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MISSION DRIVEN, DONOR SUPPORTED Kripalu® is a registered trademark of Kripalu Center for Yoga & Health. All rights reserved. (detail), c. 1617–19. Oil on canvas. Image © Photographic Archive. Museo Nacional del Prado, Madrid (detail), c. 1617–19. Oil on canvas. Image © Photographic Archive. Museo Nacional Saint Sebastian

SPLENDOR, Guido Reni, MYTH, AND VISION

THROUGH OCTOBER 10

CLARKART.EDU WILLIAMSTOWN, MASSACHUSETTS

Splendor, Myth, and Vision is co-organized by the Clark Art Institute and the Museo Nacional del Prado, Madrid. Major underwriting is provided by Denise Littleﬁeld Sobel and Diane and Andreas Halvorsen. Generous contributors include the National Endowment for the Arts and the Malcolm Hewitt Wiener Foundation. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

135th season, 2015–2016

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc. Philip J. Edmundson, Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn † • Charles L. Cooney • William Curry, M.D. • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Tom Kuo • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Peter Palandjian • Donald R. Peck • Steven R. Perles • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu •

Programs copyright ©2016 Boston Symphony Orchestra, Inc. Cover photo by Marco Borggreve William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Sarah E.R. Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner

Overseers Emeriti

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

† Deceased Tanglewood The Tanglewood Festival

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

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

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

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

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center, which celebrated its 75th anniversary in 2015, has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Sym phony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Then BSO music director Seiji Ozawa, with bass drum, lead- Alleluia for unaccompanied chorus, ing a group of Music Center percussionists during a rehearsal specially written for the ceremony, for Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) arrived less than an hour before the event began; but it made such an impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training— participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Seiji Ozawa, Leontyne Price, Ned Rorem, Cheryl Studer, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Cen ter also includes an historical exhibit on Tan gle wood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 15 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Special Archival Exhibit at the Tanglewood Visitor Center The Heinz H. Weissenstein/Whitestone Photo Collection 40-plus Years at Tanglewood

With just ﬁve dollars in his pocket and his Leica camera, amateur photographer and onetime Leipzig banker Heinz Weissenstein arrived in New York after ﬂeeing Nazi Germany in the autumn of 1938. For seven summers years starting in 1939, Weissenstein taught photography at Camp Mah-kee-nac across the road from Tanglewood—during which time his love of music drew him to concerts at Tanglewood, where Leonard Bernstein, Heinz Weissenstein, he took pictures of the student Gunther Schuller, and Seiji Ozawa, 1970 operas directed by Boris Goldovsky, (Photo by Mary Smith, using Weissenstein’s Rollei camera) and where he eventually became the BSO’s regular Tanglewood photographer. Weissenstein—“Whitestone” in English—operated Whitestone Photo in Lenox during the summer, and on 72nd Street in New York City during the rest of the year. Serge Koussevitzky cutting his 75th-birthday cake, July 26, 1949 In the fall of 2015 the BSO Archives acquired the Whitestone collection, encompassing close to 100,000 of Weissenstein’s negatives, contact sheets, and prints, including countless photographs chronicling Tanglewood’s rich history from the early 1940s through the mid-1980s. This summer’s special BSO Archives exhibit celebrates the acquisition of this remarkable collection and the achievement of this remarkable man.

All photos by Heinz Weissenstein except Erich Leinsdorf chatting with James Taylor in his first where noted. Janis Joplin, July 8, 1969 Tanglewood appearance, July 30, 1974

Pierre Monteux leading the BSO in the Shed, 1958 A Tanglewood usher handing out cloth wrap-around skirts to women wearing shorts, c.1951 In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Smoking materials include cigarettes, cigars, pipes, e-cigarettes, and other smoking products. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, hoverboards, drones, and other similar unmanned aircraft are prohibited from the Tanglewood grounds. Patrons are permitted to use small, open-sided canopies in designated areas of the lawn provided that they do not penetrate grounds infrastructure and do not unreasonably obstruct the view of other lawn patrons. Ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert; during Shed concerts, children may play ball only in designated areas around the Visitor Center and in the Apple Tree lot near Ozawa Hall, but only if such activity does not disturb performances, rehearsals, or patrons sitting on the lawn. Shirts and shoes must be worn inside concert halls. No areas of the lawn may be cordoned off for any reason. Please also note that patrons assume responsibility for properly securing their lawn equipment, and for any damages to persons or property arising from the use of such equipment at Tanglewood. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all other texting and electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, we reserve the right to inspect all bags, purses, backpacks, and other items brought onto the Tanglewood grounds. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tangle wood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10 a.m. to 5 p.m. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. The free BSO APP is available from Google Play on Android devices and from the App Store on Apple devices. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sundays. The Shed Shack is open on Saturdays for Open Rehearsals from 9 a.m. to 2:30 p.m. Highwood Manor House is open Friday, Saturday, and Sunday, July 8 through August 27, prior to each BSO concert in the Shed. Call (413)637-4486 for reservations. Visitors are invited to picnic before concerts. Meals-To- Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Kous se vitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $33 (front and boxes) and $23 (rear); lawn tickets are $13. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2016

ANDRIS NELSONS BERNARD HAITINK SEIJI OZAWA THOMAS WILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

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

Andris Nelsons

In 2015-16, his second season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons led the Boston Symphony Orchestra in thirteen wide-ranging programs at Symphony Hall, repeating three of them at Carnegie Hall in New York. Last summer, following his first season as music director, his contract was extended through the 2021-22 season. In 2017 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, he and the BSO undertook a twelve-concert, eight- city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany, Austria, and Luxembourg, took place this past May. The fifteenth music director in the history of the Boston Symphony Orches- tra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2 (photo by Marco Borggreve) —was released in November 2014 on BSO Classics. In 2014-15, in collaboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concert- gebouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. A regular guest at the Royal Opera House, Vienna State Opera, and Metropolitan Opera, he returns to the Bayreuth Festival this summer for a new production of Wagner’s Parsifal. Under a new, exclusive contract with Deutsche Grammophon, he will record the complete Beethoven symphonies with the Vienna Philharmonic and Bruckner symphonies with the Gewandhausorchester Leipzig. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Andris Nelsons conducting the BSO at Tanglewood, Latvian National Opera Orchestra July 2014 (photo by Hilary Scott) before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” A Brief History of the Boston Symphony Orchestra

Now in its 135th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international 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 Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

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

SARASOTA. WHERE ARTISTIC EXPRESSION AND INSPIRATION MEET.

Nowhere will you ﬁnd art and culture more colorful than in Sarasota and surrounding areas. Discover why we’re known as Florida’s Cultural Coast®.

Go Beyond the Beaches®. VisitSarasotaArts.org or call 888-886-5997

JULY 1 – AUGUST 14 BARDSUMMERSCAPE 2016

Seven inspired weeks of opera, music, theater, dance, ﬁlm, and cabaret

DANCE JULY 1–3 OPERA JULY 22–31 27TH BARD MUSIC FESTIVAL FANTASQUE IRIS PUCCINI AND World Premiere Composed by Pietro Mascagni HIS WORLD Music by Ottorino Respighi and Libretto by Luigi Illica WEEKEND ONE Gioachino Rossini American Symphony Orchestra, AUGUST 5–7 Puccini and Italian Musical Culture Choreography by John Heginbotham conducted by Leon Botstein, music director Puppetry and design by Amy Trompetter Directed by James Darrah WEEKEND TWO AUGUST 11–14 A magical ballet with giant A lush, fin-de-siècle exotic opera in which Beyond Verismo puppets and dancers suitable for a young girl is tricked into leaving her the whole family. home for a brothel in Tokyo’s notorious SPIEGELTENT JULY 1 – AUGUST 13 red-light district. A bewitchingly lovely THEATER forerunner of Madama Butterfly. CABARET, MUSIC, JULY 7–17 AND FINE DINING DEMOLISHING FILM SERIES JULY 21 – AUGUST 14 Hosted by Mx. Justin Vivian Bond EVERYTHING WITH The mirrored pavilion provides a PUCCINI AND THE sumptuous and magical environment AMAZING SPEED OPERATIC IMPULSE to enjoy cutting-edge cabaret and world- World Premiere IN CINEMA class musical performances capped by Futurist puppet plays by fine dining, dancing, and more. Fortunato Depero Translated, designed, and directed by Dan Hurlin Original music by Dan Moses Schreier For a complete list of events and to order tickets 845-758-7900 | fishercenter.bard.edu Photo by ©Peter Aaron ’68/Esto. Table of Contents

Friday, July 8, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Beethoven and Ravel

Friday, July 8, 8pm 11 BOSTON SYMPHONY ORCHESTRA JACQUES LACOMBE conducting JOSHUA BELL, violin Opening Night at Tanglewood Music of Ravel, Saint-Saëns, and Prokoﬁev

Saturday, July 9, 8pm 19 BOSTON SYMPHONY ORCHESTRA JACQUES LACOMBE conducting NADINE SIERRA, JEAN-FRANCIS MONVOISIN, and STEPHEN POWELL, vocal soloists TANGLEWOOD FESTIVAL CHORUS, BETSY BURLEIGH, guest chorus conductor NORWAY POND JUNIOR MINSTRELS, JOHANNA HILL SIMPSON, artistic director Music of Debussy, Ravel, and Orff

Sunday, July 10, 2:30pm 35 BOSTON POPS ORCHESTRA KEITH LOCKHART conducting SETH MACFARLANE, special guest

Saturday-Morning Open Rehearsal Speakers July 9, 23; August 6, 13—Marc Mandel, BSO Director of Program Publications July 16, 30; August 20, 27—Robert Kirzinger, BSO Assistant Director of Program Publications

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

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

TANGLEWOOD WEEK 1 TABLE OF CONTENTS 1 2016 Tanglewood

Prelude Concert Friday, July 8, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA ELITA KANG, violin (1st violin in Ravel) ALA JOJATU, violin (1st violin in Beethoven) STEVEN ANSELL, viola BLAISE DÉJARDIN, cello

BEETHOVEN String Quartet No. 1 in F, Opus 18, No. 1 Allegro con brio Adagio affettuoso ed appassionato Scherzo: Allegro molto Allegro

RAVEL String Quartet in F Allegro moderato. Très doux Assez vif. Très rythmé Très lent Vif et agité

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

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

2 NOTES ON THE PROGRAM

Although published as the first of Ludwig van Beethoven’s Opus 18 set, the F major quartet was almost certainly the second to be composed. Ignaz Schuppanzigh, the corpulent violinist who was leader of the string quartet that played the first performances of many of these works, persuaded Beethoven (1770-1827) that this quartet would make a more impressive head-piece for a publication. His reaction to the obvious newness of the composer’s approach has been shared ever since by listeners and analysts for whom the F major has always been the most popular quartet in Opus 18. Interestingly, the version we know today is not the one Beethoven first composed. In July 1799 he sent a set of manuscript parts (labeled “Quartet II” on the title page) to his friend Karl Amenda with a friendly dedication. Two years later he warned Amenda not to let anyone see that copy, since he had in the meantime completely rewritten the piece. Fortunately, Amenda preserved the manuscript, which thus allows anyone interested to study the changes that Beethoven felt were such significant improvements. No doubt the main reason for the popularity of this quartet is that it already has most of the characteristics we associate with the best-known “middle-period” Bee- thoven works (the Fifth Symphony, for example): intense thematic concentration, harmonic force and daring, and two-fisted energy. Though it seems ubiquitous, the opening motive is just one of several sharply distinctive musical ideas, each nervously rubbing shoulders with the next in strong contrast. Amenda recounted an anecdote according to which Beethoven played the second movement for him while he was still composing the quartet and asked him what it reminded him of. The composer was pleased at his friend’s answer: “The parting of two lovers.” The composer explained that he had been thinking of the scene in the burial vault at the end of Romeo and Juliet; an early sketch for the movement seems to confirm the truth of the tale, since it has the words “les derniers soupirs” (“the last sighs”) written over it. With or without reference to Shakespeare, the Adagio is highly dramatic, all the more remarkable because this expressive richness is developed within the strict framework of a complete slow-movement sonata form. The scherzo that follows avoids the potential trap of being too light after the inten- sity of the slow movement by having its own potent emotive force compounded of chromaticism, wide-ranging harmonic movement, and rhythmic vigor. The last movement is an enormous sonata-rondo filled with striking ideas including a splen- did polyphonic development and a new lyrical theme in D-flat (reflecting a similar modulation in the first and third movements) derived from an earlier melody. The string quartets of Claude Debussy and Maurice Ravel (1875-1937) represent the first real extensions of that genre’s possibilities since the late quartets of Beethoven, the quartets of Haydn, Mozart, and Beethoven having exemplified an era of con- solidation. Those of Debussy and Ravel, standing as they do near the beginning of the twentieth century, stem from a period of experimentation as regards both their place within each composer’s oeuvre and compositional trends in general. Like Franck and Fauré before them, Debussy and Ravel each wrote only one quartet, each doing so at the earliest stage of his career. Thirteen years younger than Debussy, Ravel composed his quartet in 1902-03. His first large work, it received its premiere to considerable enthusiasm at the Société Nationale on March 5, 1904, two days before the composer’s twenty-ninth birthday. It was not published, however, until 1910, and in a revised version; the extent of the revisions is not known. Ravel dedicated the published score to his “cher Maître Gabriel

TANGLEWOOD WEEK 1 PRELUDE PROGRAM NOTES 3 Fauré.” Like Debussy, Ravel was not much drawn to chamber music throughout his career; the Piano Trio, his only other important piece for small instrumental ensemble, dates from 1914. Ravel himself observed that in writing his quartet, he had responded to “a desire for musical structure,” suggesting that (as seems to have been the case also with Debussy) he had approached the genre less out of general inclina- tion than for a specific reason. The successful premiere of the quartet was an important event for Ravel, who had failed to win first prize in the Conservatoire’s Prix de Rome competition three years running, in 1901, 1902, and 1903. (In fact, a public uproar resulted when in May 1905, having reached the age limit of thirty, he competed for the last time and was not even admitted to the finals.) Though Fauré had some reservations, Debussy’s reaction was altogether favorable: he advised Ravel, “in the name of the gods of music, and in mine,” not to change a single note. Ironically, the success of the quartet, even as it confirmed awareness of Ravel’s status as the French composer equal in rank to Debussy, was used by the younger composer’s partisans to herald their favorite at Debussy’s expense, leading to a cooling of the friendship that had previously existed between the two. Ravel’s opening Allegro evidences an immediate concern with clearly harmonized melody. With regard to thematic treatment and proportions, this movement behaves pretty much as a sonata-form movement “should,” though the second theme explores third-related keys rather than being centered around the dominant. At the same time, the second theme is as sweetly melodic as the first, and made even more so by its doubling two octaves apart in first violin and viola. The scherzo juxtaposes and interweaves a vigorous 6/8 pizzicato outburst and a singing melodic idea in 3/4; the Trio, marked Lent, develops from an atmospheric trans- formation of the scherzo’s melodic component. The slow third movement is note-

4 worthy for its free-flowing expansiveness, even as it retains a clear relationship to the rest of the quartet through the recurrence of a melodic phrase clearly derived from the opening movement’s first theme. In the finale, Ravel reinterprets the thematic material of his opening movement, subordinating his earlier concerns with melody and clarity of form—to which he has already exhibited a conscious alternative in the rhapsodic slow movement—in favor of an all-out play of atmosphere, reaffirming that the concern with color and atmosphere (so central to Debussy’s string quartet from the start) here takes its place in Ravel’s work as just one element of the larger, multi-faceted whole.

Notes by STEVEN LEDBETTER (Beethoven) and MARC MANDEL (Ravel) Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Artists

Elita Kang joined the Boston Symphony Orchestra in the fall of 1997 and was appointed assistant concertmaster in February 2001, occupying the Edward and Bertha C. Rose Chair. She is also assistant concertmaster of the Boston Pops Orches- tra, occupying the Eunice and Julian Cohen Chair. As acting concertmaster of the BSO from January through August of 2013, she was critically acclaimed at Carnegie Hall by the New York Times and at Tanglewood by the Berkshire Eagle. In the 2009- 10 season, while on leave from the BSO, she served by invitation as acting assistant concertmaster of the Deutsches Sinfonie-Orchester Berlin. Recent performances as a concerto soloist include appearances with the Cape Ann Symphony and Boston Pops. She performs chamber music regularly with BSO colleagues, including several appearances with the Boston Symphony Chamber Players at Jordan Hall, and has appeared at the Rockport Music Festival with that festival’s artistic director, pianist David Deveau. Born in Manhattan, Elita Kang studied at the Juilliard School’s Pre-College Division and received her bachelor’s degree from the Curtis Institute of Music in Philadelphia; while at Curtis she was a substitute player with the Phila- delphia Orchestra. Ms. Kang’s teachers included Arnold Steinhardt, Yumi Ninomi- ya-Scott, Pamela Frank, Felix Galimir, Norman Carol, and Louise Behrend. She won the Juilliard Concerto Competition on two occasions, as well as Grand Prize in the America String Teachers Association Competition’s pre-professional division. Ms. Kang is on the faculties of the Tanglewood Music Center and the New England Conservatory Preparatory School; she also teaches master classes at the Boston Uni- versity Tanglewood Institute and was a coach at the New World Symphony. Ala Jojatu joined the Boston Symphony Orchestra’s violin section at the start of the 2011-12 season. Ms. Jojatu was previously a regular extra player with the Boston Sym- phony and Boston Pops Orchestras, and has also performed with the Philadelphia Orchestra, New World Symphony, Boston Lyric Opera, New England String Ensem- ble, Portland (ME) Symphony, and as concertmaster of the Indian Hill Orchestra. Born in Moldova, she began her bachelor of music degree at the Bucharest National University of Music, where she studied with Stefan Gheorghiu, and then completed it as a full scholarship student at Boston Conservatory, studying with Lynn Chang and former BSO principal second violin Marylou Speaker Churchill. She completed

TANGLEWOOD WEEK 1 PRELUDE PROGRAM NOTES 5 6 her master of music degree as a student of BSO concertmaster Malcolm Lowe at Boston University. A Tanglewood Music Center Fellow in 2000 and 2001, Ms. Jojatu has won numerous competitions, leading to performances of the Sibelius Violin Concerto with the Moldova National Orchestra and the Berg Violin Concerto with the Boston Conservatory Orchestra. She and her husband, BSO cellist Mihail Jojatu, are the proud parents of Maria Luiza and Gabriel Valentin. Steven Ansell joined the Boston Symphony Orchestra as principal viola in Septem- ber 1996, occupying the Charles S. Dana chair, having previously appeared with the orchestra in Symphony Hall as guest principal viola. A native of Seattle, he also remains a member of the acclaimed Muir String Quartet, which he co-founded in 1979, and with which he has toured extensively throughout the world. A graduate of the Curtis Institute of Music, where he studied with Michael Tree and Karen Tuttle, Mr. Ansell was named professor of viola at the University of Houston at twenty-one and became assistant principal viola of the Pittsburgh Symphony Orches- tra under André Previn at twenty-three. As a recording artist he has received two Grand Prix du Disque awards and a Gramophone magazine award for Best Chamber Music Recording of the Year. He has appeared on PBS’s “In Performance at the White House,” has participated in the Tanglewood, Marlboro, Schleswig-Holstein, Newport, Blossom, Spoleto, and Snowbird music festivals, and premiered Ezra Laderman’s Concerto for Viola and Orchestra with the Berkshire Symphony Orches- tra. Mr. Ansell teaches at the Boston University College of Fine Arts. As principal viola of the BSO, he is also a member of the Boston Symphony Chamber Players. His solo appearances with the Boston Symphony Orchestra have included performances of Mozart’s Sinfonia concertante for violin and viola (most recently this past April), Bruch’s Concerto for Viola, Clarinet, and Orchestra, Berlioz’s Harold in Italy, and Strauss’s Don Quixote (on numerous occasions, including his ﬁrst appearances as soloist with the BSO, in April 1997). Born in Strasbourg, France, cellist Blaise Déjardin has won praise for his playing from The Strad magazine and Le Monde de la Musique. Mr. Déjardin made his debut with orchestra at fourteen, performing Haydn’s C major concerto at the Corum of Montpellier, France. A prizewinner at numerous international competitions, including a ﬁrst prize at the Maurice Gendron International Cello Competition (2005), he has performed as soloist with the Christchurch Symphony Orchestra, the Kuopio Symphony Orchestra, the French Camerata, and many other ensembles. A dedicated chamber musician, he spent two summers at Ravinia’s Steans Institute for Young Artists prior to joining the Boston Symphony Orchestra in 2008. That same year, he gave the U.S. premiere of Les formes du vent for cello solo by French composer Edith Canat de Chizy. Mr. Déjardin was a member of the European Union Youth Orches- tra and the Gustav Mahler Jugendorchester, as well as a founding member of A Far Cry. In 2010 he founded the acclaimed Boston Cello Quartet with three of his colleagues from the BSO cello section. As an arranger, he has written numerous pieces for cello ensembles, leading to three consecutive ASCAP Plus Awards. Commissions include Yo-Yo Ma, the Boston Symphony Orchestra, and A Far Cry. In 2013 he launched Opus Cello, his online sheet music publishing company. Since its creation in 2015, he has served as artistic director of the Boston Cello Society. Blaise Déjardin holds a First Prize in Cello with highest honors from the Conservatoire National Supérieur de Musique of Paris, as well as a master of music diploma and a graduate diploma from the New England Conservatory in Boston. His main teachers were Philippe Muller, Laurence Lesser, and Bernard Greenhouse. He teaches privately and is on the faculty of the New England Conservatory Preparatory School and the Tanglewood Music Center.

TANGLEWOOD WEEK 1 PRELUDE PROGRAM NOTES 7 Tanglewood Gala Friday, July 8, 2016

Honorary Chairs Seiji Ozawa John Williams Gala Chairs Gregory E. Bulger and Richard J. Dix • Lina S. Plantilla, M.D. and Eduardo R. Plantilla, M.D Gala Committee Liliana and Hillel Bachrach • Robert and Elana Baum • Bonnie and Terry Burman • Katie and Paul Buttenwieser • Susan and Gerald Cohen • Charles Cooney and Peggy Reiser • Ranny Cooper and David Smith • Cynthia and Oliver Curme • Jerry and Joanne Dreher • Nancy Edman Feldman and Mike Chefetz • Beth and Richard Fentin • Sanford and Isanne Fisher • Cora and Ted Ginsberg • Martha and Todd Golub • Ronnie and Jonathan Halpern • Nathan and Marilyn Hayward • Susie and Stuart Hirshﬁeld • Larry and Jackie Horn • Valerie and Allen Hyman • Carol and George Jacobstein • Margery and Everett Jassy • Joyce Linde • Vicki and Arthur Loring • Jay and Shirley Marks • Jane and Robert J. Mayer, M.D. • Cindy McCollum and John Spellman • Wilma and Norman Michaels • Wendy Philbrick and Ed Baptiste • Claudio and Penny Pincus • Mary Ann and Bruno A. Quinson • Dr. Robin S. Richman and Dr. Bruce Auerbach • Dan Schrager and Ellen Gaies • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Scott and Robert Singleton • Lynn and Ken Stark • Margery and Lewis Steinberg • Jacqueline and Albert Togut • Stephen and Dorothy Weber • June Wu

The Boston Symphony Orchestra recognizes with gratitude the following individuals and companies for their generous support that has helped make this year’s gala such a success.

$25,000 + Gregory E. Bulger and Richard J. Dix * • Cynthia and Oliver Curme * • Michael L. Gordon * • Joyce Linde * • Lina S. Plantilla, M.D. and Eduardo R. Plantilla, M.D * • June Wu * $10,000 - $24,999 Robert and Elana Baum * • Beth and Richard Fentin * • Martha and Todd Golub * • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael Helfer • Carol and George Jacobstein * • The Claudia and Steven Perles Family Foundation * • Stephen and Dorothy Weber * • Anonymous * $5,000 - $9,999 Alli and Bill Achtmeyer • Liliana and Hillel Bachrach • Bonnie and Terry Burman • Charles Cooney and Peggy Reiser * • Nancy J. Fitzpatrick and Lincoln Russell * • Valerie and Allen Hyman • Dorothy and Charlie Jenkins • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Jane and Robert J. Mayer, M.D.* • Cindy McCollum and John Spellman * • Claudio and Penny Pincus • Mrs. Millard H. Pryor, Jr. • Carol and Joe Reich • Deborah and Bill Ryan • Jacqueline and Albert Togut $2,000 - $4,999 Jim and Virginia Aisner • Joan and Richard Barovick • Jan Brett and Joseph Hearne • Katie and Paul Buttenwieser • Judith and Stewart Colton • Ranny Cooper and David Smith • Violet and Christopher Eagan • Nancy Edman Feldman and Mike Chefetz • Sanford and Isanne Fisher • Audrey and Ralph Friedner • Leslie and Johanna Garﬁeld • Paul B. Gilbert and Patricia Romeo-Gilbert • Harold Grinspoon and Diane Troderman •

8 Ronnie and Jonathan Halpern • Drs. James and Eleanor Herzog • Susie and Stuart Hirshﬁeld • Larry and Jackie Horn • Liz and Alan Jaffe • Margery and Everett Jassy • Leslie and Stephen Jerome • Jay and Shirley Marks • Letty Cottin Pogrebin and Bert Pogrebin • Ronald and Karen Rettner • Dr. Robin S. Richman and Dr. Bruce Auerbach • Dr. Samuel Kopel and Sari Scheer • Joanne Zervas Sattley • Dan Schrager and Ellen Gaies • Hannah and Walter Shmerler • Scott and Robert Singleton • Margery and Lewis Steinberg • Norma and Jerry Strassler • Linda and Daniel Waintrup • Marillyn Zacharis $1,000 - $1,999 Joan and Mark Abramowitz • Linda J.L. Becker • Barbara and David Bender • Donna A. Bernstein • Phyllis and Paul Berz • Edward S. W. Boesel • Scott and Debby Butler • Susan and Joel Cartun • C.C. Cave and Peter Rothstein • Loretta and Rob Ciraldo • Roberta Cohn • James and Tina Collias • Nelson J. Darling, Jr. • Drs. Anna L. and Peter B. Davol • Jerry and Joanne Dreher • Dr. T. Donald and Janet Eisenstein • Ginger and George Elvin • Adaline H. Frelinghuysen • Lonnie and Jeffrey Garber • Cora and Ted Ginsberg • Marita and David Glodt • Mr. and Mrs. Thomas Graham • Susan and Richard Grausman • Carol B. Grossman • Holly and Charlie Housman • Iredale Mineral Cosmetics, Ltd. • Thomas and Adrienne Linnell • Vicki and Arthur Loring • Wilma and Norman Michaels • Anthony Murad • Drs. William and Katharina Perlow • Wendy Philbrick and Edward Baptiste • Mary Ann and Bruno A. Quinson • Barbara and Michael Rosenbaun • Dr. Robert and Esther Rosenthal • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Larry and Pat Rutkowski • Malcolm and BJ Salter • Mrs. Anne Schnesel • Mr. and Mrs. Emery Sheer • Carol and Richard Seltzer • Arlene and Donald Shapiro • Susan and Judd Shoval • Anne Smith and John Goodhue • Carol and Irv Smokler • William H. Sonhi • Lynn and Ken Stark • Carol and Steve Targum • Myra and Michael Tweedy • Madeline and Chet Vogel • Marian M. Warden • Robert and Roberta Winters • Richard M. Ziter, M.D. • John and Kathleen Zutter • Anonymous (2) $500 - $999 Helene Berger • Jeannene Booher • Carol and Bob Braun • Dr. Charlene Castello • Linda G. Conway • Ursula Ehret-Dichter • Helga Orthofer-Kaiser • Stephen and Patricia Peters • Sharon and Irving Picard • Suzanne Priebatsch • Michael and Ramelle Pulitzer • Gilda Slifka • Lauren Spitz • Patricia L. Tambone • Roberta Hope Waller • Carol and Robert Zimmerman • Ms. Gail Zunz and Dr. Sharyn Zunz • Anonymous * Designates Benefactor Table Purchaser

In-Kind Donors

Boston Gourmet • High Output • Robin Lehman • Nüage Designs • PPC Event Services, Inc. • W.J. Deutsch & Sons, Ltd. • Winston Flowers

Lists as of June 18, 2016 Walter H. Scott

TANGLEWOOD WEEK 1 OPENING NIGHT AT TANGLEWOOD 9 The Robert and Jane Mayer Concert Opening Night at Tanglewood Friday, July 8, 2016 The performance on Friday evening is supported by a generous gift from BSO Trustee Robert J. Mayer, M.D., and his wife Jane, who are longtime BSO patrons at Tanglewood and in Boston. Symphony subscribers for thirty-two consecutive years, they also attend many performances at Tanglewood each season. Bob was elected an Overseer in 2001 and a Trustee in 2005. He serves as chair of the Overseers Nominating Committee and a member of the Trustees Nominating and Gover- nance, Campaign Executive, Leadership Gifts, and Annual Funds committees. Bob was previously chair of the Tanglewood Annual Fund. Jane is a member of the Education Committee. The Mayers, who were chairs of the Tanglewood Gala in 2014, have been members of the benefactor committee for both Tanglewood and Symphony galas for many years. Bob and Jane are members of the Koussevitzky Society, the Higginson Society, and the Walter Piston Society. They have supported the Tanglewood Forever Fund, and the Mayer family has also named two seats in Symphony Hall. Bob is the faculty vice-president for academic affairs at Dana-Farber Cancer Institute and the faculty associate dean for admissions at Harvard Medical School, where he is the Stephen B. Kay Family Professor of Medicine. Bob is a graduate of Williams College and Harvard Medical School. Jane directed the department of social work at Beth Israel Deaconess Medical Center for many years before serving as vice- president for resident services and community relations at Cornu Management Company. She currently chairs the Art and Environment Program at Dana-Farber and is a board member of the Winsor School, Kids4Harmony, and the Museum of Fine Arts, Boston, where she is a Gallery Instructor, serves as vice-chair of the Conservation and Collections Management Committee, and is a member of the Education Committee. Jane is a graduate of Boston University and Columbia School of Social Work. Bob credits his father for encouraging his interest in music. He learned to love classical music early, and most of his fondest and clearest memories are of seeing the greats perform the best music. Bob and Jane have shared their passion for music and Tanglewood with their two daughters, Erica and Rachel, and their families. Stu Rosner

10 2016 Tanglewood Boston Symphony Orchestra 135th season, 2015–2016

Friday, July 8, 8pm Opening Night at Tanglewood THE ROBERT AND JANE MAYER CONCERT

JACQUES LACOMBE conducting

RAVEL “Alborada del gracioso”

SAINT-SAËNS Violin Concerto No. 3 in B minor, Opus 61 Allegro non troppo Andantino quasi allegretto Molto moderato e maestoso—Allegro non troppo JOSHUA BELL

{Intermission}

PROKOFIEV Symphony No. 5 in B-ﬂat, Opus 100 Andante Allegro marcato Adagio Allegro giocoso

The performance of Saint-Saëns’s Violin Concerto No. 3 is supported by a gift from JoAnne and Joel Shapiro.

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

TANGLEWOOD WEEK 1 FRIDAY PROGRAM 11 NOTES ON THE PROGRAM

Maurice Ravel (1875-1937) “Alborada del gracioso” First performance: May 17, 1919, Paris, Rhené-Baton cond. First BSO performance: January 7, 1929, Serge Koussevitzky cond. First Tanglewood performance: August 6, 1950, Leonard Bernstein cond. Most recent Tanglewood performance: August 3, 2012, Lorin Maazel cond. In 1905 Ravel composed a set of five piano pieces under the title Miroirs (Mirrors). He later orchestrated three of the five pieces—Une Barque sur l’océan, Alborada del gracioso, and La Vallée des cloches—of which the most successful is certainly the Alborada del gracioso. In its original keyboard form, the piece is filled with powerful accents and fast repeated notes that are a challenge to even the most gifted virtuoso. Such overwhelming technical demands almost cried out to be translated to the orchestra, especially for Ravel, whose transcriptions are among his most successful and popular works. The title of the piece is evocative, if a bit mysterious. “Alborada” is the Spanish equivalent of the French “aubade,” the Italian “alba,” and the German “Morgenlied,” all of them “dawn songs,” a characteristic genre from the lyric poetry of the Middle Ages. Generally they are conceived as being sung by a friend watching out for the safety of two illicit lovers. As the night wanes, the friend, outside the bedroom window, sings that the dawn is approaching and that it is time for the lovers to part. As such, the song is likely to be of a sentimental cast. It is the second part of Ravel’s title that makes it elusive, for this is the aubade of the “gracioso”—a buffoon, a jester, a clown. So this “morning song” is not the end of a

12 romantic interlude, but rather a vigorous Spanish dance, built up from a typical Iberian rhythm and the frequent opposition of 6/8 and 3/4 meters, often heard simultaneously in different instruments, and here also shifting occasionally from 6/8 to 9/8. The introductory phrase, pizzicato in the strings, suggests a guitar refrain that recurs several times between “verses” of the song, which becomes a brilliant orchestral showpiece, presented with bright splashes of color and virtuosic solo interjections culminating in a glorious racket. The orchestral premiere was given in Paris on May 17, 1919, with Rhené-Baton conducting.

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

Camille Saint-Saëns (1835-1921) Violin Concerto No. 3 in B minor, Opus 61 First performance: January 2, 1881, Châtelet, Paris, Pablo de Sarasate (the work’s ded- icatee), soloist. First BSO performance (American premiere): January 3, 1890, Arthur Nikisch cond., Timothée Adamowski, soloist. First Tanglewood performance: August 10, 1990, Marek Janowski cond., Malcolm Lowe, soloist. Most recent Tangle wood performance: August 15, 2008, Rafael Frühbeck de Burgos cond., Janine Jansen, soloist. As a young man, Saint-Saëns was dazzling in his quickness, whether in music or almost any other field of study. By the time he was three he had composed his first little piece, and by the age of ten he had made his formal debut as a pianist at the Salle Pleyel in Paris with a program of Mozart and Beethoven concertos (then little heard and not respected in France). As an encore he offered to play any one of Beethoven’s piano sonatas from memory. He learned Latin from a private tutor and quickly made his way through the classics, years later regretting only that he had never had time to learn Greek, too. He became particularly interested in mathematics and the nat- ural sciences, and for the rest of his life he pursued interests in astronomy, archaeology, and geology. He entered the Conservatoire at age thirteen, won prizes as an organist, then studied composition with Jacques Halévy. Although he never won the Prix de Rome, recognition of his creative talents came early. Not without reason, Hector Berlioz, wittiest of Romantic composer-critics, said of him, “He knows everything but lacks inexperience.” In the early years Saint-Saëns was a devotee of the new music of Wagner and Liszt. He defend ed Tannhäuser and Lohengrin against the attacks of French critics. He played Schu mann in his recitals, then unheard of in France. Liszt inspired his own significant ventures into the medium of the symphonic poem. He worked on behalf of older com posers as well: Bach, Handel, Rameau, Gluck, and Mozart. In short, he was a representative of many of the newest trends in music (even his historical interests made him “modern,” since it was just at this time that the discipline of musicol- ogy, and its active pursuit of old music, was developing). He was one of the founders in 1871 of the Société Nationale de Musique. Its motto was “Ars gallica,” and it promoted the com position of new music by French composers—especially music in the abstract instrumental forms such as symphony, concerto, and string quartet, since the preceding generations had concentrated their attention on the opera, and there were then few outlets for such works (most concert programs were dominated by German classics). The committee members of the Société Nationale included Fauré, Franck, and Lalo. Over the years the organization sponsored premieres of important new works by many of the leading French composers.

TANGLEWOOD WEEK 1 FRIDAY PROGRAM NOTES 13 Still, Saint-Saëns himself grew increasingly out of touch with the newer music. By the turn of the century he was trying to prevent, rather than promote, performances of works by Debussy, who, he said, had cultivated only an absence of style. His own music became “purer,” more linear, in opposition to the coloristic impressionism of Debussy and his circle. The ﬁrst performance of Stravinsky’s Rite of Spring in 1913 left him speechless with horror. By the time of his death, he was regarded in France as a hopeless reactionary; younger musicians, of course, tended to forget his many services to music in his earlier years. His neo-classical elegance of musical line and polish of expression were qualities that were no longer in favor. His star subsided in France, though he remained extremely popular in both England and America, where even up to his death he was regarded as the greatest living French composer. His admirers called him a second Mozart, though he himself was certainly aware that such a rating was greatly exaggerated. At the same time, he never deserved the scorn of the musicians at the other end of the spectrum, who saw him only as a composer of “bad music well written.” The Third Violin Concerto was composed in the middle of a twenty-year span that saw the creation of most of Saint-Saëns’s most popular and successful works, including also the Fourth Piano Concerto, the Organ Symphony, Samson et Dalila, and The Carnival of the Animals. The two earlier violin concertos had been more challenging in their demands on the player’s virtuosity, but they were not as rewarding musi- cally as the Third, far and away the most popular of the three. The pellucid clarity of Saint-Saëns’s musical thought, based on the traditional concerto procedures, re moves any necessity for extended discussion.

STEVEN LEDBETTER

Sergei Prokofiev (1891-1953) Symphony No. 5 in B-flat, Opus 100 First performance: January 13, 1945, Moscow State Philharmonic Orchestra, Prokofiev cond. First BSO performances (first American performances): November 1945, Serge Koussevitzky cond. First Tanglewood performance: July 28, 1949, Koussevitzky cond. Most recent Tanglewood performance: August 16, 2008, André Previn cond. Though he never returned to his native country after the Revolution and though he became an ardent American patriot, the legendary Boston Symphony music director Serge Koussevitzky maintained a profound inner identity as a Russian and as such sympathized passionately with the Soviet Union’s war effort against the Germans. For this reason, his performances here—often they were Ameri- can premieres—of the important wartime compositions of Dmitri Shostako- vich and Sergei Pro kofiev were acts of commitment that went beyond the ordinary range of professional responsibility, ambition, and rivalry with colleagues. Aware of the material difficulties under which Russian composers labored, he regularly arranged to have ship ments of music paper sent from Boston to the Soviet Composers’ Union, and it gave him particular pleasure to discover that the score of Prokofiev’s Fifth Symphony, whose manuscript is now in the Boston Public Library, was written on paper that had made the long round-trip from a store on Boylston Street in Boston. Prokofiev and Koussevitzky, moreover, had known each other a long time. They had certainly known about each other as far back as 1908 when the thirty-four-year-old Koussevitzky, then the world’s leading virtuoso on the double bass and already on the way to his even more important careers as conductor and publisher, repeatedly

14 rejected for publication the scores submitted by the teenage composer. Soon the relationship became more positive. In 1914, Koussevitzky invited Prokofiev to play his Piano Con certo No. 1 at a concert in Moscow, an event that marked the beginning of more than thirty years’ devoted sponsorship on the part of the conductor. Between 1916 and 1937, Koussevitzky published many works by Prokofiev, including the Visions fugitives, the Third and Fourth piano sonatas, the Scythian Suite, the Dostoyevsky opera The Gambler, the ballet Chout, the Lieutenant Kijé Suite, and several books of songs. In addition he frequently invited Prokofiev to Boston: the composer appeared with the Boston Sym phony as piano soloist in 1926 (Concerto No. 3), 1930 (Concerto No. 2), 1932-33 (Concerto No. 5), and 1937 (Concerto No. 3), and in 1938 he not only played his First Concerto but conducted the suite from his ballet Chout, the Suite No. 2 from the Romeo and Juliet ballet, and the American premiere of Peter and the Wolf. Prokofiev’s Third and Fourth symphonies had been by-products of the composer’s works for the theater, the former using material from the opera The Flaming Angel, the latter from the ballet The Prodigal Son. Not since the Second Symphony of 1924 had Prokofiev set out to write a symphony from scratch when, in the summer of 1944, he began a work “glorifying the human spirit...praising the free and happy man—his strength, his generosity, and the purity of his soul.” The composer also remarked that he thought of the score as “[crowning] a great period of my work.” When he returned to the U.S.S.R. for good in 1933 after a fifteen-year stay in the West, Prokofiev had radically bent his style to suit the imperatives of Soviet theories of art, and, no doubt, to answer some inner needs of his own. His music became more mellifluous, less biting, and surely less inclined to humor, and it can seem downright self-conscious in its concern not to rub the wrong way. Such popular Prokofiev scores of the 1930s as the Violin Concerto No. 2 and the ballet Romeo and Juliet impressively demonstrate the possibilities of his new manner. Discussion of the evolution of Prokofiev’s later style has, not surprisingly, become mired in politics. Soviet critics, notably his more or less official biographer, Israel Nest yev, tend to imply that the composer only found himself after he came home; Western critics, especially if they are politically conservative, are inclined to deplore the softening of Prokofiev’s music from the ’30s on. Prokofiev had little to say about any of this: un like Shostakovich, he didn’t even repudiate his own earlier music. It may be, though, that his statement about the Fifth Symphony as a work that “crowns a great period” refers to what a musician might perceive regardless of political context, which is that here the composer has absolutely mastered his style, speaking his

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TANGLEWOOD WEEK 1 FRIDAY PROGRAM NOTES 15 chosen language without self-consciousness, discomfort, compromise, and foreign accent. Even in the 19th century, good composers could be baffled by the question of how to confront the sonata style defined by Haydn, Mozart, and Beetho ven, how to get at its substance and not just its shell. Here, in the Fifth Symphony, the fifty- three-year-old Prokofiev takes on the challenge with the confidence, the freshness of approach, and the skill of a master. He begins with a fairly slow movement in richly developed sonata form, picking up from Beethoven (String Quartet in F, Opus 59, No. 1, first movement) and Brahms (Sym phony No. 4, first movement) the device of seeming to embark upon a formal repeat of the exposition, only to have a dramatic turn of harmony reveal that in fact the development has begun. The scherzo brings back a touch of the old Prokofiev, the wry humor ist from whom Shostakovich learned so much. An Adagio at once somber and lyrical is followed by an exuberant finale. From the symphony’s first page with its tart octaves of flute and bassoon, to the coda of the finale, with that daring scoring for solo strings, piano, harp, and percussion, all of this is most brilliantly worked out for the orchestra.

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

Guest Artists Jacques Lacombe Music director of the New Jersey Symphony Orchestra since 2010, Jacques Lacombe previously held positions with the Montreal Symphony, the Philharmonie de Lorraine, the Orchestre Lyrique de Région Avignon Provence, and the Orchestre sym- phonique de Trois-Rivières. He stepped down from his New Jersey post at the end of the 2015-16 season to become chief conductor of the Bonn Opera in Germany beginning with the 2016-17 season. Having made his Boston Sympho- ny debut at Tanglewood in 2014, he returned to open the BSO’s 2015 season at Tanglewood, followed by concerts at the Festival de Lanaudière. Highlights of his 2015-16 season in New Jersey included Branford Marsalis performing John Williams’s Escapades for saxophone, the world premiere of Richard Danielpour’s Percussion Concerto, and programs of Berlioz and Mendelssohn. Recent and upcoming guest conducting engagements take him to the symphony orchestras of Montreal, Taipei, and Edmonton; Nice, Mulhouse, and Nancy; Quebec, Omaha, and San Antonio, and the Queensland Symphony in Australia. In opera, he leads Werther with Juan Diego Flórez in Peru, and in Paris with Flórez and Joyce DiDonato; for his Bonn Opera debut he conducts a rarity, Nikolaus von Reznicek’s Holofernes. During his NJSO tenure Mr. Lacombe launched the NJSO Edward T. Cone Composition Institute for young composers, which grew out of the New Jersey Roots Project he introduced in his ﬁrst season with that orchestra. At Carnegie Hall’s 2012 Spring for Music Festival, he and the NJSO received national recognition for performing Busoni’s epic Piano Concerto featuring Marc-André Hamelin. The “Sounds of Shakespeare” Winter Festi- val featured violinist Sarah Chang and the Shakespeare Theatre of New Jersey, which returned for the most recent festival. Mr. Lacombe appears regularly with Deutsche Oper Berlin and at L’Opéra de Monte Carlo. He has conducted several productions

16 at the Metropolitan Opera and Royal Opera House, Covent Garden, as well as with opera companies in Vancouver, Turin, Marseille, Munich, and Philadelphia. He has appeared with the symphony orchestras of Cincinnati, Columbus, Québec, Toronto, Vancouver, Ottawa, and New Zealand. Mr. Lacombe has recorded for the CPO and Analekta labels, and has recorded Janáˇcek’s Suite from The Cunning Little Vixen, Orff’s Carmina burana, and Verdi’s Requiem with the New Jersey Symphony Orchestra. His performances have been broadcast on PBS, the CBC, Mezzo TV in Europe, Arte TV in France, and on Hungarian Radio-Television. Born in Cap-de-la-Madeleine, Qué- bec, Jacques Lacombe received his musical training at Montreal’s Conservatoire de Musique and Vienna’s Hochschule für Musik. He was named a Chevalier de l’Ordre national du Québec in 2012, and in 2013 was appointed a Member of the Order of Canada, among the highest civilian honors in the country.

Joshua Bell One of the most celebrated violinists of his era, Joshua Bell was named music director of the Academy of St. Martin in the Fields in 2011, the first person to hold that post since Sir Neville Marriner formed the orchestra in 1958. In 2015 he led the ensemble on tour to South America and Europe. Other recent highlights include appearances with the Johannesburg Philharmonic, Starlight Classics, and with the Israel Philharmonic under Michael Stern, performances in New York and Shanghai with the New York Philharmonic, festival appearances at Verbier, Tanglewood, Mostly Mozart, and Sarasota, performances with the Houston, St. Louis, Indianapolis, and Detroit symphony orchestras, and recital tours of the U.S. and Europe with pianist Sam Haywood. He marked the Bal- timore Symphony’s centennial season with concerts under Marin Alsop and performed with the Orchestre de Paris under Paavo Järvi and with the London Symphony Orchestra. In Asia he performed in recital with Alessio Bax and appeared in Tokyo with the NHK Symphony Orchestra under Leonard Slatkin. An exclusive Sony Classical artist, he has recorded more than forty CDs, garnering Grammy, Mercury, Gramophone, and Echo Klassik awards since his first LP recording at age eighteen on the Decca label. Born in Bloomington, Indiana, Joshua Bell received his first violin at age four and at twelve began studying with the legendary Josef Gingold at Indiana University. At age fourteen he began his rise to stardom, performing with Riccardo Muti and the Philadelphia Orchestra and at seventeen making his Carnegie Hall debut and touring Europe for the first time. Perhaps the event that helped most to transform his reputation from “musician’s musician” to “household name” was his incognito performance in a Washington, D.C., subway station in 2007. Ever adventurous, Mr. Bell had agreed to participate in Gene Weingarten’s Washington Post story, an examination of art and context. The story earned Mr. Weingarten a Pulitzer Prize and sparked an international firestorm of discussion. Convinced of the value of music as both a diplomatic and educational tool, he has performed for three U.S. presidents, as well as for the president of China, and has devoted himself to several charitable causes, most notably Education Through Music, which has helped put instruments into the hands of thousands of kids in America’s inner cities. Joshua Bell performs on the 1713 Huberman Stradivarius violin and uses a late 18th-century French bow by François Tourte. He has appeared regularly with the Boston Symphony Orchestra since his BSO debut in July 1989 at Tanglewood, where he has performed annually since that occasion, marking the 25th anniversary of his first Tanglewood appearance in 2014. In addition to his Tanglewood and Symphony Hall appearances with the orchestra, he has also been soloist with the BSO at Carnegie Hall, the New Jersey Performing Arts Center, and the Kennedy Center.

TANGLEWOOD WEEK 1 GUEST ARTISTS 17 The Caroline and James Taylor Concert In Memory of Gertrude Woodard Taylor Saturday, July 9, 2016 The performance on Saturday evening is supported by a generous gift from BSO Trustee Caroline “Kim” Taylor and her husband, James Taylor, in memory of James’s mother, Gertrude Woodard Taylor. Trudy, as she was known, attended New England Conservatory and was an ardent and lifelong lover of classical music. She died at her beloved home on Stonewall Pond in Martha’s Vineyard last October. As Great Benefactors, the Taylors have given generously to the Tanglewood and Symphony Annual Funds, Opening Nights, and capital projects on the Tanglewood campus, including the Tanglewood Forever Fund. They have also endowed a full fellowship for a cellist at the Tanglewood Music Center. As members of the Kousse- vitzky Society at the Founders level, Kim and James are among the most generous supporters of the Tanglewood Annual Fund. In 2013, Kim was appointed to the President’s Committee on the Arts and Human- ities, an advisory committee to the White House on cultural issues. She recently accompanied the committee on the first cultural mission to Cuba following Presi- dent Obama’s historic visit. Kim also serves as co-chairman of President Obama’s Organizing for Action, an advocacy group working to support the administration’s stance on such issues as climate change and the prevention of gun violence. Kim was a member of the BSO staff for more than twenty years, working closely with Music Director Laureate Seiji Ozawa and Boston Pops Conductor Laureate John Williams. She is currently a Trustee of the Orchestra. Earlier this year, James was presented with the Presidential Medal of Freedom by President Obama, the nation’s highest civilian honor. He has also received the National Medal of Arts, as well as the distinguished Chevalier of the Order of Arts and Letters (Ordre des Arts et des Lettres) from the French government. James is currently in the middle of a five-month, fifty-city tour across North America and Canada, including sold-out performances at Wrigley Field and Fenway Park. Stu Rosner

18 2016 Tanglewood Boston Symphony Orchestra 135th season, 2015–2016

Saturday, July 9, 8pm THE CAROLINE AND JAMES TAYLOR CONCERT IN MEMORY OF GERTRUDE WOODARD TAYLOR

JACQUES LACOMBE conducting

DEBUSSY “Prelude to The Afternoon of a Faun”

ELIZABETH ROWE, solo ﬂute

RAVEL “Daphnis et Chloé,” Suite No. 2 Daybreak—Pantomime—Danse générale

ELIZABETH ROWE, solo ﬂute TANGLEWOOD FESTIVAL CHORUS, BETSY BURLEIGH, guest chorus conductor

{Intermission}

Program continues...

The live video transmission of this concert from Tanglewood is made possible by a generous gift from Virginia Simpson Aisner and James E. Aisner.

This evening’s Tanglewood Festival Chorus performance is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Please note that Seiji Ozawa, who was originally scheduled to open this concert, was advised by his doctor not to travel from Japan due to seriously reduced energy following upon his work in Japan and Europe this past spring. Stu Rosner

TANGLEWOOD WEEK 1 SATURDAY PROGRAM 19 ORFF “Carmina burana” Fortuna imperatrix mundi (Fortune, empress of the world) I. Primo vere (In springtime) Uf dem Anger (On the green) II. In taberna (In the tavern) III. Cour d’amours (The court of love) Blanziﬂor et Helena (Blanziﬂor and Helena) Fortuna imperatrix mundi NADINE SIERRA, soprano JEAN-FRANCIS MONVOISIN, tenor STEPHEN POWELL, baritone TANGLEWOOD FESTIVAL CHORUS, BETSY BURLEIGH, guest chorus conductor NORWAY POND JUNIOR MINSTRELS, JOHANNA HILL SIMPSON, artistic director

Supertitles by Christopher Bergen SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA David Latham, supertitles technician John Geller, supertitles caller

20 NOTES ON THE PROGRAM

Claude Debussy (1862-1918) “Prelude to The Afternoon of a Faun”

First performance: December 22, 1894, Paris, Société Nationale de Musique, Gustave Doret cond. First BSO performance: December 1904, Wilhelm Gericke cond. First Berk- shire Festival performance: August 15, 1936, Serge Koussevitzky cond. First Tanglewood performance: August 13, 1939, Koussevitzky cond. Most recent Tanglewood performance: August 9, 2014, Stéphane Denève cond. Though the critics were divided in their response to Debussy’s Prélude à l’Après-midi d’un faune following its premiere on December 22, 1894, by the Société Nationale de Mu sique in Paris under the direction of Swiss conductor Gustave Doret, the audience’s reaction was unequivocal: the piece was encored. The occasion was Debussy’s first great triumph, and the Faun remains, along with La Mer (1903-05), one of the composer’s best-known and most popular works for orchestra. In fact, with his Prelude, Debussy established himself as a composer for orchestra not just with the membership of the Society: a repeat performance of the entire program was given the day after the premiere, with the Society’s doors opened for the first time to the general public. There is evidence to suggest that Debussy’s Prelude represents the end product of what was originally planned as a score of incidental music to accompany a reading, or perhaps even a dramatized staging, of the poet Stéphane Mal larmé’s eclogue, L’Après-midi d’un faune. Debussy began his work in 1892 and completed the full score on Oc tober 23, 1894. During the period of composition, the work was announced in both Paris and Brussels as Prélude, Interludes et Paraphrase finale pour l’Après-midi d’un faune, but there is no evidence at present to suggest that anything but the Prelude ever came near finished form. Before the premiere, the conductor Doret spent hours going over the score with the composer; Debussy made changes until virtually the last moment, and it was reported that at the first performance, “the horns were appalling, and the rest of the orchestra were hardly much better.” But nothing about the perform ance seems to have diminished the work’s success. Though the first printed edition of Mallarmé’s poem dates from 1876, L’Après-midi d’un faune in fact went through various stages, being conceived originally as an Inter- mède héroïque. A draft from the summer of 1865, entitled Monologue du Faune, took the form of a theatrical scene for a narrator with actors performing in mime, and even as late as 1891 a list of Mallarmé’s works characterized L’Après-midi d’un faune as being “for reading or for the stage.” Mallarmé himself at various times described his concep tion as “definitely theatrical,” as representing “not a work that may conceiv- ably be given in the theater” but one that “demands the theater.” With this in mind, it is not surpris ing that Debussy, who already knew Mallarmé quite well by 1892 and was a close enough member of the poet’s circle to be among those first notified of Mallarmé’s death in 1898, would originally have thought to write a score of incidental music. And that the sense of the poetry might one day lend itself to musical expression was in fact foreshadowed by Mallarmé himself, who wrote of his early Intermède, “What is fright en ing is that all these impressions are required to be woven together as in a symphony....” Fol lowing Mal larmé’s first hearing of the music, at Debussy’s apartment, and on which oc casion the composer played the score at the piano, the poet commented, “I didn’t expect anything like this! This music prolongs the emotion of my poem, and sets its scene more vividly than color.” The history of Mallarmé’s poem is treated in considerable detail in Edward Lock-

TANGLEWOOD WEEK 1 SATURDAY PROGRAM NOTES 21 speiser’s crucial biography, Debussy: His Life and Mind. Lockspeiser points out that by the final version of Mallarmé’s poem, which takes as its overt subject “a faun dream- ing of the conquest of nymphs,” transitions between dream and reality had become more ambiguous, with imagery more subtle than the boldly erotic content of earlier stages. The poem plays not only with the distinctions between dream and reality, be tween sleep and waking aware ness, but also with those between consciousness and unconsciousness, between desire and artistic vision. Indeed, in its more literal rendering of Mallarmé’s subject matter and imagery, Vaslav Nijinsky’s 1912 choreography to Debussy’s score, first performed in Paris by Serge Diaghilev’s Ballets Russes on May 29 that year with Nijinsky as the faun, scandalized audiences when it crossed the line between artistic allusion and masturbatory fantasy (aside from the fact that the stylized poses of the dancers were generally deemed inappropriate to the fluidity of the musical discourse). Debussy’s orchestra here is not especially large. It should be noted, however, that while trumpets, trombones, and timpani are entirely absent, the wind section, with its third flute and English horn, is a source for particularly rich sonorities. In his His tory of Orchestration (1925), Adam Carse already highlighted what made Debussy’s Pre lude so innovative for its time, not just in its treatment of the orchestra, but also in its ap proach to harmony and musical structure: “Such a word as tutti is hardly usable in con nection with orchestration which, like Debussy’s, speaks with a hushed voice in delicately varied and subtly blended tone-colours, and often with intention- ally blurred outlines.” Nowadays, when listeners may respond to the opening flute solo by sinking back into their seats with complacent familiarity, any fresh look at Debussy’s score is obliged to re veal its boldly imagined instrumental hues as if it were a newly restored painting. Im me di ately following that opening melody, suggested by the indolent flute-playing of Mal larmé’s faun, glissandos in the harp and distant, evocative horn-

22 calls conjure a dream like woodland atmosphere heightened by Debussy’s avoidance of clearcut harmonies: an atmosphere to which the colors of rustling strings, cascad- ing woodwinds, blossoming outbursts from the full orchestra, and, near the magical close, antique cymbals, all prove themselves ideally suited.

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

Maurice Ravel (1875-1937) “Daphnis et Chloé,” Suite No. 2 First performance: (of the Suite No. 2) April 2, 1911, Théâtre du Châtelet, Paris, Gabriel Pierné cond. (of the complete ballet) June 8, 1912, Théâtre du Châtelet, Paris, by Diaghi lev’s Russian Ballet, Pierre Monteux cond. First BSO performance of the Suite No. 2: December 14, 1917, Karl Muck cond. First Tanglewood performance: August 7, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: August 3, 2012, Lorin Maazel cond. Ravel’s ballet Daphnis et Chloé is based on a Greek romance written in prose by a shad- owy author known only as Longus. Typical Greek romances involve a potential love- relation that is thwarted by some obstacle—in this respect they are no different from modern popular fiction or television drama. The run-of-the-mill story often involved the carrying off of the maiden by a band of pirates and her rescue by the hero to re unite the couple at the predictable end where all obstacles are overcome. Daphnis and Chloé has some of these elements, to be sure, but its emphasis is on a psychological description of the passion that grows between Daphnis and Chloé, two foundlings raised by shepherds on the island of Lesbos, from the first naive and confused feelings of childhood to full sexual maturity. The idea for the ballet was more or less thrust upon Ravel by the impresario Serge Diaghilev, whose chief choreographer Michel Fokine wanted to do a Greek ballet. Fokine created the scenario, delighted by the fact that “the whole meaning of the story can be expressed by the dance.” After Diaghilev’s company had made a sensational splash in Paris with brilliant mountings of existing pieces, he began to commission new works, seeking out the brightest composers on the scene in Paris and Russia. His long collaboration with Stravinsky was to be epoch-making, but he also commissioned and performed important scores by Debussy, Ravel, Falla, Satie, Prokofiev, and many others. Ravel was commissioned to write Daphnis and Chloé, his largest and finest orchestral score, in 1909, though he required changes in Fokine’s scenario. Ravel worked on it during the spring of 1910 and completed a piano score by May. In 1911 he substan- tial ly reworked the finale and completed the scoring in that year. The production was post poned several times, and when it finally came to fruition, it was somewhat cast into the shade by the premiere of Nijinsky’s dancing of Debussy’s Prelude to The Afternoon of a Faun, regarded as scandalously erotic, just a week earlier. The typical ballet of the late nineteenth and early twentieth centuries was made up of isolated musical numbers whose character was determined by the kind of dance the choreographer wanted to create; this typically controlled the tempo, meter, and length of the music. At its most devastatingly dull, you can identify ballet music of this sort upon hearing a single phrase. Daphnis and Chloé, though, is an entirely different matter. The ballet as a whole is, according to the composer, “constructed sym- phonically on a very strict tonal plan, with a number of themes whose developments assure the homogeneity of the work.”

TANGLEWOOD WEEK 1 SATURDAY PROGRAM NOTES 23 During the first part of the ballet, Daphnis and Chloé are introduced as an attrac- tive pair of young lovers, or potential lovers, at any rate. But at the climax of the first scene, a horde of pirates attacks, seizing Chloé and carrying her away. The people invoke the god Pan, before whose statue they have been making sacrifices. A second scene, in the pirates’ seaside camp, shows how Pan assists in the recovery of Chloé by evoking his characteristic effect—panic—on the terrified pirates. The Suite No. 2 encompasses the final scene of the ballet. In one of Ravel’s most brilliantly achieved strokes, dawn ar rives unmistakably, with the singing of birds, the plashing of the waterfall, and the sun increasingly penetrating the mists. Shepherds arrive looking for Daphnis and Chloé; they find Daphnis and awaken him. He looks around for Chloé, and sees her arriving at last. They throw themselves into one an other’s arms (climactic statement, “very expressive”). The old shepherd Lammon explains to them that if Pan did indeed help them, it was in remembrance of his lost love for Syrinx. Daphnis and Chloé mime the story of Pan and Syrinx: Pan expresses his love for the nymph Syrinx, who, frightened, disappears in the reeds. In despair, Pan forms a flute out of a reed and plays upon it to commemorate his love. (During the ravishing flute solo, Chloé reappears and echoes, in her move ments, the music of the flute.) The dance becomes more and more animated. At its climax, Chloé throws herself into Daphnis’ arms, and they sol- emnly exchange vows before the altar. A group of young girls dressed as bacchantes enters with tambourines. Now the celebration can begin in earnest, in the extended Danse générale, one of the most brilliant and exciting musical passages ever written.

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

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Carl Orff (1895-1982) “Carmina burana—Cantiones profanae cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis” First performance: June 8, 1937 (staged), Frankfurt Opera, Bertil Wetzelsberger cond. First BSO performances: November 1969, Seiji Ozawa cond.; Evelyn Mandac, Stanley Kolk, and Sherrill Milnes, vocal soloists; New England Conservatory Chorus and Children’s Chorus, Lorna Cooke deVaron, cond. First Tanglewood performance: August 25, 1985, Ozawa cond.; Erie Mills, John Aler, and Håkan Hagegård, vocal soloists; Tanglewood Fes tival Chorus, John Oliver, cond.; Boston Boy Choir, Theodore Marier, dir. Most recent Tanglewood performance: August 8, 2009, Rafael Frühbeck de Burgos cond.; Laura Claycomb, Lawrence Brownlee, and Markus Werba, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond.; PALS Children’s Chorus, Alysoun Kegel, artistic director. Carl Orff composed Carmina burana at just about the midpoint of his life, and it divided that life into two entirely different periods—not sim- ply because its enormous success made him a well-known personage with healthy royalties flowing in, but because it induced him to destroy everything he had composed up to that point and to begin his creative life over again in an entirely new way. This was an unlikely outcome for what might have been a work of purely academic interest, setting to music a bouquet of old poems in Medieval Latin plus a few tidbits in Medieval German. Orff was always an intensely private man. He was willing to talk about his music, but rarely about his personal or intellectual life, and, with so many early works destroyed, it is difficult to say much about his music before the obvious break- through of Carmina burana. From childhood he adored the theater and began writing music for puppet plays. And, though he was largely self-taught as a composer, his early idols included Arnold Schoenberg, whose Chamber Symphony he transcribed for piano duet. But at the same time he studied Renaissance polypho- ny and early Baroque music (which interest led to the preparation of performing editions of several works by Monteverdi). He also looked into African music, and followed with great interest the developments of modern dance. Working with Dorothee Günther he founded a school for the education of children that combined music, gymnastics, and dance. His contributions to music education would have made him renowned even if he had not composed one of the most popular scores of the century. The impetus for the composition of Carmina burana was Orff’s discovery of an 1847 volume publishing for the first time a series of fascinating poems, mostly in Latin, but some in medieval German and French, found in a manuscript that had been assembled and richly illuminated in the Bavarian monastery of Benedikt beuern. When Orff came across the book he was struck by the immediacy, the vividness, and the humanity of these lively poems, and, with the help of the poet Michel Hofmann, he organized twenty-four of them into a libretto. (At the time no one knew that original music to some of these songs still existed; the German musicologist Walter Lipphardt deciphered the original notation about forty years ago, and they have since been recorded by the Boston Camerata and others.) In setting these poems, Orff aimed at the most direct music he could imagine: simple, memorable tunes, richly colorful orchestration, and driving rhythms. There are hints of Stravinsky— particularly of Les Noces—but Orff’s music is far simpler in detail, more immedi- ately catchy. The result was hypnotic. After the premiere in June 1937, he wrote to his publisher, B. Schott, “Everything I have written to date, and which you have,

TANGLEWOOD WEEK 1 SATURDAY PROGRAM NOTES 25 unfortunately, printed, can be destroyed. With Carmina burana my collected works begin.” From that time on he worked almost exclusively for the stage, creating two further large chorus-and-orchestra pieces (Catulli carmina and Trionfo di Afrodite) which with Carmina burana make up an evening-length trilogy called Trionfi; four charming operas based on German folk tales: Der Mond, Die Kluge, Die Bernauerin, and Astutuli; settings in a rhythmic, chanted style (with little in the way of tuneful melodies) of plays by Sophocles and Aeschylus; a setting of the Schlegel translation of A Midsummer Night’s Dream, combining speech and music; and a series of three sacred mystery plays. It is worth recalling (since we often hear it only in concert) that Carmina burana is really a stage piece, too. If we translate the complete title as given at the head of this program note, we get “Songs of Beuern—Secular songs to be sung by singers and choruses to the accompaniment of instruments and also of magic pictures.” In fully staged productions, the “magic pictures” are offered by dancers. The 1847 edition of Carmina burana opened with a great paean to the goddess For- tuna (Fortune), who rules all things, making life unpredictable. Orff was greatly struck by this poem, and he chose to make “O Fortuna” the beginning and end of his work, a huge pair of bookends with a driving rhythm and the virtually unchang- ing tonic chord of D. Between these outer pillars, he created three scenes: I. In Springtime and On the Green (pastoral and genre poems) II. In the Tavern III. The Court of Love, concluding with the ecstatic address to Blanziflor and Helena Carmina burana lay under a cloud outside of Germany for a number of years after its first performance, because of Orff’s evident willingness to stay in Germany and work

26 there through the Nazi period, and on account of Hitler’s evident fondness for the piece. Orff was by no means the only German artist who remained there throughout the war, though this led to rumored assertions that he was a Nazi or a sympathizer. In an interview with Glenn Loney late in his life, the normally reclusive composer admitted that he knew of these rumors and declared, “This annoys me very much, because, when I wrote [Carmina burana] in 1936, I was in the opposition—always!— and it was, in effect, against the trends of that time.”

STEVEN LEDBETTER

Guest Artists

For a biography of Jacques Lacombe, see page 16.

Nadine Sierra Making her Boston Symphony Orchestra debut this evening, soprano Nadine Sierra is being hailed as one of the most promising emerging talents in the opera world today. The youngest winner to date of both the Metropolitan Opera National Council Auditions and the Marilyn Horne Foundation Vocal Competition, she is making a name for herself through her performances with top opera companies and symphony orchestras around the world. In the 2015-16 season, Ms. Sierra made debuts at the Opéra National de Paris, Metropolitan Opera, La Scala, and Berlin Staatsoper. She sang her first Zerlina in Mozart’s Don Giovanni for her inaugural performances in Paris, followed by Gilda in Rigoletto with both the Met in December and La Scala in January. In March she joined Daniel Baren- boim for her Berlin State Opera debut, singing her first Amor in a new Jürgen Flimm production of Gluck’s Orfeo ed Euridice—with sets designed by Frank Gehry—during the Berlin Festtage. Other highlights of the current season include returns to San Francisco Opera, as Pamina in Die Zauberflöte and in the title role of Michael Cavanagh’s new staging of Lucia di Lammermoor, and to Valencia’s Palau de les Arts Reina Sofia, as Tytania in Britten’s A Midsummer Night’s Dream. On the concert stage, Ms. Sierra performs recitals in Washington, D.C., and Cincinnati, and appears as a featured soloist on the Teatro la Fenice’s televised New Year’s concert in Venice. In 2014-15 she returned to San Francisco Opera and made debuts in Valencia and Zurich and with the Cleveland Orchestra. Other past highlights include appearances at Italy’s Teatro di San Carlo and with the San Francisco Symphony under Michael Til- son Thomas. In recital, the soprano has appeared at venues ranging from Carnegie’s Weill Hall to the U.S. Supreme Court, where she has performed alongside both Joseph Calleja and Thomas Hampson. Having made her professional debut as a teenager with Palm Beach Opera, Nadine Sierra received her first national exposure at just fifteen, on NPR’s young artist showcase “From the Top.” After graduating from New York’s Mannes College of Music, she entered the Adler Fellowship Program at San Francisco Opera, where she made her company debut in 2011, creating the dual roles of Juliet and Barbara opposite Thomas Hampson in the world premiere production of Christo- pher Theofanidis’s Heart of a Soldier. In 2010 she won first prizes at the George London Competition, Gerda Lissner International Competition, and Loren Zachary Competi- tion. In 2013 she placed first at the Neue Stimmen, Caballé, and Dunne International singing competitions. She is also a recipient of both the Richard Tucker Music Foun- dation’s Study and Career Grants. A native of south Florida, the American soprano was born in 1988 to a Portuguese mother and an American father of Puerto Rican and Italian descent.

TANGLEWOOD WEEK 1 GUEST ARTISTS 27 Jean-Francis Monvoisin Making his BSO debut in tonight’s performance of Carmina burana, French tenor Jean-Francis Monvoisin began his career in France performing Chausson’s Poème de l’amour et de la mer for Radio-France and subsequently with Opéra de Lyon, where he sang the title role in Les Contes d’Hoffmann under the direction of Kent Nagano in 1994. In 1998 Mr. Monvoisin began his international career making debuts in Italy under Richard Bonynge in I puritani with Luciana Serra, with Scottish National Opera as Pollione in Norma, at the Edinburgh Festival in Giovanna d’Arco, with Cleveland Opera in Roméo et Juliette, with Opéra de Paris- Bastille in Fénelon’s Salammbo, with Opéra de Montréal in La bohème, and with Lima Opera in both Tosca and Carmen. He has performed La Damnation de Faust in Bremen (under the direction of Gunther Neuhold), Die ägyptische Helena in Cagliari, Canio in Pagliacci and Turridu in Cavalleria rusticana with Hawaii Opera, Radames in Aida in Lubeck, Carmen under Giuliano Carella, and Bacchus in Ariadne auf Naxos in Marseille. In 2003 Mr. Monvoisin made debuts at La Monnaie in Brussels (alongside José van Dam in the world premiere of Bartholomée’s Oedipe sur la route) and at the Grand Théâtre de Genève (the title role in La Damnation de Faust in a production directed by Olivier Py). Since then he has performed with multiple companies in Italy (Rome, Lecce, Lucca, Bolzano, and the Academia Santa Cecilia under Antonio Pappano), in Belgium, and in the Netherlands with a tour of Madama Butterﬂy; in Cape Town, in Fribourg and the Verbier Festival in Switzerland, and in Germany, where he sang L’Africaine and La Damnation de Faust. In France he has sung at the Grand Théâtre de Limoges, in Saint-Denis de la Réunion, at the Opéra de Metz, and at the Grand Théâtre de Tours as Rodolfo in La bohème with Mireille Delunsch and Tual in Ropartz’s Le Pays. More recently he performed Carmina burana with the New Jersey Symphony Orchestra, the Podestà in La ﬁnta giardiniera in Fribourg, the title roles in Benvenuto Cellini (a production directed by Laura Scozzi) and Donizetti’s Don Sébastien, roi du Portugal with Nuremberg Opera, Florestan in Fidelio in Limoges, and Hoffmann with Beijing Opera.

Stephen Powell American baritone Stephen Powell performs a wide range of music, from Monteverdi and Handel through Verdi and Puccini to Sondheim and John Adams. His 2015-16 season included returns to Opera Philadelphia in the familiar role of Germont in Verdi’s La traviata, and to the New Jersey Symphony for Beethoven’s Sym- phony No. 9, with his wife Barbara Shirvis as the soprano soloist; Scarpia in Tosca with Minnesota Opera; his title role debut in Verdi’s Macbeth with Mich- igan Opera Theatre; a return to the Houston Symphony in Fauré’s Requiem, and the world premiere of Jonathan Leshnoff’s new symphony for baritone soloist and orchestra. Highlights of recent seasons include the title role in Sond- heim’s Sweeney Todd at Virginia Opera, Count di Luna in Il trovatore at Cincin- nati Opera, Orff’s Carmina burana with the Cleveland Orchestra (in Miami), his Colorado Symphony debut as Scarpia in a semi-staged version of Tosca, Mozart’s Requiem with Music of the Baroque, and the 50th Anniversary Gala Celebration Con- cert for San Diego Opera. He returned to the Atlanta Symphony for Beethoven’s Sym- phony No. 9 and appeared as the Lenape tribe/baritone soloist in a world premiere performance of Brent Michael Davids’s opera Purchase of Manhattan in New York City. Recent summer engagements include Alphonse XI, King of Castille, in Donizetti’s La favorite and the title role in Rigoletto at the Caramoor Festival; Sharpless in Madama But- terﬂy and Carmina burana with the Minnesota Orchestra; a concert with Barbara Shirvis of Italian arias with the Boston Landmarks Orchestra, and his July 2014 BSO debut at Tanglewood singing Amonasro in the triumphal scene of Aida. Stephen Powell’s reputation was solidiﬁed and a major career launched when, on opening night of New

28 York City Opera’s 1995-96 season, he substituted on short notice in the title role of Hindemith’s Mathis der Maler. His subsequent roles with that company included Ford in Falstaff, Ulysses in Il ritorno d’Ulisse in patria, Papageno in Die Zauberflöte, Sharpless, Enrico in Lucia di Lammermoor, and Zurga in Les Pêcheurs de perles. His roles with the Metropolitan Opera have included Ping in Turandot and Schelkalov in Boris Godunov. Mr. Powell made his first recital appearance with New York Festival of Song, with Ste- ven Blier at the piano. He has subsequently performed at Weill Recital Hall singing Lee Hoiby’s song cycle I Was There (five poems by Walt Whitman), with the composer at the piano. An alumnus of the Lyric Opera of Chicago Center for American Artists, he now performs frequently with his wife, soprano Barbara Shirvis, in three recital programs they created together: “Hearts Afire” (love songs through the ages), “Bellissimo Broadway!,” and “An American Celebration.” They also give master classes at universities across the country.

Tanglewood Festival Chorus Betsy Burleigh, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate This summer, in addition to its annual Friday Prelude concert in Ozawa Hall (August 26), the Tanglewood Festival Chorus joins the BSO for performances of Orff’s Carmina burana and the second suite from Ravel’s Daphnis et Chloé under Jacques Lacombe (July 9), Rossini’s Stabat Mater under Charles Dutoit (August 19), Acts I and II of Verdi’s Aida under Andris Nelsons (August 20), and Beethoven’s Ninth Symphony under Christoph von Dohnányi (August 28). 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 John Oliver, who stepped down from his leadership position with the TFC at the end of last summer. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the newly created lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center. Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occasions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo- soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary.

TANGLEWOOD WEEK 1 GUEST ARTISTS 29 Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can also be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

Betsy Burleigh Conductor and educator Betsy Burleigh returned to Boston this past March as guest chorus conductor for the Tanglewood Festival Chorus’s American premiere performances of Kancheli’s Dixi with Andris Nelsons and the Boston Symphony Orchestra. Her professional career began in Boston, and the city has been a touchstone between her musical positions throughout the country. Ms. Burleigh currently serves as chair of the Choral Department at Indiana University’s Jacobs School of Music. During her ten years as music director of the Mendels- sohn Choir of Pittsburgh, she led that ensemble to national attention, preparing it for all Pittsburgh Symphony choral performances and collaborating with the orchestra’s music director Manfred Honeck on projects including staged performances of Messiah and an acclaimed Mozart Requiem at Carnegie Hall. During her time with the Mendelssohn Choir, she conducted performances of Brahms’s Ein deutsches Requiem, Bach’s B minor Mass, Mozart’s Great C minor Mass, Duruflé’s Requiem, and Rachmaninoff’s All-Night Vigil, and the Library of Congress invited her to bring the group to sing in Washington, D.C. Prior to her appointment with the Mendelssohn Choir, Mr. Burleigh served as the assistant director of choruses for the Cleveland Orchestra, most notably preparing all performances for the Blossom Festival and conducting the chorus in an Emmy-winning performance for the Red Cross Disaster Relief Fund. She also served Cleveland Opera as chorus master for productions of Turandot, Carmen, Eugene Onegin, Sweeney Todd, Faust, Les Contes d’Hoff- mann, Madama Butterfly, Iolanthe, and Tosca. In the choral-orchestral repertoire she has worked with such renowned conductors as Rafael Frühbeck de Burgos, Christoph von Dohnányi, Andrew Davis, Leonard Slatkin, Franz Welser-Möst, Jahja Ling, Leonard Slatkin, and Yuri Temirkanov. As a guest conductor, she has led the Pittsburgh Symphony, Rhode Island Philharmonic, and several regional orchestras. When in Boston, Betsy Burleigh was music director of Chorus pro Musica, the Providence Singers, The Master Singers, and the Cambridge Madrigal Singers, and held teaching positions at Tufts University, MIT, the Longy School, and Clark University. During her time with Chorus pro Musica she commissioned Andrew Rindfleisch’s Kaddish Prayer and Abbie Betinis’s Expectans expectavi. At Indiana University, Ms. Burleigh conducts the University Singers and the Oratorio Chorus in addition to teaching master’s and doctoral conducting classes. At IU she most recently conducted Vaughan Williams’s A Sea Symphony and Handel’s Messiah.

30 Tanglewood Festival Chorus Betsy Burleigh, Guest Chorus Conductor John Oliver, Founder and Conductor Laureate (Ravel Daphnis et Chloé, Suite No. 2 and Orff Carmina burana, July 2016)

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

Deborah Abel • Emily Anderson • Deborah Coyle Barry • Michele Bergonzi # • Joy Emerson Brewer • Jeni Lynn Cameron • Stephanie Chambers • Anna S. Choi • Lisa Conant • Sarah Dorfman Daniello # • Emilia DiCola • Christine Pacheco Duquette * • Mary A.V. Feldman # • Margaret Felice • Adrianne Fleming • Katherine Barrett Foley • Diana Gamet • Bonnie Gleason • Beth Grzegorzewski • Carrie Louise Hammond • Alexandra Harvey • Kathy Ho • Maureen Renee Hughes • Nancy Kurtz • Kieran Murray • Jaylyn Olivo • Laurie Stewart Otten • Johanna Schlegel • Sandra J. Shepard • Dana R. Sullivan • Sarah Wesley • Lauren Woo Mezzo-Sopranos

Martha Reardon Bewick • Betsy Bobo • Lauren A. Boice • Donna J. Brezinski • Abbe Dalton Clark • Diane Droste # • Barbara Naidich Ehrmann # • Debra Swartz Foote • Irene Gilbride * • Denise Glennon • Diane Hoffman-Kim • Betty Jenkins • Susan L. Kendall • Yoo-Kyung Kim • Eve Kornhauser • Nora Kory • Gale Tolman Livingston # • Kristen McEntee • Ana Morel • Louise Morrish • Tracy Elissa Nadolny • Kendra Nutting • Maya Pardo • Lori Salzman • Ada Park Snider * • Amy Spound • Julie Steinhilber # • Celia Tafuri • Lelia Tenreyro-Viana • Christina Wallace Cooper # • Laura Webb • Marguerite Weidknecht # • Karen Thomas Wilcox Tenors

Brad W. Amidon # • Armen Babikyan • John C. Barr # • Stephen Chrzan • Andrew Crain # • Tom Dinger • Ron Efromson • Carey D. Erdman • Keith Erskine • Aidan Christopher Gent • Len Giambrone • J. Stephen Groff # • David Halloran # • Stanley G. Hudson # • Matthew Jaquith • James R. Kauffman # • Elijah Langille • Michael Lemire • Lance Levine • Mark Mulligan • Dwight E. Porter * • Nate Ramsayer • David Roth • Arend Sluis • Peter L. Smith • Stephen E. Smith • Martin S. Thomson • Stephen J. Twiraga • Stratton Vitikos • Andrew Wang • Joseph Y. Wang Basses

Scott Barton • Daniel E. Brooks # • Eric Chan • Jeff Foley • Mark Gianino • Mark L. Haberman # • Marc J. Kaufman • David M. Kilroy • David Kyuman Kim • Will Koffel • Yangming Kou • Carl Kraenzel • Timothy Lanagan # • Daniel Lichtenfeld • David K. Lones # • Christopher T. Loschen • Greg Mancusi-Ungaro • Lynd Matt • Devon Morin • Eryk P. Nielsen • Stephen H. Owades § • Steven Rogers • Jonathan Saxton • Charles F. Schmidt • Karl Josef Schoellkopf # • Kenneth D. Silber • Scott Street • Samuel Truesdell • Bradley Turner # • Jonathan Vanderwoude • Thomas C. Wang # • Terry Ward # • Matt Weaver

Martin Amlin, Rehearsal Pianist Livia M. Racz, German Diction Coach Erik Johnson, Chorus Manager Kristie Chan, Chorus and Orchestra Management Assistant

TANGLEWOOD WEEK 1 GUEST ARTISTS 31 The Norway Pond Junior Minstrels Johanna Hill Simpson, Founder and Artistic Director What do you get when you put thirty children, ages 6-18, in a big room in Hancock, NH, together with a top-notch pianist and a renowned children’s conductor? The irrepressible, irresistible, surprisingly excellent Norway Pond Junior Minstrels, fondly known as the Junior Mints! Formed in 2008 under the visionary tutelage of their conductor, Johan- na Hill Simpson, founder and artistic director emerita of the acclaimed Boston-based PALS Children’s Chorus, and assisted by one of the region’s top pia- nists, Mary Ann Fleming, the Junior Minstrels are making their ﬁrst appearance at Tanglewood. Their wide age-range makes them unique among children’s choruses, bringing satisfying and surprising depth to their performances in the culturally rich Monadnock region of southwestern New Hampshire. In the fall, the Junior Mints train as a children’s chorus and present a standing-room-only Christmas concert in the village of Hancock. During the spring, they add acting and movement to their singing regimen, presenting a theatrical production in May, shows have become beloved must-sees in the region, most recently including H.M.S. Pinafore, 1776, Damn Yankees, and Peter Pan. Under the baton of Ms. Simpson, members of the Junior Minstrels have appeared with the Norway Pond Festival Singers in performances of Carmina burana, Fauré’s Requiem, Bernstein’s Chichester Psalms, Jenkins’s The Armed Man, and Rutter’s The Reluctant Dragon. The generous and highly motivated young artists of the Junior Minstrels revel in the joy that comes from the power they feel when connecting meaningfully with their audience.

32 Johanna Hill Simpson Johanna Hill Simpson’s years in Boston with the renowned PALS Children’s Chorus, which she founded in 1989, were rich with notable performances and collaborations in Boston, New York, Washington, D.C., and Tanglewood with Seiji Ozawa, James Levine, Yo-Yo Ma, Henri Dutilleux, Tan Dun, Rafael Frühbeck de Burgos, James Conlon, Marek Janowski, Tod Machover, David Hoose, Keith Lockhart, and even Nathan Lane and Celine Dion. She was and continues to be a champion of composers and new music and has commissioned and premiered an impressive list of new works, including Mehmet Sanlikol’s Ergenekon, Howard Frazin’s Voice of Isaac, Bret Silverman’s Tree of Life, William Cutter’s Awake the Dawn, and Megan Henderson’s The Police Log. In the world of opera, Ms. Simpson’s young singers have appeared in performances of Britten’s A Midsummer Night’s Dream at Tanglewood with Stefan Asbury conducting, and joined the Boston Early Music Festival for the world premiere performances of Johann Mathesson’s opera Boris Goudenow in Boston and at Tanglewood. Ms. Simpson has collaborated with Boston Lyric Opera for performances of the historic Carmen on the Common, Tosca, The Little Prince, and La bohème; she has collaborated with Kayo Iwama and the Cantata Singers in performances of the children’s opera Brundibar. She has conducted choruses at New England Conservatory (where she also received the Outstanding Alumni Award and studied with renowned choral conductor Lorna Cooke deVaron) and Harvard Uni- versity. Her ensembles can be heard on recordings by the BSO, the Boston Pops, and the PALS private label. Since moving to the Monadnock region ten years ago, Johan- na Hill Simpson founded Music on Norway Pond and has been busy conducting the Norway Pond Festival Singers and the Junior Minstrels. She also developed the Music on Norway Pond Concert Series for which she has forged a powerful connection with the New England Conservatory, featuring frequent performances in Hancock by their brightest stars. She and her husband Rick, an accomplished tenor, live in Hancock, New Hampshire, on Norway Pond, with their standard poodles, Pearl and May, and their cat, Goldie.

The Norway Pond Junior Minstrels Johanna Hill Simpson, Founder and Artistic Director

Ethan Amundson • Robert Amundson • Ryan Amundson • Sunny Badrawry • Alanna Batty • Kennedy Christgau • Madison Christgau • Aria Frehner • Bridget Grady • Dessie Kamen • Mya Kerwin • Taya Kerwin • Hadie Lancaric • Claire LaPlante • August Lawrence • Zadie Lawrence • Lauren LeBritton • Antonio Mack • Ella Mack • Ruby Mack • Cadence Manuel • Daniel McCall • Liam McCall • Megan McClintock • Eve Pierce • Grace Phillips • Laura Phillips • Anni Simila • Clara Smith • Lee Smith • Autumn Spencer • Hayley Spitzfaden • Cecilia Viana • Jaimini Viles

Mary Ann Fleming, Rehearsal Pianist Amy Wilson, Chorus Manager

TANGLEWOOD WEEK 1 GUEST ARTISTS 33

2016 Tanglewood Boston Symphony Orchestra 135th season, 2015–2016

THE BOSTON POPS ORCHESTRA KEITH LOCKHART, Conductor JOHN WILLIAMS, Laureate Conductor

Sunday, July 10, 2:30pm For the beneﬁt of the Boston Symphony Orchestra Pension Fund

KEITH LOCKHART conducting with special guest SETH MACFARLANE

BERNSTEIN Overture to “Candide”

DVORÁKˇ Largo from the “New World” Symphony

COPLAND Hoedown from “Rodeo”

GERSHWIN-SEBESKY Gershwin in Love Love Walked In—Our Love Is Here to Stay— Someone to Watch Over Me— The Man I Love

ELLINGTON/ It Don’t Mean a Thing (If It Ain’t Got That Swing) MILLS-SEBESKY

{Intermission}

Program continues...

Established in 1903, the Boston Symphony Pension Institution is the oldest among the American symphony orchestras. In recent years the Pension Institution has paid $4.6 million annually to more than ninety pensioners or their surviving spouses. Pension Institution income is derived from Pension Fund concerts and from Open Rehearsals at Symphony Hall and at Tanglewood. Contributions are also made each year by the Boston Symphony Orchestra, Inc. Representatives of the Players and the Corporation are members of the Pension Institution’s Board of Directors.

TANGLEWOOD WEEK 1 SUNDAY PROGRAM 35

Presenting SETH MACFARLANE

Tom Rainer, piano/celesta Chuck Berghofer, bass Peter Erskine, drums

Selections to be announced from the stage.

Steve Colby, sound designer

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

TANGLEWOOD WEEK 1 SUNDAY PROGRAM 37 38 Artists

Keith Lockhart Having celebrated his twentieth anniversary as Boston Pops Conductor in 2015, Keith Lockhart is the second longest-tenured conductor of the Boston Pops Orchestra since its founding in 1885. He took over as conductor in 1995, following John Williams’s thirteen-year tenure from 1980 to 1993; Mr. Williams succeeded the legendary Arthur Fiedler, who was at the helm of the orchestra for nearly ﬁfty years. Keith Lockhart has conducted more than 1,700 Boston Pops concerts, most of which have taken place during the orchestra’s spring and holiday seasons in Boston’s historic Symphony Hall. He has also led annual Boston Pops appearances at Tanglewood, forty national tours to 134 cities in 33 states, and four international tours to Japan and Korea. The annual July 4 Boston Pops Fireworks Spectacular was featured on national network television through 2013 and was broadcast on CBS this year; live webcasts of the 2014 and 2015 events garnered a cumulative 4 million viewers. The list of more than 250 guest artists with whom Mr. Lockhart has collaborated is a virtual “who’s who” of performers and pop culture icons. He has led eight albums on the RCA Victor/BMG Classics label, including two—The Celtic Album and The Latin Album—that earned Grammy nominations. Recent releases on Boston Pops Recordings include The Red Sox Album, A Boston Pops Christmas–Live from Symphony Hall, and The Dream Lives On: A Portrait of the Kennedy Brothers—featuring narrators Robert De Niro, Ed Harris, Morgan Freeman, and Cherry Jones—which was a Boston Pops commission premiered in 2010 during the orchestra’s 125th season. Keith Lockhart’s increased focus on musical theater has attracted leading Broadway artists to the Pops stage. He has worked closely with hundreds of talented young musicians, including Fellows of the Tanglewood Music Center, college students from the Boston Conservatory and Berklee College of Music, and area high school students. He introduced the PopSearch talent competition and the innovative JazzFest and EdgeFest series, featuring prominent jazz and indie artists performing with the Pops. In addition to occupying the Julian and Eunice Cohen Boston Pops Conductor chair, Keith Lockhart currently serves as principal conductor of the BBC Concert Orchestra in London, which he led in the June 2012 Diamond Jubilee Concert for Queen Elizabeth II, and as artistic director of the Brevard Music Center summer institute and festival in North Carolina. Prior to his BBC appointment, he

TANGLEWOOD WEEK 1 ARTISTS 39 spent eleven years as music director of the Utah Symphony, which he led at the 2002 Olympic Winter Games in Salt Lake City. He has appeared as a guest conductor with virtually every major symphonic ensemble in North America, as well as several in Asia and Europe. Prior to coming to Boston, he was the associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras, as well as music director of the Cincin nati Chamber Orchestra. Born in Poughkeepsie, NY, Keith Lockhart began his musical studies with piano lessons at the age of seven. He holds degrees from Furman University and Carnegie Mellon University, and honorary doctorates from several American universities. Visit keithlockhart.com for further information.

Seth MacFarlane Seth MacFarlane is a true renaissance man, possessing talents that encompass every aspect of the entertainment industry. He has created some of the most popular content on television and film today while also expanding his career in the worlds of music, literature, and philanthropy. At twenty-five, he became the youngest showrunner in television history when his animated series Family Guy began airing on Fox. Now in its fourteenth season, Family Guy has garnered Mr. MacFarlane Emmy awards for Outstanding Voice-Over Performance and Outstanding Music and Lyrics. Also co-creator, executive producer, and voice actor on American Dad!, he executive-produced the 21st-century version of Cosmos: A Space Time Odyssey that premiered in March 2014 on ten US networks (simultaneously across FOX and National Geographic platforms), making it the largest television premiere event of all time. The series garnered two Critics Choice Television Awards and nominations for a Television Critics Asso- ciation Award and thirteen Emmy Awards, including Outstanding Documentary or Nonfiction Series. In 2012 Seth MacFarlane made his feature film directorial debut with the highest-grossing original R-rated film of all time, Ted, a buddy comedy star- ring Mark Wahlberg and Mr. MacFarlane as the voice of the lovable foul-mouthed teddy bear. The film made over $545 million worldwide and was also co-written and produced by Mr. MacFarlane. Fresh off the success of Ted, Mr. MacFarlane hosted the 85th Academy Awards in 2013 and was also nominated in the category Best Orig- inal Song for “Everybody Needs a Best Friend,” for which he wrote the lyrics. The sequel Ted 2 was released in June 2015, and his western-comedy A Million Ways to Die in the West (which Mr. MacFarlane wrote, produced, directed, and starred in) in May 2014. His debut album Music Is Better Than Words, debuted at #1 on the iTunes jazz charts in 2011 and went on to receive two Grammy nominations, including Best Traditional Pop Vocal Album. Released by Universal Republic, the album celebrates the classic, sophisticated sound of the lush swing orchestras of the ’40s and ’50s. Norah Jones and Sara Bareilles collaborated with Mr. MacFarlane on two duets on the album. His first-ever Christmas album, Holiday for Swing, on which he is backed by a 52-piece orchestra, debuted at #1 on the iTunes holiday album charts in 2014. His most recent recording, No One Ever Tells You, was released in October 2015 and earned a Grammy nomination for Best Traditional Pop Vocal Album. In August 2014 he earned rave reviews for his Hollywood Bowl appearance with the Los Angeles Philharmonic led by John Williams. Mr. MacFarlane has also performed sold-out shows with the San Francisco Symphony on New Year’s Eve and the National Sym- phony Orchestra (Washington, D.C.) on Valentine’s Day. In 2015 he hosted the New York Philharmonic’s tribute concert “Sinatra: Voice for a Century,” broadcast on PBS. He made his Boston Pops debut on Opening Night of the spring 2016 season.

40 The Boston Pops Orchestra

KEITH LOCKHART Cellos Contrabassoon Julian and Eunice Cohen Martha Babcock° Gregg Henegar Boston Pops Conductor Principal Horns endowed in perpetuity Helene and Norman L. Cahners chair, endowed Richard Sebring JOHN WILLIAMS in perpetuity Principal George and Roberta Berry Sato Knudsen° Rachel Childers Boston Pops Conductor Mihail Jojatu Michael Winter Laureate Owen Young* Jason Snider Blaise Déjardin* Jonathan Menkis First Violins Oliver Aldort* Trumpets Tamara Smirnova Adam Esbensen* Thomas Rolfs° Concertmaster Alexandre Lecarme* Principal Beranek chair, Mickey Katz* Roberta and Stephen R. Weiner endowed in perpetuity Ronald Lowry§ chair, endowed in perpetuity Alexander Velinzon Basses Thomas Siders Associate Concertmaster Benjamin Wright Lawrence Wolfe Edward and Bertha C. Rose Michael Martin Principal chair, endowed in perpetuity Terry Everson§ McGrath Family chair, Elita Kang Anthony Kadleck§ Assistant Concertmaster endowed in perpetuity Bo Youp Hwang Benjamin Levy Trombones Eunice and Julian Cohen Dennis Roy Toby Oft chair, endowed in perpetuity James Orleans* Principal Wendy Putnam* Thomas Van Dyck* Stephen Lange Ikuko Mizuno Todd Seeber* John Stovall* Bass Trombone Jennie Shames* James Markey Xin Ding* Flutes Tuba Glen Cherry* Elizabeth Ostling Valeria Vilker Kuchment* Principal Mike Roylance Yuncong Zhang* Mr. and Mrs. William F. Principal Tatiana Dimitriades* Connell chair, endowed Timpani Si-Jing Huang* in perpetuity Timothy Genis Ala Jojatu* Clint Foreman Percussion Second Violins Piccolo J. William Hudgins Julianne Lee Cynthia Meyers Daniel Bauch Sheila Fiekowsky Kyle Brightwell Nicole Monahan Oboes Matthew McKay Ronan Lefkowitz Mark McEwen James Gwin Aza Raykhtsaum* Amanda Hardy§ Drums Catherine French* English Horn Bonnie Bewick* Harp Robert Sheena James Cooke* Jessica Zhou Nancy Bracken* Clarinets Piano Jason Horowitz* Thomas Martin Victor Romanul* Principal Ben Cook Vyacheslav Uritsky* Michael Wayne Guitar Violas Bass Clarinet Jonathan Finn Cathy Basrak Craig Nordstrom Librarians Principal Saxophones Wesley Collins D. Wilson Ochoa Rebecca Gitter* Michael Monaghan Principal Michael Zaretsky Gregory Floor John Perkel Daniel Getz* Robert Bowlby Mark Fabulich Kazuko Matsusaka* Dennis Cook Personnel Managers Rachel Fagerburg* Peter Cokkinias Lisa Suslowicz§ Bassoons Lynn G. Larsen Ronald Haroutunian§ Bruce M. Creditor Suzanne Nelsen Assistant Personnel Manager * Participating in a system Stage Manager of rotated seating John Demick § Substituting ° On leave TANGLEWOOD WEEK 1 ARTISTS 41 42 Tanglewood Major Corporate Sponsors 2016 Season

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

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

Dawson Rutter Commonwealth Worldwide Chauffeured Transportation is President and CEO proud to be the Ofﬁcial Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a 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.

TANGLEWOOD WEEK 1 MAJOR CORPORATE SPONSORS 43 Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops, and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2015-16 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Peter and Anne Brooke • Cynthia and Oliver Curme • Michael L. Gordon • Barbara and Amos Hostetter • Dorothy and Charlie Jenkins • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Marillyn Zacharis

Society Giving at Tanglewood The following list recognizes gifts of $3,000 or more made since September 1, 2015 to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2015-2016 season. For further information on becoming a Society member, please contact Barbara Hanson, Senior Leadership Gifts Ofﬁcer, at 617-638-9261.

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

Koussevitzky Society Virtuoso $50,000 to $99,999

Linda J.L. Becker • Roberta and George‡ Berry • Bonnie and Terry Burman • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Michael L. Gordon • Dorothy and Charlie Jenkins • Joyce Linde • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Mr. James E. Pollin • Carol and Joe Reich • Sue Rothenberg • Caroline and James Taylor • Stephen and Dorothy Weber Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Ronnie and Jonathan Halpern • Scott and Ellen Hand • Nathan and Marilyn Hayward • Drs. James and Eleanor Herzog • Larry and Jackie Horn • Valerie and Allen Hyman • Stephen B. Kay and Lisbeth L. Tarlow • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • Claudio and Penny Pincus • Ronald and Karen Rettner • Carol and Irv Smokler • Norma and Jerry Strassler • Linda and Edward Wacks • June Wu Benefactor $20,000 to $24,999

Phyllis and Paul Berz • Sydelle and Lee Blatt • BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Carol B. Grossman • The Edward Handelman Fund • Carol and George Jacobstein • Leslie and Stephen Jerome • Mr. and Mrs. Henry A. Leander • Jay and Shirley Marks • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton Rubin • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Marillyn Zacharis Patron $10,000 to $19,999

Gideon Argov and Alexandra Fuchs • Norm Atkin MD and Joan Schwartzman • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Beatrice Bloch and Alan Sagner • Marlene and Dr. Stuart H. ‡ Brager • Jane Braus • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Nancy J. Fitzpatrick and Lincoln Russell • Myra and Raymond ‡ Friedman • Martha and Todd Golub • Dr Lynne B Harrison • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Susie and Stuart Hirshﬁeld • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Kahn Family Foundation • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Ms. Patricia Kennelly and Mr. Edward F. Keon • Lizbeth and George Krupp • Norma and Sol D. Kugler • Mr. and Mrs. Roger Landay • Shirley and William Lehman • Elaine ‡ and Ed London • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Mr. and Mrs. Gerard O’Halloran • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Lucinda and Brian Ross • Mr. and Mrs. Kenan E. Sahin • Anne and Ernest ‡ Schnesel • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Rita and Harvey Simon • Jerry and Nancy Straus • Roz and Charles Stuzin • Lois and David Swawite • Ted and Jean Weiller • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous Prelude $7,500 to $9,999

Dr. Mark Belsky and Ms. Nancy Kaplan Belsky • Jim and Nancy Bildner • Hildi and Walter Black • Brad and Terrie Bloom • Judith and Stewart Colton • Eitan and Malka Evan • Esta and Kenneth Friedman • Leslie and Johanna Garﬁeld • Richard Holland and Cathy Birkhahn • Arlene and Jerome Levine • Geri and Roy Liemer • Mr. and Mrs. Arthur S. Loring • Judy and Richard J. Miller • Kate and Hans Morris • Elaine and Simon Parisier • Mary Ann and Bruno A. Quinson • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Dr. Beth Sackler and Mr. Jeffrey Cohen • Malcolm and BJ Salter • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Marcia and Albert Schmier • JoAnne and Joel Shapiro • Lynn and Ken Stark • Aso O. Tavitian • Jerry and Roger Tilles • Karen and Jerry Waxberg • Gail and Barry Weiss • Anonymous (2) Member $5,000 to $7,499

Deborah and Charles Adelman • Mr. Michael P. Albert • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Drs. Judith and Martin Bloomﬁeld • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Mr. and Mrs. Scott Butler • David and Maria Carls • Mr. R. Martin Chavez • Jim Chervenak • Carol and Randy Collord • Mrs. Carol P. Côme • Jill K. Conway • Ann Denburg Cummis • Dr. and Mrs. Harold Deutsch • Gigi Douglas and David Fehr • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Saul Eisenberg • Miss Diana Engelhorn • Marie V. Feder • Nancy Edman Feldman and Mike Chefetz • Deborah Fenster-Seliga and Edward Seliga • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Audrey and Ralph Friedner • Thomas M. Fynan and William F. Loutrel • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Lonnie and Jeffrey Garber • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • Robert and Stephanie Gittleman • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • Sondra and Sy Goldman • Joe and Perry Goldsmith • Ms. Susan P. Goodfellow • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Jud and Roz Gostin • Mr. Malcolm Griggs • Mr. Harold Grinspoon and Ms. Diane Troderman • Mr. David W. Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Mrs. Barbara C. Haynes •

TANGLEWOOD WEEK 1 SOCIETY GIVING AT TANGLEWOOD 45 Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles ‡ Hoffman • Nancy and Walter Howell • Dr. and Mrs. Richard M. Hunt • Marty and Judy Isserlis • Stephen and Michele Jackman • Liz and Alan Jaffe • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Mr. and Mrs. Carleton F. Kilmer • Robert and Luise ‡ Kleinberg • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • Marilyn E. Larkin • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Ira Levy, Lana Masor and Juliette Freedman • Marje Lieberman and Sam Seager • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Dr. Robin S. Richman and Dr. Bruce Auerbach • Barbara and Michael Rosenbaum • Edie and Stan Ross • Ms. Selma Rothstein • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. and Mrs. John Schwebel • Mr. Marvin Seline • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Dorothy and Gerry Swimmer • Jean C. Tempel • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • The Ushers and Programmers Fund • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Mrs. Charles H. Watts II • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Mr. and Mrs. Bernard Wolfson • Mr. and Mrs. Allan Yarkin • Erika and Eugene ‡ Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Ms. Gail Zunz and Dr. Sharyn J. Zunz • Anonymous (3) Bernstein Society $3,000 to $4,999

Arthur Appelstein and Lorraine Becker • Mr. and Mrs. David L. Auerbach • Benjamin and Leah Barber • Ms. Shirley B. Barnes • Dr. David Bear and Dr. Laurie Hammer Bear • Michael Beck and Beau Bufﬁer • Cindy and David Berger • Helene Berger • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • William E. Briggs • Sandra L. Brown • Rhea and Allan Bufferd • Mrs. Laura S. Butterﬁeld • Ms. Patricia Callahan • Antonia Chayes • Mr. and Mrs. Bertram Chinn • Lewis F. Clark, Jr. • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • Emilie and Clark Downs • Terry and Mel Drucker • Ms. Linda Dulye • Mr. and Mrs. Leonard Edelson • Dr. and Mrs. Keith R. Edwards • Eric and Margot Egan • Dr. and Mrs. Gerald D. Falk • Mr. Earl N. Feldman and Mrs. Sarah Scott • Mr. and Mrs. Jim Fingeroth • Dr. and Mrs. Steve Finn • Betty and Jack ‡ Fontaine • Mr. and Mrs. Michael Friedman • Mrs. Athena G. Garivaltis • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. James W. Giddens • Mr. and Mrs. David L. Glodt • Rita Sue and Alan J. Gold • Andrew and Stephanie Goldfarb • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mrs. Deborah F. Harris • Ricardo and Ana Julia Hausmann • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Adam Hersch • Mr. and Mrs. James Horwitz • In memory of D.M. Delinferni • Richard and Marianne Jaffe • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Nedra Kalish • Dr. and Mrs. Stephen Kulvin • Mr. Arthur J. Levey and Ms. Rocio Gell • Mr. Jeremy Levine • Anthony and Alice Limina • Thomas and Adrienne Linnell • Dr. and Mrs. Benjamin Liptzin • Dr. and Mrs. Richard E. Litt • Mr. David Lloyd and Ms. Meg Mortimer • Dr. Nancy Long and Mr. Marc Waldor • Susan and Arthur Luger • Gloria and Leonard ‡ Luria • Jb and Evan Mallah • Dr. and Mrs. Malcolm Mazow • Terence McInerney • Soo Sung and Robert Merli • Mr. and Mrs. Jonathan Michaeli • Michael and Annette Miller • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Dr. William S. Packard and Dr. Charles L. Ihlenfeld • Donald and Laurie Peck • Lee Perlman and Linda Riefberg • Mr. Robert Pollin • Mr. William Racolin • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Mrs. Bonnie L. Rocap • Barbara Rubin • Larry and Pat Rutkowski • Mr. and Mrs. Steve Ryan • Dr. and Mrs. David Schottenfeld • Heidi and Robert Schwartz • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Mr. and Mrs. Theodore R. Shiffman • Linda and Marc Silver, in loving memory of Marion, Sidney and Daniel Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Ms. Anne Smith • Elaine Sollar and Edwin R. Eisen • Suzanne and Robert Steinberg • Shirley and Al Steiner • Mr. and Mrs. Edward Streim • Ingrid and Richard Taylor • John Lowell Thorndike • Diana O. Tottenham • Mr. John Tremblay and Mrs. Eileen Quinn • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • Donald Usher and William E. Briggs • Kae and Ben Wallace • William Wallace • Mr. and Mrs. Ronald A. Walter • Ms. Gayllis R. Ward and Mr. James B. Clemence • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Nancy Whitson-Rubin • Susan Ellen Wolf • Mr. and Mrs. Michael Zaccaro • Anonymous (2) William Mercer

TANGLEWOOD WEEK 1 SOCIETY GIVING AT TANGLEWOOD 47 From the 1937 program book for the Boston Symphony Orchestra’s ﬁrst Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

July at Tanglewood

Friday, July 1, 8pm Saturday, July 9, 8pm BOSTON POPS ESPLANADE ORCHESTRA BSO—JACQUES LACOMBE, conductor KEITH LOCKHART, conductor NADINE SIERRA, JEAN-FRANCIS JERRY GARCIA SYMPHONIC CELEBRA TION MONVOISIN, and STEPHEN POWELL, featuring WARREN HAYNES vocal soloists TANGLEWOOD FESTIVAL CHORUS Saturday, July 2, 7pm NORWAY POND JUNIOR MINSTRELS BOB DY LAN DEBUSSY Prelude to The Afternoon of a Faun with MAVIS STAPLES RAVEL Daphnis and Chloé, Suite No. 2 ORFF Carmina burana (sung in Latin with Sunday, July 3, 8pm English supertitles) Monday, July 4, 8pm JAMES TAYLOR AND HIS ALL-STAR BAND Sunday, July 10, 2:30pm BOSTON POPS ORCHESTRA Tuesday, July 5, 8pm KEITH LOCKHART, conductor SEIJI OZAWA INTERNATIONAL SETH MACFARLANE, soloist ACADEMY SWITZERLAND TANGLEWOOD MUSIC CENTER FELLOWS Sunday, July 10, 8pm Music for string quartet and string ensemble TMC ORCHESTRA—JACQUES LACOMBE and TMC Fellows NUNO COELHO SILVA Wednesday, July 6, 7pm and CHRISTIAN REIF, conductors MEMBERS OF THE BOSTON POPS BRASS Music of Bernstein, Schuman, Rimsky-Korsakov, & PERCUSSION SECTIONS and Tchaikovsky BOSTON CRUSADERS; PHANTOM REGIMENT; BLUECOATS; THE CADETS Tuesday, July 12, 8pm Tanglewood Brass Spectacular! EMERSON STRING QUARTET Haydn’s complete Opus 76 string quartets Thursday, July 7, 8pm, Ozawa Hall TEMBEMBE ENSAMBLE CONTINUO Wednesday, July 13, 8pm HESPÈRION XXI EMERSON STRING QUARTET JORDI SAVALL, director and viola da gamba RENÉE FLEMING, soprano “Folías Antiguas & Criollas: From the Music of Brahms, Wellesz, and Berg Ancient World to the New World” Thursday, July 14, 8pm Friday, July 8, 6pm (Prelude Concert) THE KNIGHTS MEMBERS OF THE BSO CHRISTINA COURTIN, vocalist Music of Beethoven and Ravel GABRIEL KAHANE, electric guitar, piano, and voice Friday, July 8, 8pm “The Times They Are A-Changin’ ” Opening Night at Tanglewood Music of Haydn, Kahane, Schubert, Dylan, BSO—JACQUES LACOMBE, conductor and others JOSHUA BELL, violin Friday, July 15, 6pm (Prelude Concert) RAVEL Alborada del gracioso SAINT-SAËNS Violin Concerto No. 3 MEMBERS OF THE BSO PROKOFIEV Symphony No. 5 Music of Mozart and Prokofiev Friday, July 15, 8pm Saturday, July 9, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—PINCHAS ZUKERMAN, conductor and violin BSO program of Saturday, July 9 ALL-MOZART PROGRAM Saturday, July 9, 2:30pm Symphony No. 25; Violin Concerto from TANGLEWOOD FAMILY CONCERT Haffner Serenade in D, K.250; Symphony No. 39 (Pre-concert activities begin at 12:30pm) Saturday, July 16, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, July 17

Saturday, July 16, 8pm Sunday, July 24, 2:30pm BSO—CHRISTOPH VON DOHNÁNYI, BSO—JUANJO MENA, conductor conductor VERONIKA EBERLE, violin RENÉE FLEMING, soprano GINASTERAVariaciones concertantes IVES The Unanswered Question MOZART Violin Concerto No. 4 in D, K.218 STRAUSS Four Last Songs BEETHOVEN Symphony No. 6, Pastoral TCHAIKOVSKY Symphony No. 6, Pathétique Wednesday, July 27, 8pm Sunday, July 17, 2:30pm CHANTICLEER BSO—GUSTAVO GIMENO, conductor “Over the Moon” YUJA WANG, piano A lunar-inspired program ranging from PROKOFIEV Symphony No. 1, Classical Renaissance music to contemporary RAVEL Piano Concerto in G composers, jazz standards, and more. GERSHWIN Rhapsody in Blue Thursday, July 28 8pm STRAVINSKY Suite from The Firebird (1919 version) DANISH STRING QUARTET Music of Nørgard, Mendelssohn, and Monday, July 18, 8pm Beethoven

TMC ORCHESTRA—CHRISTOPH VON Friday, July 29, 6pm, Ozawa Hall DOHNÁNYI and TMC Fellows CHRISTIAN (Prelude Concert) REIF and NUNO COELHO SILVA, conductors MEMBERS OF THE BSO RICHARD SEBRING, horn JONATHAN BISS, piano Music of Wagner, Strauss, and Beethoven PAUL LEWIS, piano Music of Schubert and Mozart Wednesday, July 20, 8pm FRANÇOIS LELEUX, oboe Friday, July 29, 8pm, Shed LISA BATIASHVILI, violin BSO—ANDRIS NELSONS, conductor KIM KASHKASHIAN, viola JONATHAN BISS, piano LYNN HARRELL, cello MOZART Piano Concerto No. 27 in B-flat, EMANUEL AX, piano K.595 Music of Saint-Saëns, Mozart, Debussy, and MAHLER Symphony No. 9 Britten Saturday, July 30, 10:30am Friday, July 22, 6pm Hall (Prelude Concert) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) MEMBERS OF THE BSO BSO program of Saturday, July 30 Music of Françaix, Ligeti, and Villa-Lobos Saturday, July 30, 8pm, Shed Friday, July 22, 8pm BSO—ANDRIS NELSONS, conductor BSO—SIR ANDREW DAVIS, conductor AUGUSTIN HADELICH, violin LISA BATIASHVILI, violin CORIGLIANO Fantasia on an Ostinato VAUGHAN WILLIAMS Fantasia on a Theme SIBELIUS Violin Concerto by Thomas Tallis BEETHOVEN Symphony No. 7 DVORÁKˇ Violin Concerto SIBELIUS Symphony No. 5 Sunday, July 31, 2:30pm The Leonard Bernstein Memorial Concert Saturday, July 23, 10:30am TMC ORCHESTRA—ANDRIS NELSONS, Open Rehearsal (Pre-Rehearsal Talk, 9:30am) conductor BSO program of Sunday, July 24 PAUL LEWIS, piano Saturday, July 23, 8pm ALL-BRAHMS PROGRAM Piano Concerto No. 1; Symphony No. 1 BSO—JUANJO MENA, conductor GARRICK OHLSSON, piano Sunday, July 31, 8pm RAQUEL LOJENDIO, soprano CHICK COREA TRIO TCHAIKOVSKY Piano Concerto No. 1 featuring CHRISTIAN MCBRIDE and FALLA The Three-cornered Hat (complete BRIAN BLADE ballet score) 75th Birthday Celebration

Programs and artists subject to change. 2016 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge e Admission free, but restricted to ticket holders for that evening’s orchestra concert

Monday, June 27, 8pm Saturday, July 16, 6pm e John Harbison, conductor Prelude Concert Bach Cantatas 163, 116, 187, and 57 Sunday, July 17, 10am Friday, July 1, 10am and 2:30pm Chamber Music Saturday, July 2, 2:30pm Monday, July 18, 6pm String Quartet Marathon Prelude Concert (TMC Vocal Fellows) Sunday, July 3, 10am Monday, July 18, 8pm * Brass, Winds, and Percussion Extravaganza The Daniel Freed and Shirlee Cohen Freed Sunday, July 3, 2:30pm Memorial Concert TMC Opening Exercises TMC ORCHESTRA—CHRISTOPH VON DOHNÁNYI and TMC Fellows NUNO Tuesday, July 5, 8pm COELHO and CHRISTIAN REIF, conductors Seiji Ozawa International Academy Switzerland RICHARD SEBRING, horn TMC Fellows Music of WAGNER, STRAUSS, and Music for string quartet and string ensemble BEETHOVEN Wednesday, July 6, 8pm Saturday, July 23, 6pm e Vocal Concert Prelude Concert

Saturday, July 9, 6pm e Saturday, July 30, 6pm e Prelude Concert Prelude Concert Sunday, July 10, 10am Sunday, July 31, 10am Chamber Music Chamber Music Sunday, July 10, 8pm * Sunday, July 31, Shed * The Phyllis and Lee Coffey Memorial Concert The Leonard Bernstein Memorial Concert TMC ORCHESTRA—JACQUES LACOMBE TMC ORCHESTRA—ANDRIS NELSONS, and TMC Fellows NUNO COELHO and conductor CHRISTIAN REIF, conductors PAUL LEWIS, piano Music of BERNSTEIN, SCHUMAN, ALL-BRAHMS PROGRAM RIMSKY-KORSAKOV, and TCHAIKOVSKY Piano Concerto No. 1; Symphony No. 1

TMC Orchestra Concerts in Ozawa Hall (July 10, 18, 25; August 8, 15), $55, $45, and $35 (lawn admission $12). TMC Recitals, Chamber Music, String Quartet Marathon: $12. Festival of Contemporary Music Concerts (excluding 7/25 TMCO concert), $12. BUTI Young Artists Orchestra Concerts, $12. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free. TMC Chamber Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS UP TO $100: TMC Orchestra, TMC Recital, and BUTI concert tickets are available in advance online, by phone, or in person at the box office. On the day of the concert, tickets to TMC and BUTI recitals in Ozawa Hall may be purchased up to one hour before concert start time with cash only, and only at the Ozawa Hall Bernstein Gate. TMC Orchestra concert tickets may be purchased on the day of the concert at the Ozawa Box Office. Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $100 level receive one free admission and Friends at the $200 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $12. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or visit tanglewood.org/contribute. Monday, August 1, 8pm Thursday, July 21—Monday, July 25 Vocal Concert FESTIVAL OF CONTEMPORARY MUSIC Wolf’s Italienisches Liederbuch (complete) The 2016 Festival of Contemporary Music Tuesday, August 2 * is dedicated to the memory of Steven Stucky TANGLEWOOD ON PARADE (1949-2016), its creator and curator. 2:30pm: TMC Cello Ensemble Thursday, July 21, 8pm 3:30pm: TMC Piano Concert Stucky’s Dialoghi for solo cello, performed 5pm: TMC Vocal Concert (“Sing, America!”) in memory of Steven Stucky by TMC faculty 7:30pm: TMC Brass Fanfares (Shed) member Norman Fischer 8pm: Gala Concert (Shed) FCM CHAMBER ORCHESTRA The Gregory E. Bulger Foundation Concert STEFAN ASBURY, NUNO COELHO, TMCO, BSO and BOSTON POPS DAVID FULMER, and CHRISTIAN REIF, ORCHESTRA conductors STÉPHANE DENÈVE, GIANCARLO Music of Stucky, Lutosławski, Salonen, GUERRERO, and JOHN WILLIAMS, and Lindberg conductors Friday, July 22, 2:30pm Music of RAVEL, WILLIAMS, TCHAIKOVSKY, THE NEW FROMM PLAYERS and others Chamber music of Phibbs (U.S. premiere), Fireworks to follow the concert Abrahamsen, Currier, and Dennehy Saturday, August 6, 6pm e Saturday, July 23, 2:30pm Prelude Concert TMC FELLOWS Sunday, August 7, 10am STEPHEN DRURY, conductor Chamber Music Chamber music of Ogonek, White, Jalbert, Gee (world premiere; TMC commission), Monday, August 8, 8pm * Crockett, and Levering TMC ORCHESTRA—TMC Fellows NUNO COELHO and CHRISTIAN REIF, conductors Sunday, July 24, 10am NICHOLAS MUNI, director (Weill) TMC FELLOWS TMC VOCAL FELLOWS (Weill, Shostakovich) NUNO COELHO, DAVID FULMER, and DAWN UPSHAW, soprano (Shostakovich) CHRISTIAN REIF, conductors SANFORD SYLVAN, baritone (Shostakovich) Chamber music of Hillborg, Dean, Harvey, Boulez, Donatoni, and Meltzer WEILL The Seven Deadly Sins (world premiere) SHOSTAKOVICH Symphony No. 14 Monday, July 25, 6pm Tuesday, August 9, 8pm Global Musician Workshop Project Prelude Concert Michael Block, director LUCY SHELTON, soprano TMC VOCAL FELLOWS Thursday, August 11, 8pm Messiaen’s Harawi Vocal Concert Monday, July 25, 8pm * Saturday, August 13, 6pm e The Margaret Lee Crofts Concert Prelude Concert TMC ORCHESTRA—STEFAN ASBURY, Sunday, August 14, 10am conductor Chamber Music LORELEI ENSEMBLE, BETH WILLER, artistic director Monday, August 15, 2:30pm, Chamber Music Hall BENJAMIN Dream of the Song (U.S. Piece-a-Day Project premiere; BSO commission) TMC Composition Fellows MESSIAEN Turangalîla-symphonie Monday, August 15, 8pm * The Festival of Contemporary Music has been TMC ORCHESTRA—CHARLES DUTOIT, endowed in perpetuity by the generosity of Dr. conductor Raymond H. and Mrs. Hannah H. Schneider, GIL SHAHAM, violin with additional support from the Aaron Music of KODÁLY, TCHAIKOVSKY, and Copland Fund for Music, the Fromm Music STRAVINSKY Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

Programs and artists subject to change. For complete program details, please visit tanglewood.org.

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

2016 BUTI Concert Schedule (50th Anniversary Season) (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 16, 2:30pm, Lawrence Loh conducts Wagner’s Overture to Die Meistersinger, Brahms’s Variations on a Theme by Haydn, and Shostakovich’s Symphony No. 5. Saturday, July 30, 2:30pm, Paul Haas conducts Mahler’s Symphony No. 6. Saturday, August 13, 2:30pm, Ken-David Masur conducts Enescu’s Romanian Rhapsody No. 1, Gershwin’s Rhapsody in Blue, and Brahms’s Symphony No. 3.

WIND ENSEMBLE PROGRAMS: Sunday, July 17, 2:30pm, David J. Martins conducts Dahl, Dukas, Harbison, McTee, Nelson, Newman, and Salfelder. Sunday, July 31, 2:30pm, H. Robert Reynolds conducts Bates, Etezady, Grainger, Gryc (featuring David Krauss, trumpet), Holst, Stamp, Strauss, and Wagner.

VOCAL PROGRAMS: Tuesday, August 4, 4pm (Tanglewood on Parade), Katie Woolf conducts choral works by Bernstein, Dello Joio, Haydn, O’Regan, and Verdi.

50TH ANNIVERSARY CONCERT: Saturday, August 6, 2:30pm, 2016 Young Artists, faculty, and alumni perform choral, orchestral, and chamber works by Andres, Bernstein, Brahms, Handel, Kodály, Muhly, O’Regan, Ticheli, and Wagner. Emceed by Emmy Award nominee Lauren Ambrose, with conductors Ken-David Masur, Ann Howard Jones, and Katie Woolf.

Young Artists Orchestra concert tickets may be purchased for $12 each at the door of Seiji Ozawa Hall on the Tanglewood main grounds directly prior to the concert event or online at bso.org. 50th Anniversary Concert tickets may be purchased for $20 each at the door of Seiji Ozawa Hall or online at bso.org. Young Artists Wind Ensemble concerts are not ticketed and are open to the public. For a full listing of events, visit bu.edu/tanglewood. The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

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

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • 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 • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ •

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

William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (7)

‡ Deceased Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2016 season. Boldface denotes support of $3,000 or more, and italics denote support of $1,500-$2,999. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager at 413-637-5174 or [email protected].

Accounting/Tax Services Mark Friedman, CPA • Joseph E. Green, CPA • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Sheer & Company Advertising/Marketing/Consulting Lauri Aibel • Barry L. Beyer • Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • RL Associates Architecture/Design/Engineering ARTLIFEdesign • edm - architecture | engineering | management • Foresight Land Services, Inc. • Greylock Design Associates • Hill - Engineers, Architects, Planners, Inc. Arts, Crafts, Antiques Elise Abrams Antiques • Berkshire Paint and Sip • Joanie Ciolfi Paintings • Colorful Stitches Fine Yarn • Diana Felber Gallery • History of Toys Gallery • Hoadley Gallery • Schantz Galleries Contemporary Glass Automotive Autobahn Service • Balise Lexus • Biener Audi • Donovan Motorcar Service & Timeless Auto Sales • Flynn VW Audi BMW • Haddad Dealerships • Johnson Ford Lincoln Aviation Lyon Aviation, Inc. Banking Adams Community Bank • Berkshire Bank • Greylock Federal Credit Union • Lee Bank • MountainOne Financial • NBT Bank of Lenox • Pittsfield Cooperative Bank • Salisbury Bank and Trust Company • TD Bank Building Supplies/Hardware/Home E. Caligari & Son • Carr Hardware • Dettinger Lumber Co., Inc. • Dresser-Hull Company • Ed Herrington, Inc. Building/Contracting Allegrone Companies • Louis Boxer Builder, LLC • Decumanus Green Design/Build, Inc. • Great River Construction Co. Inc • Luczynski Brothers Building • J.H. Maxymillian, Inc. • David J. Tierney, Jr., Inc. • Peter D. Whitehead Builder, LLC Catering & Party Rental Aaron’s Catering of The Palm Beaches LLC • Classical Tents & Party Goods • Savory Harvest Catering Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking In Music, Inc. Energy The Berkshire Gas Company • Lipton Energy • Viking Fuel Oil Co. Inc. Financial Services American Investment Services, Inc. • Frank Battista, CFP® • Berkshire Money Management • Berkshire Wealth Advisors of Raymond James • Blue Spark Financial • Burack Investments • Susan and Raymond Held • Integrated Wealth Management • Kaplan Associates • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii, Inc. • October Mountain Financial Advisors • Primary Venture Partners • TD Wealth • UBS Financial Services Food/Beverage Wholesale Barrington Coffee Roasting Co. • Crescent Creamery • Koppers Chocolate Insurance Berkshire Insurance Group • Berkshire Life Insurance Company of America, a Guardian company • SA Genatt LLC Insurance • Jacquline A. Metsma • Stockbridge Risk Management • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone P.C. • Cohen Kinne Valicenti & Cook LLP • Michael J. Considine, Attorney at Law • Gogel and Gogel • Hope Hagler, Esq. • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Kalib & Kalib • Linda Leffert, JD (Ret) • Louis J. Oggiani • Rubin & Ulrich, LLC • Lester M. Shulklapper, Esq. • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • Apple Tree Inn • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Birchwood Inn • Blantyre • The Briarcliff Motel • Brook Farm Inn • Canyon Ranch in Lenox • Chesapeake Inn of Lenox • The Cornell Inn • Cranwell Spa and Golf Resort • Crowne Plaza Hotel- Berkshires • Devonfield Inn • An English Hideaway Inn • The Garden Gables Inn • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed & Breakfast Inn • Hilton Garden Inn Lenox/Pittsfield • Hotel on North • Inn at Green River • The Inn at Stockbridge • Kemble Inn/The Frederick • The Red Lion Inn • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • Wheatleigh Hotel & Restaurant Manufacturing/Distribution/Consumer Products Bell Container Corp. • General Dynamics Mission Systems • Iredale Mineral Cosmetics, Ltd • New Yorker Electronics • Onyx Specialty Papers, Inc. • RTR Technologies, Inc. • Volkert Precision Technologies Inc. • Zogics, LLC Medical/Optical 510 Medical Walk In • J. Mark Albertson, DMD, PA • Berkshire Health Systems, Inc. • Stanley E. Bogaty, M.D. • County Ambulance Service • Cyril & Dayne • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. and Mrs. Steven Gallant (Nancy) • Fred Hochberg, M.D. • William E. Knight, MD • Carol R. Kolton, MSW - Psychotherapy • Dr. Charles Mandel OD PC, Optometrist • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, Dentist Moving/Storage Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Crocus Hale Flowers • Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nusery & Garden Center • Windy Hill Farm, Inc. Printing/Publishing Berkshire Eagle • Berkshire Magazine • Laurin Publishing • Qualprint • The Studley Press Real Estate 67 Church Street, LLC • Barnbrook/Christies International Real Estate • Barrington Associates Realty Trust • Benchmark Real Estate • Berkshire Property Agents • Brause Realty, Inc. • Cohen + White Associates • Steve Erenburg, Cohen + White • Robert Gal LLC • Barbara K. Greenfeld • Hill Realty, LLC • LD Builders • MacCaro Real Estate • McLean & Mclean Realtors, Inc. • The Barb Osborne Team • Overlee Property Holdings LLC • Patten Family Foundation • Pennington Management Company • Port Asylum • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Scarafoni Associates • Anita Schilling, Sotheby’s International Realty • Stone House Properties LLC • Michael Sucoff Real Estate • Teton Management Company • Lance Vermeulen Real Estate • Julie Weiss, Cohen + White • Tucker Welch Properties Resort/Spa Canyon Ranch in Lenox • Cranwell Spa and Golf Resort • Elm Court Estate Restaurant Alta Restaurant & Wine Bar • Baba Louie’s Pizza Company • Bagel + Brew • Barrington Brewery & Restaurant • Bistro Zinc • Bizen Gourmet Japanese Restaurant and Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • Cranwell Spa and Golf Resort • Electra’s Café • Firefly Gastro Pub & Catering Co • Flavours of Malaysia • Frankie’s Ristorante • Haven Cafe & Bakery • John Andrews • Mad Jacks BBQ • Mazzeo’s Ristorante • Methuselah Bar & Lounge • No. Six Depot Roastery and Café • The Olde Heritage Tavern • Panda House Restaurant • Papa John’s • Pleasant and Main Café & General Store • Rouge Restaurant & Bistro • Rubi’s Coffee & Sandwiches • Table Six Restaurant Retail: Clothing Arcadian Shop • Bare Necessities • Ben’s • Casablanca • Castle & Main • Church Street Trading Co. And Hillary Rush berkshires A 21st Century Marketplace • GB9 • The Gifted Child • Glad Rags • J. McLaughlin • Purple Plume • Shooz • Swtrz • twiGs Retail: Food Big Y Supermarkets, Inc. • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering • Oliva! Gourmet Olive Oils & Vinegars • Rubiner’s Cheesemongers & Grocers • The Scoop/Blondie’s Homemade • Stop & Shop Supermarkets Retail: Home & Lifestyle Berkshire Home Design • Country Curtains • Design Menagerie • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design • Second Home • Willowbrook Home Retail: Jewelry Laurie Donovan Designs Retail: Wine/Liquor Goshen Wine & Spirits, Inc • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • SPIRITED Salon Peter Alvarez Salon • Lotus Salon & Spa • SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Dery Funeral Homes Specialty Contracting R.J. Aloisi Electrical Contracting Inc. • Gennari Plumbing & Heating • Pignatelli Electric • Michael Renzi Painting Co. LLC • Tune Street Transportation/Travel Abbott’s Limousine & Livery Service, Inc. • All Points Driving Service • Tobi’s Limousine Service, Inc. • Traveling Professor Video/Special Effects/Fireworks Atlas PyroVision • Myriad Productions Yoga/Wellness/Health Berkshire Training Station • Dharma Coach • Eastover Estate and Retreat • Kripalu Center for Yoga & Health

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Kristie Chan, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Chorus and Orchestra Management Assistant • H.R. Costa, Technical Director • Erik Johnson, Chorus Manager • Tuaha Khan, Stage Technician • Jake Moerschel, Technical Supervisor/ Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Andrew Tremblay, Assistant to the Orchestra Personnel Manager/Audition Coordinator

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

Business Office

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

Development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager,

Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Ofﬁcer • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Ofﬁcer • Szeman Tse, Assistant Director, Development Research

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

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

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives)

Information Technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Senior Publicist • Alyssa Kim, Senior Publicist • Taryn Lott, Assistant Director of Public Relations

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

Sales, Subscription, and Marketing

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

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • Helen Hailes, Visitor Center Manager • Christopher Holmes, Public Safety Supervisor • Tammy Lynch, Tanglewood Front of House Director • Peggy and John Roethel, Seranak Managers FAVORITE RESTAURANTS OF THE BERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Boston Symphony Association of Volunteers Executive Committee Chair Martin Levine Vice-Chair, Boston Gerald L. Dreher Vice-Chair, Tanglewood Alexandra Warshaw Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Mary Gregorio • Trish Lavoie

Co-Chairs, Tanglewood Judith Benjamin • Bob Braun • David Galpern

Liaisons, Tanglewood Glass Houses Stanley Feld • Ushers Carolyn Ivory Tanglewood Project Leads 2016 Brochure Distribution Robert Gittleman • Exhibit Docents Shelly Holtzberg and Richard Leif • Friday-Morning Rehearsals Gabriel Kosakoff • Friends Office Gayle Moskowitz and Linda Olson • Guide’s Guide Audley H. Fuller and Renee Voltmann • Newsletter Nancy Finn • Off-Season Educational Resources Susan Geller and Alba Passerini • Recruit, Retain, Reward Bobbi Cohn • Seranak Flowers Diane Saunders • Talks and Walks Alan Levine and Elliot Slotnick • Tanglewood Family Fun Fest William Ballen and Margery Steinberg • Tanglewood for Kids Susan Alin and Barbara Glasser • TMC Lunch Program Gerald L. and Joanne Dreher and Howard and Judy Levin • Tour Guides Howard Arkans and Mary Lincoln • Young Ambassadors William Ballen and Carole Siegel Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall