2019•20 Season

bso andris nelsons music director 2019•20 season

week 1 poulenc beethoven eric nathan

seiji ozawa music director laureate bernard haitink conductor emeritus thomas adès artistic partner season sponsors Better Health, Brighter Future

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Takeda Pharmaceutical Company Limited www.takeda.com Table of Contents | Week 1

7 bso news 1 5 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 3 a brief history of the bso 2 9 a message from andris nelsons 3 0 this week’s program

Notes on the Program

32 The Program in Brief… 33 Francis Poulenc 45 Ludwig van Beethoven 53 Eric Nathan 61 To Read and Hear More…

Guest Artists

65 Lucas and Arthur Jussen 70 Eric Finbarr Carey 66 Nicole Cabell 71 William Socolof 67 Alexandra Smither 71 Tanglewood Festival 69 Paulina Swierczek Chorus 69 Katherine Maysek 74 James Burton 70 Chance Jonas-O’Toole

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

the friday preview on september 20 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 VIEWPOINTS

photographs from the howard greenberg collection

Defining images from the 20th century

Through December 15

The acquisition and exhibition of the Howard Greenberg Collection of Photographs were made possible by the Phillip Leonian and Edith Rosenbaum Leonian Media Sponsor Charitable Trust. Additional support for the exhibition from the Patricia B. Jacoby Exhibition Fund, and The Bruce and Laura Monrad Fund for Exhibitions.

Clockwise from top: Henri Cartier-Bresson, Madrid, Spain, 1933. Gelatin silver print. © Henri Cartier-Bresson/Magnum Photos. Consuelo Kanaga, Young Girl in Profile, 1948. Gelatin silver print. © Estate of Consuelo Kanaga. Sid Grossman, Coney Island (Couple Embracing), 1947. Gelatin silver print. © Howard Greenberg Gallery, New York. Edward Steichen, Gloria Swanson, 1924. Gelatin silver print. © 2019 The Estate of Edward Steichen / Artists Rights Society (ARS), New York. All photographs from Museum of Fine Arts, Boston, The Howard Greenberg Collection—Museum purchase with funds donated by the Phillip Leonian and Edith Rosenbaum Leonian Charitable Trust. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 139th season, 2019–2020 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Steve Kidder • Tom Kuo, ex-officio • Jeffrey Leiden • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Peter Palandjian • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Arthur I. Segel • Wendy Shattuck • Nicole M. Stata • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees Vernon R. Alden • J.P. Barger • George D. Behrakis • Gabriella Beranek • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Deborah B. Davis • Nina L. Doggett • William R. Elfers • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • George Krupp • Richard P. Morse • David Mugar • Robert P. O’Block • William J. Poorvu • Peter C. Read • John Reed • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weber • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Corporation advisors of the boston symphony orchestra, inc.

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

Nathaniel Adams • James E. Aisner • Maureen Alphonse-Charles • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Darcey Bartel • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg •

week 1 trustees and advisors 3 YOUR BEST INTEREST IS OUR FOCUS.

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For more information, contact John Morey at 617-292-6799 or [email protected] photos by Robert Torres and Winslow Townson

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Membership as of September 5, 2019

week 1 trustees and advisors 5 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 . BSO News

This Season’s BSO/GHO Musician Exchanges As part of the BSO/GHO Alliance initiated in 2017 by BSO Music Director Andris Nelsons, who is also Gewandhauskapellmeister of the Gewandhausorchester (GHO) Leipzig, musicians from each of the two ensembles participate in an exchange program whereby they play in the others’ home orchestra. For the first half of the 2019-20 season, BSO violinist Lisa Ji Eun Kim and flutist Clint Foreman are playing in Leipzig with the Gewandhaus- orchester, and GHO violinist Veronika Starke and GHO flutist Manfred Ludwig are playing at Symphony Hall with the BSO. The BSO/GHO Alliance creates opportunities for both orchestras and their respective audiences to explore the historic traditions and accom- plishments of each ensemble, through an extensive co-commissioning program, educational programs spotlighting each orchestra’s culture and history, and a focus on complementary programming offered during “Leipzig Week in Boston” and “Boston Week in Leipzig.” For this season’s “Leipzig Week in Boston” (October 27-November 2), the Gewandhaus- orchester itself comes to Boston for two programs of its own, as well as three joint concerts with the BSO, including this year’s Symphony Gala on Friday, November 1.

Boston Symphony Chamber Players 2019-20 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year with music of Stravinsky, Thomson, Carter, Sofia Gubaidulina, and Falla on October 20 featuring harpsi- chordist Paolo Bordignon. Upcoming programs include music of Schulhoff, György Kurtág, Martinu,˚ Reinecke, and Brahms on January 19 with pianist David Deveau; music of Kevin Puts, Eric Nathan, Smyth, and Mendelssohn on March 22 with pianist Randall Hodgkinson; and music of J.S. Bach, Dahl, and Britten, plus the world premiere of a BSO-commissioned work by Michael Gandolfi, on April 26 with baritone John Brancy. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at 1-888-266-7575. For single tickets at $38, $29, and $22, please call SymphonyCharge at (617) 266-1200 or visit bso.org.

BSO 101, the BSO’s Free Adult Education Series on Four Wednesday Evenings at Symphony Hall, 5:30-7 p.m. “BSO 101: Are You Listening?” returns in 2019-20, again offering the opportunity to increase your enjoyment of BSO concerts. Focusing on upcoming BSO repertoire, these four sessions—on October 16, November 13, January 15, and April 1—with BSO Director of Program Publications Marc Mandel (10/16 and 1/15) and Associate Director of Program Publications Robert Kirzinger (11/13 and 4/1) joined by members of the BSO—are designed to enhance your listening abilities and appreciation of music by examining and illuminating aspects of musical shape and form, and of the composers’ individual musical styles. Each session includes recorded musical examples and is self-contained, so no prior musical

week 1 bso news 7 Proud to support the Boston Symphony Orchestra training, or attendance at any previous session, is required. A free tour of Symphony Hall is offered immediately following each session. Though admission to the BSO 101 session is free, we request that you make a reservation to secure your place. Please call (617) 266-1200 or visit bso.org/bso101 (where further details are also available) under “Education & Community” on the BSO’s home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The initial Friday Previews this season will be given by Robert Kirzinger (September 20 and October 4) and Marc Mandel (Sep- tember 27 and October 11). individual tickets are on sale for all concerts in the bso’s 2019-2020 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 Theresa M. and Terry is the former executive vice-president Charles F. Stone III Concert and treasurer of the Massachusetts Institute Thursday, September 19, 2019 of Technology. She is a life member of the MIT Corporation and previously served on Thursday evening’s concert is supported by the executive committee and chaired the a generous gift from BSO Trustee Theresa M. board of the MIT Investment Management Stone and Charles F. Stone III. BSO subscribers Company. Terry served on the board of and Symphony Annual Fund supporters since directors of American International Group 2008, Terry and Rick are currently members (AIG) Inc. and is a former director of Progress of the Higginson Society at the Encore level. Energy Inc. Terry and Rick are active on They have also generously supported the a number of not-for-profit cultural and BSO Endowment and Symphony and Tangle- education boards. Terry is a trustee of the wood galas. Terry was elected to the BSO Museum of Fine Arts, Boston and Harold Board of Overseers (now Board of Advisors) Alfond Foundation, and serves on the boards in 2009 and the Board of Trustees in 2010. of the Harvard Musical Association and the She served as treasurer of the Board of Metropolitan Opera Club. Rick is chair of the Trustees from 2012 to 2018. In her role, Terry board of trustees of the Paul Taylor Dance was chair of the Finance Committee, as well Foundation and a longtime member of the as a member of the Audit and Investment board of the MacDowell Colony. He recently committees. She currently serves as a chaired the Foundation Board of the North member of the Governance; Audit, Risk, Carolina School of Science and Mathematics and Compliance; and Mission, Program, and and the Council for the Arts at MIT. Engagement committees. Both Terry and Rick earned master’s in Terry attended Girls’ Latin School in Boston management degrees from the MIT Sloan and was a member of the Greater Boston School of Management. Rick grew up in Youth Symphony Orchestra in its founding Atlanta and attended Princeton; Terry year. Having admired the Boston Symphony attended Wellesley. Their son, Charlie, since childhood, she feels privileged to serve graduated from Harvard Business School as one of its Trustees. and currently resides in London.

week 1 bso news 9 NEC Preparatory School presents Salute to Clara Schumann on her Bicentennial

29TH ANNUAL COMPOSER CELEBRATION SERIES

TATYANA DUDOCHKIN Founder and Artistic Director

RON DELLA CHIESA WCRB, Host

SUNDAY, OCTOBER 13 3 P.M. JORDAN HALL

TICKETS: $15–20 necmusic.edu/composercelebration

FEATURING: NEC’s Youth Philharmonic Orchestra | David Loebel, conductor Carduus | Holly Druckman, conductor Julianne Lee, violin | Elisabeth Remy Johnson, harp | Tatyana Dudochkin, piano | Yelena Dudochkin, soprano | Maria Ioudenitch, violin | Sam Ou, cello | Konstantinos Papadakis, piano The James and Melinda Rabb Concert program of Beethoven and Strauss featuring Saturday, September 21, 2019 violinist Augustin Hadelich, also with Andris Nelsons conducting (September 28; encore The BSO performance on Saturday evening October 7); and Maestro Nelsons’ program is named for BSO Advisor James Rabb and the following week of music by James Lee III, his wife, Melinda, active supporters and Shostakovich, and Smetana featuring pianist longtime concert subscribers of the Symphony. Yuja Wang and BSO principal trumpet Thomas Jim and Melinda began attending concerts Rolfs (October 5; encore October 14). at Symphony Hall together while in college; music—played, sung, and danced—has played an important role in their lives. They Join Our Community of have taken pleasure in supporting organizations Music Lovers— that bring musical performances to others. The Friends of the BSO Melinda serves on the boards of Boston As a music lover, you know how special Ballet, Boston Celebrity Series, and WGBH, it is to experience a performance here at and Jim serves on the boards of the Harvard Symphony Hall. Attending a BSO concert is Glee Club Foundation and BSO. Jim has had a communal experience—thousands of con- the privilege of being onstage at Symphony certgoers join together to hear 100 musicians Hall and Tanglewood as a member of choruses collaborate on each memorable performance. performing Beethoven’s Ninth, Mozart’s There is another community that helps to Requiem, Prokofiev’sAlexander Nevsky, and make it all possible—the Friends of the BSO. Strauss’s Die Tageszeiten. Every $1 the BSO receives through ticket Jim was elected to the BSO Board of Overseers sales must be matched by an additional $1 (now Board of Advisors) in 2012. He is of contributed support to cover annual currently a member of the Advisors expenses. Annual gifts from the Friends of Experience Council; he previously served as the BSO help bridge that gap, bringing the a member of the Planned Giving Committee joys of orchestral music to everyone. In and the Ad Hoc Audience Development addition to joining our family of passionate Committee. Jim and Melinda are members music lovers, you will also enjoy a variety of of the Higginson Society at the Encore level. exclusive benefits designed to bring you closer In 2013, they established a program of free- to the music you cherish. Friends receive to-the-public tours of Symphony Hall in honor advance ticket ordering privileges, discounts of Jim’s late parents, Irving and Charlotte Rabb. at the Symphony Shop, and special invita- They are delighted to have the opportunity tions to behind-the-scenes donor events, to sponsor this performance. such as BSO and Pops working rehearsals and much more. Friends memberships start at just BSO Broadcasts on WCRB $100. To join our community of music lovers in the Friends of the BSO, contact the Friends BSO concerts are heard on the radio at 99.5 at (617) 638-9276, [email protected], WCRB. Saturday-night concerts are broad- or join online at bso.org/contribute. cast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with Go Behind the Scenes: guest conductors, soloists, and BSO musicians The Irving W. and Charlotte F. Rabb are available online at classicalwcrb.org/bso. Symphony Hall Tours Current and upcoming broadcasts include The Irving W. and Charlotte F. Rabb Symphony Andris Nelsons’ program this week of Poulenc, Hall Tours, named in honor of the Rabbs’ Beethoven, and Eric Nathan’s BSO-commis- devotion to Symphony Hall through a gift sioned Concerto for Orchestra (September from their children James and Melinda Rabb 21; encore September 30); next week’s and Betty (Rabb) and Jack Schafer, provide

week 1 bso news 11 MUSIC. GAMES. FOOD. MURDER.

SEP 27 - OCT 6 DCR STERITI MEMORIAL RINK #PAGBLO | BLO.ORG/PAGLIACCI

12 a rare opportunity to go behind the scenes Those Electronic Devices… at Symphony Hall. In these free, guided As the presence of smartphones, tablets, and tours, experienced members of the Boston other electronic devices used for commu- Symphony Association of Volunteers unfold nication, note-taking, and photography has the history and traditions of the Boston Sym- increased, there have also been continuing phony Orchestra—its musicians, conductors, expressions of concern from concertgoers and supporters—as well as offer in-depth and musicians who find themselves dis- information about the Hall itself. Tours are tracted not only by the illuminated screens offered on select weekdays at 4:30 p.m. and on these devices, but also by the physical some Saturdays at 5 p.m. during the BSO movements that accompany their use. For season. Please visit bso.org/tours for more this reason, and as a courtesy both to those information and to register. on stage and those around you, we respect- fully request that all such electronic devices BSO Members in Concert be completely turned off and kept from view while BSO performances are in progress. Founded by former BSO cellist Jonathan In addition, please also keep in mind that Miller, the Boston Artists Ensemble performs taking pictures of the orchestra—whether its opening program of the season, “The photographs or videos—is prohibited during Enlightenment and Beyond,” on Friday, concerts. Thank you very much for your September 20, at 8 p.m. at Hamilton Hall cooperation. in Salem and on Sunday, September 22, at 3 p.m. at St. Paul’s Episcopal Church, 14 St. Paul Street, Brookline. BSO principal On Camera With the BSO oboist John Ferrillo performs in Mozart’s The Boston Symphony Orchestra frequently Oboe Quartet in F in a program also includ- records concerts or portions of concerts ing Beethoven’s String Trio in D, Opus 9, for archival and promotional purposes via No. 2, and Janáˇcek’s String Quartet No. 1, our on-site video control room and robotic The Kreutzer Sonata. Tickets are $30 (dis- cameras located throughout Symphony Hall. counts for seniors and students), available Please be aware that portions of this con- at the door. For more information, visit cert may be filmed, and that your presence bostonartistsensemble.org or call (617) acknowledges your consent to such photog- 964-6553. raphy, filming, and recording for possible use Cellist Jonathan Miller is soloist in Elgar’s in any and all media. Thank you, and enjoy Cello Concerto with the Wellesley Symphony the concert. Orchestra, Max Hobart, music director, on Sunday, October 6, at 3 p.m. at the MassBay Community College Auditorium in Wellesley, Comings and Goings... in a program celebrating the centennial of the Please note that latecomers will be seated concerto’s premiere, with Mr. Miller playing by the patron service staff during the first on the 1700 Goffriller cello used in the work’s convenient pause in the program. In addition, first performance. Also on the program are please also note that patrons who leave the “Fêtes” from Debussy’s Nocturnes and Beetho- auditorium during the performance will not ven’s Symphony No. 5. General admission is be allowed to reenter until the next convenient $25 (discounts for students and seniors). For pause in the program, so as not to disturb the more information, call (781) 235-0515 or visit performers or other audience members while wellesleysymphony.org. the music is in progress. We thank you for your cooperation in this matter.

week 1 bso news 13 Now Leasing Call to learn more about our move in specials

Become part of a 62+ community where daily activities, classes and social events keep you energized and engaged at natick on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting the longtime relationship between the great Puerto Rican pianist Jesús María Sanromá and the BSO and Boston Pops from 1923 to 1968 • An exhibit case in the Brooke Corridor spotlighting guest violin soloists with the BSO in the first decades of the 20th century • An exhibit case in the Brooke Corridor providing an overview of the BSO’s principal cellists from 1881 to the present • Two exhibit cases in the Hatch Corridor focusing on outside events at Symphony Hall, including travelogues and community-oriented activities in the first balcony corridors: • An exhibit case, audience-right, highlighting the BSO’s recent acquisition of a 1936 plaster sculpture of BSO founder Henry Lee Higginson done from life by local artist Paul Vinal Winters • An exhibit case, also audience-right, displaying photographs and postcards depicting Symphony Hall and its environs as part of Boston’s changing cityscape • An exhibit case, audience-left, documenting how patrons secured their tickets in the early years of the BSO in the cabot-cahners room: • In conjunction with the BSO’s upcoming tour to the Far East, three exhibit cases focusing on the BSO’s initial Far East tours in 1960, 1978, and 1979 • A display of photos by George Humphrey, BSO violist from 1934 to 1977, from the 1960 Far East tour

TOP OF PAGE, LEFT TO RIGHT: Jesús María Sanromá and Arthur Fiedler, c.1930 (photographer unknown) Season ticket, made of brass, from the BSO’s inaugural subscription season, 1881-82 (Bridget Carr) Seiji Ozawa conducting at Beijing’s Capital Stadium, March 1979 (Story Lichfield)

week 1 on display 15

Marco Borggreve

Andris Nelsons

The 2019-20 season, Andris Nelsons’ sixth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, marks his fifth anniversary in that position. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons leads fifteen of the BSO’s twenty- six weeks of concerts this season, ranging from repertoire favorites by Beethoven, Dvoˇrák, Gershwin, Grieg, Mozart, Mahler, Rachmaninoff, Ravel, and Tchaikovsky to world and American premieres of BSO-commissioned works from Eric Nathan, Betsy Jolas, Arturs Maskats, and HK Gruber. The season also brings the continuation of his complete Shosta- kovich symphony cycle with the orchestra, and collaborations with an impressive array of guest artists, including a concert performance of Tristan und Isolde, Act III—one of three BSO programs he will also conduct at Carnegie Hall—with Jonas Kaufmann and Emily Magee in the title roles. In addition, February 2020 brings a major tour to Asia in which Maestro Nelsons and the BSO give their first concerts together in Seoul, Taipei, Hong Kong, and Shanghai.

In February 2018, Andris Nelsons became Gewandhauskapellmeister of the Gewandhaus- orchester (GHO) Leipzig, in which capacity he also brings the BSO and GHO together for a unique multi-dimensional alliance including a BSO/GHO Musician Exchange program and an exchange component within each orchestra’s acclaimed academy for advanced music studies. A major highlight of the BSO/GHO Alliance is a focus on complementary programming, through which the BSO celebrates “Leipzig Week in Boston” and the GHO celebrates “Boston Week in Leipzig,” thereby highlighting each other’s musical traditions through uniquely programmed concerts, chamber music performances, archival exhibits, and lecture series. For this season’s “Leipzig Week in Boston,” under Maestro Nelsons’ leadership in November, the entire Gewandhausorchester Leipzig comes to Symphony Hall for joint concerts with the BSO as well as two concerts of its own.

In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. They have so far made three European tours together: immediately following the 2018 Tanglewood season, when they played concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam; in May 2016, a tour that

18 took them to eight cities in Germany, Austria, and Luxembourg; and, after the 2015 Tanglewood season, a tour that took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings on Deutsche Grammophon of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11 (The Year 1905) as part of a complete Shostakovich symphony cycle for that label; and a recent two-disc set pairing Shostakovich’s symphonies 6 and 7 (Leningrad). This November, a new release on Naxos features Andris Nelsons and the orchestra in the world premieres of BSO-commissioned works by Timo Andres, Eric Nathan, Sean Shepherd, and George Tsontakis. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

During the 2019-20 season, Andris Nelsons continues his ongoing collaborations with the Vienna Philharmonic. Throughout his career, he has also established regular collaborations with the Berlin Philharmonic, Bavarian Radio Symphony Orchestra, and Royal Concertgebouw Orchestra of Amsterdam, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Marco Borggreve

week 1 andris nelsons 19 Boston Symphony Orchestra 2019–2020

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 Si-Jing Huang* violas Mickey Katz* Ronald G. and Ronni J. Casty Stephen and Dorothy Weber (position vacant) chair Steven Ansell chair, endowed in perpetuity Concertmaster Principal Charles Munch chair, Wendy Putnam* Charles S. Dana chair, Alexandre Lecarme* endowed in perpetuity Robert Bradford Newman chair, endowed in perpetuity Nancy and Richard Lubin chair endowed in perpetuity Tamara Smirnova Cathy Basrak Adam Esbensen* First Associate Concertmaster Xin Ding* Assistant Principal Richard C. and Ellen E. Paine chair, endowed in perpetuity Helen Horner McIntyre chair, Glen Cherry* Anne Stoneman chair, endowed in perpetuity endowed in perpetuity Oliver Aldort* Lisa Ji Eun Kim* u Alexander Velinzon Danny Kim u Associate Concertmaster Veronika Starke Lois and Harlan Anderson chair, basses Robert L. Beal, Enid L., and endowed in perpetuity Bruce A. Beal chair, endowed Edwin Barker Rebecca Gitter in perpetuity second violins Principal Harold D. Hodgkinson chair, Elita Kang Haldan Martinson Michael Zaretsky* Principal endowed in perpetuity Assistant Concertmaster Rachel Fagerburg* Edward and Bertha C. Rose chair, Carl Schoenhof Family chair, Lawrence Wolfe endowed in perpetuity endowed in perpetuity Daniel Getz* Assistant Principal Maria Nistazos Stata chair, Yuncong Zhang Julianne Lee Rebekah Edewards* endowed in perpetuity John and Dorothy Wilson chair, Assistant Principal Leah Ferguson*° endowed in perpetuity Charlotte and Irving W. Rabb Benjamin Levy chair, endowed in perpetuity Kathryn Sievers* Leith Family chair, endowed Lucia Lin in perpetuity Dorothy Q. and David B. Arnold, Jr., Sheila Fiekowsky Mary Ferrillo* chair, endowed in perpetuity Shirley and J. Richard Fennell Dennis Roy chair, endowed in perpetuity Steven O. Laraia* Ikuko Mizuno Joseph Hearne Ruth and Carl J. Shapiro chair, Nicole Monahan endowed in perpetuity David H. and Edith C. Howie cellos Todd Seeber* chair, endowed in perpetuity Eleanor L. and Levin H. Campbell Bo Youp Hwang Blaise Déjardin chair, endowed in perpetuity Mary B. Saltonstall chair, Ronan Lefkowitz Principal Philip R. Allen chair, John Stovall* endowed in perpetuity Vyacheslav Uritsky* endowed in perpetuity Thomas Van Dyck* Jennie Shames* Aza Raykhtsaum* Sato Knudsen Catherine and Paul Buttenwieser Carl Anderson* chair Bonnie Bewick* Mischa Nieland chair, endowed in perpetuity Valeria Vilker Kuchment* James Cooke* flutes Kristin and Roger Servison chair Mihail Jojatu Victor Romanul* Sandra and David Bakalar chair Elizabeth Rowe Tatiana Dimitriades* Catherine French* Martha Babcock Principal Donald C. and Ruth Brooks Walter Piston chair, endowed Vernon and Marion Alden chair, Heath chair, endowed Jason Horowitz* in perpetuity in perpetuity endowed in perpetuity Ala Jojatu* u Owen Young* Clint Foreman Myra and Robert Kraft chair, Bracha Malkin* John F. Cogan, Jr., and Mary L. endowed in perpetuity Brooks and Linda Zug chair Cornille chair, endowed in perpetuity Elizabeth Ostling Associate Principal u BSO/GHO Musician Exchange participant: BSO members Lisa Ji Eun Kim and Clint Marian Gray Lewis chair, Foreman play with Leipzig’s Gewandhausorchester (GHO) for the first half of the season endowed in perpetuity while GHO members Veronika Starke and Manfred Ludwig play with the BSO. Manfred Ludwig u 20 photos by Robert Torres and Winslow Townson

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

week 1 boston symphony orchestra 21 When it Comes to Dependability, One Stands Alone. a d Commonwealth Worldwide has been the premier choice of discerning clientele in Boston and beyond for more than 35 years. Discover why we are a seven-time Best of Boston® selection by Boston magazine.

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The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 139th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expan- sion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all back- grounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members.

The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most

week 1 a brief history of the bso 23 Sunday, October 20 OR Sunday, November 3

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24 revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating

BSO Archives in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama- Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians.

It was in 1936 that Koussevitzky led the orchestra’s first concerts Major Henry Lee Higginson, founder in the Berkshires; he and the players took up annual summer of the Boston Symphony Orchestra residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). Most recently, in the summer of 2019, educational offerings at Tanglewood were expanded via the inaugural season of the Tanglewood Learning Institute in the new Linde Center for Music and Learning, a four-building, multi-use complex that also provides additional concert and rehearsal space for the Tanglewood Music Center.

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In

1956, the BSO, under the direc- BSO Archives tion of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thir- teenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the Three BSO music directors of the past: Pierre Monteux (music director, BSO, under the direction of Seiji 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.

Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included

week 1 a brief history of the bso 25

Michael Tilson Thomas, from 1972 to 1974, and

BSO Archives the late Sir Colin Davis, from 1972 to 1984.

The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own Rush ticket line at Symphony Hall, probably in the 1930s label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he took up in the 2014-15 season, following a year as music director designate.

Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Boston ChamBer musiC soCiety Marcus Thompson, Artistic Director

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Sun. Sep. 22 • 7:30 PM Sun. Oct. 20 • 7:30 PM Franz Joseph Haydn Clara Schumann Piano Trio in C major, Hob. XV:27 Piano Trio in G minor, Op. 17 Dimitri Shostakovich John Harbison Piano Quintet in G minor, Op. 57 Sonata for Viola and Piano (2018) Boston premiere Wolfgang A. Mozart Johannes Brahms Viola Quintet in C major, K. 515 Piano Quartet in A major, Op. 26 617.349.0086 • www.bostonchambermusic.org

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Dearest Friends

In 2019-20, my sixth season with the orchestra, the BSO and I look forward to continuing our musical journey not only with each other, but with you, our devoted audience. Whether you are a longtime subscriber or new to Symphony Hall, the sense of family and community we share together is so very meaning- ful to us all. The need for music in our hearts, and in our lives, feels more and more important each year.

A special highlight of this season is our third “Leipzig Week in Boston,” in November, celebrating our wonderful BSO/GHO Alliance with the Gewandhaus Orchestra (GHO) of Leipzig. This year, the GHO itself comes to Boston not only for concerts of its own, but to join forces with the BSO in programs featuring principal players from both orchestras as soloists. Our Shostakovich symphony cycle being recorded live for Deutsche Grammophon continues with his Sym- phony No. 12, Symphony No. 2, and Chamber Symphony. Our exploration of Strauss’s music continues with the Symphonia domestica. Among the many guest artists either returning to Symphony Hall or making debuts with the orchestra, tenor Jonas Kaufmann, who was here for Act II of Wagner’s Tristan und Isolde in 2018, returns for Act III. I am also very happy to be conducting BSO commissions by HK Gruber, Betsy Jolas, Arturs Maskats, and Eric Nathan.

The idea of family remains central, with principal cello Blaise Déjardin, principal wind players John Ferrillo, Elizabeth Rowe, and Richard Svoboda, and principal trumpet Thomas Rolfs among our soloists. Artistic Partner Thomas Adès returns to the BSO podium, and BSO Assistant Conductor Yu-An Chang makes his subscription series debut. April brings a significant family milestone with the 50th anniversary of the Tanglewood Festival Chorus.

Of course, these are just a few highlights of what promises to be another truly exciting season. We look forward to your being part of it, and we extend continuing thanks for your devotion and great support.

With warm wishes,

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week 1 a message from andris nelsons 29 iﬁ 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 139th season, 2019–2020

Thursday, September 19, 8pm | the theresa m. and charles f. stone iii concert Friday, September 20, 1:30pm | the william and helen pounds concert Saturday, September 21, 8pm | the james and melinda rabb concert

andris nelsons conducting

poulenc concerto in d minor for two pianos Allegro ma non troppo Larghetto Finale: Allegro molto lucas and arthur jussen

beethoven fantasia in c minor for piano, chorus, and orchestra, opus 80 arthur jussen, piano alumni of the tanglewood music center alexandra smither and paulina swierczek, sopranos katherine maysek, mezzo-soprano chance jonas-o’toole and eric finbarr carey, tenors william socolof, bass-baritone tanglewood festival chorus, james burton, conductor

Text and translation are on page 51.

{intermission}

this week’s performances by lucas and arthur jussen are supported as part of the dutch culture usa program by the consulate general of the kingdom of the netherlands in new york, and by funding through a grant from the netherland-america foundation. friday afternoon’s performance by nicole cabell is supported by a generous gift from the ethan ayer vocal soloist fund. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus.

30 eric nathan concerto for orchestra (2019) (world premiere; commissioned by the boston symphony orchestra, andris nelsons, music director, through the generous support of catherine and paul buttenwieser, and through the generous support of the new works fund established by the massachusetts cultural council, a state agency) poulenc “gloria” for soprano, orchestra, and chorus Gloria Laudamus te Domine Deus Domine fili unigenite Domine Deus, agnus Dei Qui sedes ad dexteram patris nicole cabell, soprano tanglewood festival chorus

Text and translation are on page 43.

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2019-20 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 10:10 and the afternoon concert about 3:40. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. 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. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 1 program 31 The Program in Brief...

These eclectic opening concerts of the BSO’s 2019-20 season suggest the scope of the season as a whole with regard to both repertoire and the large slate of guest artists, many of whom are making BSO debuts. The program is notable in highlighting alumni of the BSO’s Tanglewood Music Center: all the vocal soloists in Beethoven’s Choral Fantasy were Vocal Fellows of the TMC, and Eric Nathan, whose Concerto for Orchestra is receiving its world premiere performances this week, was a TMC Composition Fellow.

Nathan’s new Concerto for Orchestra is the second BSO orchestral commission for the young American composer. He has a long association with the BSO that began with visits to Tanglewood as a boy, summers as a trumpet player at the Boston University Tanglewood Institute, and his TMC Fellowship. In November 2016 Andris Nelsons led the premiere of Nathan’s first BSO orchestral commission,the space of a door. The title Concerto for Orchestra is a nod to the most famous of all the works premiered by the BSO, Bartók’s 1944 Concerto for Orchestra. Nathan’s one-movement, eighteen-minute piece is a celebration of the phenomenon of the orchestra itself, in which the artistry and virtuosity of many individuals come together for a single artistic purpose.

Beethoven’s Choral Fantasy is virtually a road map for this ideal of communal music- making. To a long passage for piano alone are gradually groups of instruments followed by six vocal soloists and finally a full chorus singing a text in celebration of music itself. The pattern is a model for the final movement of Beethoven’s Ninth Symphony, and in the main tune of the Choral Fantasy one can easily hear a prototype of the “Ode to Joy.” The Choral Fantasy, though, predates the Ninth by some sixteen years: Beethoven wrote the piece quickly as a concert-closer for the legendary four-hour 1808 Theater an der Wien concert during which the Fifth and Sixth symphonies were premiered.

The French composer Francis Poulenc’s music has been championed by several gener- ations of BSO—and Boston Pops—conductors. Arthur Fiedler and the Pops introduced Poulenc’s Concerto for Two Pianos to Symphony Hall audiences in 1936; it first appeared in BSO subscription concerts on the same January 1961 program in which Charles Munch led the world premiere of the composer’s Gloria. The sparkling, three-movement, neoclassical concerto has all the Poulenc hallmarks of pungent harmony, deceptively simple lyricism, and rhythmic energy. A brilliant pianist, Poulenc was one of the soloists in its 1932 premiere in Venice.

Known early in his career for a mischievous, nose-thumbing sense of humor, by the late 1930s Poulenc had become deeply spiritual, an aspect of his personality that he increasingly explored in his music in such works as the Mass in G and the opera Dialogues of the Carmelites. His Gloria for soprano soloist, chorus, and orchestra was one of his last major works, and is considered one of his greatest. The Latin text is from the ordinary of the Catholic mass.

Robert Kirzinger

32 Francis Poulenc Concerto in D minor for Two Pianos “Gloria” for soprano solo, mixed chorus, and orchestra

FRANCIS POULENC was born in Paris on January 7, 1899, and died there on January 30, 1963. He composed his CONCERTO IN D MINOR FOR TWO PIANOS in the summer of 1932 on a commission from the Princess Edmond de Polignac. The first performance was on September 5 that year in Venice, at the Festival of the International Society of Contemporary Music; the composer and Jacques Février were the two soloists, with Desiré Defauw conducting the orchestra of La Scala. Poulenc was also one of the pianists, along with Evelyne Crochet, for the first Boston Symphony performances, with Charles Munch conducting on January 21 and 22, 1961. Poulenc composed his “GLORIA” between May 1959 and June 1960, on a commission from the Kousse- vitzky Foundation; the score is dedicated “To the memory of Serge and Natalie Koussevitzky.” Charles Munch and the Boston Symphony Orchestra gave the world premiere performances at Symphony Hall on January 21 and 22, 1961 (on the same program as the BSO’s first performances of Poulenc’s two-piano concerto), with soprano Adele Addison and the Chorus pro Musica, Alfred Nash Patterson, conductor, subsequently giving the first Tanglewood performance on July 21, 1961 (this time with the Festival Chorus prepared by Patterson), and the New York premiere (again with Patterson’s Chorus pro Musica) on April 8 that year.

BESIDES THE TWO PIANOS, the score of the concerto calls for an orchestra of flute, piccolo, two oboes, English horn, two clarinets, two bassoons, two horns, two trumpets, two trombones, percussion (bass drum, cymbals, triangle, small drums with and without snare, military drum, castanets, and tarolle—but no timpani), and strings

THE SCORE OF THE “GLORIA” calls for soprano soloist, mixed chorus, and an orchestra of piccolo, two flutes (second doubling second piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, harp, and strings.

French composers have rarely been bashful about writing music whose main purpose was to give pleasure. It was French composers who began openly twitting the pro- fundities of late romantic music in the cheeky jests of Satie and in many works by

week 1 program notes 33 Program page for the first Boston Symphony performances of Poulenc’s Concerto in D minor for Two Pianos, and his “Gloria,” on January 21 and 22, 1961, with Charles Munch conducting, pianists Francis Poulenc and Evelyne Crochet, soprano Adele Addison, and the Chorus pro Musica, Alfred Nash Patterson, conductor (BSO Archives)

34 the group that claimed him as their inspiration, the “Group of Six,” which included Francis Poulenc.

During the first half of his career, Poulenc’s work was so much in the lighter vein that he could be taken as a true follower of Satie’s humorous sallies. That changed in 1935 when, following the death of a close friend in an automobile accident, Poulenc reached a new maturity, recovering his lost Catholic faith and composing works of an unprecedented seriousness, though without ever losing sight of his lighter style. From that time on, he continued to compose both sacred and secular works, and often he could shift even within the context of a single phrase from melancholy or somber lyricism to nose- thumbing impertinence. But the more serious works include some of his largest, and the sheer size of them tends to change our view of the man’s music from about the time of World War II, when he composed the exquisite a cappella choral work La Figure humaine to a text of Paul Éluard as an underground protest to the German occupation. He became an opera composer, first in the surrealist joys ofLes Mamelles de Tirésias (“The Breasts of Tiresias”) in 1944 (performed 1947), but later in the very different religious opera Dialogues of the Carmelites (1956), set during the Reign of Terror in the French Revolution, or the one-woman opera La Voix humaine (1958), in which a woman talking to her lover for the last time on the telephone tries vainly to hold on to him. Critic Claude Rostand once wrote of Poulenc that he was “part monk, part guttersnipe,” a neat characteriza- tion of the two strikingly different aspects of his musical personality, though the monk seemed more and more to predominate in his later years. Still, as Ned Rorem said in a memorial tribute, Poulenc was “a whole man always interlocking soul and flesh, sacred and profane.”

Possessing the least formal musical education of any noted 20th-century composer, Poulenc learned from the music that he liked. His own comment is the best summary: The music of Roussel, more cerebral than Satie’s, seems to me to have opened a door on the future. I admire it profoundly; it is disciplined, orderly, and yet full of feeling. I

week 1 program notes 35 HOW TOWNIES BECOME INTERNATIONA L-IES. Delta now oﬀers the most international ﬂights from Boston.

Based on 2019 departures from Boston, by Delta and its airline partners. Some oﬀerings are seasonal. Pianist Jacques Février (1900-1979), who joined the composer as the other soloist for the premiere of Poulenc’s Concerto for Two Pianos on September 5, 1932, in Venice

love Chabrier: España is a marvelous thing and the Marche joyeuse is a chef-d’oeuvre.... I consider Manon and Werther [by Massenet] as part of French national folklore. And I enjoy the quadrilles of Offenbach. Finally my gods are Bach, Mozart, Haydn, Chopin, Stravinsky, and Mussorgsky. You may say, what a concoction! But that’s how I like music: taking my models everywhere, from what pleases me.

One of the composers omitted from this list is Debussy, from whom Poulenc may have learned what one analyst calls “cellular writing,” in which a musical idea one or two measures in length is immediately repeated, with or without variation. This kind of mosaic construction is the opposite of a long-range developmental treatment in which themes are broken down into their component parts and put together in new guises. The aim (and the effect) is to produce music that seems somehow instinctive, not labored or intellectual, but arising directly from the composer’s spontaneous feelings. It is a device employed by Mussorgsky and Debussy (who, like Poulenc, admired Mussorgsky), and it was taken up by both Satie and Stravinsky with the aim of writing music that might be anti-Romantic.

Poulenc composed the two-piano concerto during his early period, when he was creating a large number of delightfully flippant works rich in entertaining qualities. He may perhaps have been influenced in the lightheartedness of his 1932 concerto by the fact that Ravel, the year before, had composed two piano concertos, both of which had somewhat the character of divertimentos. Certainly Poulenc’s work could join the two Ravel compositions in cheerfulness: its main goal is to entertain, and in that it has succeeded admirably from the day of its premiere.

Poulenc’s additive style of composition makes his music particularly rich in tunes; they seem to follow, section by section, one after another, with varying character, sometimes hinting at the neoclassical Stravinsky, sometimes at the vulgarity of the music hall. The very opening hints at something that will come back late in the first movement, a repeti- tious, percussive figure in the two solo pianos inspired by Poulenc’s experience of hearing a Balinese gamelan at the 1931 Exposition Coloniale de Paris.

week 1 program notes 37 The second movement begins in the unaccompanied first piano with a lyric melody described by Poulenc as follows: In the Larghetto of this concerto, I allowed myself, for the first theme, to return to Mozart, for I cherish the melodic line and I prefer Mozart to all other musicians. If the movement begins alla Mozart, it quickly veers, at the entrance of the second piano, toward a style that was standard for me at that time.

Though the style soon changes, there are returns to “Mozart” and possibly some passages inspired by Chopin as well. The finale is a brilliant rondo-like movement, so filled with thematic ideas that it is hard to keep everything straight. But then, Poulenc was here showing us the most “profane” side of his personality. This is the “guttersnipe,” a genial, urbane, witty man whose acquaintance we are glad to have made.

THE FIRST BSO PERFORMANCES OF POULENC’S CONCERTO FOR TWO PIANOS were on January 21 and 22, 1961, Charles Munch conducting, with the composer and Evelyne Crochet as the piano soloists. Subsequent BSO performances featured Bracha Eden and Alexander Tamir (July 1967 at Tanglewood with Erich Leinsdorf conducting); Katia and Marielle Labèque (January 1985 with Seiji Ozawa, a recording session for Philips following four years later in April 1989); the Labèques again (August 1987 at Tanglewood, with Leonard Slatkin); and Martha Argerich and Alexander Durning (August 2004 at Tanglewood, with Charles Dutoit). Prior to the first BSO performances, the Boston Pops had already played the piece on several occasions, the first being under the direction of Arthur Fiedler on June 23, 1936, with pianists Jesús María Sanromá and Leo Litwin (see page XX).

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38 Soprano soloist Adele Addison, chorus conductor Alfred Nash Patterson, conductor Charles Munch, and the BSO at the first Tanglewood performance of Poulenc’s “Gloria” on July 21, 1961 (Whitestone Photo/BSO Archives)

As a composer with special gifts in setting words to music, Poulenc had already composed a great deal of choral music, in French and Latin, before turning to the Gloria. Many of his earlier unaccompanied sacred choruses had an intensely mystical quality; this is as true of the motets “for a time of penitence” as it is of the motets for the presumably more joyous feast of Christmas. In 1950 he composed a Stabat mater, the first of three large-scale pieces for chorus and orchestra. This was followed by the Gloria in 1959 and Sept Répons des ténèbres (1962). The Stabat mater is a setting of a medieval Latin text recounting the reaction of the Virgin Mary to the crucifixion of Jesus; the “Seven Responses for Tenebrae” are likewise a part of the liturgy for the week before Easter, and deal with emotionally charged matter. Of the three late choral-orchestral works, then, the Gloria is the only one that is predominantly festive and exuberant.

The text of the Gloria is regarded as one of the great prose hymns of Christian literature. Normally sung in the Latin Mass immediately after the Kyrie on festive occasions, the Gloria has also been used separately as a hymn of praise. The text as it is now employed developed over an extended period until it reached its present form in the 9th century. Poulenc chooses to repeat a number of phrases in his setting in a way that is not liturgi- cally appropriate; he evidently thought of his Gloria as a concert piece and not a work for the church service. As he himself said, “My Stabat is an a cappella chorus [though with orchestra!], my Gloria is a large choral symphony.” The choral writing is far less contrapuntal than in the unaccompanied motets and choral songs. The voices instead form a block of timbral color around which the orchestral instruments weave their colorful parts.

The range of expression in the Gloria is broad—so broad, in fact, that some parts of the work attracted critical reactions when it was first performed. The second movement is among the most lighthearted movements in all of Poulenc’s work. As he recalled: The second movement caused a scandal; I wonder why? I was simply thinking, in writing it, of the Gozzoli frescoes in which the angels stick out their tongues; I was thinking also of the serious Benedictines whom I saw playing soccer one day.

week 1 program notes 39 Program page for the first performance by the Boston Pops Orchestra of Poulenc’s Concerto in D minor for Two Pianos, with pianists Jesús María Sanromá and Leo Litwin under the direction of Arthur Fiedler (BSO Archives)

40 The second and fourth movements are both rhythmically alive and generally lively in character, while the third and fifth sections are filled with that special mystical quality that was so much a part of Poulenc’s personality. All in all, the Gloria, in its directness of approach, perfectly captures the faith of the man who said, “I want the religious spirit to be expressed clearly, out in the open, with the same realism that we see in romanesque columns.” The Gloria may not be his most profound work, but it is assuredly among the most brilliant and life-affirming.

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

THE FIRST BSO PERFORMANCES OF POULENC’S “GLORIA” were the world premiere performances (as mentioned above) on January 21 and 22, 1961, Charles Munch conducting, with Adele Addison and the Chorus pro Musica, Alfred Nash Pattterson, conductor, followed by the Tanglewood premiere that July and the New York premiere in April. Subsequent BSO performances were conducted by Seiji Ozawa (January 1985 with Kathleen Battle and the Tanglewood Festival Chorus, John Oliver, conductor; June 1985 at Tanglewood with Sylvia McNair and the Tanglewood Festival Chorus); and November 1987, again with Kathleen Battle and the Tanglewood Festival Chorus, at which time the work was also recorded for Deutsche Grammophon) and by David Zinman (August 2010 at Tanglewood, with Isabel Bayrakdarian and the Tanglewood Festival Chorus).

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week 1 program notes 41 “First Republic understands our legacy and our bold aspirations. We defi ne the goal, and they help us get there.”

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I. Gloria: Maestoso Gloria in excelsis Deo Glory to God on high et in terra pax hominibus bonae and on earth, peace to men of good will. voluntatis. II. Laudamus te: Très vif et joyeux (Very lively and joyous) Laudamus te, benedicimus te, We praise thee, we bless thee, Adoramus te, glorificamus te, we worship thee, we glorify thee, Gratias agimus tibi gloriam tuam we give thanks unto thee Propter magnam gloriam tuam. for thy great glory. Laudamus te. We praise thee. III. Domine Deus: Très lent et calme (Very slow and calm) Domine Deus, rex caelestis, Lord God, heavenly king, Pater omnipotens, omnipotent father, Rex caelestis, Deus pater, heavenly king, God the father, Pater omnipotens, Deus pater. Father almighty, God the father. Gloria. Glory. IV. Domine fili unigenite:Très vite et joyeux (Very fast and joyous) Domine fili unigenite Lord, only-begotten son, Jesu Christe. Jesus Christ. V. Domine Deus, agnus Dei: Très lent; Plus allant (Very slow; Faster) Domine Deus, agnus Dei, Lord God, lamb of God, Filius patris, rex caelestis son of the father, king of heaven, Qui tollis peccata mundi who bearest the sins of the world, Miserere nobis have mercy upon us, Suscipe deprecationem nostram. receive our prayers. VI. Qui sedes ad dexteram patris: Maestoso Qui sedes ad dexteram patris Thou who sittest at the right hand of the father, Miserere nobis, have mercy upon us, Quoniam tu solus sanctus, for thou alone art holy, tu solus Dominus, Amen. thou alone art Lord, Amen. Qui sedes tu solus altissimus, Thou who sittest alone on high, Jesu Christe, Jesus Christ, Cum Sancto Spiritu, in gloria with the Holy Spirit, in the glory of Dei patris. God the father. Amen. Amen.

week 1 text and translation 43 BUILDING SPACES THAT CREATE HARMONY

Proud supporter of the BSO and builders of Tanglewood’s new Linde Center for Music and Learning. Ludwig van Beethoven Fantasia in C minor for piano, chorus, and orchestra, Opus 80

LUDWIG VAN BEETHOVEN was born in Bonn (then an independent electorate) probably on December 16, 1770 (he was baptized on the 17th), and died in Vienna on March 26, 1827. He composed the Choral Fantasy at the last possible moment to serve as grand finale for his own benefit concert of December 22, 1808, at the Theater an der Wien in Vienna (see below). He himself was the pianist on that occasion.

IN ADDITION TO THE PIANO SOLOIST, VOCAL SOLOISTS (TWO SOPRANOS, ALTO, TWO TENORS, AND BASS), AND CHORUS, the score of the Choral Fantasy calls for an orchestra of flutes, oboes, clarinets, and bassoons in pairs, two horns, two trumpets, timpani, and strings.

After having contributed both as composer and performer to a series of charity concerts in 1807 and 1808, Beethoven received permission to use the Theater an der Wien for a concert for his own benefit (i.e., one in which hewould receive any profits that might accrue) on December 22, 1808. He chose this opportunity to reveal to the world some of his major new compositions in a program that consisted entirely of first performances of his music. Among the new works were such major pieces as the Fourth Piano Concerto (for which Beethoven himself was to be the soloist) and the Fifth and Sixth symphonies, as well as the concert aria “Ah! perfido” and several movements from the Mass in C, Opus 86 (which had to be advertised as “hymns in the church style” because the cen- sor did not allow liturgical music to be performed in theaters). That list of pieces would seem to be enough to exhaust an audience (not to mention an orchestra), especially when all of the works included were utterly unfamiliar, difficult, and performed with far too little rehearsal.

But Beethoven decided that it wasn’t enough; he wanted a closing piece. He felt (with considerable justification) that it would not be fair to either the work or the audience to put the Fifth Symphony at the end of such a long program, even though it would make a rousing conclusion, because people would simply be too tired to pay much attention

week 1 program notes 45 Program page for the first Boston Symphony performance of Beethoven’s Choral Fantasy, at Tanglewood on August 7, 1959, with Charles Munch conducting and Rudolf Serkin as piano soloist (BSO Archives)

46 The Theater an der Wien in Vienna, where Beethoven’s Choral Fantasy was premiered in his mammoth concert of December 22, 1808

to it. So he put it at the beginning of the second half (the Pastoral Symphony opened the evening) and quickly composed a work designed specifically as a concert-closer, employing all of the forces that had been gathered for the concert (chorus, orchestra, and piano soloist), arranged in a variation form designed for maximum variety of color and for “easy listening.” He went back to a song, “Gegenliebe” (WoO 118), that he had composed more than a dozen years previously, ordered a new text written in a hurry by the obscure poet Christian Kuffner, and set to work.

The piece was finished too late for a careful rehearsal—which hardly mattered, since Beethoven and the orchestra, which was a “pick-up” group consisting of a heterogeneous mixture of professionals and reasonably advanced amateurs, had already had such a falling-out during rehearsals that the orchestra would not practice with Beethoven in the room, causing him to listen from an anteroom at the back of the theater and communicate his criticisms to the concertmaster. When the time came for the performance, just about everything went wrong: the concert was running to four hours in length, the hall was unheated and bitterly cold, the soprano had already ruined the aria out of nervousness. To top it all off, the Choral Fantasy fell apart during the performance (apparently through some mistake in counting in the orchestra) and Beethoven stopped the performance to begin it again. The financial outcome of the evening for Beethoven is unknown, but it certainly had a psychological effect on him: he never played the piano in public again.

The overall structure of the work is as bold as it is unusual: on the principle of gradually increasing the number of performers from minimum to maximum, Beethoven begins with an improvisatory introduction for solo piano, the finestexample we have written down of what his own keyboard improvisations must have been like. The orchestral basses enter softly in a march rhythm, inaugurating introductory dialogue with the keyboard soloist hinting at the tune to come. Finally the pianist presents the melody that will be the basis for the remaining variations, and the finale is fully underway. One of

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10 Longwood Drive | Westwood, MA 02090 | foxhillvillage.com | 781.948.9295 the most striking things about the tune is the way it hovers around the third degree of the scale, moving away from it and then returning in smooth stepwise lines. Much the same description can be given of the main theme for the finale of the Ninth Symphony, for which reason the Choral Fantasy is sometimes viewed as a kind of dry run for the Ninth, though that mighty work, in which the choral finale is the powerful culmination of an enormous symphonic edifice, was still some fifteen years away. Still, the notion of variation treatment of a simple, almost hymn-like melody in the orchestra, followed by the unexpected appearance of voices, can be traced to this work. And though the Choral Fantasy does not pretend to such impressive architectural power as the finale of the Ninth, it certainly provided Beethoven with a closing number at once lively and colorful, naively cheerful, and original in form.

Steven Ledbetter

THE FIRST AMERICAN PERFORMANCE OF BEETHOVEN’S CHORAL FANTASY took place on December 23, 1848, at the Melodeon in Boston, with conductor George J. Webb leading the Handel & Haydn Society, pianist J.F. Hatton, and the Musical Fund Society.

THE FIRST BSO PERFORMANCE OF THE CHORAL FANTASY took place at Tanglewood on August 7, 1959, with Charles Munch conducting pianist Rudolf Serkin and the Festival Chorus, subsequent BSO performances being led between 1965 and 2002 by Erich Leinsdorf (August 1965); Max Rudolf (April 1970, in a concert featuring the debut appearance of the Tanglewood Festival Chorus); William Steinberg (August 1970), and Seiji Ozawa (in October 1981 to conclude the BSO’s Centennial Gala, and then again in August 1982, October 1982, July 1984, December 1990; July 1994 to conclude the Ozawa Hall Inaugural Gala with the combined BSO and Tanglewood Music Center Orchestra; July 1997, and in July 2002 as part of his final concert as the BSO’s music director). Since then, the BSO has performed it under the direction of Bernard Haitink (the most recent subscription performances, in October 2003 with pianist Dubravka Tomsic and the Tanglewood Festival Chorus, with a repeat performance at New York’s Carnegie Hall), David Zinman (July 14, 2012, to conclude the Tanglewood 75th Anniversary Gala), and Charles Dutoit (August 24, 2014, at Tanglewood, with pianist Yefim Bronfman, the Tanglewood Festival Chorus, and soloists Nicole Cabell, Meredith Hanson, Tamara Mumford, Noah Stewart, Alex Richardson, and John Relyea). Other pianists to have performed the Choral Fantasy with the BSO have included, in addition to Rudolf Serkin (who performed it on numerous occasions and also recorded it with Ozawa and the orchestra), Jerome Lowenthal, and, also on numerous occasions, Peter Serkin. The Tanglewood Festival Chorus has been the chorus for every BSO performance of the Choral Fantasy since its debut appearance at Symphony Hall in 1970.

week 1 program notes 49

BEETHOVEN Choral Fantasy, Opus 80

Schmeichelnd hold und lieblich klingen Radiant chords of music’s splendor unsers Lebens Harmonien. echoing life’s most joyous tune, Und dem Schönheitssinn entschwingen Like the growth of springtime flowers, Blumen sich, die ewig blühn. lifts our hearts’ eternal bloom. Fried’ und Freude gleiten freundlich Peace and joy in soothing union, wie der Wellen Wechselspiel; like the ocean’s billowing spray— Was sich drängte rauh und feindlich, What had earlier seemed unfriendly, ordnet sich zu Hochgefühl. now unites in peaceful play. Wenn der Töne Zauber walten When the strength of music’s magic und des Wortes Weihe spricht, joins the word’s consuming might, Muss sich Herrliches gestalten, What springs forth is all-embracing, Nacht und Stürme werden Licht. turning dark and storm to light. Äuss’re Ruhe, inn’re Wonne Outer stillness, inner rapture, herrschen für den Glücklichen. for the fortunate prevail. Doch der Künste Frühlingssonne Yet the arts, like springtime sunshine, lässt aus beiden Licht entstehn. bring forth light throughout the world. Grosses, das in’s Herz gedrungen When the heart’s enraptured goodness blüht dann neu und schön empor. blooms forth new and fair again, Hat ein Geist sich aufgeschwungen, Then this spirit reaches skyward, hall’t ihm stets ein Geisterchor. with a heavenly “Amen.” Nehmt denn hin, ihr schönen Seelen, Take these gifts of art, kind spirits: froh die Gaben schöner Kunst. there’s no greater gift you’ll find; Wenn sich Lieb und Kraft vermählen, For when love and strength are wedded, lohnt dem Menschen Götter-Gunst. Heaven praises Humankind. CHRISTIAN KUFFNER English version © MARC MANDEL

week 1 text and translation 51 There’s nothing like a well-staged house.

Here’s to the Boston Symphony Orchestra. They always arrange things so beautifully. 617-245-4044 • gailroberts.com Eric Nathan Concerto for Orchestra (2019)

ERIC NATHAN was born in New York City on December 8, 1983, and currently lives in Providence, Rhode Island. He wrote the Concerto for Orchestra in 2019 on commission from the Boston Symphony Orchestra, Andris Nelsons, Music Director. The score is dedicated to the composer’s parents, Amy and Carl Nathan, “and to S.-D.S. in memoriam”—that is, the composer Sven-David Sandström. These are the world premiere performances.

THE SCORE OF THE CONCERTO FOR ORCHESTRA calls for three flutes (third doubling piccolo), two oboes and English horn, two clarinets and bass clarinet, three bassoons (third doubling contrabassoon), four horns, three trumpets (first doubling B-flat piccolo trumpet), two trombones and bass trombone, tuba, timpani, percussion (four players: I. low, medium, and high suspended cymbals, sizzle cymbal, china cymbal, clash cymbals, small and large triangles, almglocken; II. medium wind gong, vibraphone, bass drum; III. seven nipple gongs, large tam-tam, small and large triangles, bass drum; IV. marimba, chimes, clash cymbals, almglocken, glockenspiel), harp, and strings. The duration of the piece is about eighteen minutes.

Eric Nathan’s Concerto for Orchestra is the composer’s second orchestral work commissioned by the Boston Symphony Orchestra; the first wasthe space of a door, premiered by the BSO under Andris Nelsons’ direction in November 2016. The apparently generic title of the new work points to a number of specific connections important to its origins, involving the BSO’s history and legacy; Nathan’s own history with the BSO as audience member, student, and, more recently, professional composer; and, further, the composer’s personal musical relationships over the years. The Concerto for Orchestra is a celebration of these connections and of the expressive personalities that emerge from the artistic collective that is the symphony orchestra.

Although there are plenty of precedents for the idea of instrumental section-based, symphonic virtuosity—Hector Berlioz and Richard Strauss come to mind—it was probably Paul Hindemith who first coined the title “Concerto for Orchestra” (“Konzert für Orchester” in German) for his Opus 38, completed in 1925. That piece is a neoclassical

week 1 program notes 53 Eric Nathan on his Concerto for Orchestra

I think the first score I ever bought was Bartók’s Concerto for Orchestra, and I remember first hearing it performed live by the Boston Symphony Orchestra at Tanglewood, when I was a teenager. In graduate school, I studied with the late Steven Stucky, whose Second Concerto for Orchestra also became an important piece to me. Both of these works celebrate the instrument that is the orchestra, and that is what I wanted to do when the opportunity arose to compose a second piece for the BSO, this time to help open its 2019-20 season.

I grew up playing trumpet in orchestras, and listening to orchestral music has always been an important part of my life. The experience of a live performance is powerful. It is a ritual that congregates people so that we can listen to each other. It is a remarkable thing. These were some of my thoughts when I began to write this piece.

I feel that my music, at its heart, is really about music itself. My thoughts and feelings help create a scaffolding for my musical characters, but it is the elements of music— pitches, harmonies, motives—that create the music’s life. In the days after I finished writing, I realized that this piece is like a prism, through which many stories can be told. This is all to say, I hope you can let the piece take you on its own journey, whatever it may be.

Concerto for Orchestra is cast as a single, continuous movement in three parts. At the onset, two contrasting musical worlds are placed into juxtaposition, and possibly, con- flict—clamorous and frenzied music centered on the pitch E-flat, and still, intimate, and fragile music centered a half-step away, on the pitch of E. This introduction provides building blocks for the music that follows. The first section consists of a series of con- nected episodes where we more intimately meet the instrumental families of the winds, strings, and brass, with the percussion playing a supportive and guiding role throughout. At the center of the piece there is a fast, wildly racing section that culminates in a climax, leading into the final part, where we again find a sense of stillness, but also a chance to hear and understand earlier ideas in a new light.

Concerto for Orchestra was commissioned by the Boston Symphony Orchestra and its music director, Andris Nelsons.

Eric Nathan (August 2019)

54 update of the early 18th-century Baroque concerto grosso, setting a group of virtuoso soloists within the orchestral texture. Whatever its origins, Hindemith’s idea started a trend: the “concerto for orchestra” designation was soon taken up in the 1920s and ’30s by such composers as Vagn Holmboe, Gian Francesco Malipiero, Walter Piston, Alfredo Casella, Goffredo Petrassi (in spades—he ultimately wrote eight pieces by that title), and Zoltán Kodály before the most famous Concerto for Orchestra of all, Béla Bartók’s, which was the result in 1944 of a commission from Serge Koussevitzky, music director of the Boston Symphony Orchestra.

Koussevitzky led the first performances of Bartók’s piece at Symphony Hall in early December 1944, repeating it—with the revised ending we know today—at the end of the month, and taking it to New York City’s Carnegie Hall in January 1945. Now the best-known of the Koussevitzky/BSO commissions (edging Stravinsky’s Symphony of Psalms), Bartók’s Concerto for Orchestra arguably “made” the genre. Later composers taking up the concerto-for-orchestra challenge—among them Elliott Carter, Oliver Knussen, and Jennifer Higdon—needed to reckon with Bartók’s precedent. Two of Eric Nathan’s venerable predecessors, Roger Sessions and Milton Babbitt, also responded to BSO commissions by writing concertos for orchestra. Babbitt’s piece—a characteristically sly deviation in the title rendering it Concerti for Orchestra—was premiered in January 2005 under James Levine’s direction. The Sessions work, composed for the BSO’s centennial and premiered in 1981 under Seiji Ozawa, won the Pulitzer Prize. In his own comments on his piece, Sessions wrote, “This piece represents, first of all, an expression of grati- tude for all that the Boston Symphony Orchestra has meant to me since I first heard it almost exactly seventy years ago.” Take away the “seventy” and replace it with “twenty- five” or so, and you have something akin to Eric Nathan’s BSO associations.

Those associations extend back to the composer’s childhood, when his family made the easily manageable trip to Tanglewood from Larchmont, New York, just north of New York City. (A further strong early impression was seeing Wynton Marsalis and his band play at Lincoln Center.) As a kid Nathan studied both piano and trumpet and became a good enough trumpet player to attend the Boston University Tanglewood Institute. He participated in BUTI performances and witnessed concerts by the Tanglewood Music Center Fellows and the BSO. It was in part this experience that cemented his decision to make his career as a musician, and over the course of a few years he began to prefer spending his time composing rather than practicing. As with most composers, though, his experience as a performer indelibly affected his approach to composition. He’d written his first piece, for trumpet, because he wanted such a piece for himself to play. To this day Nathan’s music exhibits a concern for idiomatic instrumental character that is clearly rooted in his own experience as a player—which partly explains why many of his pieces, especially the solo works, are very difficult, reveling in the joyful challenge of virtuosity.

After BUTI Nathan went on to study at Yale, Indiana, and Cornell universities; it was at Indiana that he studied with Sven-David Sandström. At Cornell he worked with the

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Eric Nathan acknowledging the audience following the premiere of his BSO-commissioned ‘the space of a door” on November 8, 2016, at Symphony Hall

Pulitzer Prize-winning American composer Steven Stucky, one of his most important mentors and the dedicatee in memoriam of Nathan’s the space of a door. Stucky (1949- 2016), one of the most respected orchestral composers in the country and an immeasurably influential teacher at Cornell, the Aspen Festival, and elsewhere, himself wrote two pieces he named Concerto for Orchestra, lending yet more weight to Nathan’s choice for his new BSO work. Nathan is establishing his own legacy as a teacher. He had a one-year position at Williams College in Williamstown, Massachusetts; has been in residence at Vermont’s Yellow Barn Young Artists Program and the New York Philharmonic’s Com- poser’s Bridge Program; and since fall 2015 has been an assistant professor at Brown University.

Nathan’s training also included the Aspen Festival and the Britten-Pears Young Artist Programme at the Aldeburgh Festival; in 2010 he was a Composition Fellow of the Tanglewood Music Center. The TMC commissioned his brass piece Timbered Bells, which was premiered at Tanglewood in 2011; in 2014 his solo trumpet piece Toying was performed as part of that summer’s Festival of Contemporary Music. In 2013-14 he lived in Italy as a recipient of the prestigious Rome Prize of the American Academy. When, in April 2014, the BSO offered him a commission for the Boston Symphony Chamber Players, he used his Rome experience as the basis for Why Old Places Matter, which was premiered by the Chamber Players in January 2015 at Jordan Hall in Boston and repeated that summer at Tanglewood. As mentioned above, his the space of a door was commissioned by the BSO and first performed in 2016; a recording taken from those concerts will be released on a Naxos CD in November, along with BSO-commissioned works by George Tsontakis, Sean Shepherd, and Timo Andres.

In addition to the Rome Prize, Eric Nathan was awarded a Guggenheim Fellowship as well as commissions from, among others, the Yale Symphony Orchestra for its 50th anniversary season, the Aspen Music Festival, and the New York Philharmonic for

week 1 program notes 57 its biennial. In 2015 a CD of his music, “Multitude, Solitude,” was released by Albany Records. In 2018 Boston Musica Viva premiered his Missing Words IV, written for the group’s 50th anniversary. This fall Nathan is composer-in-residence with the New England Philharmonic, which will perform his recent Double Concerto for violin, clarinet, and orchestra in spring 2020, and for which he will write a new orchestral work for the 2020-21 season. Other upcoming projects include pieces for Indiana University’s New Music Ensemble and for the Stony Brook Contemporary Chamber Players.

Living in Providence, Eric Nathan has been able to attend BSO concerts frequently in the past few years, and in writing his Concerto for Orchestra was inspired by the experience of an orchestral concert. The simultaneous, contrasting “clamorous” and quiet music at the start of the piece metaphorically suggest the dichotomy between the tumult of the outside world and the sense of community and focus within the concert hall. Nathan also thought about the presence of his piece on the BSO’s season-opening concerts, in which the orchestra and its Symphony Hall constituency reconvene after a season apart.

From its initial confrontation and tension, the music gradually becomes more focused. This process comes into even sharper relief later in the piece, the orchestra arriving together at an “imperfect” unison, a gesture Nathan has found himself returning to in several pieces, like a painter exploring a particular bit of iconography. The idea of an ongoing conversation with himself relates, too, to the interplay of ideas, variably explicit and variably intentional, from other composers’ work, such as a nod to Bartók’s Concerto

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58 for Orchestra. It’s a practice Nathan borrowed from Steven Stucky, and one used to great effect in the space of a door; here, such references are oblique to the point of obscu- rity, but their hidden presence is enriching.

The raucousness of the opening music includes asking the brass for sounds “like a car horn” as well as tuning some notes microtonally flat, a sonority that will return much later in the piece. The trombones initiate faster music, which is interrupted by a gap of two bars—pianissimo high first violins and low cellos and double basses evoking silence. These two extremes emphasize the two simultaneous characters the composer men- tions in his own comments on the piece (see page 54). Bassoons are added to the fre- netic trombones before the gesture is ceded to clarinets. This fades out, to be replaced with a simple figure of a short note leaping upwards to a long, sustained note, first stated by a single oboe, then spreading throughout the woodwinds, staggered at first, growing more active, and culminating in a unison statement.

The focus then shifts to strings. The first violins play a melody marked “Sacred; intimately; grieving,” over sparse accompaniment; light chords in almglocken, vibraphone, and harp add an ethereal aura. Nathan sees this first violin passage additionally as a “solo for conductor”—the assignment of the melody to the first violins as a group demands the conductor’s intervention to shape and mediate the melody as a solo violinist might. Intensity increases and results in a passage of unsynchronized, “teeming” activity in the woodwinds. (The aleatoric texture here and elsewhere is one standardized by the Polish composer Witold Lutosławski. Nathan cites a thrilling 2018 performance of Lutosławski’s Third Symphony by the Tanglewood Music Center Orchestra and Thomas Adès as having directly influenced his Concerto for Orchestra.) Brass in a kind of broken chorale dominate the end of this first part.

At the center of the piece is a deliberately contrasting, aggressive episode featuring perpetual-motion strings with sharp punctuation from the other sections. The strings’ sixteenth-notes are taken up by winds, and the timbres alternate, eventually transform- ing into an insistent foundation of repeated chords in triplets. These persist as the music dovetails into a sustained, shimmering moment that dissolves as the aggressive music returns. Coming as something of a shock, a grand pause—complete orchestral silence— signals a recapitulation of sorts of the opening, but with some of the other musical ideas recurring in combination and the latent sense of sorrow reemerging in the final minutes. With only brief reminders of instrumental section highlights, these last glowing pages recast the full orchestra into a blended, multihued whole.

Robert Kirzinger

Composer/annotator robert kirzinger is the BSO’s Associate Director of Program Publications.

week 1 program notes 59 Covering world news to art news. Discover everything newsworthy at wbur.org. For the full spectrum arts and culture happening right here in our community, visit The ARTery at wbur.org/artery. To Read and Hear More...

Eric Nathan’s website—ericnathanmusic.com—is the best place to look for a broad range of information about the composer, including a biography, discography, list of works, news about upcoming performances, and links for purchasing scores. The website of Brown University, where Nathan is an assistant professor, also covers a wide swath of information: https://vivo.brown.edu/display/enathan. A recording of Nathan’s BSO- commissioned orchestral work the space of a door, recorded live during the work’s world premiere performances by the BSO and Andris Nelsons in November 2016, will be released in November 2019 (Naxos, on an album with other BSO-commissioned American orchestral works by George Tsontakis, Sean Shepherd, and Timo Andres). A full disc of the composer’s orchestral and large-ensemble music, also including the space of a door, was recorded by the Boston Modern Orchestra Project and Gil Rose and will be released in 2020 (BMOP/sound). The portrait CD “Multitude, Solitude,” released in September 2015, features a nice selection of the composer’s chamber music, including the title track, for string quartet; the Quartet for Oboe and Strings, and five other pieces, with performances by the Momenta Quartet, New York Philharmonic trombonist Joseph Alessi, and others (Albany Records). Nathan’s Wing over Wing was recorded by soprano Amanda Kohl and violinist Joseph Lin for the Society of Composers CD “Pendulum” (Navona). His Cantus for trumpet and piano is on the trumpeter John Adler’s “Confronting Inertia” album, with Tracy Cowden as pianist (Origin Classical). In Chelsea Music Festival performances led by Ken-David Masur, two suites of Nathan’s orchestrations of several J.S. Bach keyboard works were released on the inaugural CD of the festival’s own label (Chelsea Music Festival Records).

Robert Kirzinger

Poulenc’s own writings about his life and music have been translated into English: Moi et mes amis (Dobson) and Diary of My Songs (Gollancz). General biographies include Henri Hell’s Francis Poulenc, translated from the French and introduced by Edward Lockspeiser (Grove); Benjamin Ivry’s Francis Poulenc (Phaidon paperback, in the copiously illustrated series “20th-Century Composers”), and Carl B. Schmidt’s Entrancing Muse: A Documented Biography of Francis Poulenc (Pendragon). Keith W. Daniel’s Francis Poulenc: His Artistic Development and Musical Style is an important analytical study (UMI Research Press). The Gallic Muse, a classic older study by Laurence Davies, is a collection of essays on Fauré, Duparc, Debussy, Satie, Ravel, and Poulenc (A.S. Barnes and Co.). To read about Paris in the 1920s, there is Roger Nichols’s The Harlequin Years: Music in Paris, 1917-1929 (University of California).

week 1 read and hear more 61 The Tudors 2019/20 Season

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62 Lucas and Arthur Jussen have recorded Poulenc’s Concerto for Two Pianos with Stéphane Denève and the Royal Concertgebouw Orchestra (Deutsche Grammophon). Seiji Ozawa and the Boston Symphony Orchestra recorded it with Katia and Marielle Labèque in 1989 (Philips). Other recordings feature Martha Argerich and Alexandre Gurning with Erasmo Capilla and the Italian Switzerland Radio/TV Orchestra (Deutsche Grammophon); Eric Le Sage and Frank Braley with Denève conducting the Liège Philharmonic (RCA); Louis Lortie and Hélène Mercier with Edward Gardner and the BBC Philharmonic (Chandos); and Pascal Rogé and Sylviane Deferne with Charles Dutoit conducting the Philharmonia Orchestra (Decca). The soloists who premiered the piece in 1932—Poulenc himself and pianist Jacques Février—recorded it in 1962 with Georges Prêtre conducting the Orches- tre de la Société du Conservatoire Paris (originally EMI).

Seiji Ozawa and the BSO recorded Poulenc’s Gloria with Kathleen Battle and the Tangle- wood Festival Chorus, John Oliver, conductor, in 1987 (Deutsche Grammophon; also to be found in an eleven-disc Decca box issued in 2010 to celebrate Ozawa’s seventy-fifth birthday). Other recordings include Bernard Haitink’s with the Chicago Symphony Orchestra and Chorus and soloist Jessica Rivera (CSO Resound); Robert Shaw’s with the Atlanata Symphony Orchestra and Chorus and Sylvia McNair (Telarc), and Georges Prêtre’s with the Orchestre National de l’ORTF, Lyric Chorus, and Rosanna Carteri (Warner Classics, recorded in 1961 with the composer present).

Edmund Morris’s Beethoven: The Universal Composer is a first-rate compact biography aimed at the general reader (Harper Perennial paperback, in the series “Eminent Lives”). Full-scale modern biographies include Jan Swafford’s recent Beethoven: Anguish and Triumph; Maynard Solomon’s Beethoven (Schirmer paperback), and Barry Cooper’s Beethoven in the “Master Musicians” series (Oxford University Press). Also noteworthy are Swafford’s chapter on Beethoven in The Vintage Guide to Classical Music (Vintage paperback) and Lewis Lockwood’s Beethoven: The Music and the Life (Norton paperback). Dating from the 19th century, but still crucial, is Thayer’s Life of Beethoven as revised and updated by Elliot Forbes (Princeton paperback). Still worth investigating among much older books is J.W.N. Sullivan’s Beetho- ven: His Spiritual Development, published in 1927 but still fascinating and thought-provoking not only as a reflection of its time but for what’s relevant to our own (Vintage paperback).

Seiji Ozawa and the Boston Symphony Orchestra recorded Beethoven’s Choral Fantasy in 1982 with pianist Rudolf Serkin and the Tanglewood Festival Chorus, John Oliver, conductor (Telarc). Also excellent among Rudolf Serkin’s several recordings of the piece is a live 1981 performance from the Marlboro Music Festival in Vermont, with his son Peter Serkin (who has been an equally important proponent of the piece as piano soloist) conducting the Marlboro Festival Orchestra and Chorus (Sony). Other recordings include Leif Ove Andsnes’s as both conductor and pianist with the Mahler Chamber Orchestra (Sony); Daniel Barenboim’s as conductor and pianist with the Berlin Philhar- monic and Berlin State Opera Chorus (Warner Classics); Sir Colin Davis’s with Gerhard Oppitz and the Bavarian Radio Symphony and Chorus (RCA); and Bernard Haitink’s with Alfred Brendel, the London Philharmonic, and the John Alldis Choir (Philips).

Marc Mandel

week 1 read and hear more 63

Guest Artists

Lucas and Arthur Jussen Lucas and Arthur Jussen, the Dutch pianists and brothers who make their BSO debuts this week, have been part of the international concert world for years, despite their young age, earning the praise of audiences and press alike. They have been invited to perform with all the major Dutch orchestras, as well as the Mariinsky Orchestra, the Dallas, Sydney, and Shanghai symphony orchestras, Camerata Salzburg, and the Academy of St Martin in the Fields. They collaborate with conductors such as Stéphane Denève, Valery Gergiev, Sir Neville Marriner, Jukka-Pekka Saraste, and Jaap van Zweden. Their 2018-19 season began with their Philadelphia Orchestra debut under the baton of Yannick Nézet- Séguin, followed by an appearance at the traditional Prinsengracht Concert on the canals of Amsterdam. Further highlights last season included performances with the City of Birmingham, Danish National, and Vancouver symphony orchestras, Bruckner Orchester Linz, Orchestre National de Lille, Orchestre Philharmonique du Luxembourg, the Netherlands Philharmonic Orchestra, SWR Symphonieorchester, and Münchener Kammerorchester. They continued to champion Dobrinka Tabakova’s Double Piano Concerto, a work they premiered in Amsterdam in 2017 and of which, last season, they gave regional premieres in France with the Orchestre de Picardie and in the UK with the BBC Concert Orchestra. In recital the duo performed in Munich’s Prinzregententheater, Moscow’s Zaryadye Hall, the Palau de la Música in Barcelona, and the Konzerthaus in Vienna and Dortmund. As “Junge Wilde” of the Konzerthaus Dortmund, the Jussen brothers will perform a variety of programs at that venue in the next two seasons. This past June they embarked on an Asian tour, appearing in Shanghai, Beijing, Guangzhou, Kaohsiung, and Macao. Lucas and Arthur received their first piano lessons in their native town of Hilversum and were invited as children to perform for the Dutch queen Beatrix; first- place awards in competitions followed shortly. In 2005, the brothers studied in Portugal and Brazil for nearly a year at the invitation of Portuguese master pianist Maria João Pires. In the following years they took lessons from Pires and two renowned Dutch teachers. Lucas completed his studies with Menahem Pressler in the U.S. and Dmitri Bashkirov in Madrid. Arthur graduated from the Amsterdam Conservatory, where he studied with Jan Wijn. Recording exclusively for Deutsche Grammophon since 2010, their debut CD, featuring works by Beetho- ven, received platinum status and was awarded the Edison Klassiek audience award. Their most recent recording, featuring works by Poulenc and Saint-Saëns with the Royal Concert- gebouw Orchestra and Stéphane Denève, was released in March 2017. Their recording of Poulenc’s Double Concerto was chosen by the French radio program “La tribune des critiques de disques” as the piece’s best-ever recording.

week 1 guest artists 65 Nicole Cabell One of today’s most sought-after lyric sopranos, Nicole Cabell is a Decca recording artist and a winner of the BBC Singer of the World Competition in Cardiff. Her debut solo album, “Soprano,” was named “Editor’s Choice” by Gramophone and has received critical acclaim and several prestigious awards, including the 2007 Georg Solti Orphée d’Or from the French Académie du Disque Lyrique. Ms. Cabell opened her 2018-19 season with her first stage performances of Bess in Porgy and Bess with English National Opera; she also made her Pittsburgh Opera debut as Mimì in La bohème before returning to Minnesota Opera for Violetta in La traviata and to Cincinnati Opera for Juliette in Roméo et Juliette. In concert, she performed a set of songs on texts by Langston Hughes at the Metropolitan Museum, sang Mozart’s Requiem with the Cincinnati Symphony and David Robertson, and joined Master Voices and Ted Sperling at New York’s Alice Tully Hall. Future engagements include returns to Atlanta, Japan, Montreal, and Detroit. In recent seasons, Ms. Cabell’s opera engagements have included the Countess in Le nozze di Figaro with the Grand Théâtre de Genève, Flavia in Eliogabalo with Dutch National Opera, Micaela in Carmen with Atlanta Opera, her debut at the Grand Théâtre de Genève in the title role of Handel’s Alcina, and her role debut as Rosalinde in Die Fledermaus with Cincinnati Opera. On the concert stage, she has sung with the Yomiuri Nippon Symphony Orchestra, Orchestre National de Lille, San Diego Symphony, and London Symphony Orchestra, among many others. She is likewise experienced as a recitalist, having sung at such venues as

66 the Frankfurt Opera, Carnegie Hall, and the Harris Theater for Music and Dance in Chicago. Ms. Cabell’s awards include first place in both the Palm Beach Opera Vocal Competition and the Women’s Board of Chicago Vocal Competition. She was a semifinalist in the 2005 Metropolitan Opera National Council Auditions and earned first place in the American Opera Society competition in Chicago. In 2002 she was the winner of the Union League’s Rose M. Grundman Scholarship and the Farwell Award with the Woman’s Board of Chicago. She holds a bachelor’s degree in vocal performance from the Eastman School of Music. Nicole Cabell made her BSO and Tanglewood debuts in August 2010 in Beethoven’s Ninth Symphony, subsequently returning to Tanglewood in 2011 as Clara in a concert performance of Porgy and Bess, in 2014 for Beethoven’s Choral Fantasy and Symphony No. 9, and again for Beethoven’s Ninth this past August. She made her BSO subscription series debut with music of Villa-Lobos in the opening program of the 2014-15 season and her Boston Pops Orchestra debut in a May 2016 concert celebrating Gershwin.

Alexandra Smither Soprano Alexandra Smither is making a name for herself in the worlds of both old and new music. She earns critical praise for her vocal technique and in 2017 was named one of the Canadian Broadcasting Corporation’s “30 Young Hot Classical Musicians Under 30.” Ms. Smither was the grand prizewinner at the 2017 Eckhardt-Gramatée Competition, earning both first prize and the prize for best performance of the commissioned work, Nicole Lizee’s Malfunctionlieder. She made her debut with Houston Grand Opera as Younger Alyce in their production of Tom Cipullo’s Glory Denied and returned there as Diana in Cruzar la cara de la Luna. In 2018 she made her New York debut singing Berio’s Sequenza III at the Baryshnikov Arts Center. As a Vocal Fellow in 2017 and 2018 at the Tanglewood Music Center, she made her Seiji Ozawa Hall debut alongside Emanuel Ax and Bill Hudgins in Schubert’s Der Hirt auf dem Felsen, also participating in a performance of Berg’s Seven Early Songs with the Tanglewood Music Center Orchestra; a recital of French song coached by Roger Vignoles; Bach cantatas conducted by John Harbison; the premiere of Theo Chandler’s Two Taylor Songs; the premiere of a new work by Oliver Leith with Thomas Adès conducting, and a memorial performance of Knussen’s Where the Wild Things Are, in which she sang Max under the baton of Stefan Asbury. She has also held fellowships at the Banff Centre for Arts and Creativity, Songfest, Fall Island Vocal Arts, The Song Continues at Carnegie Hall, and the Music Academy of the West. Ms. Smither has appeared in concerts ranging from Barbara Strozzi songs with the period ensemble Ars Lyrica to the premiere of a work on climate change written for her at the Metropolis New Music Festival in Melbourne. Passionate about new works, she is a founding member of the Pushback Collective, a duo that explores, commissions, and pro- motes music that looks beyond the concert hall. Her 2019-20 season brings performances with Against the Grain Theatre, the California Symphony, National Sawdust, and many other ensembles, as well as her Boston Symphony Orchestra debut this week alongside other alumni Fellows of the Tanglewood Music Center. For more information, please visit alexandrasmither.com.

week 1 guest artists 67 68 Paulina Swierczek Making her Boston Symphony Orchestra debut this week, soprano Paulina Swierczek is gaining acclaim as a vibrant storyteller, combining technical facility with a passion for communication. Concert highlights include Brahms’s Ein deutsches Requiem, Mendelssohn’s Lobgesang, Poulenc’s Gloria, and Haydn’s Lord Nelson Mass. Favorite roles include Thérèse (Les Mamelles du Tiresias), Fiordiligi (Così fan tutte), the New Prioress (Dialogues des Carmélites), Donna Anna (Don Giovanni), and the Countess Almaviva (Le nozze di Figaro). Ms. Swierczek was a Tanglewood Music Center Vocal Fellow in 2017 and 2018, appearing with the TMC Orchestra to sing in Berg’s Seven Early Songs in her first year and Lutosławski’s Chantefleurs et chantefables in her second, and being featured in the Festival of Contemporary Music performing works of Chen Yi and Anthony Cheung. She also performed songs of Ella Fitzgerald alongside Dawn Upshaw and Stephanie Blythe, and Bach cantatas under John Harbison. Her 2018-19 season included debuts with the Broad Street Orchestra (Mozart’s Requiem) and The Orchestra Now (Bee- thoven’s Egmont), as well as a fellowship at Stephanie Blythe’s Fall Island Vocal Arts Seminar. She recently debuted with the Albany Symphony as Madame Herz in Der Schauspieldirektor and was invited back to present arias of Mozart and Wagner in March and to appear on their American Music Festival program titled “Sing Out, NY!” in June. She joined Pittsburgh Festi- val Opera for its summer 2019 season as a featured artist in the Mastersinger program under Jane Eaglen and as the understudy for Brünnhilde in Wagner’s Die Walküre. Other appearances this past summer included Giulietta (I Capuleti e i Montecchi) in Berkshire Opera Festival’s “Savor the Sound” bel canto gala, and songs of Chopin and Viardot as well as excerpts from Bellini’s I puritani (Elvira) with renowned pianist Anton Nel as part of the Fifth Canadian Chopin Piano Festival and Competition in Toronto. Upcoming engagements include Strauss’s Four Songs (Opus 27) with The Orchestra Now under Leon Botstein and her role debut as Queen of the Night with the Little Orchestra Society.

Katherine Maysek Making her Boston Symphony Orchestra debut this week, mezzo-soprano Katherine Maysek is equally at home on the stage and in the concert hall; she loves the challenge of portraying vastly different characters, whether in song, oratorio, or opera. This past summer at the Glimmerglass Festival, Ms. Maysek sang the role of Cherubino in John Corigliano’s The Ghosts of Versailles, which she will reprise at the Château de Versailles Spectacles in her European debut this December. In 2018 she debuted at Glimmerglass as Dinah in Berstein’s Trouble in Tahiti and Lapák the dog in Janáˇcek’s The Cunning Little Vixen. Ms. Maysek made her Carnegie Hall debut with the American Symphony Orchestra in a rare production of Max von Schillings’ Mona Lisa. Other operatic roles include Brother in Stefan Weisman’s The Scarlet Ibis, Kate Pinkerton in Madama Butterfly, Lisbé in Grétry’s Zémire et Azor, Meg Page in Falstaff, Mrs. Grose in The Turn of the Screw, Nerone in L’incoronazione di Poppea, and Cherubino in Le nozze di Figaro. Ms. Maysek has collaborated with the Concord Chorale, Burlington Choral Society, The Orchestra Now, and the Blanche Moyse Chorale, among others. Her concert repertoire includes Stravinsky’s Pulcinella with Gerard Schwarz, Vivaldi’s Gloria with James Bagwell, and numerous works of

week 1 guest artists 69 Bach, including the Christmas Oratorio, St. John Passion, and Mass in B Minor. She has also appeared with Des Moines Metro Opera, the Boston Opera Collaborative, Mass Opera, Opera Saratoga, and Berkshire Opera Festival, as well as with colleagues at the Tanglewood Music Center, where she was a Vocal Fellow in 2013. Ms. Maysek received her bachelor’s degree from McGill University and her master’s degree from Bard College Conservatory’s Graduate Vocal Arts Program. For more information, please visit www.katherinemaysek.com.

Chance Jonas-O’Toole Originally from Dallas, Texas, tenor Chance Jonas-O’Toole is pursuing a master of music degree at the Juilliard School, where he also completed his undergraduate studies. In the past season, Mr. Jonas-O’Toole sang the role of the Sailor in Juilliard Opera’s touring production of Purcell’s Dido and Aeneas; his performance in the role earned him high praise in OperaWire. Also at Juilliard, he has sung the Prologue in Britten’s Turn of the Screw, Mercure in Rameau’s Hippolyte et Aricie, and Nebuchadnezzar in Britten’s The Burning Fiery Furnace. As a Tanglewood Music Center Vocal Fellow in 2017 and 2018, he performed in programs of Bach cantatas under John Harbison, the world premiere of Michael Gandolfi’s TMC-commissionedIn America, and multiple other concerts in Seiji Ozawa Hall. A student of William Burden, he makes his Boston Symphony Orchestra debut this week.

Eric Finbarr Carey Tenor Eric Finbarr Carey will make several notable debuts in the 2019-20 season on the concert and operatic stages. This fall he appears as tenor soloist with Emmanuel Music in Bach’s B Minor Mass, with Odyssey Opera as Guildford Dudley in the world premiere of Arnold Rosner’s The Chronicle of Nine, and with the Battenkill Chorale in Mozart’s Coronation Mass. In the spring he will join members of the BSO in a Community Chamber Concert in a performance of Doug Balliett’s Beast Fights. Other appearances this season include a return to Concerts in the Village for Haydn’s Creation, recitals with pianist Javier Arrebola, three mainstage productions with the Opera Institute, and John Stainer’s Crucifixion at Brick Church in New York City. This past summer, Mr. Carey joined the Britten-Pears Festival Young Artist Program before returning for a second year as a Vocal Fellow of the Tanglewood Music Center, where he was featured in the American premiere of Richard Ayres’s The Cricket Recovers conducted by Thomas Adés and a concert of Bach cantatas with John Harbison. Other recent appearances include Les Illuminations with The Orchestra Now, as well as Alfredo (La traviata), Thibodeau (Dolores Claiborne), and the Schoolmaster (Cunning Little Vixen) with the Opera Institute at Boston University, where he is currently in residence. Awards include second place in this year’s Gerda Lissner Foundation Lieder/Song Competition, the Grand Finals at the Joy in Singing Competition, and first place at both the Sparks & Wiry Cries songSLAM Competition and the Bard College Conservatory of Music Concerto Competition. He holds degrees from Bard College, Peabody Conservatory, and the Johns Hopkins University. Making his BSO debut this week, he was a Vocal Fellow at the Tanglewood Music Center in 2018 and 2019.

70 William Socolof A native of White Plains, New York, bass-baritone William Socolof began his vocal and musical training at the Interlochen Arts Academy in Michigan. In 2019 he was honored to be selected as a participant in the Marlboro Music Festival, where he performed in various recitals and chamber music concerts. As a Vocal Fellow at the Tanglewood Music Festival in 2017 and 2018, he appeared in the “Sondheim on Sondheim” concert with the Boston Pops Orchestra conducted by Keith Lockhart as well as in the premiere of a new work by Nico Muhly in Emanuel Ax’s “Schubert’s Summer Journey” project, Leonard Bernstein’s A Quiet Place, and the world premiere of Michael Gandolfi’sIn America. He made his operatic debut at the Juilliard School as Melibeo in the school’s 2016 production of Haydn’s La fedeltà premiata, appeared as the Abbot in Juilliard’s 2017 production of Britten’s The Burning Fiery Furnace, and continues to be an active participant in Juilliard recitals, as well as chamber and new music concerts including, this December, a performance with the Juilliard Chamber Orchestra in Alice Tully Hall. Other operatic performances include the Speaker (Die Zauberflöte) at the Chautauqua Institution and Guglielmo (Così fan tutte) at Oberlin in Italy. Making his Boston Symphony debut this week, Mr. Socolof holds a bachelor of music degree from Juilliard, where he is currently pursuing his master’s degree.

Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder

The Tanglewood Festival Chorus joins the BSO this season for performances of Beethoven’s Choral Fantasy and Poulenc’s Gloria led by Music Director Andris Nelsons (September 19-21, the opening program of the 2019-20 subscription season); Galina Grigorjeva’s On Leaving and Shostakovich’s Symphony No. 2, also under Maestro Nelsons (November 21-26); Duruflé’s Requiem under Giancarlo Guerrero (February 27-March 3), and Stravinsky’s Perséphone with BSO Artistic Partner Thomas Adès conducting (March 26-28). In addition, to mark the TFC’s fiftieth anniversary in April 2020, James Burton leads the ensemble in a post-concert Casual Friday performance of Rachmaninoff’s All-Night Vigil (April 17). Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor, the late John Oliver, who stepped down from his leadership position with the TFC at the end of the 2015 Tanglewood season. In February 2017, following appear-

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72 ances as guest chorus conductor at Symphony Hall and Tanglewood, and having prepared the chorus for that month’s BSO performances of Bach’s B minor Mass led by Andris Nelsons, James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Choral Director. Mr. Burton occupies the Alan J. and Suzanne W. Dworsky Chair on the Boston Symphony Orchestra roster.

Though first established for performances at the BSO’s summer home, the Tanglewood Fes- tival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall; the ensemble now performs year-round with the Boston Symphony and Boston Pops. It has performed with the BSO on tour in Hong Kong and Japan, and on two European tours, also giving a cappella concerts of its own on those two occasions. The TFC made its debut in April 1970 at Symphony Hall, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Per- formance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with Seiji Ozawa, Bernard Haitink, James Levine, Leonard Bernstein, Sir Colin Davis, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music marking the TFC’s 40th anniversary; Ravel’s complete Daphnis et Chloé (a 2009 Grammy-winner for Best Orchestral Performance), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). On July 4, 2018, the Tanglewood Festival Chorus joined Keith Lockhart for the “Boston Pops Fireworks Spectacular” on the Charles River Esplanade.

Besides their work with the BSO, TFC members have also performed with Zubin Mehta and the Israel Philharmonic and in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City,

week 1 guest artists 73 and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area and beyond to sing with the chorus in Boston and at Tanglewood. For more information about the Tanglewood Festival Chorus and upcoming auditions, please visit www.bso.org/tfc.

James Burton James Burton was appointed Conductor of the Tanglewood Festival Chorus, and to the newly created position of BSO Choral Director, in February 2017. He made his BSO subscription- series conducting debut in October 2018, leading the Tanglewood Festival Chorus in Maija Einfelde’s Lux aeterna. In August 2019 he led the Boston Symphony Children’s Choir and Boston Symphony Orchestra in the world premiere of his The Lost Words, a BSO co-commission, as part of the summer’s gala Tanglewood on Parade concert. In April 2020 he will conduct the Tanglewood Festival Concert in a post-concert Casual Friday performance of Rachmaninoff’s All-Night Vigil to celebrate the TFC’s fiftieth anniversary. Mr. Burton made his debut with the Boston Pops in December 2017, returned to the Pops podium last December—as he will again for Holiday Pops concerts in December 2019—and led the Pops this past June at Tanglewood in a program celebrating Queen with Marc Martel.

Born in London, James Burton holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. He began his training at the Choir of Westminster Abbey, where he became head chorister, and was a choral scholar at St. John’s College, Cambridge. He has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé Orchestra, the Orchestra of Scottish Opera, the Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata. Opera credits include performances at English National Opera, English Touring Opera, Garsington Opera, and the Prague Summer Nights Festival, and he has served on the music staff of the Metropolitan Opera and Opera de Paris. Mr. Burton’s extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Singers, with whom he performed in the inaugural season of Dubai’s Opera House in 2017. From 2002 to 2009 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. From 2002 to 2017 he was music director of the Schola Cantorum of Oxford. Well known for his inspirational work with young musicians, he was director of the National Youth Choir of Japan in 2017 and founded the Boston Symphony Children’s Choir in 2018. Mr. Burton has given conducting master classes at the Royal Academy of Music in London and at the Tanglewood Music Center, and founded a scholarship for young conductors at Oxford. His growing composition portfolio includes works for commissioners including the National Portrait Gallery in London, the 2010 World Equestrian Games, the Choir of St. John’s College, Cambridge, and the Exon Festival, where he was composer-in-residence in 2015. His works are published by Edition Peters. As BSO Choral Director and Conductor of the Tanglewood Festival Chorus, James Burton occupies the Alan J. and Suzanne W. Dworsky Chair, endowed in perpetuity.

74 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder

(Beethoven Choral Fantasy and Poulenc Gloria, September 19, 20, and 21, 2019)

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

Elizabeth Banaszak • Debra Benschneider • Michele Bergonzi # • Sarah Bowe • Catherine C. Cave # • Anna S. Choi • Emilia DiCola • Mary A.V. Feldman* • Jillian Griffin • Hannah Grube • Cynde Hartman • Rose Hegele • Shinhee Kim • Connie Brooks • Lisa Nielsen • Kathleen O’Boyle • Laurie Stewart Otten • Kimberly Pearson • Sydney Penny • Livia M. Racz # • Stephanie M. Riley • Pamela Schweppe # • Dana Sheridan • Jessica Taylor • Sarah Telford # • Nora Anne Watson • Alison L. Weaver • Elizabeth Woodard • Susan Glazer Yospin mezzo-sopranos

Martha Reardon Bewick • Betsy Bobo • Lauren A. Boice • Janet L. Buecker • Abbe Dalton Clark • Olivia de Geofroy • Debra Swartz Foote • Amy Spound Friedman • Mara Goldberg • Olivia Marie Goliger • Susan Harris • Betty Jenkins • Susan L. Kendall • Yoo-Kyung Kim • Sarah Labrie • Gale Tolman Livingston* • Louise Morrish • Roslyn Pedlar # • Anne K. Smith • Ada Park Snider§ • Lelia Tenreyro-Viana • Martha F. Vedrine • Karen Thomas Wilcox • Janet Wolfe tenors

Brad W. Amidon # • Stephen Chrzan • Andrew Crain# • John Cunningham • Tom Dinger • Carey D. Erdman • Keith Erskine • Len Giambrone • David J. Heid • Timothy O. Jarrett • Kwan H. Lee • Lance Levine • Daniel Mahoney • Dwight E. Porter§ • Guy F. Pugh • Peter Pulsifer • Miguel A. Rodriguez • David Roth • Arend Sluis • Martin S. Thomson • Joseph Y. Wang • Hyun Yong Woo • Benjamin Woodard • Eytan Wurman basses

Scott Barton • Eric Chan • James W. Courtemanche • Jay S. Gregory # • David M. Kilroy • Paul A. Knaplund • Bruce Kozuma # • Carl Kraenzel • Frank S. Li • Martin F. Mahoney II • Greg Mancusi-Ungaro • Steven Rogers • Kenneth D. Silber • Scott Street • Samuel Truesdell • Yen Kuei (Peter) Tu • Jonathan VanderWoude • Alex Weir • Andrew S. Wilkins

Julia Scott Carey, Rehearsal Pianist James Kennerley, Rehearsal Pianist Brian Moll, German Diction Coach Jennifer Dilzell, Senior Manager of Choruses Kimberly Ho, Assistant Manager of Choruses

week 1 guest artists 75 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 Chris Fiecoat, Assistant Director of Donor Relations, at 617-638-9251 or [email protected]. ‡ This symbol denotes a deceased donor.

ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous (2) seven and one half million Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme / The Lost & Foundation, Inc. • EMC Corporation five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary ‡ and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance Corporation • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie Jenkins / The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow / The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol ‡ and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

76 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 • Liliana and Hillel Bachrach • Caroline Dwight Bain ‡ • William I. Bernell ‡ • Estate of Philip and Marion Bianchi • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation / Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • 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 ‡ • Thomas and Winifred Faust • 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 • Nathan and Marilyn Hayward • 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 • Josh and Jessica Lutzker • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • 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 • Wilhelmina C. (Hannaford) Sandwen ‡ • Hannah H. and Dr. Raymond Schneider ‡ • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation / Richard A and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Dorothy Dudley Thorndike ‡ and John Lowell Thorndike • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert ‡ and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

week 1 the great benefactors 77 BSO Major Corporate Sponsors 2019–20 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2019-2020 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is diverse and global, supporting nonprofit arts institutions that Miceal Chamberlain deliver the visual and performing arts, provide inspirational and educational Massachusetts President, sustenance, anchor communities, create jobs, augment and complement existing Bank of America school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR For more than 235 years, Takeda Pharmaceutical Company Limited has Andrew Plump, brought the hope of Better Health and a Brighter Future to people around the M.D., Ph.D. Chief Medical and world through our empathetic and people-centered approach to science and Scientific Officer medicine. Takeda’s Boston campus is the home of one of our world-class R&D sites, as well as our oncology and vaccine business units. We are pleased to support the Boston Symphony Orchestra in its efforts to bring artistic excellence to the local community and across the globe.

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO.

Boston Symphony Orchestra major corporate sponsorships reflect the importance of the alliance between business and arts. We are honored to be associated with organizations above. For information regarding BSO, Boston Pops, and/or Tanglewood please contact Joan Jolley, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected]. OFFICIAL LUXURY VEHICLE OF THE BSO New England Audi Dealers are proud to partner with the Boston Symphony Orchestra as their Official Luxury Vehicle. Together we look forward to providing quality and excellence for audiences in Boston and beyond. We are proud to be celebrating the second year of our partnership.

OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing arts and arts Charlie Schewe education programs continues to delight and enrich Massachusetts and beyond Director of Sales- with each passing season. As the BSO continues to help classical music soar, New England Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

OFFICIAL HOTEL OF THE BSO Fairmont Copley Plaza has had the honor of being the official hotel of the BSO George Terpilowski for more than 15 years. Located less than a mile from Symphony Hall, we are Regional Vice President, North East U.S. and proud to offer luxury accommodations for the talented artists and conductors General Manager, that captivate Boston audiences. Together our historic institutions are a symbol Fairmont Copley Plaza of the city’s rich tradition and elegance. We look forward to celebrating another season of remarkable BSO performances.

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

week 1 bso major corporate sponsors 79 WHERE EXCELLENCE LIVES

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COLDWELL BANKER RESIDENTIAL BROKERAGE

The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor sales associates, not employees. ©2019 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo are registered service marks owned by Coldwell Banker Real Estate LLC. 19KDS9_NE_8/19 GUITAR GONG GLOCKENSPIEL

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

Boston Gourmet is proud to be the exclusive caterer of the Boston Symphony Orchestra

GOURMETCATERERS.COM/BSO • BSO.ORG Administration

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Sue Elliott, Judith and Stewart Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Leslie Wu Foley, Helaine B. Allen Director of Education and Community Engagement Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer 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 Bart Reidy, Chief Strategy Officer and Clerk of the Corporation Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Colin Bunnell, Library Administrative Assistant • Bridget P. Carr, Blanche and George Jones Director of Archives and Digital Collections • Jennifer Dilzell, Senior Manager of Choruses • Sarah Funke Donovan, Associate Archivist for Digital Assets • Kimberly Ho, Assistant Manager of Choruses • Julie Giattina Moerschel, Executive Assistant to the President and Chief Executive Officer • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Emilio Gonzalez, TLI Program Manager • Tuaha Khan, Assistant Stage Manager • Pat Meloveck, Stage Technician • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Christopher Thibdeau, Management Office Administrator • Joel Watts, Assistant Audio and 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 Helen N.H. Brady, Boston Pops Business Director • Leah Monder, Operations Manager • Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Kathleen Donahue, Controller • Mia Schultz, Director of Risk Management • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Accountant • Jared Hettrick, Business Office Administrator • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Michael Scarlata, Accounts Payable Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 1 administration 83 corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners

development

Nina Jung Gasparrini, Director of Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Individual Giving Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research, Information Systems, and Analytics Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Associate Director of Development Analytics and Strategic Planning • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Allison Cooley, Senior Individual Giving Officer • Gina Crotty, Individual Giving Officer • Hanna Danziger, Individual Giving Coordinator • Kelsey Devlin, Donor Ticketing Associate • Emily Diaz, Assistant Manager, Gift Processing • Chris Fiecoat, Assistant Director of Donor Relations • Emily Fritz-Endres, Assistant Director of Board Administration • Joshua Hahn, Assistant Manager of Individual Giving, Annual Funds • Barbara Hanson, Senior Individual Giving Officer • Michelle Houle, Donor Acknowledgment and Research Coordinator • Rachel Ice, Individual Giving Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director of Individual Giving, Annual Funds • Kathleen Pendleton, Manager, Development Events and Volunteer Services • Jana Peretti, Assistant Director of Development Research • Johanna Pittman, Grant Writer • Laura Sancken, Board Engagement Officer • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Individual Giving Officer • Emily Wivell, Assistant Manager of Planned Giving

education and community engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement

event services Kyle Ronayne, Director of Events Administration James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant

facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham, Custodian • Bernita Denny, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian

84 human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter • Rob Williams, Human Resources Generalist information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Team Leader • Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst public relations

Emily Cotten, Junior Publicist • Matthew Erikson, Senior Publicist publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications sales, subscriptions, and marketing

Gretchen Borzi, Director of Marketing Programs and Group Sales • Allison Fippinger, Interim Director of Digital Strategy • Roberta Kennedy, Director of Retail Operations • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Senior Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Tammy Lynch, Front of House Director • Michael Moore, Manager of Digital Marketing and Analytics • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Director of Creative Services • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Groups Sales Associate Manager • Eugene Ware, Associate Marketing Manager • Andrew Wilds, 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 Shawn Mahoney, Box Office Representative • Evan Xenakis, Box Office Administrator tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director and Dean of Fellows • Matthew Szymanski, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 1 administration 85 TEREZÍN 1944 • MUSIC • ART • DRAMA Our Will to Live

Mark Ludwig, Director ANDRIS NELSONS | ANNETTE MILLER MEMBERS OF THE BSO

THREE SYMPHONY HALL PREMIERES:

VIKTOR ULLMANN “Cornets Christoph Rilke,” a setting of Rilke’s wartime prose poem. Sets by Daniel Ludwig.

HANS KRÁSA Overture.

ANDRÉ PREVIN Quintet for Horn and String Quartet, a TMF commission.

November 11 • Veteran’s Day TICKETS: tmfgala.org | Tel: 857.222.8263

5 PM Reception • 6 PM Concert Dinner honoring Norman L. Eisen, former U.S. Ambassador to the Czech Republic. Candle-lighting with liberators and survivors.

Tickets are tax-deductible and support TMF concerts, commissions, and Holocaust education programs.

Photo of Andris Nelsons © Marco Borggreve Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Susan Price Secretary, Beverly Pieper Co-Chairs, Boston Karen Brown • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Judy Levin Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Lynne Harding boston project leads 2019-20

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Deborah Slater • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry • Guide’s Guide, Audley H. Fuller and Marcia Smithen Cohen • Instrument Playground, Cassidy Roh • Mailings, Steve Butera • Membership Table/Hall Greeters, Andrew Royer • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Sue O’Neill • Tour Guides, Carol Brown

week 1 administration 87 Next Program…

Thursday, September 26, 8pm Friday, September 27, 1:30pm Saturday, September 28, 8pm Tuesday, October 1, 8pm

andris nelsons conducting

beethoven violin concerto in d, opus 61 Allegro ma non troppo Larghetto Rondo: Allegro augustin hadelich

{intermission}

strauss “symphonia domestica,” opus 53 Thema I: Bewegt [With motion]—Thema II: Sehr lebhaft [Very lively]—Thema III: Ruhig [Calm]— Scherzo: Munter [Cheerful]— Mäßig langsam [Somewhat slow] (Wiegenlied [Cradle Song])— Mäßig langsam und sehr ruhig— Adagio: Langsam— Finale: Sehr lebhaft

The outstanding Italian-born violinist Augustin Hadelich returns to Symphony Hall to perform Beethoven’s Violin Concerto, a pinnacle of the violin repertoire—and also one of the most challenging violin concertos, demanding the utmost sensitivity and sense of line in its many lyrical passages, as well as pinpoint intensity in its faster episodes. Richard Strauss wrote a series of tone poems in the 1890s evoking larger-than-life concepts via such characters as Don Juan, Don Quixote, and—in the somewhat tongue-in-cheek Ein Heldenleben (“A Heroic Life”)—himself. By contrast, in his 1903 tone poem Symphonia domestica he turns his unsurpassed orchestral imagination to “a day in my family life,” depicting the ordinary interactions of himself, his wife Pauline, and their young son. These performances are part of Andris Nelsons’ and the BSO’s continuing focus on Strauss’s orchestral works.

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

Thursday ‘D’ September 26, 8-10:05 Thursday ‘B’ October 17, 8-10 Friday ‘B’ September 27, 1:30-3:35 Friday ‘B’ October 18, 1:30-3:30 Saturday ‘B’ September 28, 8-10:05 Saturday ‘A’ October 19, 8-10 Tuesday ‘C’ October 1, 8-10:05 SIR ANDRÁS SCHIFF, conductor and piano ANDRIS NELSONS , conductor J.S. BACH Piano Concerto in F minor, AUGUSTIN HADELICH, violin BWV 1056 BEETHOVEN Violin Concerto BEETHOVEN Piano Concerto No. 1 STRAUSS Symphonia domestica BRAHMS Variations on a Theme by Haydn BARTÓK Dance Suite Thursday, October 3, 10:30am (Open Rehearsal) Thursday ‘A’ October 3, 8-9:50 Friday ‘B’ October 4, 1:30-3:20 Sunday, October 20, 3pm Saturday ‘B’ October 5, 8-9:50 Jordan Hall, New England Conservatory ANDRIS NELSONS, conductor BOSTON SYMPHONY CHAMBER PLAYERS YUJA WANG, piano with PAOLO BORDIGNON, harpsichord THOMAS ROLFS, trumpet STRAVINSKY Octet for Winds JAMES LEE III Sukkot Through Orion’s Nebula THOMSON Sonata da Chiesa, for clarinet, SHOSTAKOVICH Piano Concerto No. 1 horn, trumpet, trombone, and viola SMETANA “The Moldau,” “From Bohemia’s Woods and Fields,” and CARTER Sonata for flute, oboe, cello, “Blaník” from Má Vlast and harpsichord SOFIA Etudes, for double bass GUBAIDULINA Thursday ‘C’ October 10, 8-9:55 FALLA Concerto for harpsichord, Friday ‘A’ October 11, 1:30-3:25 flute, oboe, clarinet, violin, and cello Saturday ‘A’ October 12, 8-9:55 DIMA SLOBODENIOUK, conductor TRULS MØRK, cello Programs and artists subject to change. SIBELIUS Pohjola’s Daughter ELGAR Cello Concerto The BSO’s 2019-20 season is supported NIELSEN Symphony No. 5 in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts.

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 4:30-8:30 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 1 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

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 Events 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 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4 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 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 the Group Sales Office at (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 line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five 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. Subscriber 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) 638-9426 up to one hour before the

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 1 symphony hall information 91 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 Richard and Claire Morse Rush Ticket Fund. Rush Tickets are sold at $10 each, cash or credit card, 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 (after 2 p.m.) 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. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

Thanks for putting art in the heart of the community

Bank of America recognizes the Boston Symphony Orchestra for its success in bringing the arts to audiences throughout the community. We commend you on creating an opportunity for all to enjoy and share a cultural experience.

Visit us at bankofamerica.com/massachusetts.