country that had not produced a serious composer of major stature since Purcell (who died in 1691), we can appreciate the tone of Arthur Johnstone’s remarks in the Manchester Guardian after a performance of the Variations in 1900: “The audience seemed rather astonished that a work by a British composer should have other than a petrifying effect upon them.”

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

THE FIRST AMERICAN PERFORMANCE of the “Enigma” Variations was given by the Chicago Symphony Orchestra in that city’s Auditorium Theatre on January 3, 1902, with Theodore Thomas conducting.

THE FIRST BOSTON SYMPHONY PERFORMANCES of the “Enigma” Variations were given by Wilhelm Gericke on December 24 and 26, 1903. Since then, the orchestra has played it under the direction of Max Fiedler, Serge Koussevitzky, Sir Henry J. Wood, Sir Adrian Boult, Charles Munch, Jean Morel, Pierre Monteux, Eugene Ormandy, Erich Leinsdorf, Erich Kunzel, Colin Davis, André Previn, Seiji Ozawa, Charles Dutoit, Grant Llewellyn, Simon Rattle, Yuri Temirkanov, Jeffrey Tate, Andrew Davis, Sir Neville Marriner, Mark Elder, Donald Runnicles, Charles Dutoit again (the most recent subscription performances, in October/November 2013), and Leonard Slatkin (the most recent Tanglewood performance, on August 8, 2014).

week 11 program notes 61 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

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Extended essays on Terry Riley and his impact on music history have mostly been con- fined to periodicals and to a few books on musical minimalism in general, such as Keith Potter’s Four Musical Minimalists: La Monte Young, Terry Riley, Steve Reich, Philip Glass in the “Music in the Twentieth Century” series (Cambridge University Press). Another such book is Minimalists by K. Robert Schwarz in the well-illustrated “20th-Century Composers” series, which treats the above-named composers as well as John Adams and the Europeans Michael Nyman, Louis Andriessen, and Arvo Pärt (Phaidon). (Keep in mind that most of the above composers reject the term “minimalist,” although Terry Riley does not.) Terry Riley’s website, terryriley.net, though not impeccably current, is a trove of information on the composer. Robert Carl devoted an entire book to Riley’s most famous and influential work,In C (Oxford University Press).

At the Royal Majestic has not yet been recorded for commercial release. There are numerous recordings of In C, the most famous being the historic first one, a version assembled via editing and overdubs into a facsimile of a live performance, originally released in 1968 by CBS (Sony). Alternatives that come close to the original’s ensemble type and balance of parts include the “25th Anniversary Concert” version, which at an hour-and-a-quarter is nearly twice as long as the CBS one (New Albion) and a deft and clean forty-five minute performance by the Bang on a Can All-Stars (Cantaloupe). Other recordings of interest include the composer’s own keyboard performances in A Rainbow in Curved Air/Poppy Nogood’s Phantom Band, originally released in 1969 (Sony) and The Harp of New Albion (Celestial Harmonies), and a number of fine releases by the Kronos Quartet, including Salome Dances for Peace, Cadenza on the Night Plain, Requiem for Adam, and The Cusp of Magic (all Nonesuch).

Robert Kirzinger

Barbara B. Heyman’s excellent Samuel Barber: The Composer and his Music, published in 1992, offers thoroughly documented and detailed consideration of the composer’s life and works (Oxford University paperback). Heyman’s book effectively superseded the only previous biography of the composer, Nathan Broder’s Samuel Barber, published originally in 1954 but still useful for its perspective on the composer’s life and works to that time (G. Schirmer). Heyman also wrote the article on Barber in the 2001 edition of The New Grove Dictionary of Music and Musicians.

Eugene Ormandy’s recording of the Toccata Festiva with the Philadelphia Orchestra and organist E. Power Biggs remains available (Sony). Other recordings include Marin

week 11 read and hear more 63 SINGINTOSPRING

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64 Alsop’s with the Royal Scottish National Orchestra and organist Thomas Trotter (budget- priced Naxos), Christoph Eschenbach’s with the Philadelphia Orchestra and Olivier Latry (Ondine), and Carlos Kalmar’s with the Grant Park Orchestra and David Schrader (Cedille).

Among the most important studies of Elgar and his music is Michael Kennedy’s Portrait of Elgar (Oxford). Kennedy is also the author of The life of Elgar in the series “Musical lives” (Cambridge University paperback) and of the compact BBC Music Guide on Elgar Orchestral Music (University of Washington paperback). Another big biography is Jerrold Northrop Moore’s Edward Elgar: A Creative Life (Oxford). Moore also edited Edward Elgar: Letters of a Lifetime (Oxford) and produced a discography of Elgar’s work as a conductor, Elgar on Record: The Composer and the Gramophone (out of print). Edward Elgar, Modernist by J.P.E. Harper Scott, published in 2006, is described as “the first full- length analytical study of Edward Elgar’s music” (“Music in the 20th Century,” volume 20, Cambridge University Press; expensive). From 2007, and much more affordable, is Edward Elgar and his World, a compilation of essays originating from the Bard Music Fes- tival and edited by Byron Adams (Princeton University paperback). Also from 2007 is Elgar: An Anniversary Portrait, a valuable collection of essays assembled and introduced by Nicholas Kenyon (Continuum). Ian Parrott’s Elgar is part of the “Master Musicians” series (Dent). Much older books include recollections by the violinist W.R. Reed (who assisted the composer with the solo part in the Violin Concerto) in Elgar As I Knew Him (Oxford) and by two of the composer’s friends: Edward Elgar: Memories of a Variation by Mrs. Richard Powell, the “Dorabella” of Elgar’s Enigma Variations (Methuen), and Edward Elgar: The Record of a Friendship by Rosa Burley, headmistress of the school where he taught for a while (Barrie & Jenkins). Donald Francis Tovey’s program note on the Enigma Variations is among his Essays in Musical Analysis (Oxford).

Elgar himself recorded the Enigma Variations twice: in 1921 with the Royal Albert Hall Orchestra (available on single-disc reissues from EMI, or from Music & Arts in the four- disc box “Elgar Conducts Elgar: The Complete Recordings 1914-1925), and in 1926 with the London Symphony Orchestra (available on EMI paired with The Planets led by its composer, Gustav Holst, or in EMI’s multi-disc “Composers in Person” box). More mod- ern recordings of varying vintage include Sir Colin Davis’s with the London Symphony Orchestra (LSO Live), Charles Dutoit’s with the Montreal Symphony Orchestra (Decca), Mark Elder’s with the Hallé Orchestra (Hallé), Bernard Haitink’s live with the London Philharmonic (Lpo), Simon Rattle’s with the City of Birmingham Symphony Orchestra (Warner Classics), Adrian Boult’s with the London Philharmonic (EMI), and Leonard Bernstein’s with the BBC Symphony Orchestra (Deutsche Grammophon).

Marc Mandel

week 11 read and hear more 65 familymatters

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goulstonstorrs.com Guest Artists

Bramwell Tovey

Grammy and Juno award-winning conductor/composer Bramwell Tovey was appointed music director of the Vancouver Symphony Orchestra in 2000. Under his leadership the VSO has toured to China and Korea, as well as across Canada and the United States. Mr. Tovey is also the artistic adviser of the VSO School of Music, a state-of-the-art facil- ity and recital hall that opened in downtown Vancouver in 2011 next to the Orpheum, the VSO’s historic home. His tenure has included complete symphony cycles of Beethoven, Mahler, and Brahms, as well as the establishment of an annual festival dedicated to contemporary music. In 2018, the VSO’s centenary year, he will become the orchestra’s music director emeritus. Mr. Tovey’s 2016-17 guest conducting schedule includes return engagements with the Los Angeles Philharmonic and Boston Symphony Orchestra, the Philadel- phia Orchestra for New Year’s Eve and subscription concerts, the Melbourne Symphony, the Sydney Symphony, and the Royal Conservatory Orchestra in Toronto. During 2015-16 his guest appearances took him to the Pacific Symphony, the symphony orchestras of Montreal, Melbourne, and New Zealand, the Philadelphia Orchestra, and the New York Philharmonic; he reprised his programs with the two latter orchestras at Bravo! Vail. That summer also included returns to the Blossom Music Center, Ravinia Festival, and Holly- wood Bowl. In winter 2016 he conducted Korngold’s Die tote Stadt with Calgary Opera. In 2003 Bramwell Tovey won the Juno Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull. He has received commissions from the New York Philharmonic, Los Angeles Philharmonic, Toronto Symphony, and Calgary Opera, where his first full-length opera,The Inventor, was premiered in 2011; a Naxos recording of

week 11 guest artists 67 2016-17

Our upcoming MARCH concerts Salem Czech Masters Friday Evenings at 8:00 Salem 3/10 8:00 Brookline 3/12 3:00 In Historic Hamilton Hall Janácˇek Pohádka — “A Tale” Mar 10 | Apr 21

Piano Quartet No. 1 in D, Brookline Dvorˇák Opus 23 Sunday Afternoons at 3:00 ° In Beautiful Piano Quintet Martinu St. Paul’s Church Mar 12 | Apr 23 Saul Bitran, Jae Cosmos Lee – violins, Lila Brown – viola, Jonathan Miller – cello, Marc Ryser – piano You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

68 the work was recently released. In 2014 his trumpet concerto, Songs of the Paradise Saloon, was performed by the Los Angeles Philharmonic with soloist Alison Balsom, who subse- quently performed it with the Philadelphia Orchestra. Mr. Tovey has appeared as pianist with many major orchestras, including those of New York, Sydney, Melbourne, Los Ange- les, Pittsburgh, St. Louis, and Toronto, and the Royal Scottish Orchestra. In summer 2014 he played and conducted Gershwin’s Rhapsody in Blue at the Hollywood Bowl with the Los Angeles Philharmonic and in Saratoga with the Philadelphia Orchestra. He has performed his own Pictures in the Smoke with the Melbourne and Helsingborg symphonies and the Royal Philharmonic. From 1989 to 2001 Mr. Tovey was music director of the Winnipeg Symphony Orchestra, where he founded the WSO’s celebrated New Music Festival. From 2002 to 2006 he was music director of the Luxembourg Philharmonic, leading tours of Europe, the United States, China, and Korea. He opened Luxembourg’s Salle Philharmonie with the world premiere of Penderecki’s Eighth Symphony. A Fellow of the Royal Acade- my of Music in London and the Royal Conservatory of Music in Toronto, Mr. Tovey holds honorary degrees from the universities of British Columbia, Manitoba, Kwantlen, and Win- nipeg. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music. Bramwell Tovey made his BSO debut at Tanglewood in August 2011 with a concert performance of Gershwin’s Porgy and Bess, and his subscription series debut in January 2012 with Mendelssohn’s Lobgesang. Subsequent BSO appearances have included concert performances of Porgy and Bess at Symphony Hall and Bernstein’s Candide at Tanglewood; a program of Copland, Barber, and Beethoven at Tanglewood; a subscription pairing of Bach’s Cantata 82, Ich habe genug, and Brahms’s Ein deutsches Requiem in October 2014; and a July 2015 Tanglewood program of music by Verdi and Act I of Puccini’s Tosca, his most recent appearance with the orchestra.

Cameron Carpenter

Organist Cameron Carpenter is acclaimed for his exceptional musicality, technical ability, and pioneering spirit. Since the completion in 2014 of his own instrument, the Inter- national Touring Organ (ITO), he has established this digital instrument on the world’s

week 11 guest artists 69 CONCERT SERIES 2016-17 | 39TH SEASON

BEETHOVEN, VIVALDI, AND MENDELSSOHN WITH A TWIST! BEETHOVEN Symphony No. 6 “Pastoral” VIVALDI Concerto for 2 Trumpets in C major Dana Russian and Greg Whitaker, trumpets MENDELSSOHN Symphony No. 4 “Italian” (2nd version) KEVIN RHODES, PRINCIPAL CONDUCTOR JANUARY 14, 2017 | SATURDAY, 8PM FIRST BAPTIST CHURCH IN NEWTON

TICKETS $20 - $70 STUDENT & SENIOR DISCOUNTS AVAILABLE WWW.PROARTE.ORG | 617-779-0900 New Philharmonia Orchestra is a member of the Newton Cultural Alliance. www.newtonculture.org

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

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70 more prestigious stages. By now he performs almost exclusively on the ITO for both recital and concerto appearances. Based on his own plans, the customized organ allows him to perform in virtually any location. Thus far, he has taken it on tour to Australia, New Zealand, and Asia, in addition to numerous appearances in Europe and the United States. In spring 2016, following 2014’s ECHO-winning “If You Could Read My Mind,” he released his second Sony Classical album, “All You Need Is Bach,” to critical acclaim. Mr. Carpenter was the first organist ever to receive a Grammy nomination, for his 2008 album “Revolutionary,” which he recorded for Telarc, the label that released his Bach recording “Cameron Live!” Highlights of his 2016-17 season in Europe include recitals on the Interna- tional Touring Organ at the Lucerne Festival, the Palau de la Música Catalana in Barcelona, Konzerthaus Berlin, Festspielhaus Baden-Baden, and the Philharmonie Köln, following an invitation from the Théâtre de Châtelet at the Paris Cité musicale de l’île Seguin, as well as in Zagreb, Ljubljana, and Vienna. Other recent and upcoming engagements take him to the Orquesta Nacional de España under Jakub Hr˚uša in Madrid, the Chamber Orchestra of the Bavarian Radio, the Orchestre National de Lyon with Leonard Slatkin, and to Salzburg’s Easter Festival with the Staatskapelle Dresden under Myung-Whun Chung. Following a successful tour with the ORF Radio-Symphonieorchester Wien featuring Carpenter’s own arrangement of Rachmaninoff’s Paganini Variations, Mr. Carpenter and his ITO will embark on another tour with the Academy of St. Martin in the Fields in May 2017. Born in 1981 in Pennsylvania, Cameron Carpenter performed J.S. Bach’s Well-Tempered Clavier for the first time when he was eleven and in 1992 became a student at the American Boychoir School. Among his teachers were his mentor Beth Etter, John Bertalot, and James Litton. At the North Carolina School of Arts he studied composition and organ with John E. Mitchener. Mr. Carpenter has transcribed more than 100 works for organ, among them Mahler’s Symphony No. 5. While attending the Juilliard School in New York (2000-06) he wrote his first original compositions and studied piano with Miles Fusco. In 2011 his concerto for organ and orchestra, The Scandal, was premiered by the Deutsche Kammerphilharmonie Bremen at the Philharmonie Cologne. In 2012 he received the Leonard Bernstein Award of the Schleswig-Holstein Music Festival. Making his subscription series debut this week, Cameron Carpenter has appeared with the BSO just once before, performing Poulenc’s Concerto for Organ, String Orchestra, and Timpani and Saint-Saëns’s Organ Symphony on his International Touring Organ in a single concert at Tanglewood in July 2015, following that concert with a brief recital on the stage of the Koussevitzky Music Shed.

week 11 guest artists 71 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 • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

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

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

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

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

Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ •

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

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

Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan ‡ Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (11)

‡ Deceased

week 11 the great benefactors 73 NEWS. INTERVIEWS. BLOGS. PODCASTS.

A perspective you can’t get anywhere else. YOUR WORLD. IN A NEW LIGHT. Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2015-16 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above Fidelity Investments

$250,000 - $499,999 Arbella Insurance Foundation and Arbella Insurance Group, John F. Donohue • Bank of America, Anne M. Finucane, Miceal Chamberlain • EMC Corporation, William J. Teuber, Jr. • Fairmont Copley Plaza, George Terpilowski • Massachusetts Cultural Council and MassDevelopment

$100,000 - $249,999 American Airlines, Jim Carter • Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter • Delta Air Lines, Charlie Schewe • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts

$50,000 - $99,999 Citizens Bank, Stephen T. Gannon • Dick and Ann Marie Connolly • Fromm Music Foundation • The Geoffrey C. Hughes Foundation • The Ann and Gordon Getty Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • Mastercard • Miriam Shaw Fund • National Endowment for the Humanities • National Historical Publications and Records Commission • Parthenon-EY, Alli and Bill Achtmeyer • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Stoneman Family Foundation • Suffolk Cares, John F. Fish

week 11 corporate, foundation, and government contributors 75

$25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Adage Capital Management, Michelle and Bob Atchinson • Anbaric Holding LLC, Edward N. Krapels • Josh and Anita Bekenstein • Connell Limited Partnership, Frank Doyle, Margot C. Connell • Eileen and Jack Connors, Jr. • Eaton Vance Corp., Thomas E. Faust, Jr. • Elizabeth Taylor Fessenden Foundation • Eversource Energy, Jim Judge • Gerondelis Foundation • Goodwin, Regina M. Pisa • Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Highland Capital Partners & Highland Consumer Partners • Hill Holliday, Karen Kaplan • Houghton Mifflin Harcourt, William Bayers • John Hancock Financial, Craig Bromley • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • The Lynch Foundation • The McGrath Family/The Highland Street Foundation/Holly and David Bruce • Natixis Global Asset Management, John T. Hailer • The New England Foundation, Joseph C. McNay • Staples, Inc., Shira Goodman • Vertex Pharmaceuticals, Inc., Jeffrey Leiden • Waters Corporation, Chris O’Connell • Edwin S. Webster Foundation • Wilmington Trust, N.A., Christopher T. Casey • Wynn Boston Harbor, Bob DeSalvio

$15,000 - $24,999 The Harold Alfond Foundation • Alfred P. Sloan Foundation • Analog Devices, Inc., Ray Stata • Arthur J. Hurley Company, Inc., Arthur J. Hurley III • Associated Grant Makers of Massachusetts • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • The Boston Consulting Group, Kermit King • Boston Private, Clayton G. Deutsch • Boston Seed Capital, LLC, Nicole Maria Stata • The Carl & Ruth Shapiro Family Foundation • Charles Schwab & Co., Inc. • Clough Capital Partners, LP, Charles I. Clough, Jr. • RoAnn Costin • John and Diddy Cullinane • Debevoise & Plimpton LLP, Gregory J. Lyons • Farley White Interests, Roger W. Altreuter, John F. Power • Flex Pharma, Christoph Westphal • Goldman, Sachs & Co. • Greater Media, Inc., Peter H. Smyth • J.P. Marvel Investment Advisors, Inc., Joseph F. Patton, Jr. • John Moriarty & Associates, Inc., John Moriarty, David Leathers • The Gerald R. Jordan Foundation, Darlene L. Jordan • The Lowell Institute • Macy’s • John and Rose Mahoney • Martignetti Companies • Medical Information Technology, Inc., Howard Messing • MetLife Foundation • MullenLowe U.S. / Interpublic Group, Michael I. Roth • New Balance Foundation, Anne and Jim Davis • New England Development, Stephen R. Karp • OvaScience • The Alice Ward Fund of The Rhode Island Foundation • Saquish Foundation • The TJX Companies, Inc. • Tufts Health Plan, Thomas A. Croswell • Sandra Urie and Frank Herron • Ernst von Siemens Music Foundation • VPNE Parking Solutions, Kevin W. Leary • WBZ-TV/CBS Boston, Mark Lund • Anonymous

$10,000 - $14,999 Advent International Corporation, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht • Arthur J. Gallagher & Co., Patrick Veale • Billy Rose Foundation • Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Charles River Laboratories, Inc., James C. Foster • Chubb, John Swords • Colliers International, Kevin C. Phelan • Deutsch Family Wine & Spirits • DJ Dream Fund, Inc. • EY, George R. Neble • Fiduciary Trust, Todd Eckler • FTI Consulting, Stephen J. Burlone • Steve and Betty Gannon • H. Carr & Sons, Inc., James L. Carr, Jr. • Herald Media, Inc., Patrick J. Purcell •

week 11 corporate, foundation, and government contributors 77 ONE LIBERTY SQUARE

BOSTON, MA • 617-350-6070 ZAREHBOSTON.COM New England’s Largest Oxxford Dealer Serving the Financial District since 1933 Ironshore, Kevin H. Kelley • JPMorgan Chase & Co., Stephen W. Burbage • Kaufman & Company, LLC, Sumner Kaufman • Roger and Myrna Landay Charitable Foundation • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. • Morgan, Lewis & Bockius LLP, Catherine Curtin • Navigator Management, Thomas M. O’Neill • New England Patriots Charitable Foundation • Steve and Judy Pagliuca • Raytheon Company • Jack and Alissa Sebastian • TA Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The Verrochi Family • Wayne J. Griffin Electric, Inc., Wayne J. Griffin

$5,000 - $9,999 Abbot and Dorothy H. Stevens Foundation • Accenture • Adelaide Breed Bayrd Foundation • Adler Pollock & Sheehan P.C. • Allied Universal Security Services • The Amphion Foundation, Inc. • Amuleto Mexican Table • Atlantic Trust Private Wealth Management • Berkshire Bank • Berkshire Partners LLC • Blake & Blake Genealogists • The Boston Globe • The Cambridge Homes • Century-TyWood Manufacturing Inc. • Chadwick Martin Bailey • The Clayton F. and Ruth L. Hawkridge Foundation • The Cleary Family • Michael Cronin • Cushman & Wakefield • Cutler Associates, Inc. • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Davis Polk & Wardwell LLP • DeMoulas Supermarkets, Inc. • Gaston Dufresne Foundation • E2 Showjumpers • The E. Nakamichi Foundation • Edward A. Taft Trust • Epsilon • Feeney Brothers Excavation • The French American Fund for Contemporary Music • General Catalyst Partners • Greater Boston Chamber of Commerce • High Output, Inc. • IBM • International Paper • Jack Madden Ford • Locke Lord LLP • Lucia B. Morrill Charitable Foundation • McCarter & English, LLP • McKinsey & Company • The Norio Ohga Foundation • Nutter McClennen & Fish LLP • Joe and Kathy O’Donnell • Pamplona Capital Management • People’s United Bank • Abraham Perlman Foundation • Proskauer Rose LLP • PwC • Quanta Services, Inc. • Riemer & Braunstein LLP • Thomas A. and Georgina T. Russo Family Fund • William E. and Bertha E. Schrafft Charitable Trust • Shawmut Design and Construction • Signature Printing & Consulting, Woburn, MA • Stetson Whitcher Fund • The Studley Press, Inc. • Sullivan & Cromwell LLP • TigerRisk Partners • W.B. Mason Co., Inc. • Walsh Brothers, Inc. • Willis Towers Watson • WilmerHale LLP • Wolf, Greenfield & Sacks, P.C. • Anonymous (2)

$2,500 - $4,999 Alice Willard Dorr Foundation • Allied Printing Services, Inc. • Boston Magazine • Brookline Youth Concerts Fund • Cambridge Community Foundation • Cambridge Trust Company • Carson Limited Partnership • Complete Staffing Solutions, Inc. • Congress Wealth Management • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • Elizabeth Grant Fund • Deborah and Vernon Ellinger and Colin and Erika Angle • Fire Equipment, Inc. • Fowler Printing & Graphics • The Fuller Foundation • Jackson and Irene Golden 1989 Charitable Trust • Greenberg Traurig LLP • Hoche-Scofield Foundation • Morrison & Foerster LLP • NorBella • Oxford Fund • Republic Services • Ruberto, Israel & Weiner • Sametz Blackstone Associates • Mr. and Mrs. Ronald Sargent • P.J. Spillane Company • Vedder Price • Verrill Dana • Anonymous

week 11 corporate, foundation, and government contributors 79

Administration

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

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

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

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

week 11 administration 81 82 development

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

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

week 11 administration 83 information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist public relations

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

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

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

week 11 administration 85 Husband and wife Bob Chellis and Sandy Adams moved to Fox Hill Village at the ages of 73 and 74. The Best Place Before my wife and I moved to Fox Hill Village, I was a senior housing planner for 40 years. Research and jobs took me to Memory Care hundreds of the best places. White Oak Cottages at Fox Hill Village offers I am the second generation in my family to live at a unique alternative for those who can Fox Hill Village. My mother lived here until she was no longer live at home due to memory 104 years old! The continuing care was a blessing for impairment. With our specially designed her, and it will be for my wife and myself. Fox Hill is cottages, philosophy of care, and unique staffing model, we provide the very the best place for us. best living options for our residents with We wanted to move while the decision was ours to make. We’ve been dementia and Alzheimer’s disease. We delighted from day one. We have all the comforts of home and none of are a proud partner of The Green House® Project, a national movement to transform the worry. long-term care. • Cooperative Ownership To learn more, call 781-320-1999 • In-Home Assistance or visit WhiteOakCottages.com • Beautiful Location WHITE OAK Call us to schedule your private tour 781-329-4433. COTTAGES AT FOX HILL VILLAGE Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090

Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Mary Gregorio • Trish Lavoie • George Mellman Co-Chairs, Tanglewood Bob Braun • David Galpern • Gabriel Kosakoff Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2016-17

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

EXPERIENCE THE 2016–2017 SEASON

BACH MAGNIFICAT BACH CHRISTMAS McGEGAN Sept 23 + 25, 2016 Dec 15 + 18, 2016 AND MOZART Symphony Hall NEC’s Jordan Hall Mar 3 + 5, 2017 Symphony Hall BEETHOVEN EROICA MOZART Oct 28 + 30, 2016 AND HAYDN MONTEVERDI Symphony Hall Jan 27 + 29, 2017 VESPERS Symphony Hall Apr 7, 2017 HANDEL MESSIAH NEC’s Jordan Hall Nov 25-27, 2016 GLORIES OF THE Apr 9, 2017 Symphony Hall ITALIAN BAROQUE Sanders Theatre Feb 10 + 12, 2017 NEC’s Jordan Hall HANDEL SEMELE May 5 + 7, 2017 Symphony Hall

HANDELANDHAYDN.ORG 617.266.3605

week 11 administration 87 Next Program…

Thursday, January 19, 8pm Friday, January 20, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, January 21, 8pm Tuesday, January 24, 8pm

juanjo mena conducting

prokofiev symphony no. 1 in d, opus 25, “classical” Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace

weinberg concerto for violin and orchestra, opus 67 (1959) Allegro molto Allegretto Adagio Allegro risoluto gidon kremer

{intermission}

tchaikovsky symphony no. 4 in f minor, opus 36 Andante sostenuto—Moderato con anima Andantino in modo di canzone Scherzo (Pizzicato ostinato): Allegro Finale: Allegro con fuoco

The great Latvian violinist Gidon Kremer joins Spanish conductor Juanjo Mena and the BSO for the Polish-born Soviet composer Moisey Weinberg’s Violin Concerto. Weinberg—whose music has never been performed by the BSO—moved to the Soviet Union at the start of World War II, becoming a friend and protégé of Dmitri Shostakovich, who intervened with authorities when Weinberg was arrested on political grounds. Weinberg’s Violin Concerto (1959) is a substantial work with a strong stylistic kinship to Shostakovich’s music. Opening the program is Prokofiev’s brief and delightful Classical Symphony, modeled on the symphonies of Haydn and Mozart. Tchaikovsky’s emotionally intense Fourth Symphony, completed in 1878, represents the culmina- tion of a traumatic period in the composer’s life.

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

Sunday, January 22, 3pm Thursday ‘A’ February 2, 8-10:20 Jordan Hall, New England Conservatory Friday Evening February 3, 8-10:20

BOSTON SYMPHONY CHAMBER PLAYERS Saturday ‘B February 4, 8-10:20 Tuesday ‘B’ February 7, 8-10:20 with RANDALL HODGKINSON, pianist ANDRIS NELSONS, conductor TAFFANEL Wind Quintet in G minor MALIN CHRISTENSSON, soprano SAINT-SAËNS Septet in E-flat for piano, trumpet, and strings, Op. 65 CHRISTINE RICE, mezzo-soprano ERIC TANGUY Afterwards, for flute and piano BENJAMIN BRUNS, tenor FRANÇAIX Octet for winds and strings HANNO MÜLLER-BRACHMANN, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, guest chorus conductor Thursday ‘B’ January 19, 8-10:05 J.S. BACH Mass in B minor Friday ‘B’ January 20, 1:30-3:35 Saturday ‘B’ January 21, 8-10:05 Tuesday ‘B’ January 24, 8-10:05 Thursday ‘B’ February 9, 8-10 JUANJO MENA, conductor Friday Evening February 10, 8-9:15 GIDON KREMER, violin (Casual Friday, with introductory comments by a BSO member and no intermission) PROKOFIEV Classical Symphony Saturday ‘B’ February 11, 8-10 WEINBERG Violin Concerto ANDRIS NELSONS, conductor TCHAIKOVSKY Symphony No. 4 BEJUN MEHTA, countertenor LORELEI ENSEMBLE, BETH WILLER, artistic director Thursday ‘C’ January 26, 8-10:10 RAVEL Le Tombeau de Couperin Friday ‘A’ January 27, 1:30-3:40 (February 9 & 11 only) Saturday ‘A’ January 28, 8-10:10 BENJAMIN Dream of the Song CHRISTOPH VON DOHNÁNYI, conductor (BSO co-commission) JEAN-FRÉDÉRIC NEUBURGER, piano BERLIOZ Symphonie fantastique ANDERSON Incantesimi (American premiere; BSO co-commission) SCHUMANN Piano Concerto SCHUBERT Symphony in C, The Great The BSO’s 2016-17 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

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

week 11 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (4 p.m. to 8:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

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

week 11 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

Bank of America applauds the Boston Symphony Orchestra for bringing the arts to all When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence.

Bank of America recognizes the Boston Symphony Orchestra for its success in bringing the arts to performers and audiences throughout our community. Visit us at bankofamerica.com/massachusetts Life’s better when we’re connected®