Summer 2013 Boston Symphony Orchestra

boston symphony orchestra summer 2013

Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

132nd season, 2012–2013

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer

William F. Achtmeyer • George D. Behrakis • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin •

Programs copyright ©2013 Boston Symphony Orchestra Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the 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 modifications, 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 Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the 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 modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 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 has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other 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 Alleluia for unaccompanied chorus, Then BSO music director Seiji Ozawa, with bass drum, lead- specially written for the ceremony, ing a group of Music Center percussionists during a rehearsal arrived less than an hour before the for Tanglewood on Parade in 1976 (BSO Archives/photo by event began; but it made such an Heinz Weissenstein, Whitestone Photo) 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, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Osvaldo Golijov, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 24 through August 25. 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. A “Special Focus” Exhibit at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the Music Shed at Tanglewood

From “The Berkshire Evening Eagle,” Thursday, August 4, 1938 (BSO Archives)

An exhibit commemorating the 75th anniversary of the Koussevitzky Music Shed has been mounted in the Tanglewood Visitor Center by the BSO Archives. The exhibit traces the origins of the Shed back to 1936, when Serge Koussevitzky and the BSO were first invited to perform in the Berkshire Symphonic Festival. Drawing on materials in the BSO Archives, the Stockbridge Library, the Lenox Library, and the Koussevitzky Collection at the Library of Congress, the exhibit covers the selection of Finnish architect Eliel Saarinen in 1937 to design a permanent structure; the modification of his plans by Stockbridge engineer Joseph Franz; and the construction of the Shed in 1938. The BSO extends special thanks to the Stockbridge Library Association Historical Collections for the loan of Joseph Franz’s model of the Shed, and for making photographs and documents available from the collections of Joseph Franz and David Milton Jones, with thanks also to the Lenox Library for access to Festi- val co-founder Gertrude Robinson Smith’s papers, and to the Library of Congress Music Division for access to the Koussevitzky Collection.

Koussevitzky standing on the terrace of Seranak, his summer home in the Berk- shires, in 1948, wearing a cape—currently on display in the Visitor Center—donated to the BSO in July 2012 by Natalie de Leutchtenberg, the niece of Olga Kousse- vitzky (Photo by William Whitaker)

Leonard Bernstein Portrait Series at Highwood Also on display this year, at the Highwood Manor House, is a selection of oil paintings and photographs of Leonard Bernstein, including a 1958 oil painting of Bernstein (shown here) by Mirel Bercovici, donated in 2012 by her daughter Mirana Comstock and currently on view in High- wood’s main dining room.

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. 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 disturbing 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, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. 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 Tanglewood 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. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible 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 pur- chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, 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 1 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 1 p.m., and from noon through intermission on Sundays. 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 seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $30 (front and boxes) and $20 (rear); lawn tickets are $11. 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 2013

First Violins Victor Romanul* Xin Ding* Jonathan Miller* Bessie Pappas chair Richard C. and Ellen E. Malcolm Lowe Glen Cherry* Paine chair, endowed Catherine French* Concertmaster Yuncong Zhang* in perpetuity Charles Munch chair, Mary B. Saltonstall chair, endowed in perpetuity endowed in perpetuity Owen Young* Violas John F. Cogan, Jr., and Tamara Smirnova Jason Horowitz* Mary L. Cornille chair, Associate Concertmaster Kristin and Roger Servison Steven Ansell endowed in perpetuity Helen Horner McIntyre chair Principal Mickey Katz* chair, endowed in perpetuity Ala Jojatu* Charles S. Dana chair, endowed in perpetuity Stephen and Dorothy Weber Alexander Velinzon Donald C. and Ruth Brooks chair, endowed in perpetuity Assistant Concertmaster Heath chair, endowed Cathy Basrak Robert L. Beal, Enid L., in perpetuity Assistant Principal Alexandre Lecarme* and Bruce A. Beal chair, Anne Stoneman chair, Nancy and Richard Lubin chair endowed in perpetuity Second Violins endowed in perpetuity Elita Kang Edward Gazouleas Adam Esbensen* Assistant Concertmaster Haldan Martinson Principal Lois and Harlan Anderson Blaise Déjardin* Edward and Bertha C. Rose chair, endowed in perpetuity chair, endowed in perpetuity Carl Schoenhof Family chair, endowed in perpetuity Robert Barnes Julianne Lee Basses (position vacant) Acting Assistant Michael Zaretsky Edwin Barker Concertmaster Assistant Principal Charlotte and Irving W. Mark Ludwig* Principal Harold D. Hodgkinson Bo Youp Hwang Rabb chair, endowed Rachel Fagerburg* John and Dorothy Wilson in perpetuity chair, endowed in perpetuity chair, endowed in perpetuity Kazuko Matsusaka* Sheila Fiekowsky Lawrence Wolfe Lucia Lin Shirley and J. Richard Rebecca Gitter* Assistant Principal Dorothy Q. and David B. Fennell chair, endowed Maria Nistazos Stata chair, Arnold, Jr., chair, endowed in perpetuity Wesley Collins* endowed in perpetuity in perpetuity Nicole Monahan Benjamin Levy Ikuko Mizuno Cellos Leith Family chair, endowed Ronan Lefkowitz in perpetuity Muriel C. Kasdon and Jules Eskin Marjorie C. Paley chair Ronald Knudsen*° Principal Dennis Roy Nancy Bracken* David H. and Edith C. Philip R. Allen chair, Joseph and Jan Brett Ruth and Carl J. Shapiro Howie chair, endowed endowed in perpetuity Hearne chair in perpetuity chair, endowed in perpetuity Martha Babcock Joseph Hearne Vyacheslav Uritsky* Aza Raykhtsaum* Assistant Principal James Orleans* Theodore W. and Evelyn Jennie Shames* Vernon and Marion Alden Berenson Family chair chair, endowed in perpetuity Todd Seeber* Valeria Vilker Eleanor L. and Levin H. Bonnie Bewick* Kuchment* Sato Knudsen Campbell chair, endowed Stephanie Morris Marryott Mischa Nieland chair, in perpetuity and Franklin J. Marryott Tatiana Dimitriades* endowed in perpetuity John Stovall* chair Si-Jing Huang* Mihail Jojatu Sandra and David Bakalar Thomas Van Dyck* James Cooke* Wendy Putnam* Catherine and Paul chair Robert Bradford Newman Buttenwieser chair chair, endowed in perpetuity

BERNARDHAITINK SEIJI OZAWA MUSICDIRECTOR THOMASWILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity Flutes Bass Clarinet Thomas Siders Harp Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward Jessica Zhou Principal M. Lupean chair Nicholas and Thalia Zervas Walter Piston chair, chair, endowed in perpetuity endowed in perpetuity Bassoons Michael Martin by Sophia and Bernard Richard Svoboda Ford H. Cooper chair, Gordon Clint Foreman endowed in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, Voice and Chorus endowed in perpetuity Trombones Elizabeth Ostling John Oliver Associate Principal Suzanne Nelsen Toby Oft Tanglewood Festival Marian Gray Lewis chair, John D. and Vera M. Principal Chorus Conductor endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Alan J. and Suzanne W. Richard Ranti chair, endowed in perpetuity Dworsky chair, endowed in Piccolo Associate Principal Stephen Lange perpetuity Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Librarians Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed James Markey Marshall Burlingame in perpetuity Principal John Moors Cabot chair, Contrabassoon Lia and William Poorvu endowed in perpetuity Oboes Gregg Henegar chair, endowed in perpetuity Helen Rand Thayer chair William Shisler John Ferrillo Tuba Principal John Perkel Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal James Sommerville Margaret and William C. Assistant Mark McEwen Principal Rousseau chair, endowed Conductors James and Tina Collias Helen Sagoff Slosberg/Edna in perpetuity chair S. Kalman chair, endowed Marcelo Lehninger in perpetuity Anna E. Finnerty chair, § Keisuke Wakao Timpani endowed in perpetuity Assistant Principal Richard Sebring Farla and Harvey Chet Associate Principal Timothy Genis Andris Poga Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, in perpetuity Congleton chair, endowed endowed in perpetuity in perpetuity Personnel Managers English Horn Rachel Childers Percussion John P. II and Nancy S. Lynn G. Larsen Robert Sheena Eustis chair, endowed in J. William Hudgins Beranek chair, endowed perpetuity Peter and Anne Brooke Bruce M. Creditor in perpetuity chair, endowed in perpetuity Assistant Personnel Michael Winter Manager Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Stage Manager William R. Hudgins Jason Snider Linde chair John Demick Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, Tariot chair endowed in perpetuity Michael Wayne Matthew McKay Thomas Martin Trumpets participating in a system Associate Principal & * of rotated seating E-flat clarinet Thomas Rolfs Stanton W. and Elisabeth Principal § on sabbatical leave Roger Louis Voisin chair, K. Davis chair, endowed ° on leave in perpetuity endowed in perpetuity Benjamin Wright A Brief History of the Boston Symphony Orchestra

Now in its 132nd 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 important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately 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. (BSO Archives) An expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcon- tinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts 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 Tanglewood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s 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 On the lawn at Tanglewood in 1941, with a sign promoting a mainland China after the nor- gala benefit concert for the United Service Organizations and malization of relations. British War Relief (BSO Archives/courtesy The Berkshire Eagle) 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 initiat- ed when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he takes up in the 2014-15 season, following a year as music director designate (see next page). 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. Andris Nelsons Named Next BSO Music Director

On May 16, 2013, the Boston Symphony Orchestra announced the appointment of Andris Nelsons as the BSO’s fifteenth music director since its founding in 1881. Born in Riga in 1978 into a family of musicians, he becomes the youngest music director to lead the orchestra in more than 100 years, and the first Latvian-born conductor to assume that post. Mr. Nelsons will serve as BSO Music Director Designate for the 2013-14 season and become the Ray and Maria Stata Music Director beginning in the fall of 2014. At thirty- four, he is the third-youngest conductor to be appointed music director since the BSO’s founding in 1881: Georg Henschel was thirty- one when he became the orchestra’s first music director in 1881, and Arthur Nikisch was thirty-three when he opened his first season with the BSO in 1889. Andris Nelsons is one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philhar- monic, Vienna Philharmonic, the Royal Concertgebouw Orchestra Andris Nelsons conducting the BSO of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian at Symphony Hall, January 2013 Radio Symphony, Vienna State Opera, Metropolitan Opera, Vienna (photo by Stu Rosner) State Opera, Bayreuth Festival, and the Royal Opera House, Covent Garden. Since 2008 he has been music director of the City of Birmingham Symphony Orchestra (CBSO), with which he has toured worldwide. He made his debut in Japan on tour with the Vienna Philharmonic and returns to the Far East on tour with the CBSO in November 2013. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He is married to the soprano Kristīne Opolais, who was recently acclaimed for her Metropolitan Opera debut as Magda in Puccini’s La rondine. They live in Riga with their one-and-a-half-year-old daughter Adriana. Andris Nelsons made his Boston Symphony Orchestra debut in March 2011, leading Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. Last summer he conducted both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Celebration, following that the next afternoon with a BSO program of Stravinsky and Brahms. He made his BSO subscription series debut in January 2013 and, as BSO Music Director Designate this coming season, he will lead a program of Wagner, Mozart, and Brahms at Symphony Hall in October, followed by a one-night-only concert performance of Richard Strauss’s Salome in March. (photo ©Marco Borggreve) “I am deeply honored and touched that the Boston Sym- phony Orchestra has appointed me its next music director, as it is one of the highest achievements a conductor could hope for in his lifetime,” said Maestro Nelsons. “Each time I have worked with the BSO I have been inspired by how effectively it gets to the heart of the music, always leaving its audience with a great wealth of emotions. So it is with great joy that I truly look forward to joining this wonderful musical family and getting to know the beautiful city of Boston and the community that so clearly loves its great orchestra. As I consider my future with the Boston Sym- phony, I imagine us working closely together to bring the deepest passion and love that we all share for music to ever greater numbers of music fans in Boston, at Tanglewood, and throughout the world.”

Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott)

Table of Contents

Friday, August 2, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA RANDALL HODGKINSON, piano Music of Britten, Beethoven, Kurtág, and Ravel

Friday, August 2, 8:30pm 8 BOSTON SYMPHONY ORCHESTRA STÉPHANE DENÈVE conducting; LARS VOGT, piano; LUCY CROWE, soprano; TANGLEWOOD FESTIVAL CHORUS Music of Strauss, Beethoven, and Poulenc

Saturday, August 3, 8:30pm 27 BOSTON SYMPHONY ORCHESTRA CHARLES DUTOIT conducting; LANG LANG, piano; TANGLEWOOD FESTIVAL CHORUS Music of Ravel and Beethoven

Sunday, August 4, 2:30pm 41 BOSTON SYMPHONY ORCHESTRA CHARLES DUTOIT, conducting; YO-YO MA, cello Music of Stravinsky and Dvoˇrák

“This Week at Tanglewood” Again this summer, Tanglewood patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. The series continues through Friday, August 23, the final weekend of the BSO’s 2013 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 6 and 20; August 10 and 17—Robert Kirzinger, BSO Assistant Director of Program Publications July 27; August 3 and 24—Marc Mandel, BSO Director of Program Publications

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

TANGLEWOODWEEK 5 TABLEOFCONTENTS 1 2013 Tanglewood

Prelude Concert Friday, August 2, 6pm Florence Gould Auditorium, Seiji Ozawa Hall IN MEMORY OF ERLING W. NELSON

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA TATIANA DIMITRIADES, violin KAZUKO MATSUSAKA, viola JONATHAN MILLER, cello RANDALL HODGKINSON, piano

BRITTEN “Tema Sacher” for solo cello

BEETHOVEN Trio in C minor for violin, viola, and cello, Opus 9, No. 3 Allegro con spirito Adagio con espressione Scherzo: Allegro molto e vivace Finale: Presto

KURTÁG “Ligatura Y” for string trio, from “Signs, Games, and Messages”

RAVEL Trio in A minor for piano, violin, and cello Modéré Pantoum (Assez vif) Passacaille (Très large) Finale (Animé)

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

2 NOTES ON THE PROGRAM

The great English composer Benjamin Britten (1913-1976), whose centenary we celebrate this year, wrote works for an enormous range of performance opportunities, including pieces for amateur choirs and children’s choruses, young performers, and numerous special events and occasions. His Tema Sacher for solo cello, composed in the year of his death, 1976, is among his last and his smallest pieces, being under two minutes in length. The piece is a kind of double tribute: for the seventieth birthday of the Swiss impresario/conductor/new music champion Paul Sacher, and for the estimable cellist Mstislav Rostropovich, whose idea it was to fête Sacher in this way. Sacher was one of the major figures in 20th century music, a musician from a wealthy family who founded the Basel Chamber Orchestra in 1928 and later the Musikakademie der Stadt Basel, which he also directed. He commissioned and premiered dozens of significant works by such composers as Bartók, Richard Strauss, Britten, Carter, Berio, Birtwistle, Martin˚u, and many, many others; his foundation purchased and has since housed the archives of such composers as Stravinsky, Webern, Martin, and Maderna, with immense collections of material from virtually every significant modernist composer of the past fifty years. The other figure involved in Britten’s piece was the great Russian cellist Mstislav Rostropovich, who had been a good friend of the composer’s for many years. The two had met in London in 1960 when the cellist had given the UK premiere of Shosta- kovich’s Cello Concerto No. 1. In short order Britten had written his large-scale Sonata for Cello and Piano, the Symphony for Cello and Orchestra, and three Suites for solo cello for Rostropovich. The present piece is a tiny coda to that fruitful relationship. In 1976 Rostropovich gathered a group of composers all of whom had benefited in some way from Sacher’s patronage: Britten, Conrad Beck, Luciano Berio, Pierre Boulez, Benjamin Britten, Henri Dutilleux, Wolfgang Fortner, Alberto Ginastera, Cristóbal Halffter, Hans Werner Henze, Heinz Holliger, Klaus Huber, and Witold Lutosławski. He asked each to write a short work based on the musical notes represented by the letter’s of Sacher’s name: S (Es, or E-flat), A, C, H (B-natural), E, and R (Re, or D). (Not all were for solo cello—Boulez’s Messagesquisses, perhaps the most famous of the pieces, features six cellos.) Many of these pieces were premiered on May 2, 1976, at the Tonhalle in Zurich. (The Sacher birthday composition tradition, incidentally, would revive for his eightieth and ninetieth birthdays; he died in 1999 at age ninety-three.) Britten’s Lento maestoso – Largament tempo markings lend Tema Sacher a pensive intensity, first recitative-like, then with a tentative pulse. The piece begins with a strong multi-stop C/E-flat interval, the E-flat then leaping to A natural, emphasizing the tritone that colors the entire harmonic palette. The E-flat’s presence in the “Sacher chord” is a rogue pitch in an otherwise fairly prosaic, white-note collection.

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

TANGLEWOODWEEK 5 PRELUDEPROGRAMNOTES 3 Though Ludwig van Beethoven’s real instrument was the piano, he was also a string player; as a teenager he made his living playing viola in the opera orchestra of his native Bonn. After moving to Vienna, Beethoven (1770-1827) held off composing a symphony or a string quartet, genres in which Haydn, with whom he studied briefly, was preeminent. But he approached the string quartet by way of the string trio. About 1795-96, after composing his Opus 3 trio for violin, viola, and cello (modeled on Mozart), he began sketching his Opus 9 trios and the Serenade for string trio published as Opus 8. It was through these that he worked out the problems of chamber music writing. The last of the Opus 9 trios is in C minor, the key often associated with Beethoven’s more dramatic and forceful musical gestures. There is already the same energy that we know from the middle-period works, and the same lyrical counterfoil to the dramatic quality of the whole. The first four notes present the earliest version of one of Beethoven’s basic musical ideas, a figure that lies at the heart of several of the late string quartets. The elaborate decorations of the second movement embellish what is in essence a melody of the greatest simplicity. The scherzo races along with splendid energy, with the instruments scored in such a way as to range from delicate chamber effects to a nearly orchestral sonority. The finale has a rhetorical force in which we can see Beethoven the young Turk, with all the characteristic impatience of youth, but also with something that promises future conquests beyond this remarkable early accomplishment. The Hungarian composer György Kurtág (b.1926) is recognized as one of the most original and significant musicians of the modern era. Like his friend and contemporary György Ligeti, Kurtág trained and began working in Budapest during World War II and just after, at a time when Hungary was coming under the oppressive influence of the Soviet Union. Ligeti and Kurtág both worked with Pál Kadosa, Ferenc Farkas, and Sándor Veress; their early history as composers is somewhat par- allel, since both felt the need publicly to write pieces conforming to the folk-based, social-realist models of the time. In 1956, an uprising against Hungary’s communist regime was brutally crushed by the Soviet military; Ligeti fled to Vienna soon after, but Kurtág chose to remain in Hungary, where he became well respected, even famous, as a teacher, répétiteur, and chamber music coach but where his own music was scarcely known until much later in his life. He has lived in France for the past decade.

4 In spite of the Soviet crackdown, in 1957-58 Kurtág was able to travel to Paris to study with Olivier Messiaen. There he encountered the psychologist Marianne Stein, who encouraged a return to first principles in his music—simple, constrained musical tasks. Also while in Paris, he immersed himself in the music of Anton Webern. These two influences had an immediate impact. He designated his Webern-like 1959 string quartet his “Opus 1,” and withdrew most of his earlier scores. In the 1970s several important Hungarian musicians formed the New Music Studio in Budapest for the purpose of performing pieces composed with the latest avant-garde techniques, such as improvisation and group composition. In 1973 Kurtág began his open-ended series of piano pieces that employed graphics in addition to standard notation, to encourage the performer’s exploration of the sonic possibilities of the instrument and his/her own creative limits. These pieces, called collectively Játékok (“Games”), led to greater exposure for its composer outside of Hungary, particularly through two-piano recitals with his wife Márta. Those recitals often featured mixes of Kurtág’s music with works and transcriptions of standard repertoire, such as Bach and Schumann; the composer’s music frequently features quotation and allusion to such repertoire. A good many of his pieces are miniatures existing in several different forms—e.g., solo piano and different small mixed chamber ensembles—and are brought together in various collections. The reuse of pieces is an old gambit for composers; Bach found multiple uses for many of his chorales and instrumental works. For Kurtág, though, the process is elevated to the point of being an aesthetic in itself. It can be very confusing to try to sort out the details of various similarly-titled movements; there are also groups of pieces called “Jelek” (“Signs”), “Játékok” (“Games”), and “Üzenetek” (“Messages”) for solo instruments and ensembles, of which some have been collected into the ongoing set of Signs, Games, and Messages for strings and Games and Messages for winds; performers and ensembles have made new versions of individual pieces for various ensemble types, as well. “Ligatura Y,” a 1995 string trio movement from Signs, Games, and Messages, exists in a variety of forms and related works, most called “Ligatura,” which include Ligatura-Message to Frances-Marie Uitti, for solo cello and for cello and ensemble, probably the highest-profile version of the piece. The brief piece—in all of its configurations—is a series of chords, chorale-like, lamenting, and resolute, its pithy, penetrating, aphoristic qualities entirely characteristic of the composer. Maurice Ravel (1875-1937) enjoyed spending the summer in his Basque homeland. He arrived at St. Jean-de-Luz in the summer of 1913, fresh from the scandalous world premiere of Stravinsky’s Rite of Spring in Paris, after which the Basque country must have seemed exceptionally peaceful. Here he devoted himself to the composition of a piano trio, his first new piece of pure chamber music since the string quartet of a decade earlier, completing the first movement by the end of March. But he got bogged down and had difficulty bringing it to an end. The impetus to finish the work came when Germany declared war on France in August. Composition became the means by which Ravel sought oblivion from the horrors that were inevitable. He had tried to offer his services to his country by joining the infantry but was rejected for being two kilos under the minimum weight. He wrote to a friend, “So as not to think of all this, I am working—yes, working with the sureness and lucidity of a mad- man.” In just under four weeks, by August 29, 1914, he had completed the trio, one of his most serious large-scale pieces. The opening Modéré presents a theme written in 8/8 time with the melody consistently disposed into a 3+3+2 pattern that Ravel identified as “Basque in color.” The second theme is a lyrical diatonic melody first presented in the violin and briefly imi- tated by the cello. These two themes and a tense connecting passage serve as the

TANGLEWOODWEEK 5 PRELUDEPROGRAMNOTES 5 major ideas of the movement, building with increasing pace and intensity to a solid climax followed by a gradual descent to a gentle close. The heading for the second movement, Pantoum, refers to a verse form borrowed by such French Romantic poets as Victor Hugo from Malayan poetry; its connection with Ravel’s music is a mystery. The movement is the scherzo of the work, playing off a rhythmic string figure colored by the insertion of pizzicatos throughout and a simple legato theme that serves as the foil to the rhythmic motive. The Passacaille derives its shape from the Baroque form more frequently known by its Italian name passacaglia, in which an ostinato melody or harmonic progression is repeated over and over as the skeleton background for a set of variations. Ravel’s approach to the form is, not surprisingly, a good deal freer than that of the Baroque composers. The movement is wonderfully tranquil. By contrast the Animé of the finale offers gorgeous splashes of instrumental color in a masterly display of brilliant writing for each of the instruments— long trills in the strings serving as a foil for dense chords in the piano in a triumphant close.

Notes by ROBERT KIRZINGER (Britten, Kurtág) and STEVEN LEDBETTER (Beethoven, Ravel) Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra. Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. Artists

Violinist Tatiana Dimitriades joined the Boston Symphony Orchestra at the beginning of the 1987-88 season. She is also active as a soloist and chamber musician. Highlights of her solo performances include appearances at Carnegie Hall with the Senior Concert Orchestra, at the Grand Teton Festival playing the Mendelssohn Violin Concerto, and at Weill Hall under the sponsorship of the Associated Music Teachers of New York. Born and raised in New York, Ms. Dimitriades attended the Pre-College Division of the Juilliard School. She earned her bachelor's and master's degrees and an Artist Diploma from the Indiana University School of Music, where she was awarded the Performer's Certificate in recognition of outstanding musical performance. A recipient of the Lili Boulanger Memorial Award, Ms. Dimitriades has also won the Guido Chigi Saracini Prize presented by the Accademia Musicale Chigiana of Siena, Italy, on the occasion of the Paganini Centenary, and the Mischa Pelz Prize of the National Young Musicians Foundation's Debut Competition in Los Angeles. Currently a member of the Boston Artists Ensemble and the Walden Chamber Players, Ms. Dimitriades also performs frequently in chamber music concerts with BSO colleagues at Symphony Hall in Boston and at Ozawa Hall at Tangle- wood. She was concertmaster of the Newton Symphony Orchestra and the New Philharmonia Orchestra, and has appeared on numerous occasions as concerto soloist with these and other Boston-area orchestras. Violist Kazuko Matsusaka joined the Boston Symphony Orchestra in August 1991. From 1987 to 1990 she was a member of the Pittsburgh Opera Orchestra, Pittsburgh Ballet Theater, and Pittsburgh New Music Ensemble. Ms. Matsusaka studied violin with Josef Gingold at the Indiana University School of Music. A Tanglewood Music Center Fellow in 1985, she holds a bachelor’s degree from Hartt College of Music/ University of Hartford, where she studied violin with Charles Terger, and a master’s degree from the State University of New York, where she studied viola with John

6 Graham. In 1988 she was awarded a special jury prize at the Lionel Tertis Inter- national Viola Competition. Ms. Matsusaka has been a soloist with the Central Massachusetts Symphony, the Newton Symphony Orchestra, and the Boston Pops Orchestra. A prizewinner in the Fischoff National Chamber Music Competition, she has also participated in the Norfolk Music Festival and the Yellow Barn Music Festival. After attending Pablo Casals’ master class at the University of California at Berkeley, Jonathan Miller chose to abandon his study of literature there and devote himself completely to the cello, training with Bernard Greenhouse of the Beaux Arts Trio. Seeking out masters of different schools and styles, he also studied with Raya Gar- bousova, Leonard Rose, Harvey Shapiro, and Edgar Lustgarten. In 1964 and 1965 he was a fellowship student at the Tanglewood Music Center. Before joining the Boston Symphony Orchestra in 1971, Mr. Miller was principal cellist of the Juilliard, Hartford, and San Diego symphony orchestras. He has been soloist with the Hartford Symphony, the Boston Pops Orchestra, and the Metropolitan Symphony Orchestra of Boston, and he has performed frequently in chamber music concerts at Symphony Hall and at Tanglewood. A winner of the Jeunesses Musicales auditions, he toured the United States twice with the New York String Sextet, appeared as a member of the Fine Arts Quartet, and has taught at the New England Conservatory and at the Boston University Tanglewood Institute. He is music director of the Boston Artists Ensemble, which he founded in 1980, and a member of the Gramercy Trio, which received a Copland Foundation Grant for its first CD and made its acclaimed New York debut in 2003 in Merkin Hall. In June 1990, at the invitation of Mstislav Rostro- povich, Jonathan Miller was a soloist at the American Cello Congress. Mr. Miller has recorded the Beethoven cello sonatas with pianist Randall Hodgkinson for Centaur records. Grand prize-winner of the International American Music Competition sponsored by the Rockefeller Foundation and Carnegie Hall, pianist Randall Hodgkinson has performed with the New York Philharmonic, the Boston Symphony Orchestra and Boston Pops, the Atlanta Symphony, the Iceland Philharmonic, and the Orchestra of Santa Cecilia in Rome. Among his many solo and collaborative recordings are “Petrouchka and Other Prophecies” (featuring music of Stravinsky, Chopin, Schumann, and Beethoven), which was awarded a double five-star rating by BBC Magazine; Dawn Upshaw’s Grammy Award-winning “The Girl with the Orange Lips”; the Beethoven cello sonatas with BSO cellist Jonathan Miller, and Leo Ornstein’s complete music for cello and piano with cellist Joshua Gordon. Mr. Hodgkinson has appeared at numerous festivals, including Tanglewood, BargeMusic, the Santa Fe Festival, Chamber Music Northwest, and Mainly Mozart in La Jolla, California. He performs the two-piano and four-hand repertoire with his wife, Leslie Amper, and the piano trio repertoire with the Gramercy Trio. An artist member of the Boston Chamber Music Society, he is on the faculties of the New England Conservatory of Music, the Longy School in Cambridge, and Boston University. Stu Rosner

TANGLEWOODWEEK 5 PRELUDEPROGRAMNOTES 7 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Friday, August 2, 8:30pm “UnderScore Friday” concert, including introductory comments from the stage by BSO principal viola Cathy Basrak THE SERGE AND OLGA KOUSSEVITZKY MEMORIAL CONCERT

STÉPHANE DENÈVE conducting

STRAUSS “Death and Transfiguration,” Tone poem for large orchestra, Opus 24

BEETHOVEN Piano Concerto No. 4 in G, Opus 58 Allegro moderato Andante con moto Rondo: Vivace LARS VOGT

{Intermission}

POULENC “Stabat Mater,” for soprano solo, mixed chorus, and orchestra Stabat Mater dolorosa Eia Mater Cuius animam gementem Fac ut ardeat O quam tristis Sancta Mater Quae moerebat Fac ut portem Quis est homo Inflammatus et accensus Vidit suum Quando corpus LUCY CROWE, soprano TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 16.

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

8 NOTES ON THE PROGRAM

Richard Strauss (1864-1949) “Death and Transfiguration,” Tone poem for large orchestra, Opus 24 First performance: June 21, 1890, Eisenach Festival, Germany, Strauss cond. First BSO performance: February 1897, Emil Paur cond. First Tanglewood performance: August 5, 1951, Eleazar de Carvalho cond. Most recent Tanglewood performance by the BSO: August 21, 1964, Leopold Stokowski cond. In the summer of 1889, Strauss was between posts, serving as rehearsal assistant at Bayreuth where Cosima Wagner held sway. He had just completed a three-year contract as third conductor at the Munich Court Opera; that fall he would assume the assistant conductorship of the Weimar Opera. In hand were three projects that had been occupying him: the completed score of Don Juan, whose premiere under his own baton at Weimar on November 11, 1889, would secure his reputation as “the most significant and progressive German composer since Wagner”; the libretto for Guntram, his first opera; and a rough sketch for Death and Transfiguration. Strauss had referred to this sketch already in a letter to his friend (and perhaps lover) Dora Wihan written from Munich on April 9 that year: ...the artist Richard Strauss is in excellent shape, particularly since he ceases to be the Munich Hofmusikdirektor.... True, it is difficult for me to leave Munich, away from my family and from friends such as Ritter...With the help of Ritter, I have now acquired a stronger viewpoint of art and life.... Just think! I have joined the ranks of the Lisztians! In short, it is hard to imagine a more progressive viewpoint than the one which I now hold. I feel wonderful; a new clarity has overcome me... Where am I going?... To the city of the future, Weimar, to the post where Liszt worked so long! I have great hopes.... In addition, I have sketched out a new tone poem, to be entitled probably Death and Transfiguration. I plan to begin to write the score right after Easter. Of Alexander Ritter, an ardent Wagnerian who had married Wagner’s niece Julie, Strauss wrote that “his influence was in the nature of the storm-wind. He urged me on to the development of the poetic, the expressive in music, as exemplified in the works of Liszt, Wagner, and Berlioz.” Strauss’s first essay in music of this kind was his “symphonic fantasy,” Aus Italien, of 1886, deriving from impressions of his first visit to Italy that summer. By this time, Strauss had come to be noticed as both a composer and conductor of significance. In Munich, where his father Franz Joseph Strauss was principal horn of the Court Opera for forty-nine years, he had written his first compositions when he was six, begun piano lessons at four and violin lessons at eight, and had studied theory, harmony, and instrumentation from the time he was eleven. His musically conservative father wouldn’t let him near a Wagner score, restricting him to “the classics” until he was in his early teens, and his appreciation for Wagner came only when he secretly studied the score of Tristan, which along with Mozart’s Le nozze di Figaro would remain throughout his life one of his two favorite operas. In March 1881, Hermann Levi (who would conduct the premiere of Parsifal at Bayreuth the following year) led the Munich Court Orchestra in Strauss’s D minor symphony, and in December 1882 Strauss accompanied the violinist Benno Walter in a piano reduction of his own violin concerto in Vienna. But his first work really to make the rounds was the Serenade in E-flat for thirteen wind instruments, Opus 7, which was performed by Franz Wüllner at Dresden and

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 9 by Hans von Bülow in Meiningen. Bülow, who declared Strauss “by far the most striking personality since Brahms,” offered the young composer the post of assistant conductor at Meiningen in the summer of 1885. Before returning to the Munich Opera in April 1886, Strauss met Alexander Ritter, who was himself a composer as well as a violinist in the Meiningen Orchestra, and who converted him to the cause of Berlioz, Liszt, and Wagner. The immediate result was Aus Italien. The original version of Macbeth was completed in 1888, followed by Don Juan in 1888-89. Death and Transfiguration was next in the succession of tone poems that continued with Till Eulenspiegel’s Merry Pranks (1895), Thus Spake Zarathustra (1896), Don Quixote (1897), Ein Heldenleben (1898), and the Symphonia domestica (1903) before Strauss turned his attention to opera, completing Salome in 1905 and Elektra in 1908. The piece had a great success when Strauss led the premiere at the Eisenach new music festival in 1890, and it continued to hold its own well into the twentieth century. More recently its popularity has declined, perhaps because its subject matter is less immediately engaging and less consistently appealing than that of, say, Till Eulenspiegel. But there are undeniably great pages in this score: the opening is brilliantly evocative of the deathbed setting; the flood of memories relived by the protagonist in the face of the struggle with death is, for the most part, convincingly

10 and excitingly traced, and the final transfiguration can be both moving and tran- scendent. For the time, Strauss does not require an exceptionally large orchestra: the use of two harps is the only real novelty, and percussion is restricted to just timpani and tam-tam, the latter first heard at the moment of death. In his demands upon the players, however, the composer knows no bounds, and he extends even further the difficulties already imposed by the score of Don Juan. Strauss felt that audiences could only understand Death and Transfiguration if they knew quite specifically what it was about, and he saw to it that programs distributed at the first performance included Alexander Ritter’s verse treatment of his scenario; this sixteen-line poem he also included on the title page of his score. The published score incorporated an even more expansive verse treatment by Ritter, this one running sixty-two lines. But the best introduction to Death and Transfiguration is ultimately the composer’s own, from a letter he wrote in 1894: It was six years ago that it occurred to me to present in the form of a tone poem the dying hours of a man who had striven towards the highest idealist aims, maybe indeed those of an artist. The sick man lies in bed, asleep, with heavy irregular breathing; friendly dreams conjure a smile on the features of the deeply suffering man; he wakes up; he is once more racked with horrible ago- nies; his limbs shake with fever—as the attack passes and the pains leave off, his thoughts wander through his past life; his childhood passes before him, the time of his youth with its strivings and passions and then, as the pains already begin to return, there appears to him the fruit of his life’s path, the conception, the ideal which he has sought to realize, to present artistically, but which he has not been able to complete, since it is not for man to be able to accomplish such things. The hour of death approaches, the soul leaves the body in order to find gloriously achieved in everlasting space those things which could not be fulfilled here below. As the title of the piece suggests, the music is in two main sections: an “Allegro molto agitato” depicting the struggle with death, and the “Moderato” transfiguration of the final pages. These two parts are preceded by a slow introduction, which sets the scene and introduces two important themes that will figure prominently during the sick man’s recollections; both are presented rather dreamily, the first in the flute, the other in the oboe. The flute theme will recur in, among other forms, a lively variant for the horns, to represent, in Ritter’s words, “the impudent play of youth.” The oboe theme suggests the innocence of “childhood’s golden time” and

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 11 will play a significant role in the closing transfiguration. The death struggle begins with a frightening thwack of the kettledrum followed by the syncopated rhythm of the opening measures, the labored breathing of the sick man now greatly intensi- fied. Just before the first phase of the struggle subsides, giving way to recollections of childhood and youth, a new idea emerges, played full out by the brass. This becomes the most important theme of the work, that of “the ideal,” which the dying man throughout his life “has sought to realize...but which he has not been able to complete.” It is this theme (a close relative of the two themes quoted earlier: “the ideal” is an outgrowth of “childhood” and “youth”) upon which the successive cli- maxes of the piece are built and which, together with the theme of “childhood,” will achieve its apotheosis in the score’s final pages. Strauss never forgot this music. Nearly sixty years later, in Im Abendrot, the last of his posthumously published Four Last Songs, he quoted the theme of “the ideal” just after the last line of text, “Ist dies etwa der Tod?” (“Is this perhaps death?”). And his view of death—and, one hopes, what follows—as he imagined it when he was only twenty-five must at the end have seemed very right to him. Among his last words were these, spoken to his daughter-in-law Alice when he was on his deathbed: “Death is just as I composed it in Death and Transfiguration.”

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

Ludwig van Beethoven (1770-1827) Piano Concerto No. 4 in G, Opus 58 First performance: March 1807, home of Prince Lobkowitz (private performance); December 22, 1808, Vienna, with Beethoven as soloist (public premiere). First BSO performance: December 1881, Georg Henschel cond., George W. Sumner, soloist. First Tanglewood performance: August 3, 1947, Serge Koussevitzky cond., Joseph Battista, soloist. Most recent Tanglewood performance: July 10, 2009, Herbert Blomstedt cond., Emanuel Ax, soloist. During the years immediately following the composition and private first performance of the Eroica Symphony, that overwhelming breakthrough in Beethoven’s output, ideas for new compositions crowded the composer’s sketchbooks, and one important piece after another was completed in rapid succession. Normally he worked on several pieces at a time during this fruitful period and assigned opus numbers as they were completed. The Eroica (Opus 55) was composed in 1803, though final touches were probably added early in the following year. From 1804 to early 1806 Beethoven was deeply engrossed in the composition and first revision of his opera Leonore (ultimately to be known as Fidelio), but this did not prevent him from completing as well three piano sonatas (including two of the biggest and most famous, the Waldstein, Opus 53, and the Appassionata, Opus 57), the Triple Concerto (Opus 56), the Fourth Piano Concerto (Opus 58), and the Razumovsky string quartets (Opus 59). By the end of 1806 he had added the Fourth Symphony (Opus 60) and the Violin Concerto (Opus 61), and he had undertaken a good deal of work already on the piece that became the Fifth Symphony. Truly a heady outpouring of extraordinary music! The opening of the Fourth Concerto’s first movement went through some development before achieving its very striking final form, one of the most memorable begin-

12 nings of any concerto. Rather than allowing the orchestra to have its extended say unimpeded during a lengthy ritornello, Beethoven chose to establish the presence of the soloist at once—not with brilliant self-assertion (he was to do that in his next piano concerto), but rather with gentle insinuation, singing a quiet phrase ending on a half-cadence, which requires some sort of response from the orchestra. This response—quiet, but startling in the choice of harmony—produces a moment of rich poetry that echoes in the mind through the rest of the movement. The brief slow movement, with its strict segregation of soloist and orchestral strings (the remainder of the orchestra is silent), is so striking that it seems to demand explanation. Professor Owen Jander of Wellesley College has suggested that the movement as a whole is Beethoven’s translation into sound of the story of Orpheus and Euridice. (Vienna at that time was enjoying a sudden spurt of interest in Ovid’s Metamorphoses, one of the principal classical sources of the Orpheus legend, which had long been popular with composers given its demonstration of the power of music over even the forces of death.) The second movement ends in E minor. Beethoven establishes a direct link to the third movement—and a wonderful musical surprise—by retaining two of the notes of the E minor triad (E and G) and reharmonizing them as part of a chord of C major. Thus the rondo theme of the last movement always seems to begin in the “wrong” key, since by the end of the phrase it has worked its way around to the home key of G. This gives Beethoven special opportunities for witty musical sleight-of-hand, since his returns to the rondo theme throughout the movement will come through harmonic preparation not of the home G, but of the “off-key” beginning of C. This movement, too, is spacious and rich in ideas, many of them developed from four tiny melodic and rhythmic figures contained in the rondo theme itself. Most of the movement rushes along at a great pace, though there is a smooth and relaxed second theme by way of contrast. Soon after this has been recapitulated, Beethoven offers a rich and rare moment of unusual (for him) orchestral color: under a continuing delicate spray of notes high up in the piano, the divided violas play a smoothed-out, almost rhythmless version of the main theme; it comes as such a surprise that they are almost through before we recognize what is happening. But this same smooth version of the crisp rondo theme recurs in the enormous coda, first in bassoon and clarinets, then—most wonderfully—in a canon between the piano’s left hand and the bassoons and clarinets, before the final full orchestral statement of the theme brings the concerto to its brilliant close with some last prankish echoes.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country. Walter H. Scott

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 13 Francis Poulenc (1899-1963) “Stabat Mater,” for soprano, mixed chorus, and orchestra First performance: June 13, 1951, Strasbourg Festival, Fritz Münch cond., Municipal Orchestra of Strasbourg, Geneviève Moizan, soprano, choirs of Saint-Guillaume. Only previous BSO performances: November 1987, Seiji Ozawa cond., Faith Esham, soprano, Tanglewood Festival Chorus; February 2000, Bernard Haitink cond., Dominique Labelle, soprano, Tanglewood Festival Chorus. This is the first Tanglewood performance. French composers have rarely been bashful about writing music whose main purpose was to give pleasure. It was French composers who began openly twitting the profundities of late Romantic music, in the cheeky jests of Satie and in many works by the group that claimed him as their inspiration, the “Group of Six,” which included Francis Poulenc. During the first half of his career, Poulenc’s work was so much in the lighter vein that he could be taken as a true follower of Satie’s humorous sallies. That changed in August 1936; when a close friend died in an automobile accident, Poulenc, who happened to be in the south of France at the time, visited the shrine of Notre-Dame de Rocamadour in the Dordogne. As he recalled later, The horrible snuffing-out of this musician so full of vitality had absolutely stupe- fied me. Ruminating on the frailty of our human condition, I was once again attracted to the spiritual life.... The very evening of that visit to Rocamadour, I began my Litanies à la Vierge Noire for female voices and organ....From that day forth, I returned often to Rocamadour, putting under the protection of the Black Virgin such diverse works as Figure humaine, Stabat Mater, dedicated to the memory of my beloved friend Christian Bérard, and the Dialogues des Carmelites of Bernanos.... You now know the true source of inspiration for my religious works.

14 The experience brought him to a new maturity. He recovered his lost Catholic faith and began composing works of an unprecedented seriousness, though without ever losing sight of his lighter style as well. From that time on, Poulenc continued to compose both sacred and secular works, and often he could shift even within the context of a single phrase from melancholy or somber lyricism to nose-thumbing impertinence. But the more serious works include some of his largest, and the sheer size of them tends to change our view of the man’s music from about the time of World War II, when he composed the exquisite a cappella choral work La Figure humaine to a text of Paul Éluard as an underground protest to the German occupation. He became an opera composer, first in the surrealist joys of Les Mamelles de Tirésias (“The Breasts of Tiresias”) in 1944 (performed 1947), but later in the very different religious opera Dialogues of the Carmelites (1956), set during the Reign of Terror in the French Revolu- tion, and the one-woman opera La Voix humaine (1958), in which a woman talking to her lover for the last time on the telephone tries vainly to hold on to him. Critic Claude Rostand once wrote of Poulenc that he was “part monk, part guttersnipe,” a neat characterization of the two strikingly different aspects of his musical personality, though the monk seemed more and more to predominate in his later years. Still, as Ned Rorem said in a memorial tribute, Poulenc was “a whole man always interlock- ing soul and flesh, sacred and profane.” As a composer with special gifts in setting words to music, Poulenc had already composed a great deal of choral music, in French and Latin, before turning to the large- scale Stabat Mater and the Gloria, his first sacred works for chorus with orchestra. Many of his earlier unaccompanied sacred choruses had an intensely mystical quality; this is as true of the motets “for a time of penitence” as it is of the motets for the presumably more joyous feast of Christmas. The Stabat Mater follows this tradition of intense, personal mysticism. Like Poulenc’s earliest sacred work, its composition was motivated by the death of a friend, the painter and set designer Christian Bérard, who had been prominent in Parisian the- atrical life for three decades. Poulenc considered composing a Requiem in Bérard’s memory, but he was chary of trying to compose the trumpet calls of the Last Judg- ment that would be called for in such a work. Finally he settled on the idea of a Stabat Mater, a setting of a thirteenth-century Latin hymn attributed to Jacopone da Todi recounting the reaction of the Virgin Mary to the crucifixion of Jesus. The poem is deeply human, emphasizing the mother’s anguish at her son’s torment, and Poulenc found it far more congenial to his style. When he finished the work, he gave it the dedication, “in memory of Christian Bérard to entrust his soul to Notre- Dame de Rocamadour.” The choral music of Poulenc is usually identifiable at once from its directness of expression, which is sensitive, emotional, melancholy, and joyous by turns. He writes predominantly in a chordal style, with virtually no contrapuntal structures, allowing the rich harmonies to carry the expressive weight of his melodies. These harmonies are so striking and characteristic that often a single chord or a pair of chords serves to identify the composer; even in his sacred works he liked to use seventh and ninth chords that, in another context, might serve a jazz musician, though the mood of Poulenc’s work is far from that of the average jazz composition. The twelve movements into which the liturgical text is divided offer striking—and sometimes surprising—changes of mood. But as a whole, the score reflects a mood of serenity, of acceptance that can be achieved with age. The work begins and ends in a tempo marked “Très calme,” with a rather Stravinsky-

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 15 an figure in the orchestra (also heard briefly in the sixth movement). Some of the movements are positively sensual, others of remarkable simplicity. As a whole, the Stabat Mater is almost a choral song cycle, with the second, seventh, and eleventh movements serving primarily as links between movements or introductions to what follows. Here and there the solo soprano voice occasionally soars out alone against the chorus with an effect of astonishing intimacy. It is a mood that Poulenc was to recapture in certain scenes of his religious opera Dialogues of the Carmelites, which grew out of his ideas in the Stabat Mater and would in turn lead musically to the Gloria.

STEVEN LEDBETTER

I. Stabat Mater dolorosa (Chorus): Très calme (Very calm) Stabat Mater dolorosa The grieving Mother juxta crucem lacrymosa stood weeping by the cross dum pendebat Filius. where her Son was hanging.

II. Cuius animam gementem (Chorus): Allegro molto (très violent) Cuius animam gementem, Her spirit cried out, contristatam ac dolentem mourning and sorrowing, pertransivit gladius. as if pierced with a sword.

III. O quam tristis (Chorus): Très lent (Very slow) O quam tristis et afflicta Oh, how grieved and afflicted fuit ille benedicta was that blessed woman, Mater Unigeniti! Mother of the Only-Begotten!

IV. Quae moerebat (Chorus): Andantino Quae moerebat et dolebat How she mourned and lamented Pia Mater, dum videbat this Holy Mother, when she saw Nati poenas inclyti! her Son hanging there in pain!

V. Quis eat homo (Chorus): Allegro molto Quis eat homo qui non fleret What man would not weep Matrem Christi si videret to see Christ’s Mother in tanto supplicio? in such humiliation? Quis non posset contristari, Who would not suffer with her, Matrem Christi contemplari seeing the Mother of Christ dolentem cum Filio? sorrowing for her Son? Pro peccatis suae gentis For the sins of his people vidit Jesum in tormentis she saw Jesus in torment, et flagellis subditum. beaten down with whips.

VI. Vidit suum (Soprano solo and Chorus): Andante Vidit suum dulcem Natum She saw her gentle Son, morientem desolatum dying desolate, dum emisit spiritum. breathing out his spirit.

16 VII. Eia Mater (Chorus): Allegro Eia Mater, fons amoris, Let me, Mother, fount of love, me sentire vim doloris feel the force of your grief fac, ut tecum lugeam. that I may mourn with you.

VIII. Fac ut ardeat (Chorus sopranos, altos, tenors): Maestoso Fac ut ardeat cor meum Make my heart so burn in amando Christum Deum, for the love of Christ my God ut sibi complaceam. that it be satisfied.

IX. Sancta Mater (Chorus): Moderato Sancta Mater, istud agas, Holy Mother, let it be crucifixi fige plagas that the stripes of the crucified cordi meo valide. may pierce my heart. Tui Nati vulnerati, With your injured Son, tam dignati pro me pati, who suffered so on my behalf, poenas mecum divide. let me share his pains. Fac me tecum vere flere, Let me weep beside you, crucifixo condolere, mourning the crucified, donec ego vixero. as long as I shall live. Juxta crucem tecum stare, To stand beside the cross with you, te libenter sociare sharing willingly with you in planctu desidero. in weeping is my desire. Virgo virginum praeclara, Virgin foremost of all virgins, mihi iam non sis amara: be not severe with me now-. fac me tecum plangere. let me weep with you.

X. Fac ut portem (Soprano, Chorus): Tempo de Sarabande Fac ut portem Christi mortem, Let me bear Christ’s death, passionis fac consortem let me share his suffering et plagas recollere. and remember his blows. Fac me plagis vulnerari, Let me be wounded with his blows, cruce hac inebriari be intoxicated with this cross ob amorem Filii. for your Son’s love.

XI. Inflammatus et accensus (Chorus): Animé et Très rythmé (Lively and very rhythmical) Inflammatus et accensus, Aflame and burning, per te, Virgo, sim defensus Virgin, be my advocate in die iudicii. in the day of judgment. Christe, cum sit hunc exire, Christ, when my time is finished, da per Matrem me venire grant, through your Mother, that I win ad palmam victoriae. the palm of victory.

XII. Quando corpus (Soprano, Chorus): Très calme (Very calm) Quando corpus morietur, When this body dies, fac ut animae donetur, let my soul be granted paradisi gloria. the glory of heaven. Amen! Amen.

TANGLEWOODWEEK 5 FRIDAYPROGRAMNOTES 17 Guest Artists

Stéphane Denève Stéphane Denève is chief conductor of the Stuttgart Radio Symphony Orchestra (SWR) and the former music director of the Royal Scottish National Orchestra. Recognized internationally for the exceptional quality of his performances and programming, he appears regularly at major concert venues with the world’s leading orchestras and soloists. Recent engagements include his Carnegie Hall and Tanglewood debuts with the Boston Symphony Orchestra, and appearances with the Chicago Symphony, Philadelphia Orchestra, Los Angeles Philhar- monic, Munich Philharmonic, Bavarian Radio Symphony, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Deutsches Symphonie-Orchester Berlin, London Symphony Orchestra, the Philharmonia Orchestra, NDR Symphony Hamburg, and Swedish Radio Symphony. With the Royal Scottish National Orchestra he performed at Europe’s most prestigious festivals and venues, including the BBC Proms, Edinburgh International Festival, Festival Présences, the Konzerthaus in Vienna, the Amsterdam Concertgebouw, and the Théatre des Champs-Élysées. Upcoming highlights include the opening of his second season with the Stuttgart Radio Symphony Orchestra (SWR) and major tours to Europe and Asia; his debut with the Royal Concertgebouw Orchestra; Les Contes d’Hoffmann for the Gran Teatre del Liceu, and return visits to the Boston Symphony, Philadelphia Orchestra, New World Symphony, Toronto Symphony, São Paulo Symphony, and BBC Symphony. Mr. Denève has won critical acclaim for his recordings of works by Debussy (Chandos), Roussel (Naxos), Franck (Naïve), and Guillaume Connesson (Chandos), all with the Royal Scottish National Orchestra. The first disc in their survey of works of Albert Roussel was awarded a prestigious Diapason d’Or de l’année, and in 2012 he was short- listed for Gramophone’s Artist of the Year award. His Chandos recording of Debussy orchestral works with the Royal Scottish National Orchestra has garnered universal praise and was awarded the 2012 Diapason d’Or de l’Année. The award, one of the most prestigious in classical music, is selected by a jury comprising critics from France’s Diapason and broadcasters from France Musique. A graduate of and prizewinner at the Paris Conservatoire, Stéphane Denève began his career as Sir Georg Solti’s assistant with the Orchestre de Paris and Paris National Opera; he also assisted Georges Prêtre and Seiji Ozawa during that time. At home in a broad range of repertoire, and a champion of new music, he has a special affinity for the music of his native France. He

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18 enjoys close relationships with many of the world’s leading solo artists and has has performed with, among others, Jean-Yves Thibaudet, Leif Ove Andsnes, Piotr Anderszewski, Emanuel Ax, Lars Vogt, Nikolai Lugansky, Paul Lewis, Yo-Yo Ma, Frank Peter Zimmer- mann, Nikolaj Znaider, Pinchas Zukerman, Joshua Bell, Leonidas Kavakos, Hilary Hahn, Vadim Repin, Gil Shaham, Natalie Dessay, and Nina Stemme. In the field of opera, he has conducted productions at the Royal Opera House, Glyndebourne Festival, La Scala, Gran Teatre del Liceu, Netherlands Opera, La Monnaie, Opéra National de Paris, the Teatro Comunale Bologna, and Cincinnati Opera. Visit www.stephanedeneve.com for further information. At Tanglewood this summer, in addition to tonight’s BSO concert, Mr. Denève conducted the Tanglewood Music Center Orchestra in music of Debussy last month, and he will lead the BSO in Gershwin’s An American in Paris as part of this coming Tuesday’s gala Tanglewood on Parade concert. Stéphane Denève made his BSO debut in April 2011 at Symphony Hall, led the orchestra at Symphony Hall and Carnegie Hall in Februiary 2012, made his Tanglewood debut last summer, and appeared with the BSO most recently at Symphony Hall this past November.

Lars Vogt Lars Vogt has rapidly established himself as one of the leading pianists of his generation. Born in the German town of Düren in 1970, he first came to public attention by winning second prize at the 1990 Leeds International Piano Competition. A keen chamber musician, he now also increasingly works with orchestras both as conductor and directing from the keyboard. Orchestral highlights of his 2013-14 season include performances in Amsterdam and London with the Royal Con- certgebouw Orchestra under Mariss Jansons, a tour of China and concerts in Berlin and Vienna with the Deutsches Symphonie-Orchester Berlin under Tugan Sokhiev, and an appearance with the Dresden Staatskapelle under Christian Thielemann in the Théâtre des Champs-Élysées, Paris. In Switzerland he is artist-in-residence with the Zurich Chamber Orchestra, including a week of playing-and-conducting performances. Other concerto appearances include NDR Hamburg, Gürzenich Cologne, Munich Chamber Orchestra, Orchestre Philharmonique de France, Rotterdam Philharmonic, Orchestre de la Suisse Romande, and the City of Birmingham Symphony with Andris Nelsons. Outside Europe he returns to the NHK Symphony in Tokyo with Roger Norrington and performs with the Boston and St. Louis symphony orchestras. Also in 2013-14 he further develops his new role as conductor and director from the keyboard working with the Zurich Chamber Orchestra, Arte del Mondo, Cologne Chamber Orchestra, and Northern Sinfonia. He also undertakes several chamber projects, including recitals with Ian Bostridge at the Edinburgh Festival and with Klaus Maria Brandauer in Vienna; as well as six concerts in North America with Christian Tetzlaff, including Chicago, Boston, Montreal, and Philadelphia, and trios with Christian and Tanja Tetzlaff in Paris, Berlin, Salzburg, and Zurich. His special relationship with the Berlin Philharmonic has continued with regular collaborations following his 2003-04 appointment as its first pianist-in-residence. As a recitalist and chamber musician, Mr. Vogt made recent appearances in London, Paris, Munich, Madrid, Rome, and New York. In June 1998 he founded his own festival, known as “Spannungen,” in Heimbach, Germany; the festival’s huge success has been marked by the release of ten live recordings on EMI. He enjoys regular partnerships with musical colleagues such as Christian Tetzlaff and Thomas Quasthoff and also collaborates with actor Klaus-Maria Brandauer and comedian Konrad Beikircher. In 2005 he founded “Rhapsody in School,” which has become a high profile education project across Germany. Also an accomplished and enthusiastic teacher, he was recently appointed professor of piano at the Hannover Conservatory of Music, succeeding Karl-Heinz Kämmerling, his former teacher and close friend who died in June 2012. As an EMI

TANGLEWOODWEEK 5 GUESTARTISTS 19 recording artist, Lars Vogt made fifteen discs for the label, including Hindemith’s Kammermusik No. 2 with the Berlin Philharmonic and Claudio Abbado, and, with the City of Birmingham Symphony Orchestra and Sir Simon Rattle, the Schumann and Grieg concertos and the first two Beethoven concertos. Recent recordings include Schubert piano works (Cavi-Music), Mozart concertos with the Salzburg Mozarteum Orchestra (Oehms), Liszt and Schumann piano works (Berlin Classics), and Mozart sonatas for violin and piano with Christian Tetzlaff (Ondine). Lars Vogt made his Boston Symphony Orchestra debut with Beethoven’s Piano Concerto No. 1 at Tanglewood in August 2004 (also performing the Brahms violin sonatas with Christian Tetzlaff in Ozawa Hall that same week) and returned here for Beethoven’s Emperor Concerto in August 2006, subsequently making subscription appearances at Symphony Hall in October 2007 (Beethoven’s Piano Concerto No. 3) and January 2011 (music of Debussy and Mozart).

Lucy Crowe Born in Staffordshire, Lucy Crowe studied at the Royal Academy of Music and has gone on to establish herself as one of the leading lyric sopranos of her generation. Her operatic roles include Servilia in La clemenza di Tito for the Metropolitan Opera; Belinda in Dido and Aeneas and Gilda in Rigoletto for the Royal Opera House– Covent Garden; Sophie in Der Rosenkavalier for Deutsche Oper Berlin, the Munich’s Bayerische Staatsoper, and Covent Garden; Gilda for Deutsche Oper Berlin; Rosina in The Barber of Seville, Poppea in Agrippina, and Drusilla in The Coronation of Poppea for English National Opera; Dorinda in Orlando in Lille, Paris, and for Opéra de Dijon; and The Fairy Queen and the title role in The Cunning Little Vixen for Glyndebourne Festival Opera. She made her United States opera debut as Iole in Handel’s Hercules for Chicago Lyric Opera. In concert Ms. Crowe has performed with many of the world’s finest conductors and orchestras, including the Australian Chamber Orchestra under Richard Tognetti; the Philadelphia Orchestra under Yannick Nézet-Séguin; the City of Birmingham Symphony Orchestra under Andris Nelsons, Edward Gardner, Emmanuelle Haïm, and Sakari Oramo; the Orchestra of the Age of Enlightenment under Sir Charles Mackerras and Richard Egarr; the Scottish Chamber Orchestra under Mackerras and Nézet-Séguin; the English Concert under Trevor Pinnock, Andrew Manze, and Laurence Cummings; The Sixteen under Harry Christophers; the Gabrieli Consort under Paul McCreesh; and the Monteverdi Orchestra under Sir John Eliot Gardiner. She has performed at the Aldeburgh Festival, the Edinburgh International Festival, and the Mostly Mozart Festival in New York and, most recently, at the Salzburg Festival with the Monteverdi Choir Orchestra under Sir John Eliot Gardiner in Haydn’s Creation. She has given recitals at the Brighton, Belfast, Norfolk, and Norwich festivals and in London at St. Martin in the Fields and Wigmore Hall. Ms. Crowe has recorded Handel’s Il pastor fido and works by Handel and Vivaldi with La Nuova Musica under David Bates (both Harmonia Mundi); a Lutosławski disc with the BBC Symphony Orchestra under Edward Gardner; Handel’s Alceste with Christian Curnyn and the Early Opera Company, and Eccles’s The Judgement of Paris (all Chandos); and a solo Handel disc entitled ll Caro Sassone with Harry Bicket and the English Concert (Harmonia Mundi). Lucy Crowe makes her Boston Symphony Orchestra debut with this evening’s performance of Poulenc’s Stabat Mater. Other current engagements include Mahler’s Symphony No. 4 with the Konzerthausorchester Berlin under Iván Fischer, and a Messiah tour and recording (Virgin Classics) with Emmanuelle Haïm. Future operatic engagements include Iole in Toronto, as well as Susanna in Le nozze di Figaro and Adina in L’elisir d’amore for the Royal Opera House–Covent Garden.

20 Tanglewood Festival Chorus John Oliver, Conductor

This summer at Tanglewood with the Boston Symphony Orchestra, the Tanglewood Festival Chorus sings in Mahler’s Symphony No. 3 on July 6 with conductor Rafael Frühbeck de Burgos, Verdi’s Requiem on July 27 with conductor Carlo Montanaro, Poulenc’s Stabat mater on August 2 with Stéphane Denève, Ravel’s complete Daphnis et Chloé on August 3 with Charles Dutoit, and Beethoven’s Ninth Symphony on August 25 with BSO LaCroix Family Fund Conductor Emeritus Bernard Haitink, as well as a Friday Prelude concert of its own on August 23, when John Oliver conducts an all- Britten program marking the centennial of the composer’s birth. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now num- bering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella

TANGLEWOODWEEK 5 GUESTARTISTS 21 music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. 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 at Tanglewood and at the Mann Music Center in Philadelphia; 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. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; 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 to 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 Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart

TANGLEWOODWEEK 5 GUESTARTISTS 23 in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide- ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stra- vinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dalla- piccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. The 2013 Tanglewood season marks the 50th anniversary of Mr. Oliver’s Tanglewood debut.

24 Tanglewood Festival Chorus John Oliver, Conductor (Poulenc Stabat Mater, August 2, 2013)

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

Carol Amaya • Emily Anderson • Joy Emerson Brewer • Norma Caiazza • Anna S. Choi • Lisa Conant • Emilia DiCola • Christine Pacheco Duquette # • Diana Gamet • Beth Grzegorzewski • Alexandra Harvey • Kathy Ho • Eileen Huang • Donna Kim • Nancy Kurtz • Barbara Abramoff Levy § • Suzanne Lis • Hannah McMeans • Karen M. Morris • Kieran Murray • Jaylyn Olivo • Kimberly Pearson • Melanie Salisbury # • Johanna Schlegel • Stephanie Steele • Dana R. Sullivan • Sarah Wesley • Lauren Woo • Bethany Worrell

Mezzo-Sopranos

Virginia Bailey • Martha A. R. Bewick • Betsy Bobo • Lauren A. Boice • Donna J. Brezinski • Janet L. Buecker • Cypriana Slosky Coelho • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste • Barbara Naidich Ehrmann • Paula Folkman # • Dorrie Freedman * • Irene Gilbride # • Denise Glennon • Rachel K. Hallenbeck • Irina Kareva • Yoo-Kyung Kim • Eve Kornhauser • Katherine Mallin Lilly • Gale Tolman Livingston # • Kathryn Cannon Miller • Louise Morrish • Kendra Nutting • Kathleen Hunkele Schardin • Elodie Simonis • Ada Park Snider * • Julie Steinhilber # • Martha F. Vedrine • Marguerite Weidknecht • Lidiya Yankovskaya

Tenors

Brad W. Amidon • Armen Babikyan • John C. Barr # • Ryan Casperson • Chad D. Chaffee • Stephen Chrzan • Andrew Crain • Sean Dillon • Ron Efromson • Keith Erskine • Len Giambrone • J. Stephen Groff # • Stanley G. Hudson # • James R. Kauffman # • Jordan King • Lance Levine • Daniel Mahoney • Ronald J. Martin • Mark Mulligan • David Norris * • Lukas Papenfusscline • Dwight E. Porter * • Peter Pulsifer • David L. Raish # • Joshuah Rotz • Arend Sluis • Peter L. Smith • Stratton Vitikos • Hyun Yong Woo

Basses

Nicholas Altenbernd • Scott Barton • Nathan Black • Daniel E. Brooks # • Nicholas A. Brown • Paulo César Carminati • Matthew E. Crawford • Dylan Evans • Alexander Goldberg • Mark L. Haberman # • Jeramie D. Hammond • David M. Kilroy • Bruce Kozuma • James Mangan • Lynd Matt • Devon Morin • Stephen H. Owades § • William Brian Parker • Sam Parkinson • Donald R. Peck • Michael Prichard # • Sebastian Rémi • Kenneth D. Silber • Scott Street • Samuel Truesdell • Bradley Turner # • Thomas C. Wang # • Terry L. Ward • Lawson L.S. Wong

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Erik Johnson, Chorus Manager

TANGLEWOODWEEK 5 GUESTARTISTS 25 Florence Newsome and George William Adams Florence and George Adams shared a love of music. Mrs. Adams grew up in Jamaica Plain and attended Boston Symphony and Pops concerts frequently with her mother during the Koussevitzky-Fiedler era. The same devotion led them to travel to Lenox by train in the 1930s—a more arduous journey than it is today—to hear the ﬁrst concerts presented by the Berkshire Symphonic Festival in a tent. In 1937, after Lenox became the summer home of the Boston Symphony, Mrs. Adams attended the famous “thunderstorm concert” that led Gertrude Robinson Smith to begin fundraising to build a permanent music shed. A graduate of Simmons College and Boston University, Mrs. Adams began her career as a reference librarian with the Boston Public Library. She met and married her husband George, also a librarian, while both were working at the Newark Public Library in New Jersey. Upon the birth of their daughter the family relocated and Mrs. Adams began her association with the Hartford Public Library, where she served as a branch librarian for thirty-six years. An expert on Connecticut legislative history, Mr. Adams was consulted by many state lawmakers and authored numerous articles in his post as legislative reference chief of the Connecticut State Library. Having found many years of enjoyment in the music of the Boston Symphony Orches- tra, especially in its tranquil Berkshire setting, Mrs. Adams decided to endow a concert there to maintain that tradition—the ﬁrst such memorial concert to be endowed at Tanglewood. She died just weeks before the first George W. and Florence N. Adams Concert took place on August 1, 1987, a program featuring works of George Perle and Felix Mendelssohn conducted by Seiji Ozawa.

Serge Koussevitzky conducting the BSO at Tanglewood (BSO Archives)

26 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Saturday, August 3, 8:30pm THE GEORGE W. AND FLORENCE N. ADAMS CONCERT ENDOWED IN PERPETUITY

CHARLES DUTOIT conducting

This concert is dedicated to the memory of composer Henri Dutilleux (January 22, 1916–May 22, 2013).

RAVEL “Pavane for a Dead Princess”

BEETHOVEN Piano Concerto No. 1 in C, Opus 15 Allegro con brio Largo Rondo: Allegro scherzando LANG LANG

{Intermission}

RAVEL “Daphnis et Chloé” (complete)

TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

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

TANGLEWOODWEEK 5 SATURDAYPROGRAM 27 IN MEMORIAM Henri Dutilleux (January 22, 1916–May 22, 2013)

A great presence in French music of the modern era, composer Henri Dutilleux died this past May 22 in Paris, at age ninety-seven. Dutilleux’s music holds a profound place as part of the history of the Boston Symphony Orchestra since Charles Munch led the American premiere of the composer’s First Symphony with the BSO in 1954. Born in Angers, Dutilleux as a young man immersed himself in music, studying at the Douai and Paris con- servatories. In 1938 he won France’s prestigious Prix de Rome, but was in Rome for only four months before the outbreak of World War II. During the war he worked at the Paris Opera, and from 1945 to 1963 he was director of musical production at Radio France. Immediately following the war, he made a break from his early direction as a composer, writing his Piano Sonata for his wife, the pianist Geneviève Joy. Thereafter his artistic path kept him from following the aesthetic fashions that became watchwords of postwar European music, though he remained neither unaware of, nor untouched by, the music around him: Debussy and Messiaen, as well as Stravinsky and Schoenberg, all Charles Munch and Henri Dutilleux at Symphony made their mark, in the luminosity of his orchestral Hall in 1959 for the premiere of the composer’s textures and in the clarity and robustness of his musi- BSO-commissioned Symphony No. 2, “Le Double” cal narratives. His frequent use of literary or visual triggers led to new and unique poetic approaches to achieving his musical ends. He typically allowed these ideas to soak in and transform over many years, so his cata- logue of works is small, but distinctive and exquisite. Following the Munch performances of his Symphony No. 1, Henri Dutilleux was one of a select group of composers commissioned to celebrate the BSO’s 75th anniversary. He responded with his Sym- phony No. 2, Le Double, which Munch and the BSO premiered in 1959. The BSO has performed most of his major orchestral works. During Seiji Ozawa’s tenure as music director, the BSO commissioned and premiered The Shadows of time (1997); and under James Levine, the orchestra was a co-com- missioner of the orchestral song cycle Le Temps l’Horloge, composed for soprano Renée Fleming for the BSO’s 125th anniversary. The Boston Symphony Chamber Players performed, and in 2011 recorded for release on BSO Classics, the James Levine, Renée Fleming, and Dutilleux at Symphony Hall composer’s Les Citations. Other in November 2007 for the American premiere of “Le Temps l’Horloge,” a BSO 125th-anniversary commission works figuring in the BSO repertoire are his cello concerto “Tout un monde lointain…”, written for Mstislav Rostropo- vich, and the 1964 orchestral work Métaboles, composed originally for the Cleveland

28 Orchestra’s fortieth anniversary. The latter, a particular favorite of conductor Charles Dutoit, was introduced to BSO audiences by Mr. Dutoit in 1985; Alan Gilbert led BSO performances this past January. His other works include two for violin and orchestra, L’arbre des songes and Sur la même accord, composed for Isaac Stern and Anne-Sophie Mutter, respectively. Although he taught relatively infrequently, Dutilleux’s further connections with the BSO included time at Tanglewood as a member of the TMC composition faculty in 1995 and 1998. Prior to that he had visited Tanglewood in 1960 to hear Charles Munch conduct the BSO in his Symphony No. 2, and in 1975 to visit with Olga Koussevitzky. The presence of Charles Dutoit on the BSO podium tonight is particularly timely: Maestro Dutoit had a long relationship with Henri Dutilleux that was both professional and personal. The two met in Boston in 1959, when Dutoit, then a student, heard Charles Munch and the BSO play the premiere of the composer’s BSO-commissioned Symphony No. 2. Entirely by chance, Henri Dutilleux and Charles Dutoit Dutoit and Dutilleux found themselves seated next to each other the next morning on a flight to New York—where Dutilleux, who was heading there to hear Stravinsky’s Movements for piano and orchestra with the composer conducting, in turn provided the opportunity for Dutoit to meet Stravinsky (another important figure in Dutoit’s life). Decades later, when Dutoit was music director of the Montreal Symphony, he invited Dutilleux there as composer-in- residence; at that time, the Montreal Symphony under Dutoit gave the Ameri- can premiere of L’arbre des songes with Isaac Stern in Carnegie Hall, and then in Boston. Dutilleux and Dutoit became great friends; Dutoit led the first Paris performances of some of his works, recorded the violin concerto (L’arbre des songes) and cello concerto (“Tout un monde lointain…”) for Decca, and led his music worldwide. “He was a very old-fashioned gentleman,” Dutoit has observed. “We would write letters, only hand-written letters. He was a humble, intellectual musician. Everything he wrote was the result of deep thinking. As his music evolved, he became more and more sophisticated. He was a master, with an incredible gift of writing for orchestra and producing the sound he felt. He was surely feeling just the way he was writing; otherwise, you cannot write music so pre- cisely. Given his age, his death was not From Dutilleux to Dutoit: "to Charles Dutoit, this small book... [Mystery and Memory of Sound] ...in unexpected—but it is a very big loss.” memory of Montreal, Boston, New York, Paris, etc... etc... and with thanks for all that he gives of himself in interpreting my scores — In affectionate admira- tion, Henri Dutilleux (July 1993)"

TANGLEWOODWEEK 5 SATURDAYPROGRAMNOTES 29 NOTES ON THE PROGRAM

Maurice Ravel (1875-1937) “Pavane for a Dead Princess” First performance of original piano version: April 5, 1902, Paris, Société Nationale, Ricardo Viñes, pianist. First performance of orchestral version: December 25, 1911, Concerts Hasselmans, Alfredo Casella cond. First BSO performance: October 29, 1937, Serge Koussevitzky cond. First Tanglewood performance: August 10, 1947, Koussevitzky cond. Most recent Tanglewood performance by the BSO: July 13, 1996, Seiji Ozawa cond. Ravel inherited from his mother, whose early years were spent in Madrid, a strong feeling for the people, folklore, and music of Spain. His father, a Swiss civil engineer who played an important role in the development of the automobile, instilled in both sons—the elder Maurice and the three-years-younger Edouard, who would go on like his father to become an engineer—a love for things mechanical, frequently accompanying them on visits to factories of all sorts. That the boy Maurice would undertake a musical career seemed clear from the start; the only question was whether he would become a concert pianist or a composer. Following lessons in piano, harmony, counterpoint, and composition, he was enrolled in the preparatory piano division of the Paris Conservatoire in November 1889, but his early years there were marked by a succession of academic failures; he was finally expelled in July 1900, though he continued to audit the classes of his “dear teacher” Gabriel Fauré, to whom he would later dedicate his Jeux d’eau for piano and his string quartet. On five occasions, Ravel competed for the Grand Prix de Rome, a state-subsidized prize designed to further the winning composer’s artistic development with a four- year stipend, the first two years to be spent at Rome’s Villa Medici. In May 1905 he tried for the last time (he had recently turned thirty, the age limit for the competition)—and was not even admitted to the finals! There was an uproar: debate among the music critics was heated, the news made the front pages, and the integrity of the jury was suspect, especially considering that all six finalists were pupils of one of the judges, Charles Lenepveu, who was a professor of composition at the Conservatoire. Without question, a variety of musical/political factors were involved. Ravel was by now a prominent figure in Parisian musical life, recognized as the leading French composer of his generation and presumable successor to Debussy. But at the same time, his preliminary submission for the 1905 Grand Prix contained enough errors and infractions to suggest that he was being flippant, scornful, or both, and his teachers had frequently and consistently found him lacking in discipline despite his natural talents. Ravel’s first published work was the Menuet antique of 1895, published in 1898. His formal debut as a composer came at the Société Nationale concert of March 5, 1898. The Pavane pour une infante défunte (Pavane for a Dead Princess), in its original piano version of 1899, was premiered together with Jeux d’eau. The latter was the historically more significant and held, in the composer’s words, “whatever pianistic innovations my works may be thought to contain,” but it was the charmingly elegant Pavane that was immediately popular and which drew the attention of both the listening public and amateur pianists. The orchestral transcription of 1910 served further to broaden its audience. The pavane was a ceremonial dance of the sixteenth and seventeenth centuries, its name most likely deriving from “Pava,” a dialect form of “Padua” in Italy. The infanta or Spanish princess of the title is nobody in particular: the piece was commissioned by the Princess Edmond de Polignac, whose salon Ravel frequented

30 in Paris, and the composer, by his own admission, simply concocted a title that pleased him by its sound. In the Pavane’s orchestral guise, Ravel makes full and masterful use of his instrumental palette to draw the listener more and more deeply into the magical world he has conjured.

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

Ludwig van Beethoven (1770-1827) Piano Concerto No. 1 in C, Opus 15 First performance: Possibly December 18, 1795, with Beethoven as soloist, in a Vienna concert organized by his teacher Joseph Haydn, the work very likely being revised by Beethoven before its publication in 1801. First BSO performance: December 1895, Emil Paur cond., Marie Geselschap, piano. First Tanglewood performance: July 4, 1965, Erich Leinsdorf cond., Claude Frank, piano. Most recent Tanglewood performance: August 25, 2006, Gustavo Dudamel cond., Imogen Cooper, soloist. A composer who was also a virtuoso performer in the Classical era was much more likely to make a satisfactory income from concertos that he wrote for himself to play than from any other musical genre (unless perhaps he had the good fortune to be a successful opera composer). In the early part of his career Beethoven composed more concertos than symphonies and became well-known to the musical public as a superbly dramatic and expressive pianist. If he had not lost his hearing and thus been forced to forego playing in public, he might well have continued writing piano concertos all his life; there is an unfin- ished draft for much of the first movement of what would have been the Sixth Concerto, written after the completion of the Emperor, but Beethoven lost interest and dropped it. Actually Beethoven had already written at least two piano concertos before writing “Number 1.” The first was composed in 1784 while he was still in Bonn and was never published. Around 1790 inVienna he composed the B-flat concerto. Probably because performances were a reasonable source of income, and perhaps also because he was not totally satisfied with the work—he revised it substantially before publication—Beethoven withheld that concerto from the publishers for a number of years. As a result it finally came out as his Second Concerto, Opus 19, although there is no doubt that it was composed some years before the so-called First Concerto, Opus 15. The First Concerto, in C major, also proved financially remunerative to Beethoven. Though its early history is somewhat obscure, it nevertheless marks a significant advance over its predecessor. Perhaps it was the success of the C major concerto that induced Beethoven to rework the earlier B-flat concerto and make it publishable, although even after doing so he referred to it as an early work which “is not one of my best compositions.” Beethoven felt—and critics have agreed with him—that he made significant progress between the B-flat and the C major concertos, and he was concerned that the higher opus number attached to the earlier work would give the public an unfavorable impression of his music. The Opus 15 concerto follows closely in the classical mold with an extended orchestral exposition that remains in the tonic key, though with surprising feints to foreign tonalities, the first of which is E-flat. The soloist enters and dominates the conversa- tion, moving to the dominant for the first full statement of the lyrical second theme,

TANGLEWOODWEEK 5 SATURDAYPROGRAMNOTES 31 which had been little more than hinted at in the orchestral statement. The development starts with a sudden upward sideslipping that leads to an extended passage in E-flat, an echo of the unexpected earlier appearance of that key. The concerto opened with an unusual quiet statement of the main theme; when time comes for the recapitulation, the element of surprise is no longer relevant, so Beethoven ham- mers out the theme fortissimo in the full orchestra, after which the recapitulation deals mostly with the secondary material. Beethoven himself wrote no fewer than three cadenzas for the first movement, each more elaborate than the one that preceded it. All of them were written some years after the completion of the concerto; this is indicated by the fact that they were intended to be played on a piano of larger size than the one Beethoven had when he wrote the rest of the piece. (The piano was a developing instrument at the turn of the eighteenth to nineteenth century, and, in particular, keyboards were not yet standardized for the number of keys.) The Largo is the longest slow movement of any Beethoven concerto, an extended lyrical song-form with increasingly elaborate ornamentation. The rondo, built on a witty, bouncy tune that goes on just a bit longer than you think it will, is filled with all the standard rondo tricks: the suggestion of modulations to distant keys when it is in fact just about to settle on the tonic for a restatement, offbeat sforzandos and syncopations, rushing scales and a breakneck pace. Though the movement is long in number of measures, the music doesn’t lose its smile for an instant.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

Maurice Ravel “Daphnis et Chloé” First performance of the complete ballet score: June 8, 1912, Théâtre du Châtelet, Paris, Ballets Russes, Pierre Monteux cond. (a concert suite derived from the complete score having already been performed on April 2, 1911, at the Châtelet, Gabriel Pierné cond.) First BSO performances of the complete score: January 1955, Charles Munch cond., New England Conservatory Chorus and Alumni Chorus directed by Robert Shaw in association with Lorna Cooke deVaron. (The first BSO performances of music from Daphnis were in the form of the Second Suite from the ballet, led by Karl Muck in December 1915.) First Tanglewood performance of the complete score: July 28, 1961, Charles Munch cond., Festival Chorus. Most recent Tangle- wood performance of the complete score: July 10, 2004, Rafael Frühbeck de Burgos cond., Tanglewood Festival Chorus, John Oliver, cond. The ballet Daphnis et Chloé is Ravel’s longest and most ambitious work. Both his operas (L’Enfant et les sortilèges and L’Heure espagnole) are in a single act, and he preferred to work on Chopin’s rather than on Wagner’s scale. He was not exactly a miniaturist, but his consummate precision in matters of detail and technique spared him the need for a broad canvas or for any Mahlerian endeavor to search endlessly for the essence of his own ideas. They are perfectly formed and whole from the start. In Daphnis et Chloé, though, he attempted the larger scale, and perhaps it is no surprise that the work is better known in the form of orchestral suites that divide it into sections of a more typically Ravelian dimension. It belongs to the most fertile period of his life and provides an invaluable glimpse not only of his incomparabale musi- cianship but also of the extraordinary wealth of artistic activity in Paris just before the Great War. Much of the credit for this surge of creativity must be accorded to Serge Diaghilev, the Russian impresario who commissioned scores from Debussy, Ravel, Dukas, and Satie (to name only the French composers on his list) and who had a knack of throwing together collaborators in different spheres (painters, dancers, musicians) who could work enthusiastically together. But even without Diaghilev the age was teeming: the rapid expansion of orchestral technique at the turn of the century, the prosperity of the European capitals, and the sense of unstoppable cultural advance—all this came together to produce an artistic heritage which dwarfed the output of the rest of the twentieth century. Diaghilev came to Paris in 1907 with some Russian concerts, in 1908 with Mussorg- sky’s Boris Godunov, and in 1909 with the ﬁrst season of the famous Ballets Russes. On each visit his ear was tuned in to local talent. Ravel was producing a series of masterpieces, mostly for piano or chamber ensemble, and although he completed the one-act opera L’Heure espagnole in 1907, it was not staged until 1911. Diaghilev can only have guessed at Ravel’s sense of stagecraft at that time; perhaps he heard the orchestral Rapsodie espagnole in 1908. By 1909 he had brought together Ravel and Mikhail Fokin, his choreographer, and had commissioned a ballet. The proposed subject was a touchingly sensuous romance, “The Pastoral Loves of Daphnis and Chloé,” attributed to Longus, a Greek author of the third century A.D. This story entered French literary consciousness in 1559 when Jacques Amyot trans- lated it from Greek. Amyot’s translation was reprinted in Paris in 1896. In June 1909 Ravel wrote: “I’ve just had an insane week: preparation of a ballet libretto for the

TANGLEWOODWEEK 5 SATURDAYPROGRAMNOTES 33 next Russian season. Almost every night work until 3 a.m. What complicates things is that Fokin doesn’t know a word of French, and I only know how to swear in Russian.” Although Fokin is usually credited with the idea for the ballet, his ignorance of French suggests that the originator was more probably Diaghilev himself. Despite Ravel’s haste, it was to be three years before Daphnis et Chloé reached the stage. A piano draft was ready by May 1910 and was in fact published that year. The first orchestral suite was played by the Colonne Orchestra and published in 1911, presumably with Diaghilev’s approval, and the full ballet was first staged at the Théâtre du Châtelet on June 8, 1912, with Karsavina and Nijinsky in the main parts, with décor by Bakst, and conducted by Monteux. There had been disagreements and delays, and Ravel’s conception of an idealized Greece, based on eighteenth- century French paintings, clearly differed from Bakst’s, although he later described Bakst’s design for the second part as “one of his most beautiful.” The dancers found the music unusually difficult to dance to and the production was notable for its “deplorable confusion,” yet it was a triumph for the principal dancers and the music was recognized from the first as a masterpiece.

34 Ravel liked to think he had written a “symphonic” score. He even called it a “choreo- graphic symphony.” He is certainly meticulous and inventive in his use of principal themes, the most prominent of which, with its characteristically prolonged second note, is heard at the beginning on the horn. But his primary purpose was to convey action and atmosphere. The score closely describes the stage action, which must largely be missed in concert performances, although the character of individual dances and ensembles is clear enough. Ravel calls on the full modern orchestra, with infinite resourcefulness in his use of string effects, harps, muted brass, alto flute and other rarities, a wide selection of percussion, and a wordless chorus. Nowhere is his orchestral brilliance more varied and more vivid than in Daphnis et Chloé. When the upper woodwinds are in full spate and the lowest instruments are firmly anchored to slow-moving bass notes, the characteristic sound of the late romantic orchestra is displayed at its richest. The score is in three continuous parts with concerted dances and set pieces at inter- vals: in between are passages of action or “recitative” to convey the interaction of characters or events. The opening scene is a grotto in a woody landscape where young shepherds and shepherdesses gather round the figures of three nymphs carved in a rock. Daphnis and Chloé are childhood companions who learn jealousy first through the attentions of Dorcon, an oxherd. He and Daphnis compete for her by dancing: Dorcon’s grotesque dance arouses derision, and Daphnis is left to dis- cover the ecstasy of Chloé’s kiss. Lyceion, a shepherdess (two clarinets) then tempts Daphnis and leaves him troubled. A band of pirates approaches and they carry Chloé off. Daphnis, searching for her, finds her sandal and curses his ill-fortune. Suddenly the statues glow and come to life. The nymphs’ solemn dance leads Daphnis to the god Pan. A distant chorus covers a change of scene to the pirate camp where celebrations are in full swing. Bryaxis, the pirate chieftain, orders the prisoner Chloé to dance. In the middle of her dance she vainly attempts to flee, twice. Bryaxis carries her off, where- upon a mysterious atmosphere overtakes the scene and the pirates are pursued by cloven-hoofed followers of Pan, whose formidable image then appears. The pirates scatter and the scene returns to the grotto of the beginning for the famous dawn music. The shepherds have come to reunite Daphnis and Chloé. In gratitude the pair reenact the story of Pan and Syrinx (pantomime) and the ballet ends with the tumultuous Danse générale.

HUGH MACDONALD Hugh Macdonald, Avis Blewitt Professor Emeritus of Music at Washington University in St. Louis, writes extensively on music from Mozart to Shostakovich and is a frequent contributor to the BSO program book. Stu Rosner

TANGLEWOODWEEK 5 SATURDAYPROGRAMNOTES 35

Guest Artists

Charles Dutoit Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both venues, most recently for two weeks of subscription programs this past October and another program this past January. This summer at Tangle- wood, besides his two BSO programs this weekend, he also leads the Tanglewood Music Center Orchestra this Tuesday night as part of the annual Tanglewood on Parade gala concert. In 2010-11, the Philadelphia Orchestra celebrated its thirty-year artistic collaboration with Mr. Dutoit, who made his debut with that orchestra in 1980 and who became chief conductor there in 2008. This season he became the Philadelphia Orchestra’s conductor laureate. Also artistic director and principal conductor of London’s Royal Philharmonic Orchestra, Mr. Dutoit collaborates regularly with the world’s leading orchestras, including the Chicago Symphony, Boston Symphony, Berlin Philharmonic, and Amsterdam’s Royal Concertgebouw Orchestra, as well as the Israel Philharmonic and the major orchestras of Japan, South America, and Australia. His more than 170 recordings for Decca, Deutsche Grammophon, EMI, Philips, and Erato have garnered more than forty awards and distinctions. For twenty-five years, from 1977 to 2002, he was artistic director of the Montreal Symphony Orchestra, a dynamic musical partnership recognized the world over. Between 1990 and 2010, he was artistic director and principal conductor of the Philadelphia Orchestra’s summer festival at the Saratoga Performing Arts Center in upstate New York. From 1991 to 2001, Charles Dutoit was music director of the Orchestre National de France, with which he has toured extensively on five continents. In 1996 he was appointed music director of the NHK Symphony Orchestra in Tokyo, with which he has toured Europe, the United States, China, and Southeast Asia; he is now music director emeritus of that orchestra. Mr. Dutoit has been artistic director of both the Sapporo Pacific Music Festival and the Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou, China, which he founded in 2005. In summer 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to lead the Vienna State Opera. He has since conducted regularly at the Royal Opera House–Covent Garden, the Metropolitan Opera in New York, and Deutsche Oper in Berlin, and has also led productions at the Los Angeles Music Center Opera and the Teatro Colón in Buenos Aires. He is an Honorary Citizen of the City of Philadelphia, a Grand Officier de l’Ordre National du Québec, a Commandeur de l’Ordre des Arts et des Lettres of France, and an Honorary Officer of the Order of Canada, the country’s highest award of merit. The recipient of the 2010 Governor’s Distinguished Arts Award, which recognizes a Pennsylvania artist of international fame, he recently received an honorary doctorate from the Curtis Institute of Music. He also holds honorary doctorates from McGill BSO Archives

TANGLEWOODWEEK 5 GUESTARTISTS 37 University, the University of Montreal, and Université Laval. Charles Dutoit was born in Lausanne, Switzerland; his extensive musical training included violin, viola, piano, percussion, the history of music, and composition at the conservatoires and music academies of Geneva, Siena, Venice, and Boston. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, Charles Dutoit has traveled in all the nations of the world.

Lang Lang If one word applies to Lang Lang, to the musician, to the man, to his worldview, and to those who come into contact with him, it is “inspiration,” which resounds like a musical motif through his life and career. His playing has inspired millions, whether in intimate recitals or on the grandest of stages—such as the Opening Ceremony of the 2008 Beijing Olympics, where more than four billion people worldwide viewed his performance; the Last Night of the Proms at London’s Royal Albert Hall, or the Liszt 200th-birthday concert broadcast live to more than 500 cine- mas around the United States and Europe. He has formed enduring musical partnerships with the world’s greatest artists, from conductors Daniel Barenboim, Gustavo Dudamel, and Sir Simon Rattle to artists outside the classical music sphere—among them dubstep dancer Marquese “Nonstop” Scott and jazz titan Herbie Hancock. Thanks to his Sony ambassadorship, Lang Lang brought Prokofiev’s Seventh Piano Sonata to the soundtrack of the multi-million-selling com- puter game Gran Turismo 5. He also builds cultural bridges between East and West, frequently introducing Chinese music to Western audiences, and vice versa. Yet he never forgets what first inspired and continues to inspire him: great artists, and above all the great composers—Liszt, Chopin, and others—whose music he now delights in bringing to others. Even that famous old Tom and Jerry cartoon, “The Cat Concerto,” which introduced him, as a child, to the music of Liszt propels him to what he calls “his second career,” bringing music into the lives of children, through his work for charities such as UNICEF and through his own Lang Lang International Music Foundation. Perhaps it is this quality that led the New Yorker to call him “the world’s ambassador of the keyboard.” Time Magazine included Lang Lang in the “Time 100,” citing him as a symbol of China’s youth and its future; he is cultural ambassador for Shenzhen and Shenyang. His influence on the Chinese passion for piano has created a phenomenon called (by The Today Show) “the Lang Lang effect.” For the first time, Steinway Pianos named a model after a single artist when they introduced “The Lang Lang Piano” to China, specially designed for education. Lang Lang mentors prodigies, convenes 100 piano students at a time in concert, and dedicated his Lang Lang International Music Foundation to cultivating tomorrow’s pianists, providing music education at the forefront of technology, and building a young audience. Featured on television and in magazines worldwide, Lang Lang has performed for international dignitaries including the Secretary-General of the U.N. Ban Ki-moon, four United States presidents, President Koehler of Germany, Russian President Putin, former French President Sarkozy, and President François Hollande. He was honored to perform recently for President Obama and former Chinese President Hu Jin-Tao at a White House State Dinner, as well as at the Diamond Jubilee celebratory concert for Queen Elizabeth II. Recent honors include being named one of the World Economic Forum’s 250 Young Global Leaders, honorary doctorates from the Royal College of Music and Manhattan School of Music, and awards from China, Germany, and France. For further information visit langlang.com and langlangfoundation.org. Lang Lang has appeared with the Boston Symphony Orchestra on two previous occasions: as soloist in Mendelssohn’s Piano Concerto No. 1 in August 2003 at Tanglewood, and in Rachmaninoff’s Piano Concerto No. 2 at Symphony Hall this past February/March.

38 To read about John Oliver and the Tanglewood Festival Chorus, see page 21.

Tanglewood Festival Chorus John Oliver, Conductor (Ravel Daphnis et Chloé, August 3, 2013)

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

Carol Amaya • Emily Anderson • Lauren A. Boice • Joy Emerson Brewer • Norma Caiazza • Anna S. Choi • Lisa Conant • Emilia DiCola • Christine Pacheco Duquette # • Diana Gamet • Beth Grzegorzewski • Alexandra Harvey • Kathy Ho • Eileen Huang • Donna Kim • Nancy Kurtz • Barbara Abramoff Levy § • Suzanne Lis • Hannah McMeans • Karen M. Morris • Kieran Murray • Jaylyn Olivo • Kimberly Pearson • Melanie Salisbury # • Johanna Schlegel • Stephanie Steele • Dana R. Sullivan • Sarah Wesley • Lauren Woo • Bethany Worrell

Mezzo-Sopranos

Virginia Bailey • Martha A. R. Bewick • Betsy Bobo • Donna J. Brezinski • Janet L. Buecker • Cypriana Slosky Coelho • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste • Barbara Naidich Ehrmann • Paula Folkman # • Dorrie Freedman * • Irene Gilbride # • Denise Glennon • Rachel K. Hallenbeck • Irina Kareva • Yoo-Kyung Kim • Eve Kornhauser • Katherine Mallin Lilly • Gale Tolman Livingston # • Kathryn Cannon Miller • Louise Morrish • Kendra Nutting • Kathleen Hunkele Schardin • Elodie Simonis • Ada Park Snider * • Julie Steinhilber # • Martha F. Vedrine • Marguerite Weidknecht • Lidiya Yankovskaya

Tenors

Basses

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Erik Johnson, Chorus Manager

TANGLEWOODWEEK 5 GUESTARTISTS 39

2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Sunday, August 4, 2:30pm SPONSORED BY EMC CORPORATION

CHARLES DUTOIT conducting

STRAVINSKY “Fireworks,” Opus 4

DVORˇ ÁK Cello Concerto in B minor, Opus 104 Allegro Adagio, ma non troppo Finale: Allegro moderato YO-YO MA

{Intermission}

STRAVINSKY “Le Sacre du printemps,” Pictures from pagan Russia Part I: The Adoration of the Earth Introduction—Auguries of spring (Dances of the young girls—Mock abduction—Spring Khorovod (Round Dance)—Games of the rival clans—Procession of the wise elder—Adoration of the earth (The wise elder)—Dance of the earth Part II: The Sacrifice Introduction—Mystical circles of the young girls—Glorification of the chosen victim—The summoning of the ancients—Ritual of the ancients—Sacrificial dance (The chosen victim)

Yo-Yo Ma’s appearance is supported by a generous gift from Catherine and Paul Buttenwieser.

TANGLEWOODWEEK 5 SUNDAYPROGRAM 41 The Catherine and Paul Buttenwieser Guest Artist Sunday, August 4, 2013 Yo-Yo Ma’s appearance on Sunday afternoon is supported by a generous gift from Great Benefactors Catherine and Paul Buttenwieser. Paul served on the BSO Board of Overseers from 1998 to 2000, when he was elected to the Board of Trustees. In 2010, Paul was elected a Vice-Chairman of the Board of Trustees. Paul’s interest in music began at a young age, when he studied piano, violin, clarinet, and conducting as a child and teenager. Together, Paul and Katie have developed their lifelong love of music, and they have attended the BSO’s performances at Tanglewood and Symphony Hall for over fifty years. The Buttenwiesers have gener- ously supported numerous initiatives at the BSO, including BSO commissions of new works, guest artist appearances at Tanglewood and Symphony Hall, fellowships at the Tanglewood Music Center, and Opening Nights at Symphony and Tanglewood. They also endowed the BSO first violin chair currently held by James Cooke. Paul and Katie chaired Opening Night at Symphony for the 2008-2009 season, and they have served on many benefactor committees for the gala. Paul serves on the Execu- tive Committee, Principal and Leadership Gifts Committee, and Trustees Nominating Committee, and was a member of the Search Committee recommending the appointment of Andris Nelsons as the BSO’s next music director. The Buttenwiesers support many arts organizations in Boston. Paul is chairman of the board of trustees of the Institute of Contemporary Art, Boston; honorary trustee of the Museum of Fine Arts, Boston; founding member of the board of trustees and former chairman of the advisory board of American Repertory Theater; member of the president’s advisory council of Berklee College of Music; and member of the Boston Public Schools Arts Advisory Council. He has also served on numerous boards and committees at his alma mater, Harvard University. In addition to supporting the arts, the Buttenwiesers are deeply involved with the community and social justice. In 1988, Paul and Katie founded the Family-to-Family Project, an agency that works with homeless families in Eastern Massachusetts. Katie, who is a social worker, spent most of her career in the area of early child development before moving into hospice and bereavement work. She is a graduate of Mount Holyoke College and Boston University School of Social Work. Paul is a psychiatrist who specializes in children and adolescents, as well as a writer. He is a graduate of Harvard College and Harvard Medical School.

A tangle of traffic at the Main Gate of Tanglewood in the 1950s (BSO Archives)

42 NOTES ON THE PROGRAM

Igor Stravinsky (1882-1971) “Fireworks,” Opus 4 First performance: February 6, 1909, St. Petersburg, Alexander Siloti cond. First BSO performances: December 1914, Karl Muck cond. First Tanglewood performance: July 11, 1982, Seiji Ozawa cond. Most recent (and only other) Tanglewood performance: July 18, 2003, Robert Spano cond. We hear first on this program the work of a Stravinsky only just past his days as a student of Nikolai Rimsky-Korsakov, one of the most influential teachers of late 19th-century orchestral techniques. Stravinsky actually discussed his ideas for Fireworks with his old teacher the last time he saw him, in the spring of 1908. Rimsky was interested and asked to see the score when it was ready. Stravinsky went to his summer home in Ustilug, a two-day train trip from St. Petersburg, and set to work on the score. Finishing it in six weeks, he shipped it off to Rimsky’s summer home, but a few days later he received a telegram from the family informing him of his former teacher’s death, which occurred before Rimsky could see the last work that he had discussed with the younger man. Fireworks thus accidentally became a symbol of Stravinsky’s leavetaking from the musical world of his teacher. The four-minute score is subtitled “Fantasy for Orchestra.” It is built of a swirling fragment that is tossed back and forth through the wind instruments while the brass- es toy with a simple melody. A brief interruption (Lento) only allows the energy and lively activity to build again, with a fantastically colorful interplay of lines. Fireworks is clearly a work in the tradition of the Russian nationalistic school, but already Stravin- sky demonstrates his mastery of the orchestra and his desire to break away from

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 43 the four-square rhythmic monotony of so much music from the earlier generation (which had invented so many new harmonic devices, but rather let slide its attention to rhythm). Alexander Glazunov attended the premiere of Fireworks, and his com- ment was reported to Stravinsky: “No talent, only dissonance.” But another member of the audience, one of this century’s great discoverers of talent, was also there. This was Sergei Diaghilev, and he was favorably impressed. When the time came, not long after, to ﬁnd a composer who might write a ballet to a scenario about a mythological creature called a “ﬁrebird,” Diaghilev remembered Fireworks and decided it was worth taking a chance on the young and relatively untried Stravinsky—with historic results.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

Antonín Dvoˇrák (1841-1904) Cello Concerto in B minor, Opus 104 First performance: March 19, 1896, London Philharmonic Society, Dvoˇrák cond., Leo Stern, cello. First BSO performance (United States premiere): December 19, 1896, Emil Paur cond., Alwin Schroeder, cello. First Tanglewood performance: July 23, 1965, Erich Leinsdorf cond., Leonard Rose, cello. Most recent Tanglewood performance: July 15, 2011, Kurt Masur cond., Lynn Harrell, soloist. In the spring of 1891, the Bohemian composer Antonín Dvoˇrák received an invitation from Jeannette Thurber—a former music teacher who was the wife of a wealthy wholesale grocer—to come to New York as Director of the National Conservatory of Music, which she had founded in 1885. It was Mrs. Thurber’s aim that Dvoˇrák provide a figurehead for her Conservatory and found an American school of composition. The decision to leave home was very difficult for him, but Mrs. Thurber’s persistence won out, and Dvoˇrák arrived in New York on September 27, 1892, having agreed to the conditions of a two-year contract that included three hours’ daily teaching, preparation of student concerts, conducting concerts of his own in various American towns, and a salary of $15,000 each year. During this first extended stay in the United States Dvoˇrák produced, among other things, his New World Symphony, premiered by the New York Philharmonic on December 16, 1893. Despite his discom- fort with big-city life (in fact, the happiest time for Dvoˇrák during those two years was the summer of 1893, which he spent with his family among the Czech community of Spillville, Iowa), Dvoˇrák signed a second contract with Mrs. Thurber for a third year at the Conservatory. He spent this third school term, beginning in November 1894, entirely in New York, making him all the more nostalgic for his native Bohemia. It was during this time that Dvoˇrák composed his famous Cello Concerto. Three people figured prominently in its history besides the composer: the Irish-born composer/conductor/cellist Victor Herbert (best-known now as the composer of such popular operettas as Babes in Toyland and Naughty Marietta); Dvoˇrák’s friend and chamber music collaborator, the cellist HanuˇsWihan; and Dvoˇrák’s sister-in-law, Josefina Kaunitzová, with whom he had once been in love. It was the premiere of Victor Herbert’s Cello Concerto No. 2 with the New York Philharmonic in March 1894 that turned Dvoˇrák’s thoughts toward writing a cello concerto of his own in response to an earlier suggestion from HanuˇsWihan. And it was in response to

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 45 word reaching him in New York of his sister-in-law Josefina’s serious illness that he included, in the middle part of the slow movement, a reference to his song, “Leave me alone,” the first of his Four Songs, Opus 82, which was a special favorite of hers. Shortly after Dvoˇrák’s return home to Bohemia, Josefina died; at that time he wrote sixty bars of new, quiet music which he inserted just before the end of the finale, where, besides a poignant reminiscence of the main first-movement theme, he brought in another recollection of “Leave me alone” before letting the music end in the burst of high spirits that provides the strongest hint to the overall character of the work, that close representing, in his biographer Otakar Sourek’sˇ words, “a note of almost incoherent happiness at being home at last in his beloved Bohemia.” The concerto is brilliantly and vividly scored from the very start, where Dvoˇrák, in his typical fashion, alternates high and low registers to maximum effect before fill- ing in the orchestral texture. The writing for the solo instrument is exquisite and virtuosic throughout, and the composer’s unceasing care in setting it against the orchestral backdrop is a source of constant pleasure. The themes are strongly char- acterized, yet readily transferable from orchestra to soloist; thus, in the first movement, the two principal themes sound just as fresh in the soloist’s hands as they do in the orchestral exposition. (Tovey called the second subject “one of the most beautiful passages ever written for the horn.”) At the end of the concerto, the return of ideas from the first two movements brings a touching unity to the whole, and the “turn figure” of the rondo theme in the last movement provides a subconscious link to the mood of the opening Allegro, whose main theme includes a similar sixteenth- note turn. Dvoˇrák also proves himself a wise master of formal architecture. In the first movement, after introducing both principal themes in the orchestra and then letting the soloist expand upon them at length, he lets the central episode of the development—

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 47 a magical treatment of the first theme in the distant key of A-flat minor, the tune in the cello being set against a solo flute countermelody—build directly to the recapitulation of the second subject before a final joyous expansion of the main theme by the soloist leads to the brilliant series of fanfares that brings the movement to a close. Following the songful Adagio, the expansively lyric episodes of the otherwise exuber- ant rondo finale lead the composer to a similar sort of architectural foreshorten- ing in the last movement. The standard literature for solo cello and orchestra is not large. Besides the Dvoˇrák, there are the two Haydn concertos, the hard-to-pull-off Schumann concerto, the two Saint-Saëns concertos, Tchaikovsky’s Rococo Variations, and, from the twentieth century, the concertos of Elgar, Walton, and Shostakovich. Add to this the Beethoven Triple Concerto for piano, violin, and cello, the Brahms Double for violin and cello, and, for the sake of completeness, if in another realm, Strauss’s Don Quixote. When Johannes Brahms, who had composed his own Double Concerto for violin and cello in 1887, first saw the score of Dvoˇrák’s Cello Concerto, he commented, “Why on earth didn’t I know that one could write a cello concerto like this? If I had only known, I would have written one long ago!” Indeed, the B minor Cello Concerto seems to hold pride of place among works composed for that instrument. And it reminds us, too, that for all his international fame, Dvoˇrák never lost sight of who or what he was—not just “a plain and simple Bohemian Musikant” (as he once described himself), but one of uncommon skill, sensitivity, and genius.

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

Igor Stravinsky (1882-1971) “Le Sacre du printemps” (“The Rite of Spring”) First performance: May 29, 1913, Paris, Pierre Monteux cond. First BSO performance: January 1924, (BSO Music Director) Pierre Monteux cond. First Tanglewood performance: August 12, 1939, Serge Koussevitzky cond. Most recent Tanglewood performance: July 5, 2009, James Levine cond. Almost singlehandedly responsible for revealing the riches of Russian art, music, theater, and ballet to the world at large, Sergei Diaghilev was without question the most influential impresario of the twentieth century. Having ﬁrst arranged a Russian art exhibit in Paris in 1906, he followed up with a series of concerts of Russian music and then Mussorgsky’s powerful opera, Boris Godunov. In a particularly bold move, in 1909 he traveled to Paris with a complete troupe of set designers, costumers, choreographers, dancers, and composers to introduce the French to Russian ballet. The artistic world would never be quite the same. Although not a performing artist himself, Diaghilev had the uncanny ability to ﬁnd and nurture artistic talent. Indeed, his ballet troupe included such luminaries as choreographers Mikhail Fokine and Vaslav Nijinsky, set designers Leon Bakst and Alexandre Benois, and the twenty-seven-year-old composer, Igor Stravinsky. Diaghilev had first come in contact with Stravinsky in 1909, when he attended the premiere of two of the composer’s most dazzling orchestral works, Scherzo fantastique and Fireworks. Recognizing an original voice, Diaghilev immediately invited the composer to join his company. Thus began one of the most fruitful artistic collaborations of the last century.

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 49 Stravinsky’s first ballet for Diaghilev was The Firebird (L’Oiseau de feu), based on a Russian fairy story and choreographed by Mikhail Fokine. Collaborating closely with all the other artists involved in the project, he completed the score in a mere seven months. Narrative, choreography, set design, and costumes all developed in tandem with the music, establishing a collaborative pattern that would be repeated again and again throughout Stravinsky’s career. Firebird garnered rave reviews when it was premiered in Paris in June 1910 and added Stravinsky’s name to the vocabulary of the Parisian artistic community. The musical language of Firebird is firmly rooted in 19th-century melodic and harmonic practice, but there are moments where we catch a glimpse of procedures that Stravinsky would employ in his later scores. Particularly notable are his use of exotic scales to represent the story’s magical dimension and his subtle handling of syncopa- tion and cross accents. In addition, Stravinsky required what he himself called a “wastefully large” orchestra (including an independent stage band, three harps, and a huge percussion section) to create brilliant, often breathtaking effects. Little won- der that Firebird remains one of Stravinsky’s most popular scores today. Stravinsky’s next ballet for Diaghilev, Petrushka (1911), was a collaboration with Alex- andre Benois. As Stravinsky explained, “in composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life.” Stravinsky’s sensitivity to the coordination of music and choreography, already evident in Firebird, became even more finely tuned just as the movements and emotions of the characters found perfect expression in the music. The orchestra is leaner than before, but Stravinsky compensated with unusual combinations of instruments, including the piano, a new- comer to the symphony orchestra. In the first tableau, Stravinsky depicts the bustle of a pre-Lenten Russian fair by juxtaposing colorful blocks of musical material, often abruptly shifting from one to another. Stravinsky once said that “the success of Petrushka was good for me in that it gave me the absolute conviction of my ear.” It was, however, with the next ballet, Le Sacre du printemps, that Stravinsky’s place as the foremost composer of his day was secured. While Paris eagerly awaited his next ballet, Stravinsky took two years to prepare the work, his most daring score to date. As with Petrushka, the impetus for composition was a visual image. In 1911, Stravinsky had a fleeting vision of a young girl dancing herself to death while surrounded by village elders in a pagan Russian ritual. He then turned to his friend Nikolai Roerich, a painter and noted scholar in ancient

50 Russian rites, and together they worked at a depiction of the ancient ritual that had attracted Stravinsky so profoundly. Having grown up in St. Petersburg, Stravinsky remembered the cracking of the ice over the rivers when spring arrived and the din that reverberated throughout the city. For him, the coming of spring was a violent occurrence: it seemed “to begin in an hour and was like the whole earth cracking.” Roerich and Stravinsky divided the ballet into two parts, each beginning with an introduction. The action of the ballet was meant to depict the actual ritual of sacrifice; to this end, Stravinsky included no mime in the work, only dance. Each half contained a climactic set piece, thereby providing the ballet with two dramatic high points, and allowing for innovative and daring choreography. Vaslav Nijinsky, the star dancer in the Ballets Russes, and well known to Parisian audiences for his controver- sial roles (most notably the faun in Debussy’s Prélude à l’Apres midi d’un faune), was asked to choreograph the ballet. After intensive rehearsals, at which both choreographer and composer were present, the piece was ready. The premiere on May 29, 1913, led by Pierre Monteux at the Théâtre des Champs- Élysées, precipitated one of the most infamous riots in the history of Western music. During the introduction, even before the curtain rose, members of the audience began to hiss and shout. The strange orchestration and unusual harmonies, with the bassoon in its highest register and unresolved chords supporting the opening melodic line, both contributed to the tension in the theater. At first there were only isolated outbursts of laughter and mild protests, but as the curtain rose revealing a completely new approach to costuming and choreography, the commotion intensi- fied. Once the caterwauling began, it never stopped. Opposing factions in the audience began to bicker, some calling for the ballet to cease and others for silence so it could continue. Diaghilev attempted to stop the commotion by flicking the lights off and on, managing only to create an even more charged atmosphere. Because of the deafening noise, Nijinsky was forced to scream the count to the dancers while standing on a chair behind the curtain. When violence broke out the police were called in. Stravinsky stormed out of the theater after the performance, furious that his work had not been given a thorough hearing. The next day the riot made the front pages of the Parisian newspapers. What caused such a ruckus and why did the new ballet make such a violent impression? Some scholars have suggested that Diaghilev actually instigated the riot through the strategic placement of paid “protestors” in hopes of receiving good press cover- age. Even this, however, does not fully explain the audience’s violent reaction to the work. Perhaps the audience was subjected to too much novelty at once, for it was not just the score that displayed an unfamiliar idiom, but also the scenario, the choreography, and even the costumes. In an attempt to depict prehistoric people, Nijinsky introduced gestures as alien to classical ballet as Stravinsky’s harmonies were to traditional musical practice. The dancers often stood knock-kneed with toes turned and stomped around flat-footed, leading the outraged audience to think that the art of ballet itself was under siege. Stravinsky’s music drew heavily on folk song, though in later years he often tried to downplay his dependence upon it. Recent research on the Rite has uncovered much of this original folk material, though it is sometimes difficult to ascertain exactly what he borrowed. In general, Stravinsky treated the preexistent folk music as raw material, excising and utilizing gestures, melodic fragments, and patterns as he saw fit and, in the process, transforming the original into something entirely new for the ballet. Stravinsky’s real interest in these tunes lay in their potential for rhythmic

TANGLEWOODWEEK 5 SUNDAYPROGRAMNOTES 51 manipulation, a very different procedure from that in Petrushka. What is particularly revolutionary in the Rite, then, is not Stravinsky’s borrowing of folk song, but his transformation of it. There is an unprecedented use of dissonance in the piece, even though Stravinsky himself said that the use of nine-note chords was not particularly new. The accents and displaced rhythms that he superimposed on these chords, however, made for something genuinely unique. At times, he builds unstable rhythmic cells to which others are gradually added, resulting in a shifting sense of meter. Other composers had used similar techniques, but none with the energy and violence of Stravinsky, who ﬁres these rhythmic cells at the audience in explosive combinations. The Rite was performed in London several weeks after the notorious premiere and was revived in 1920 with new choreography by Massine. Unfortunately, Nijinsky’s choreography does not survive, though in 1987 the Joffrey Ballet attempted to reconstruct the original from reminiscences of living witnesses and performers, period photographs, and notations in the score itself—an exercise that received mixed reviews. By the 1930s, the Rite was often performed as a concert piece; it has since remained a staple of the orchestral repertory, maintaining its power and savage beauty despite the absence of dancers. Time has not dulled its cutting-edge quality. Indeed, the Rite sounds new, even to our 21st-century ears. What was originally interpreted in 1913 as an attack on art in fact represented a daring vision of what art could say and how it could say it.

ELIZABETH SEITZ Elizabeth Seitz teaches at the Boston Conservatory and has lectured widely on topics ranging from classical music and opera to Tito Puente and the role of MTV as a cultural force in popular music.

Guest Artists For a biography of Charles Dutoit, see page 37.

Yo-Yo Ma The multi-faceted career of Yo-Yo Ma is testament to his continual search for new ways to communicate with audiences, and to his personal desire for artistic growth and renewal. Mr. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities. He draws inspiration from a wide circle of collaborators—among them Emanuel Ax, Daniel Barenboim, Christoph Eschenbach, Kayhan Kalhor, Ton Koopman, Bobby McFerrin, Edgar Meyer, Mark Morris, Riccardo Muti, Mark O’Connor, Kathryn Stott, Michael Tilson Thomas, Wu Man, Wu Tong, Damian Woetzel, and David Zinman—often extending the boundaries of a particular genre. His interest in music as a vehicle for the migration of ideas across a range of cultures led to his founding, in 1998, the Silk Road Project, which takes its inspiration from the historic Silk Road trading routes, and now has an ongoing affiliation with Harvard University. Under his artistic direction, the Silk Road Project presents performances by the acclaimed Silk Road Ensemble, engages in cross-cultural exchanges and residencies, leads workshops for students, and partners with leading cultural institutions to create educational materials and programs. Since 2010-11, with

52 ongoing partnerships with arts and educational organizations in New York City, it continues to expand Silk Road Connect, a multidisciplinary educational initiative for middle-school students in the city’s public schools. Developing new music is also a central undertaking of the Silk Road Project, which has commissioned and performed more than seventy new works. Seeking to expand the cello repertoire, Mr. Ma frequently performs lesser known music of the twentieth century and commissions of new concertos and recital pieces. He has premiered works by such composers as Stephen Albert, Elliott Carter, Chen Yi, Richard Danielpour, Osvaldo Golijov, John Harbison, Leon Kirchner, Peter Lieberson, Christopher Rouse, Bright Sheng, Tan Dun, John Williams, and Dmitry Yanov-Yanovsky. As the Chicago Symphony Orchestra’s Judson and Joyce Green Creative Consultant, Mr. Ma is partnering with Riccardo Muti on innovative program development for the orchestra’s Institute for Learning, Access and Training, and its artistic initiatives. Strongly committed to educational programs, he takes time whenever possible to interact with students—musicians and non-musicians alike—and continues to develop new concert programs for family audiences, including the inaugural family series at Carnegie Hall. He has also reached young audiences through appearances on Arthur, Mister Rogers’ Neighborhood, and Sesame Street. Mr. Ma’s discography of over seventy-five albums (including more than fifteen Grammy Award-winners) reflects his wide-ranging interests. He has made several successful recordings that defy categorization, among them “Hush” with Bobby McFerrin, “Appalachia Waltz” and “Appalachian Journey” with Mark O’Connor and Edgar Meyer, “Obrigado Brazil,” and “Obrigado Brazil—Live in Concert.” His recent collaborations with Edgar Meyer, Chris Thile, and Stuart Duncan resulted in “The Goat Rodeo Sessions.” He remains one of the best-selling recording artists in the classical field. In fall 2009, Sony Classical released a box set of over ninety albums to mark his thirty years as a Sony recording artist. Yo-Yo Ma was born in 1955 in Paris to Chinese parents who later moved the family to New York. He began to study cello at age four, attended the Juilliard School, and in 1976 graduated from Harvard University. He has received numerous awards, including the Avery Fisher Prize (1978), the Glenn Gould Prize (1999), the National Medal of the Arts (2001), the Dan David Prize (2006), the Sonning Prize (2006), the World Economic Forum’s Crystal Award (2008), the Presidential Medal of Freedom (2010), the Kennedy Center Honors (2011), and, most recently, the Polar Music Prize (2012). A CultureConnect Ambassador for the United States Department of State, a UN Messenger of Peace, and a member of the President’s Committee on the Arts & the Humanities, Mr. Ma has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. Mr. Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius. Since his Boston Symphony debut in February 1983, Yo-Yo Ma has appeared many times with the BSO in Boston, at Tangle- wood, and on tour, most recently for subscription performances in October 2011 and a Tanglewood appearance in August 2012. He makes a second Tanglewood appearance on Tuesday, August 15, with “The Goat Rodeo Show” in the Koussevitzky Music Shed.

TANGLEWOODWEEK 5 GUESTARTISTS 53 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)

54 Society Giving at Tanglewood

The following recognizes gifts made since September 1, 2012, 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 of $3,000 or more during the 2012-13 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Dr. Robert J. Mayer, Chair, Tanglewood Annual Fund

Chairman’s

Sally ‡ and Michael Gordon • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Dorothy and Charlie Jenkins • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan Rothenberg • Kitte ‡ and Michael Sporn • Stephen and Dorothy Weber Encore

Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Scott and Ellen Hand • Elizabeth W. and John M. Loder • Jonathan D. Miller and Diane Fassino • Claudio and Penny Pincus • Ronald and Karen Rettner Benefactor

BSO Members' Association • Joseph and Phyllis Cohen • Ginger and George Elvin • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Drs. James and Eleanor Herzog • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • James A. Macdonald Foundation • Jay and Shirley Marks • Jane and Robert J. Mayer, M.D. • Henrietta N. Meyer • The Claudia & Steven Perles Family Foundation • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Evelyn and Ronald Shapiro • The Ushers and Programmers Fund Maestro

Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger • Dr. T. Donald and Janet Eisenstein • Jane Fitzpatrick • Nancy J. Fitzpatrick and Lincoln Russell • Robert and Stephanie Gittleman • Ronnie and Jonathan Halpern • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Rebecca and Nathan Milikowsky • Mr. and Mrs. Daniel Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Suzanne and Burton Rubin • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Carol and Irv Smokler • Linda and Edward Wacks • Mr. Jan Winkler and Ms. Hermine Drezner Prelude

Dr. Norman Atkin • Joan and Richard Barovick • James and Tina Collias • Dr Lynne B Harrison • Tanny and Courtney Jones • Arlene and Jerome Levine • Elaine and Ed London • Mr. and Mrs. Michael Monts • Jerry and Mary Nelson • Mike, Lonna and Callie Offner • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Malcolm and BJ Salter •

TANGLEWOODWEEK 5 SOCIETYGIVINGATTANGLEWOOD 55 Marcia and Albert Schmier • Mr. and Mrs. Ernest Schnesel • JoAnne and Joel Shapiro • Suzanne and Robert Steinberg • Norma and Jerry Strassler • Lois and David Swawite • Aso O. Tavitian • Mr. and Mrs. Edwin A. Weiller III • Anonymous (2) Koussevitzky

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Alli and Bill Achtmeyer • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Brad and Terrie Bloom • Drs. Judith and Martin Bloomfield • Mr. and Mrs. Nat Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Lynn and John Carter • Susan and Joel Cartun • The Cavanagh Family • Carol and Randy Collord • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • In memory of D.M. Delinferni • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Monroe B. England • Eitan and Malka Evan • Marie V. Feder • Mr. David Fehr • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond Friedman • Audrey and Ralph Friedner • Mr. David Friedson and Ms. Susan Kaplan • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Carol B. Grossman • Mr. David Haas • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Mr. and Mrs. Nathan Hayward III • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Jim Hixon • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Rhonda Judy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Mr. Chaim and Dr. Shulamit Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Drs. Gail and Allen Meisel • The Messinger Family • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Paul Neely • The Netter Foundation • John and Mary Ellen O'Connor • Mr. and Mrs. Gerard O'Halloran • Karen and Chet Opalka • Dr. and Mrs. Simon Parisier • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Walter and Karen Pressey • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Mary and Lee Rivollier • Barbara and Michael Rosenbaum • Lucinda and Brian Ross • Ruth and Milton Rubin • Sue Z. Rudd • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • The Shields Family • Hannah and Walter Shmerler • The Silman Family • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind •

56 Elaine Sollar and Edwin R. Eisen • Lauren Spitz • Lynn and Ken Stark • Lynn and Lewis Stein • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Mrs. Pat Strawgate • Roz and Charles Stuzin • Dorothy and Gerry Swimmer • Bill and Adrienne Taft • John Lowell Thorndike • Jerry and Roger Tilles • Jacqueline and Albert Togut • Barbara and Gene Trainor • Mr. and Mrs. Stanley Tulgan • Myra and Michael Tweedy • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Stephen M. Weiner and Donald G. Cornuet • Gail and Barry Weiss • Carol Andrea Whitcomb • Carole White • Robert and Roberta Winters • The Wittels Family • Pamela and Lawrence Wolfe • June Wu • Patricia Plum Wylde • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein

Mark and Stephanie Abrams • Dr. Burton Benjamin • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Anne and Darrel Brodke • Sandra L. Brown • Rhea and Allan Bufferd • Antonia Chayes • Lewis F. Clark, Jr. • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Leslie and Richard Daspin • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Sanford P. Fagadau • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Doucet and Stephen Fischer • John M. and Sheila Flynn • Betty and Jack Fontaine • Herb and Barbara Franklin • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Charlotte and Sheldon Gross • Michael and Muriel Grunstein • Mrs. Deborah F. Harris • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Hunt Alternatives Fund/Fern Portnoy and Roger Goldman • Jean and Ken Johnson • Miriam and Gene Josephs • Ms. Lauren Joy • Charlotte Kaitz and Family • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Ms. Phyllis B. Lambert • Mr. and Mrs. Ira S. Levy • Mr. and Mrs. Bill Lewinski • Phyllis and Walter F. Loeb • Gloria and Leonard Luria • Dr. and Mrs. Malcolm Mazow • Wilma and Norman Michaels • Mrs. Suzanne Nash • Linda and Stuart Nelson • Frank M. Pringle • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Edie and Stan Ross • Ms. Nancy Whitson-Rubin • Robert M. Sanders • Elisabeth Sapery and Rosita Sarnoff • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Mr. and Mrs. Warren Sinsheimer • Maggie and Jack Skenyon • Mr. Peter Spiegelman and Ms. Alice Wang • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Mr. and Mrs. George A. Suter, Jr. • Ingrid and Richard Taylor • J and K Thomas Foundation • Bob Tokarczyk • Diana O. Tottenham • Mr. and Mrs. Howard J. Tytel • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Michelle Wernli and John McGarry • Ms. Pamela A. Wickham • Elisabeth and Robert Wilmers • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin

‡ Deceased BSO Archives

TANGLEWOODWEEK 5 SOCIETYGIVINGATTANGLEWOOD 57 A page from the 1937 program book for the Boston Symphony Orchestra’s first concerts at Tanglewood (BSO Archives)

Tanglewood Major Corporate Sponsors 2013 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 companies 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].

Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO 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.

Clean Slate German Riesling is the proud sponsor of Opening Weekend at Tanglewood. On the steep slate hills above the winding Mosel River grow the world’s most celebrated Riesling vines. From these noble grapes comes Clean Slate, a crisp and balanced wine with ripe peach flavors and crisp notes of mineral imparted from the slate soil. Imported by Winebow, Inc. New York, NY and distributed in Massachusetts by United Liquors, a division of the Martignetti Companies. For more information, visit www.cleanslatewine.com

TANGLEWOODWEEK 5 MAJORCORPORATESPONSORS 61 From the 1937 program book for the Boston Symphony Orchestra's first concerts at Tanglewood (BSO Archives)

62 63 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives)

August at Tanglewood

Friday, August 2, 6pm (Prelude Concert) Thursday, August 8—Monday, August 12 MEMBERS OF THE BSO FESTIVAL OF CONTEMPORARY MUSIC RANDALL HODGKINSON, piano PIERRE-LAURENT AIMARD, Festival Music of Britten, Beethoven, Kurtág, and Director Ravel Friday, August 9, 6pm (Prelude Concert) Friday, August 2, 8:30pm MEMBERS OF THE BSO The Serge and Olga Koussevitzky ALLEGRA LILLY, harp Memorial Concert Music of Golijov, Tan Dun, and Schnittke BSO—STÉPHANE DENÈVE, conductor LARS VOGT, piano Friday, August 9, 8:30pm LUCY CROWE, soprano BSO—CHRISTOPH VON DOHNÁNYI, TANGLEWOOD FESTIVAL CHORUS conductor GIL SHAHAM, violin STRAUSS Death and Transfiguration BEETHOVEN Piano Concerto No. 4 SIBELIUS Violin Concerto POULENC Stabat Mater BRAHMS Symphony No. 2

Saturday, August 3, 10:30am Saturday, August 10, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 4 BSO program of Sunday, August 11

Saturday, August 3, 8:30pm Saturday, August 10, 8:30pm BSO—CHARLES DUTOIT, conductor BSO—CHRISTOPH VON DOHNÁNYI, LANG LANG, piano conductor TANGLEWOOD FESTIVAL CHORUS YEFIM BRONFMAN, piano RAVEL Pavane for a Dead Princess CARTER Sound Fields BEETHOVEN Piano Concerto No. 1 BEETHOVEN Piano Concerto No. 3 RAVEL Daphnis et Chloé (complete) BRAHMS Symphony No. 4

Sunday, August 4, 2:30pm Sunday, August 11, 2:30pm BSO—CHARLES DUTOIT, conductor BSO—CHRISTIAN ZACHARIAS, conductor YO-YO MA, cello and piano STRAVINSKY Fireworks ALL-BEETHOVEN PROGRAM DVORÁKˇ Cello Concerto Overture to The Creatures of Prometheus STRAVINSKY The Rite of Spring Piano Concerto No. 2 Symphony No. 6 in F, Pastoral Sunday, August 4, 8pm Monday, August 12, 8pm ESPERANZA SPALDING RADIO MUSIC SOCIETY Final concert of the 2013 FESTIVAL OF CONTEMPORARY MUSIC Tuesday, August 6, 8:30pm (Gala Concert) GEORGE BENJAMIN, conductor Tanglewood on Parade BENJAMIN Written On Skin, Opera in three (Grounds open at 2pm for music and activities parts (U.S. premiere) throughout the afternoon.) Concert performance, sung in English with BSO, BOSTON POPS ORCHESTRA, and supertitles TMC ORCHESTRA STÉPHANE DENÈVE, CHARLES DUTOIT, Wednesday, August 14, 8pm KEITH LOCKHART, and JOHN WILLIAMS, EMERSON STRING QUARTET conductors Music of Haydn, Britten, and Beethoven Music of Borodin, Gershwin, Bernstein, and Tchaikovsky Thursday, August 15, 8:30pm, Shed Fireworks to follow the concert “THE GOAT RODEO SHOW” Wednesday, August 7, 8pm YO-YO MA, cello CHRISTIAN ZACHARIAS, piano EDGAR MEYER, bass Music of Beethoven, Schubert, and Schumann CHRIS THILE, mandolin STUART DUNCAN, fiddle with AOIFE O’DONOVAN, vocals

Friday, August 16, 6pm (Prelude Concert) Friday, August 23, 8:30pm BSO BRASS QUINTET BSO—ANDRIS POGA, conductor Music of Lutosławski, Stevens, Vivaldi/Bach, PETER SERKIN, piano and Bozza POULENC Sinfonietta Friday, August 16, 8:30pm STRAVINSKY Concerto for Piano and Winds BEETHOVEN Symphony No. 7 BOSTON POPS ORCHESTRA KEITH LOCKHART, conductor Saturday, August 24, 10:30am MICHAEL FEINSTEIN and Friends Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Including a tribute to Marvin Hamlisch, and BSO program of Sunday, August 25 centennial celebrations of composer Jimmy Van Heusen and lyricist Sammy Cahn Saturday, August 24, 2:30pm Saturday, August 17, 10:30am FAMILY CONCERT Open Rehearsal (Pre-Rehearsal Talk, 9:30am) “Musical Storytelling,” to include music of Rimsky-Korsakov, Saint-Saëns, and BSO program of Saturday, August 17 Casinghino’s One Hen, based on the Saturday, August 17, 8:30pm children’s book by Kate Smith Milway, all performed by a wind quintet made BSO—BERNARD HAITINK, conductor up of BSO members and TMC Fellows ISABELLE FAUST, violin CAMILLA TILLING, soprano Saturday, August 24, 8:30pm John Williams’ Film Night MOZART Violin Concerto No. 5 in A, K.219 MAHLER Symphony No. 4 BOSTON POPS ORCHESTRA JOHN WILLIAMS and DAVID NEWMAN, Sunday, August 18, 2:30pm conductors The Leonard Bernstein Memorial Concert AUDRA MCDONALD, vocalist TMC ORCHESTRA—CHRISTOPH VON Film music by Alfred Newman, Henry Mancini, DOHNÁNYI, conductor Max Steiner, and John Williams, plus songs EMANUEL AX, piano performed by renowned vocalist Audra MOZART Piano Concerto No. 9 in E-flat, K.271 McDonald MAHLER Symphony No. 1 Sunday, August 25, 2:30pm Monday, August 19, 7pm BSO—BERNARD HAITINK, conductor GRACE POTTER AND THE NOCTURNALS ERIN WALL, TAMARA MUMFORD, JOSEPH with very special guest JOSH RITTER KAISER, JOHN RELYEA, vocal soloists TANGLEWOOD FESTIVAL CHORUS Tuesday, August 20, 8pm BEETHOVEN Symphony No. 9 BOSTON SYMPHONY CHAMBER PLAYERS MENAHEM PRESSLER, piano Sunday, August 25, 8pm MARCELO LEHNINGER, conductor MONTY ALEXANDER TRIO Music of Carter, Copland, Kurtág, and Mozart Thursday, August 29, 8pm Thursday, August 22, 8pm WAIT WAIT…DON’T TELL ME! DANIIL TRIFONOV, piano Saturday, August 31, 1pm Music of Scriabin, Liszt, and Chopin DONAL FOX Friday, August 23, 6pm (Prelude Concert) THE SCARLATTI JAZZ PROJECT TANGLEWOOD FESTIVAL CHORUS Saturday, August 31, 7pm JOHN OLIVER, conductor JOHN FINNEY, organ HARRY CONNICK, JR. Music of Britten EVERY MAN SHOULD KNOW TOUR Sunday, September 1, 2:30pm BOSTON POPS ESPLANADE ORCHESTRA THOMAS WILKINS, conductor

Programs and artists subject to change. 2013 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available only through the Tanglewood Box Office, SymphonyCharge, or online at bso.org Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 30, 10am Sunday, July 14, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Monday, July 15, 6pm Monday July 1, 11am and 2:30pm Prelude Concert Tuesday July 2, 11am Monday, July 15, 8pm * STRING QUARTET MARATHON The Daniel Freed and Shirlee Cohen Freed One ticket provides admission to all three Memorial Concert concerts. TMC ORCHESTRA—STEFAN ASBURY and Tuesday July 2, 2:30pm TMC CONDUCTING FELLOWS, conductors Opening Exercises (free admission; open to LAURA STRICKLING, soprano the public; performances by TMC Faculty) Music of BRITTEN and SHOSTAKOVICH Wednesday July 3, 7pm Saturday, July 20, 6pm Vocal Concert: “Fables, Folk Songs, and Prelude Concert Fantasies” Sunday, July 21, 10am Saturday, July 6, 6pm Chamber Music Prelude Concert Sunday, July 21, 7pm Sunday, July 7, 10am Vocal Concert Chamber Music Monday, July 22, 6pm Monday, July 8, 6pm Piano Prelude: Music of Debussy Piano Prelude Monday, July 22, 8pm * Monday, July 8, 8pm * The Margaret Lee Crofts Concert The Phyllis and Lee Coffey Memorial Concert TMC ORCHESTRA—STÉPHANE DENÈVE TMC ORCHESTRA—RAFAEL FRÜHBECK and TMC CONDUCTING FELLOWS, DE BURGOS and TMC CONDUCTING conductors FELLOWS, conductors Music of DEBUSSY REILLY NELSON, mezzo-soprano Saturday, July 27, 6pm (Theatre) Music of KODÁLY, HARBISON, and Prelude Concert BEETHOVEN Sunday, July 28, 10am (Theatre) Wednesday, July 10, 8pm Chamber Music Vocal Concert Saturday, July 13, 6pm Prelude Concert

TICKETS FOR TMC CONCERTS other than TMC Orchestra concerts are available at $11 in advance online, or in person one hour prior to concert start time only at the Ozawa Hall Bernstein Gate. Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orches- tra concerts of July 8, 15, and 22 and August 12 are available in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at tanglewood.org. Please note that availability of seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, TMC Orchestra concerts, and the August 12 FCM concert opera) by presenting their membership cards with bar code at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or (413) 637-5261, or visit tanglewood.org/contribute. Wednesday, July 31, 7:30pm * Thursday, August 8—Monday, August 12 Thursday, August 1, 7:30pm * 2013 FESTIVAL OF CONTEMPORARY MARK MORRIS DANCE GROUP MUSIC TMC FELLOWS Pierre-Laurent Aimard, Festival Director MARK MORRIS, choreographer and director Directed by Pierre-Laurent Aimard, the STEFAN ASBURY, conductor (Purcell) 2013 Festival of Contemporary Music CHRISTINE VAN LOON and ALLEN MOYER, highlights works of composers Helmut costume designers Lachenmann and Marco Stroppa, with JAMES F. INGALLS, lighting designer performances also of music by György ROBERT BARDO and ALLEN MOYER, Ligeti, Conlon Nancarrow, and Steve scenic designers Reich; TMC commissions by Elliott Carter BRITTEN Curlew River (east coast premiere) and Christian Mason PURCELL Dido and Aeneas (world premiere); and, to close the festi- Fully-staged productions, sung in English val, a concert performance of George Benjamin’s critically acclaimed opera Saturday, August 3, 6pm Written on Skin in its U.S. premiere. Prelude Concert Thursday, August 8, 6pm (Prelude Concert) Sunday, August 4, 10am THE NEW FROMM PLAYERS Chamber Music Music of CARTER Tuesday, August 6 * Thursday, August 8, 8pm TANGLEWOOD ON PARADE The Fromm Concert at Tanglewood 2:30pm: TMC Cello Ensemble TMC FELLOWS 3:30pm: TMC Piano Music: Liszt piano BRIAN CHURCH, narrator transcriptions of Verdi and Wagner MICHELE MARELLI, basset horn 5:00pm: TMC Vocal Concert: cabaret songs Music of MASON, STROPPA, CARTER, 8:00pm: TMC Brass Fanfares (Shed) and LACHENMANN 8:30pm: Gala Concert (Shed) Friday, August 9, 2:30pm TMC ORCHESTRA, BSO, and PIERRE-LAURENT AIMARD, piano BOSTON POPS ORCHESTRA THE NEW FROMM PLAYERS STÉPHANE DENÈVE, CHARLES DUTOIT, JACK Quartet KEITH LOCKHART, and JOHN WILLIAMS, conductors Music of CARTER, LACHENMANN, and STROPPA Music of Borodin, Gershwin, Bernstein, and Tchaikovsky Saturday, August 10, 6pm (Prelude Concert) PIERRE-LAURENT AIMARD, piano Saturday, August 10, 6pm ELIZABETH KEUSCH, soprano Prelude Concert STEPHEN DRURY, piano Saturday, August 17, 11am THE NEW FROMM PLAYERS COMPOSER PIECE-A-DAY CONCERT Music of STROPPA, LACHENMANN, Free admission and CARTER Saturday, August 17, 6pm Sunday, August 11, 10am Prelude Concert TMC FELLOWS Sunday, August 18, 10am MICKEY KATZ, cello Vocal Concert Music of NANCARROW, STROPPA, “On This Island: The Great English Poets” LIGETI, and REICH Sunday, August 18, 1pm Monday, August 12, 8pm Vocal Prelude TMC FELLOWS Schubert’s Winterreise GEORGE BENJAMIN, conductor TMC FELLOWS Sunday August 18, 2:30pm (Shed) * BENJAMIN Written on Skin (U.S. premiere; The Leonard Bernstein Memorial Concert concert performance) Supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. The Festival of Contemporary Music has been Schneider, and by Diane H. Lupean endowed in perpetuity by the generosity of Dr. TMC ORCHESTRA—CHRISTOPH Raymond and Mrs. Hannah H. Schneider, VON DOHNÁNYI, conductor with additional support in 2013 from the EMANUEL AX, piano Aaron Copland Fund for Music, the Fromm Music of MOZART and MAHLER Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlim- ited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 48th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive (photo by Kristen Seavey) programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, edu- cators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported, by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2013 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 13, 2:30pm, Tito Munoz conducts Copland’s Billy the Kid, Dvoˇrák’s Symphony No. 8, and Cowell’s Ancient Desert Drone. Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem featuring the BUTI Vocal Program, along with Britten’s Sinfonia da Requiem and Schnittke’s (K)ein Sommernachtstraum. Saturday, August 10, 2:30pm, Paul Haas conducts Respighi’s Fountains of Rome and Stravinsky’s The Rite of Spring.

WIND ENSEMBLE PROGRAMS: Sunday, July 14, 2:30pm, David Martins conducts Bernstein, Gillingham, Hart, Grainger/Rogers, Welcher, Sparke, and Navarro. Sunday, July 28, 8pm, Tanglewood Theatre, H. Robert Reynolds conducts Whitacre, Gandolfi, Tichell/Green, Turrin, Bach, and Grantham.

VOCAL PROGRAMS: Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem with the Young Artists Orchestra and Vocal Program.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Tuesday, July 30; Wednesday, July 31; Thursday, August 1.

SPECIAL CONCERT: BUTI Honors Recital, Saturday, August 3, 2:30pm, featuring select solo and chamber music ensembles from all of the BUTI Young Artist Programs.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431.

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • 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 • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs

Facilities C. Mark Cataudella, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • 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, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

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

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

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager Box Office Representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House and Visitor Center Manager • Edward Collins, Logistics Operations Supervisor • Eileen Doot, Business Office Manager • Thomas Finnegan, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Peggy and John Roethel, Seranak Innkeepers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller

Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine

Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld

Tanglewood Project Leads 2013 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Maureen O’Hanlon Krentsa and Susan Price • Friends Office, Anne Hershman and Marilyn Schwartzberg • Guide’s Guide, Audley H. Fuller and Renee Voltmann • History Project, Alexandra Warshaw • Newsletter, Sylvia Stein • Off-Season Educational Resources, Norma Ruffer • Recruit, Retain, Reward, Toby Morganstein and Carole Siegel • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, Dianne Orenstein, Mark Orenstein, and Charlotte Schluger • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman, Pam Levit Beiderman, David Rothstein, and Janet Rothstein • Tour Guides, Mort Josel and Sandra Josel FAVORITE RESTAURANTS OF THE BERKSHIRES

295 NORTH ST. PITTSFIELD 413-442-2290 www.madjacksbbqonline.com Call us for a TANGLEWOOD Picnic Pack.

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITE RESTAURANTS OF THE BERKSHIRES William Mercer Tanglewood Business Partners

The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2013 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Preparation Berkshire Tax Service, Inc. • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA Advertising/Marketing Ed Bride Associates • The Cohen Group • L.A. Communications • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm – architecture . engineering . management • Foresight Land Services • Hill Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler, AIA, Architect Art /Antiques Elise Abrams Antiques • Hoadley Gallery Automotive Biener Audi • Haddad Toyota – Subaru - Hyundai Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank and Trust Co. • TD Bank Building Supplies/Hardware/Home E. Caligari & Son • Carr Hardware • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE CONSTRUCTION CO. • Berkshire Landmark Builders • Great River Construction Co., Inc. • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • Savory Harvest Catering Consulting Barry L. Beyer • Robert Gal LLC • General Systems Company, Inc. Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Quest Connect • Marty Rudolph’s Math Tutoring Service • Thinking in Music Energy/Utilities ESCO Energy Services Company • VIKING FUEL OIL CO., INC. Financial Services American Investment Services, Inc. • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • THE BERKSHIRES CAPITAL INVESTORS • Financial Planning Hawaii • MR. AND MRS. ROBERT HABER • SUSAN AND RAYMOND HELD • Kenneth R. Heyman, CFP • Kaplan Associates L.P. • Keator Group, LLC • TD Wealth • True North Financial Services • WILMINGTON TRUST Food/Beverage Wholesale Barrington Coffee Roasting • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE Insurance Bader Insurance Agency, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. • GUARDIAN LIFE INSURANCE COMPANY OF AMERICA • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK, LLP • Michael J. Considine, Attorney at Law • Deely & Deely, Attorneys • Hochfelder & Associates, PC • MS. LINDA LEFFERT • Norman Mednick, Esq. • The Law Office of Zick Rubin • Susan M. Smith, Esq. • Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lodging/Resorts 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Comfort Inn & Suites • Berkshire Days Inn • Berkshire Holiday Inn Express & Suites • Berkshire Howard Johnson Lenox • Berkshire Travelodge Suites • Birchwood Inn • BLANTYRE • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel - Berkshires • Days Inn Lenox • Devonfield Inn • Eastgate Inn Bed & Breakfast • Eastover Hotel and Resort LLC • English Hideaway B&B • Federal House Inn • The Garden Gables Inn • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed and Breakfast Inn • Inn at Green River • The Inn at Stockbridge • Jiminy Peak Mountain Resort • Mayflower Inn & Spa • THE PORCHES INN AT MASSMOCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products AMERICAN TERRY, CO. • CRANE & CO., INC. • IREDALE MINERAL COSMETICS • New Yorker Electronics Co., Inc. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • J. Mark Albertson D.M.D., P.C. • Austen Riggs Center • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • For Eyes Optical • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Dr. Charles Mandel/Optical Care Associates • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Donald Wm. Putnoi, M.D. • Dr. Robert and Esther Rosenthal • Royal Health Care Services of New York • Chelly Sterman Associates • Suburban Internal Medicine Moving/Storage Mullen Moving, Storage & Logistics Company • QUALITY MOVING & STORAGE • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • BERKSHIRE THEATRE GROUP • Berkshire United Way • Kimball Farms Retirement Community Printing/Publishing/Photography Edward Acker, Photographer • Our Berkshire Green Publishing • QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS Real Estate Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Brause Realty Inc. • Cohen & White Associates • Barbara K. Greenfeld, Broker Associate at Roberts & Associates Realty • Hill Realty, LLC • McLean & McLean Realtors, Inc. • PATTEN FAMILY FOUNDATION • Pennington Management Co. • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Tucker Welch Properties Restaurant Alta Restaurant • Bagel & Brew • Bistro Zinc • Brava • Café Lucia • Chez Nous • Cork ’N Hearth • Firefly • Flavours of Malyasia • Mazzeo’s Ristorante • Prime Italian Steakhouse & Bar • Rouge Restaurant • Route 7 Grill Retail: Clothing Arcadian Shop • Bare Necessities • Ben’s • The Gifted Child • Glad Rags Retail: Food & Wine Barrington Bites • Bizalion’s Fine Food • Berkshire Co-op Market • Chocolate Springs Café • GOSHEN WINE & SPIRITS, INC. • Guido’s Fresh Marketplace • Nejaime’s Wine Cellars • Price Chopper Supermarkets • Queensboro Wine & Spirits • Spirited Retail: Home & Garden COUNTRY CURTAINS AT THE RED LION INN • Garden Blossoms Florist • Paul Rich & Sons • Wards Nursery & Garden Center • Windy Hill Farm, Inc. Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Specialty Contracting and Services Aladco Linen Services • R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Braman Termite & Pest Elimination • Camp Wagalot Boarding & Daycare for Dogs • Dery Funeral Homes • Pignatelli Electric • Michael Renzi Painting Company • Shire Cleaning and Janitorial • A Touch of Comfort Therapeutic Massage Travel & Transportation ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • AllPoints Drivers • Lyon Aviation • The Traveling Professor Video MYRIAD PRODUCTIONS Yoga/Wellness KRIPALU CENTER FOR YOGA & HEALTH (Note: List of donors accurate as of June 13, 2013.) 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

Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • 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 • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack ‡ Fitzpatrick • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • Kate and Al Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Samantha and John Williams • Anonymous (2)

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Chiles Foundation • 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 ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • 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 • Massachusetts Cultural Council • 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 • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall