2019•20 Season

bso andris nelsons music director 2019•20 season

week 4 sibelius elgar nielsen

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

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Takeda Pharmaceutical Company Limited www.takeda.com Table of Contents | Week 4

7 bso news 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 4 celebrating malcolm lowe 2 7 this week’s program

Notes on the Program

28 The Program in Brief… 29 Jean Sibelius 35 Edward Elgar 43 Carl Nielsen 49 To Read and Hear More…

Guest Artists

53 Dima Slobodeniouk 55 Truls Mørk

60 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on october 11 is given by bso director of program publications marc mandel.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org “A work of art is the trace of a magnificent struggle.” GRACE HARTIGAN

On view now

Grace Hartigan, Masquerade, 1954. Oil on canvas. Collection of Lizbeth and Sponsored by Generously supported by George Krupp. © Estate of Grace Hartigan. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 139th season, 2019–2020 trustees of the boston symphony orchestra, inc.

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

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

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

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

week 4 trustees and advisors 3

photos by Robert Torres and Winslow Townson

Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • John L. Klinck, Jr. • Gi Soo Lee, MD EdM • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Jean Park • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Marc Rubenstein • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jacqueline Togut • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • Linda J.L. Becker • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Lola Jaffe • Everett L. Jassy • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

Membership as of October 2, 2019

week 4 trustees and advisors 5 HOW TOWNIES BECOME INTERNATIONA L-IES. Delta now oﬀers the most international ﬂights from Boston.

Based on 2019 departures from Boston, by Delta and its airline partners. Some oﬀerings are seasonal. BSO News

Celebrating “Leipzig Week in Boston” October 27-November 2, 2019 The week of October 27-November 2 is the BSO’s third “Leipzig Week in Boston” marking the multi-dimensional alliance between the Boston Symphony Orchestra and the Gewand- haus Orchestra (GHO) of Leipzig, of which BSO Music Director Andris Nelsons became Gewandhauskapellmeister in February 2018. For this season’s “Leipzig Week in Boston,” the entire Gewandhausorchester Leipzig comes to Symphony Hall for joint concerts with the BSO on October 31, November 1 (this year’s Symphony Gala), and November 2, as well as two concerts of its own on October 27 (presented by the BSO in association with the Celebrity Series of Boston) and October 29, all to be conducted by Andris Nelsons. Among the additional “Leipzig Week” events will be two illustrated performance/discussions, free and open to the public, in Rabb Hall at the Boston Public Library, from 5:30-7 p.m. on Tuesday, October 29, and Wednesday, October 30, both to be led by Christoph Wolff, the Adams University Professor at Harvard University, former director (2001-2013) of the Bach Archive in Leipzig, and artistic advisor to the BSO/GHO Alliance. On Tuesday, October 29, BSO members will perform the first movement of Schubert’s String Quintet in C, D.956, prior to a discussion about the Gewandhaus Orchestra’s rich tradition of bringing canonical works, including landmark works of Schubert and Brahms, into the classical repertoire. On Wednesday, October 30, members of the BSO and GHO will perform Reicha’s Wind Quintet in E-flat, Opus 88, as part of a discussion illustrating the differences between the so-called “German” and “French” wind sounds and a consideration of the different sonic traditions and physical construction of the instruments themselves. For more information, please visit bso.org.

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

week 4 bso news 7 Boston Symphony Chamber Players 2019-20 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year with music of Stravinsky, Thomson, Carter, Sofia Gubaidulina, and Falla on October 20 featuring harpsi- chordist Paolo Bordignon. Upcoming programs include music of Schulhoff, György Kurtág, Martinu,˚ Reinecke, and Brahms on January 19 with pianist David Deveau; music of Kevin Puts, Eric Nathan, Smyth, and Mendelssohn on March 22 with pianist Randall Hodgkinson; and music of J.S. Bach, Dahl, and Britten, plus the world premiere of a BSO-commissioned work by Michael Gandolfi, on April 26 with baritone John Brancy. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at (888) 266-7575. For single tickets at $38, $29, and $22, please call SymphonyCharge at (617) 266-1200 or visit bso.org.

BSO 101, the BSO’s Free Adult Education Series, Resumes on Wednesday, October 16, 5:30-7 p.m. “BSO 101: Are You Listening?” returns in 2019-20, again offering the opportunity to increase your enjoyment of BSO concerts. Each of this year’s four free sessions is designed to enhance your appreciation of music through discussion with BSO players, and through guided listening to recorded excerpts of music to be performed in upcoming BSO concerts. For the first session of this season—“Sharing Traditions: The BSO and Gewandhausorchester

8 (GHO) Leipzig”— to take place in Higginson Hall on Wednesday, October 16, from 5:30-7 p.m., BSO Director of Program Publications Marc Mandel is joined by BSO violist Danny Kim, who participated in the BSO/GHO Musician Exchange program last season playing with the GHO in Leipzig, and GHO flutist Manfred Ludwig, who is playing with the BSO this fall. Since each session is self-contained, no prior musical training, or attendance at any previous session, is required. In addition, a free tour of Symphony Hall is offered immediately after each session. Though admission to the BSO 101 session is free, we request that you make a reservation to secure your place. Please call (617) 266-1200 or visit bso.org/bso101 (where further details are also available) under “Education & Community” on the BSO’s home page.

New England Conservatory and BSO Present “What I Hear” on Thursday, November 7, at 6pm, Free and Open to the Public at NEC’s Williams Hall A collaboration between the Boston Symphony Orchestra and New England Conservatory, “What I Hear” is a series of free hour-long events that introduce audiences to composers working with the BSO. These composer-curated chamber music programs feature performances by NEC students and include conversations between the composers and BSO Assistant Artistic Administrator Eric Valliere. The NEC student performances are coached and directed by NEC faculty member Stephen Drury. The first of this season’s three “What I Hear” events is on Thursday, November 7, featuring French composer Betsy Jolas, whose BSO-commissioned Letters from Bachville receives its American premiere on that evening’s 8 p.m. BSO concert with Andris Nelsons conducting. Upcoming sessions feature British composer Helen Grime on Thursday, February 7, and Austrian composer HK Gruber on Thursday, April 2. Admission is free. For more information, please visit bso.org.

BSO Community Chamber Concerts The BSO is pleased to continue its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on Sunday afternoons at 3 p.m. followed by a coffee-and-dessert reception for the audience and musicians. The first program of the season—Schubert’s String Quintet in C, featuring violinists Alexander Velinzon and Tatiana Dimitriades, violist Danny Kim, and cellists Mickey Katz and Adam Esbensen—will be performed on October 13 at Taconic High School in Pittsfield and on October 20 at the Codman Square Health Center in Dorchester. Admission is free, but reservations are required; please call (888) 266-1200. For further details about this and upcoming Community Chamber Concerts, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2019-20 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This month’s speakers are Robert Kirzinger (October 4 and October 25), Marc Mandel (October 11), and author/composer Jan Swafford (October 18).

week 4 bso news 9 boston symphony chamber players at jordan hall Founded in 1964, the Boston Symphony Chamber Players combine the talents of BSO principal players and renowned guest artists to explore the full spectrum of chamber music repertoire. The ensemble’s four-concert series takes place on Sunday afternoons at New England Conservatory’s Jordan Hall. A highlight of the 2019–20 season will be the world premiere in April of Michael Gandolfi’s BSO- commissioned new work for voices and ensemble. Single Tickets: $38, $29, $22 Please note that on the day of the concert, tickets may only be purchased at Jordan Hall. Subscription tickets for the 4-concert series are still available at $132, $95, and $75. sunday, october 20, 3pm sunday, march 22, 3pm with Paolo Bordignon, harpsichord with Randall Hodgkinson, piano STRAVINSKY Octet for winds Kevin PUTS Seven Seascapes, for flute, horn, violin, THOMSON Sonata da Chiesa, for clarinet, horn, viola, cello, double bass, and piano trumpet, trombone, and viola Eric NATHAN Why Old Places Matter, for oboe, horn, CARTER Sonata for flute, oboe, cello, and and piano harpsichord SMYTH Variations on “Bonny Sweet Robin” Sofia GUBAIDULINA Etudes, for double bass (Ophelia’s Song), for flute, oboe, and piano FALLA Concerto for harpsichord, flute, oboe, MENDELSSOHN String Quintet No. 2 in B-flat, Op. 87 clarinet, violin, and cello sunday, april 26, 3pm sunday, january pm 19, 3 with John Brancy, baritone with David Deveau, piano J.S. BACH (arr. MOZART) Preludes and Fugues for SCHULHOFF Concertino for flute, viola, and double string trio bass Michael GANDOLFI Cantata (world premiere; György KURTÁG Selection from Signs, Games, and BSO commission) Messages, for two violins DAHL Allegro and Arioso, for wind quintet MARTINŮ Nonet for winds and strings BRITTEN Sinfonietta, Op. 1 REINECKE Trio in A minor for oboe, horn, and piano, Op. 188 BRAHMS Trio in A minor for clarinet, cello, and piano, Op. 114

For tickets, call 617-266-1200 or visit bso.org. individual tickets are on sale for all concerts in the bso’s 2019-2020 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

BSO Broadcasts on WCRB extraordinary performances. Named for BSO concerts are heard on the radio at 99.5 Pulitzer Prize-winning composer and noted WCRB. Saturday-night concerts are broad- musician Walter Piston, who endowed the cast live at 8 p.m. with host Ron Della Chiesa, BSO’s principal flute chair with a bequest, and encore broadcasts are aired on Monday members of the Piston Society are recognized nights at 8 p.m. In addition, interviews with in several of our publications and offered a guest conductors, soloists, and BSO musicians variety of exclusive benefits, including invita- are available online at classicalwcrb.org/bso. tions to events in Boston and at Tanglewood. Current and upcoming broadcasts include If you would like more information about this week’s program of Sibelius, Elgar, and planned gift options and how to join the Nielsen with cello soloist Truls Mørk and Walter Piston Society, please contact Jill Ng, conductor Dima Slobodeniouk in his BSO Director of Planned Giving and Senior Indi- subscription series debut (October 12; encore vidual Giving Officer, at (617) 638-9274 or October 21); next week’s program of music [email protected]. We would be delighted to help by Bach, Beethoven, Brahms, and Bartók with you orchestrate your legacy with the BSO. Sir András Schiff doubling as conductor and piano soloist (October 19; encore October 28); and the following week’s program under Go Behind the Scenes: Susanna Mälkki of music by Fauré, Messiaen, The Irving W. and Charlotte F. Rabb and Debussy plus the American premiere of Symphony Hall Tours Dieter Ammann’s The Piano Concerto (“Gran The Irving W. and Charlotte F. Rabb Symphony Toccata”) with soloist Andreas Haefliger Hall Tours, named in honor of the Rabbs’ (October 26; encore November 4). devotion to Symphony Hall through a gift from their children James and Melinda Rabb Planned Gifts for the BSO: and Betty (Rabb) and Jack Schafer, provide Orchestrate Your Legacy a rare opportunity to go behind the scenes at Symphony Hall. In these free, guided There are many creative ways that you can tours, experienced members of the Boston support the BSO over the long-term. Planned Symphony Association of Volunteers unfold gifts such as bequest intentions (through the history and traditions of the Boston Sym- your will, personal trust, IRA, or insurance phony Orchestra—its musicians, conductors, policy), charitable trusts, and gift annuities and supporters—as well as offer in-depth can generate significant benefits for you information about the Hall itself. Tours are now while enabling you to make a larger gift offered on select weekdays at 4:30 p.m. and to the BSO than you may have otherwise some Saturdays at 5 p.m. during the BSO thought possible. In many cases, you could season. Please visit bso.org/tours for more realize significant tax savings and secure an information and to register. attractive income stream for yourself and/ or a loved one, all while providing valuable future support for the performances and Join Our Community of programs you care about. Music Lovers— When you establish and notify us of your The Friends of the BSO planned gift for the Boston Symphony As a music lover, you know how special Orchestra, you will become a member of it is to experience a performance here at the Walter Piston Society, joining a group Symphony Hall. Attending a BSO concert is of the BSO’s most loyal supporters who are a communal experience—thousands of con- helping to ensure the future of the BSO’s certgoers join together to hear 100 musicians

week 4 bso news 11 Proud to support the Boston Symphony Orchestra collaborate on each memorable performance. history.org) or at local West Stockbridge There is another community that helps to merchants (look for the “blue note” in down- make it all possible—the Friends of the BSO. town business windows). Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual Those Electronic Devices… expenses. Annual gifts from the Friends of As the presence of smartphones, tablets, and the BSO help bridge that gap, bringing the other electronic devices used for commu- joys of orchestral music to everyone. In nication, note-taking, and photography has addition to joining our family of passionate increased, there have also been continuing music lovers, you will also enjoy a variety of expressions of concern from concertgoers exclusive benefits designed to bring you closer and musicians who find themselves dis- to the music you cherish. Friends receive tracted not only by the illuminated screens advance ticket ordering privileges, discounts on these devices, but also by the physical at the Symphony Shop, and special invita- movements that accompany their use. For tions to behind-the-scenes donor events, this reason, and as a courtesy both to those such as BSO and Pops working rehearsals and on stage and those around you, we respect- much more. Friends memberships start at just fully request that all such electronic devices $100. To join our community of music lovers be completely turned off and kept from view in the Friends of the BSO, contact the Friends while BSO performances are in progress. at (617) 638-9276, [email protected], In addition, please also keep in mind that or join online at bso.org/contribute. taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. Thank you very much for your BSO Members in Concert cooperation. Founded by former BSO percussionist Frank Epstein, Collage New Music, David Hoose, music director, opens its season with a concert On Camera With the BSO entitled “Distinguishing the Aesthetic(s)”— The Boston Symphony Orchestra frequently including music of Giacinto Scelsi, Elliott records concerts or portions of concerts Carter (featuring soprano Sharon Harms), for archival and promotional purposes via Tobias Picker, and Steven Mackey—at 8 p.m. our on-site video control room and robotic on Sunday, October 20, at Pickman Hall cameras located throughout Symphony Hall. at the Longy School of Music, 27 Garden Please be aware that portions of this con- Street, Cambridge. Tickets are $30 (dis- cert may be filmed, and that your presence counts for seniors and students), available at acknowledges your consent to such photog- collagenewmusic.org. Admission includes a raphy, filming, and recording for possible use pre-concert talk at 7 p.m. and a post-concert in any and all media. Thank you, and enjoy reception. the concert. BSO members Sheila Fiekowsky, violin, Daniel Getz, viola, and Richard Ranti, bassoon, Comings and Goings... will join flutist Linda Toote, oboist Andre Please note that latecomers will be seated Bonsignore, and clarinetist Catherine by the patron service staff during the first Hudgins for music of Ibert, Bozza, Thompson, convenient pause in the program. In addition, Mozart, and Françaix in a chamber music please also note that patrons who leave the concert to benefit the West Stockbridge auditorium during the performance will not Historical Society. This performance of the be allowed to reenter until the next convenient West Stockbridge Chamber Players will pause in the program, so as not to disturb the be held on Sunday, November 3, at 2 p.m. performers or other audience members while at the Old Town Hall, 9 Main Street, West the music is in progress. We thank you for Stockbridge, MA. Tickets are $35 and can be your cooperation in this matter. reserved by e-mail (info@weststockbridge-

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H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting the longtime relationship between the great Puerto Rican pianist Jesús María Sanromá and the BSO and Boston Pops from 1923 to 1968 • An exhibit case in the Brooke Corridor spotlighting guest violin soloists with the BSO in the first decades of the 20th century • An exhibit case in the Brooke Corridor providing an overview of the BSO’s principal cellists from 1881 to the present • Two exhibit cases in the Hatch Corridor focusing on outside events at Symphony Hall, including travelogues and community-oriented activities in the first balcony corridors: • An exhibit case, audience-right, highlighting the BSO’s recent acquisition of a 1936 plaster sculpture of BSO founder Henry Lee Higginson done from life by local artist Paul Vinal Winters • An exhibit case, also audience-right, displaying photographs and postcards depicting Symphony Hall and its environs as part of Boston’s changing cityscape • An exhibit case, audience-left, documenting how patrons secured their tickets in the early years of the BSO in the cabot-cahners room: • In conjunction with the BSO’s upcoming tour to the Far East, three exhibit cases focusing on the BSO’s initial Far East tours in 1960, 1978, and 1979 • A display of photos by George Humphrey, BSO violist from 1934 to 1977, from the 1960 Far East tour

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

week 4 on display 17 Marco Borggreve

Andris Nelsons

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

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

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

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

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

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

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

week 4 andris nelsons 19 Boston Symphony Orchestra 2019–2020

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

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

u BSO/GHO Musician Exchange participant: BSO members Lisa Ji Eun Kim and Clint Marian Gray Lewis chair, Foreman play with Leipzig’s Gewandhausorchester (GHO) for the first half of the season endowed in perpetuity while GHO members Veronika Starke and Manfred Ludwig play with the BSO. Manfred Ludwig u 20 photos by Robert Torres and Winslow Townson

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

week 4 boston symphony orchestra 21

Celebrating Malcolm Lowe

Malcolm Lowe, who joined the BSO as concertmaster in 1984 during Seiji Ozawa’s music directorship, has retired following thirty-five years in that position. In 1984, Mr. Lowe became the tenth concertmaster of the BSO since its founding in 1881 and only its third since 1920. His tenure as BSO concertmaster has been exceeded by just one other in the orchestra’s 138-year history, that of Richard Burgin, whose forty-two-year tenure as concertmaster began in 1920. As concertmaster, Malcolm Lowe has been the leader of the Boston Symphony Orchestra’s

Marco Borggreve string section, as well as violinist and artistic director of the Boston Symphony Chamber Players (BSCP). For the past three-and-a-half decades, he has played as concertmaster on national and international tours as well as on numerous BSO and BSCP recordings; he has played a significant role with his BSCP colleagues in commissioning new works for the Chamber Players; and he has been heard with the BSO in major works for solo violin and orchestra, as well as in such key violin solos of the orchestral repertoire as those in Brahms’s First Symphony, Beethoven’s Missa Solemnis, Strauss’s Ein Heldenleben, and Rimsky-Korsakoff’s Scheherazade. He served on the search committee that led to Andris Nelsons’ appointment as BSO music director; he was an active participant throughout his tenure on every audition committee organized to fill vacant positions in the orchestra; and he has been a faculty member at the Tanglewood Music Center.

Born to musical parents—his father was a violinist and his mother a vocalist—on a farm in Hamiota, Manitoba, Malcolm Lowe moved with his family to Regina, Saskatchewan, at the age of nine. He studied at the Regina Conservatory of Music with Howard Leyton- Brown, former concertmaster of the London Philharmonic, and later studied with Ivan Galamian at the Meadowmount School of Music and at the Curtis Institute of Music. He also studied violin with Sally Thomas and Jaime Laredo and was greatly influenced by Josef Gingold, Felix Galimir, Alexander Schneider, and Jascha Brodsky. Prior to his Boston appointment, he was concertmaster of the Quebec Symphony Orchestra. The recipient of numerous awards, he was one of the top laureate winners in the 1979 Montreal International Violin Competition.

A BSO Archives display case celebrating Malcolm Lowe’s tenure as concertmaster of the Boston Symphony Orchestra can be found in the Brooke Corridor on the orchestra level of Symphony Hall near the Massachusetts Avenue entrance.

A Message From Malcolm Lowe

“I have decided that it is time for me to retire as the Boston Symphony Orchestra’s concertmaster, to begin a new adventure and artistic journey, and listen to the voices beckoning me to do other things with the rest of my life.

“From the bottom of my heart, I thank my orchestra colleagues and Andris Nelsons for their dedication and their ability to delve deeply into the music and ask the

24 unanswerable questions—to find the voice that lifts music from the ordinary to an extraordinary living poetry. I will cherish forever the shared moments of everyday work, moments striving in our artistic search, practicing, trying to perfect, to contribute, to give meaning to our efforts, the music, our team, and our orchestra. I am also forever grateful to our generous audiences and donors for their incredible passion and support year after year, concert after concert—their enthusiasm never wanes.

“My recovery to health and playing this summer at Tanglewood after a year’s absence due to a concussion injury has been one of my most satisfying accomplishments—truly a mountain conquered. I feel so blessed that I was able to meet this challenge and get back to full strength and power. Being able to perform again with all of my colleagues was a gift to me, and I am so very grateful to all of them for their many kind words of support and encouragement.

“It was my honor to serve as the Boston Symphony Orchestra’s concertmaster for the past thirty-five years. It was really an exciting adventure and brought unexpected meaning to a boy from the prairies of Canada.”

Some Words From Andris Nelsons

“Malcolm Lowe’s thirty-five-year career as Boston Symphony Orchestra concertmaster represents an extraordinary dedication and commitment to excellence at the highest level of music-making.

“Malcolm has inspired generations of music lovers with his exquisite musicality and beauty of sound, along with his unerring consistency of performance, time and again, at the highest levels of his art form. As only the third BSO concertmaster in nearly a century, Malcolm leaves a legacy of musical excellence and leadership that will live on among the singular accomplishments that have contributed to the BSO’s storied history and its reputation as one of the world’s greatest orchestras.”

“We are deeply indebted and grateful to Malcolm for sharing his countless musical gifts with us these many years. We wish him the very best as he moves into a beautiful new chapter of his life while remaining one of the Marco Borggreve most treasured members of the BSO family.”

week 4 celebrating malcolm lowe 25 Never A Still Life

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10 Longwood Drive | Westwood, MA 02090 | foxhillvillage.com | 781.948.9295 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 139th season, 2019–2020

Thursday, October 10, 8pm Friday, October 11, 1:30pm Saturday, October 12, 8pm dima slobodeniouk conducting sibelius “pohjola’s daughter,” symphonic fantasy, opus 49 elgar cello concerto in e minor, opus 85 Adagio—Moderato Allegro molto Adagio Allegro, ma non troppo truls mørk

{intermission} nielsen symphony no. 5, opus 50 Tempo giusto—Adagio non troppo Allegro—Presto—Andante con moto tranquillo—Allegro thursday evening’s performance of elgar’s cello concerto is supported by a gift from eric and sarah ward. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2019-20 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 9:55 and the afternoon concert about 3:25. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 4 program 27 The Program in Brief...

Jean Sibelius was intimately attuned to the history, folklore, and geography of his native Finland; his symphonies and tone poems, the latter frequently based on Finnish legend, display a musical style instantly identifiable as his own, particularly in the way he employs ingeniously contrasting colors and textures as his musical themes and structures evolve. Composed in 1906, Pohjola’s Daughter takes its inspiration from an episode of the Kalevala, the so-called “Finnish national epic,” in which the hero Väinämöinen seeks but fails to win the hand of Pohjola’s Daughter (the “maiden of North Farm”). Rather than depict the legend’s events, however, Sibelius’s “symphonic fantasy” is more concerned with atmosphere than with actual storytelling.

Edward Elgar was the most significant figure in the English musical renaissance of the late 19th century, with such large-scale works as The Dream of Gerontius and the Enigma Variations capturing the British imagination like no native music had done in centuries. By the time he wrote his Cello Concerto in 1919, Elgar was celebrated as the country’s greatest composer. Written after the tragedy of the First World War, the concerto is often thought to be a response to those years. It would be his last significant piece; Elgar virtually lost his will to write music following his wife Alice’s death in 1920. Due to woefully inadequate rehearsal time, the premiere in October 1919, with Felix Salmond and the London Symphony Orchestra led by the composer, was a disaster. This was probably a factor in the concerto’s slow acceptance into the repertoire until a celebrated 1965 recording by Jacqueline du Pré with John Barbirolli and the LSO. It has since become one of the handful of true repertoire concertos for the instrument.

Whereas Sibelius’s music was internationally championed during his lifetime by such conductors as Serge Koussevitzky and Thomas Beecham, the music, or, to be more specific, the symphonies of Danish composer Carl Nielsen—who was born the same year as Sibelius— found their warranted place in the repertoire only after his death. Nielsen is recognized not just as the “initiator of the modern Danish school of music” (to quote Nicolas Slonimsky), but as a bold experimentalist whose modernist approach to harmony, musical architecture, and treatment of the orchestra work in combination with folk-based elements and what we might think of as an expanded Romantic affect.

Distinctive elements of Nielsen’s Fifth Symphony (1922) include its two-movement structure, the first built in two parts, the second in four; his use of “progressive tonality,” the work end- ing in a key different from where it began; and, in the Adagio section of the first movement, the opposition of the snare drum against the orchestra as a whole, reflecting what Nielsen likened to “the division between dark and light, the fight between good and evil.” Unlike his symphonies 2 (The Four Temperaments), 3 (Sinfonia espansiva), 4 (The Inextinguishable), and 6 (Sinfonia semplice), the Fifth lacks a descriptive title—though the composer once suggested that if it had one, it could have been “Dream and Deeds.” Of this symphony, David Fanning has written that “if only a dozen symphonies were destined to survive from the twentieth into the twenty-first century Nielsen’s Fifth, by the scope of its humanity and musicality, would have a good claim to be among them.”

Marc Mandel/Robert Kirzinger (Elgar)

28 Jean Sibelius “Pohjola’s Daughter,” Symphonic fantasy, Opus 49

JEAN (JOHAN JULIUS CHRISTIAN) SIBELIUS was born at Hämeenlinna (Tavestehus in Swedish), Finland, on December 8, 1865, and died at Järvenpää, at his country home near Helsingfors (Helsinki), on September 20, 1957. He took the gallicized form of his first name in emulation of an uncle. “Pohjola’s Daughter” was composed and published in 1906, and was first performed that December in St. Petersburg, under the composer’s direction. Sibelius first conducted the work in Finland at a concert of the Helsingfors (Helsinki) Orchestra on September 25, 1907. It was also he who led the first American performance, on June 4, 1914, at a concert of the Litchfield County Choral Union in Norfolk, Connecticut, while on a visit to this country.

THE SCORE OF “POHJOLA’S DAUGHTER” calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, two cornets, two trumpets, three trombones, tuba, timpani, harp, and strings.

Sir Arnold Bax compared Sibelius’s countenance to that of a Viking warrior—“an arresting, formidable-looking fellow, born of dark rock and northern forest”—and wrote that, in later life, the composer suggested “an embodiment of one of the primeval forces that pervade the Kalevala [about which see below].” Bengt de Torne, one of Sibelius’s biogra- phers, recalled that One day I mentioned the impression which always takes hold of me when returning to Finland across the Baltic, the first forebodings of our country being given us by low, reddish granite rocks emerging from the pale blue sea, solitary islands of a hard, archaic beauty, inhabited by hundreds of white sea-gulls. And I concluded by saying that this landscape many centuries ago was the cradle of the Vikings. “Yes,” Sibelius answered eagerly, and his eyes flashed, “and when we see those granite rocks we know why we are able to treat the orchestra as we do!”

In the spring of 1889, in his last days as a student at the Helsinki Conservatory, Sibelius was named “foremost amongst those who have been entrusted with bearing the banner

week 4 program notes 29 Program page for the first Boston Symphony Orchestra performances of “Pohjola’s Daughter” on January 12 and 13, 1917, with Karl Muck conducting (BSO Archives)

30 Sibelius walking in the woods near his home

of Finnish music” by the influential Finnish critic Karl Flodin, and the first performance on April 28, 1892, of the twenty-six-year-old composer’s eighty-minute-long symphonic poem Kullervo for soloists, male chorus, and orchestra proved something of a national event. Soon after this came the symphonic poem En Saga, written for Robert Kajanus, conductor of the Helsingfors (Helsinki) Philharmonic; Kajanus was a champion of Finnish music and of Sibelius in particular. The music of the Karelia Suite, which Sibel- ius composed for an historical pageant at the University of Helsingfors, followed.

Kullervo drew its inspiration from the so-called “Finnish national epic,” the Kalevala, a conflation of Finnish folk talks, lyrics, narrative, and magic charms actually compiled in 1835 after extensive field research by Elias Lönnrot and then expanded fourteen years later to twice its original length by Lönnrot and David Europaeus. The Kalevala served Sibelius on several occasions; one of these involved an abortive operatic project, The Building of the Boat, which occupied the composer for well over a year. The Finnish Society of Letters had announced an opera competition, the subject to be drawn from Finnish history or mythology, at least two years before Sibelius took up the idea in the summer of 1893. For his story he turned to section 8 of the Kalevala, in which the hero Väinämöinen attempts to win the hand of Pohjola’s Daughter (Pohjola is the “North Farm,” an important Kalevala locale; “Pohjola’s Daughter” is, if you will, the “maiden of North Farm”) by attempting several tasks assigned him: cleaving a swan with a point- less knife, knotting an egg with invisible knots, pulling birchbark from a stone, breaking poles from a piece of ice, and, finally, building a boat from the splinters of her spindle. In this last attempt, Väinämöinen fails, wounding himself badly with his own ax and departing in distress.

Though Sibelius abandoned The Building of the Boat, he returned to this same story a decade later for his “symphonic fantasy,” Pohjola’s Daughter. By the time that was com-

week 4 program notes 31 pleted in 1906, he had behind him his first two symphonies and the Violin Concerto, and the Third Symphony was in progress. The music is unmistakably Sibelian in the way it forms itself, building slowly, motifs and then phrases coalescing over long-held fundamental notes, inexorably pressing forward to big climaxes, then instantly changing color and character to being the process again and at different rates of growth. And all somehow very appropriate to and suggestive of the northern geography and folklore its composer knew so well, and which were so much a part of him.

Pohjola’s Daughter is, as its subtitle tells us, a “symphonic fantasy” rather than an actual musical depiction of the legend’s events. The first section of the music builds in tempo, texture, and dynamic level from a spare, evocative cello solo to a fortissimo climax for full orchestra; one may hear in this a musical characterization of the hero

32 Väinämöinen. Then—an instantaneous change of sound and place, as open-voiced strings and harp arpeggios suggest the maiden of the North Farm at her spinning wheel. Or, as the Kalevala tells us: Lovely was the maid of Pohja, Famed on land, on water peerless, On the arch of air high-seated, Brightly shining on the rainbow, Clad in robes of dazzling lustre, Clad in raiment white and shining; There she wove a golden fabric, Interwoven all with silver, And her shuttle was all golden, And her comb was all of silver.

After this, the materials of these two musical portraits alternate, conflict, and interweave, musical discourse taking precedence over actual storytelling. Near the end, there is an extraordinary piling up of string sound, as basses are joined in quick succession by cellos, violas divided in two, second then first violins divided in three, all leading to a final statement for brass of the heroic Väinämöinen theme. But after a triple-forte climax, the full orchestral texture evaporates to pianissimo strings, fading to a soft ascent (pp to triple-piano) of muted violins and, at the last, a faint, gloomy moan of cellos and basses.

Marc Mandel marc mandel is Director of Program Publications of the Boston Symphony Orchestra.

THE FIRST AMERICAN PERFORMANCE OF “POHJOLA’S DAUGHTER” was given (as stated above) on June 4, 1914, Sibelius conducting, at a concert of the Litchfield Country Choral Union in Norfolk, Connecticut.

THE FIRST BSO PERFORMANCES OF “POHJOLA’S DAUGHTER” were led by Karl Muck on January 12 and 13, 1917. Muck conducted further BSO performances in March 1918, in Boston and New York, subsequent ones being given only by Serge Koussevitzky (numerous occasions at home and on tour between December 1935 and December 1950, though never at Tanglewood) and Colin Davis (March 1980 in Boston, New Haven, and Philadelphia, plus a recording that month as part of the conductor’s famed Sibelius cycle with the BSO for Philips).

week 4 program notes 33

Edward Elgar Cello Concerto in E minor, Opus 85

SIR EDWARD ELGAR was born in the village of Broadheath, just outside of Worcester, England, on June 2, 1857, and died in Worcester on February 23, 1934. He wrote the “moderato” theme of the first movement of the Cello Concerto on March 23, 1918 (after returning home from hos- pital following a tonsillectomy), began concentrated work on the piece that July, and completed it on August 3, 1919. The composer conducted the first performance on October 27, 1919, with the London Symphony Orchestra and soloist Felix Salmond in the Queen’s Hall, London. The score is dedicated to Elgar’s friends Sidney and Frances Colvin.

IN ADDITION TO THE CELLO SOLOIST, the concerto calls for an orchestra of two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings.

Only for twenty of his seventy-six years did Elgar enjoy the simultaneous benefits of fame and creative abundance. For the first forty-two years he was unknown in the wider world, and for the last fourteen his muse was in retirement, if not quite still. The work that closed this twenty-year period of high creativity was the Cello Concerto, completed in the summer of 1919. A year later, with the death of his beloved wife Alice, Elgar with- drew more and more from public life and wrote no more masterpieces.

His slow progress toward national recognition was no doubt due to the fact that he grew up far from London and did not study with someone who could have helped him on his way. He was largely self-taught and did not at all match people’s notion of a typical composer, expected in those days to be an aesthete in the manner of Oscar Wilde, or at least a foreigner. A friend who had played under his direction described him as “a very distinguished-looking English country gentleman, tall, with a large and somewhat aggressive moustache, a prominent but shapely nose and rather deep-set but piercing eyes. It was his eyes perhaps that gave the clue to his real personality: they sparkled with

week 4 program notes 35 Program page for the first Boston Symphony performance of Elgar’s Cello Concerto on April 12, 1955, with soloist Maurice Eisenberg under the direction of Charles Munch (BSO Archives)

36 humour, or became grave or gay, bright or misty as each mood in the music revealed itself. He looked upstanding, and had an almost military bearing. He was practical to a degree, he wasted no time. The orchestra, it is almost needless to say, adored him.”

Until the success of the Enigma Variations in London in 1899, he was regarded as a provincial composer, which indeed he was, composing mostly for the regional festivals that flourished in late Victorian England. Then the great works appeared in steady succession: The Dream of Gerontius, Sea Pictures, the Pomp and Circumstance marches, In the South, the Introduction and Allegro for strings, the First Symphony, the Violin Concerto, the Second Symphony, Falstaff, and a group of three chamber works composed toward the end of the war: the Violin Sonata, the String Quartet, and the Piano Quintet. These three works were composed at Brinkwells, the house in Sussex where the Elgars moved in 1917. It was odd that Elgar should live anywhere but in his beloved West Country, but this house brought him respite from the constant anxieties of the war, and is readily associated with the leaner, more reflective style that the Cello Concerto perfectly illus- trates. A letter written at this time describes his routine: “I rise about seven work till 8-15 – then dress, breakfast – pipe (I smoke again all day!) work till 12-30 lunch (pipe) – rest an hour – work till tea (pipe) – then work till 7-30 – change, dinner at 8. Bed at 10 – every day practically goes thus... We go for lovely walks... the woods are full of flowers, wonderful...”

On September 26, 1918, with the war still on, Elgar’s wife’s diary recorded “wonderful new music, real wood sounds & other lament wh. shd. be in a war symphony.” But this was to be a concerto, not a symphony, and as it neared completion the following summer, Elgar described it as “a real large work & I think good & alive.” The Cello Concerto was completed in August 1919 and first performed in the Queen’s Hall, London, on October 26 of that year with Felix Salmond as the soloist and Elgar himself conducting. In the cello section of the orchestra (the London Symphony Orchestra) was a future

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conductor, John Barbirolli, then aged nineteen, who was later to conduct an historic recording of the work with Jacqueline du Pré. On that first night Elgar had been given too little rehearsal time, and the main impression was of orchestral incompetence. Ernest Newman reported that the orchestra “made a lamentable public exhibition of itself.” Later the work came to be recognized as one of the handful of supreme concertos for the instrument. In 1928 Elgar conducted a recording of the work with Beatrice Harrison as the soloist. The original soloist, Salmond, moved to the United States in 1922, and after a brief spell teaching at the Juilliard School he was head of the cello department at the Curtis Institute from 1925 to 1942. Among his pupils were Bernard Greenhouse and Leonard Rose.

We may discern in the Cello Concerto a sentiment of resignation and even of despair generated from within by that strong vein of melancholy that had always been an ines- capable element of Elgar’s music, and from without by the desolating impact of the Great War. But the Cello Concerto is not a threnody, nor even, so far as we can tell, a deliberately planned swansong. It is reflective, playful, tearful, and energetic by turns, like all his best music, and we underestimate the work if we attach too much to its autumnal character. Many of its pages might have been summoned into existence by the Wand of Youth.

Unlike the traditional concerto it has four movements, not three. Brahms’s Second Piano Concerto had expanded the form to four movements and taken on mighty symphonic proportions, but Elgar here has four movements not for length and weight but for diversity and contrast. The movements are all concise, especially when compared to the expansive landscape of the Violin Concerto’s three movements. As in his two symphonies, the two central movements, a scherzo and a slow movement, offer a complete contrast in momentum and temper. The declamatory opening of the work recurs

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40 truncated at the beginning of the scherzo and in full, this time with marvelously valedic- tory effect, at the end of the finale.

After a declamatory opening for the soloist, the first movement’s gentle lilt is far removed from any pomp or circumstance. Over the meandering first theme Elgar wrote in his sketchbook “very full, sweet and sonorous,” and although the whole orchestra tries to give it breadth, it ends as it began, bleak and bare. The scherzo that follows is in 4/4 time with bustling sixteenths reminiscent of the Introduction and Allegro for strings of many years earlier. There is a brief expressive phrase offered here and there in contrast, but lightness prevails.

For the slow movement Elgar indulges unashamedly in the yearning phrases and sliding harmony that breathe nostalgia and tranquility. This is not a lament but a private world of sweetness so direct and complete that it requires no development or expansion. For all its heartrending beauty, the movement is short, and its half-close leads directly into the finale. Here, after another declamatory start, the movement settles into a sturdy rhythm which proceeds in a businesslike and oddly impersonal fashion right through to the closing pages. Then, as if yielding to some fatal destiny, Elgar adds an epilogue in slow tempo as passionate as anything he had ever written, full of drooping phrases and desperate gestures, like a dying man reaching up for help. There is asperity too, in the harmony, and the music slides inevitably into a brief memory of the slow movement followed by the work’s opening statement and a brief energetic (and surely ironic) close.

Hugh Macdonald hugh macdonald, general editor of the New Berlioz Edition, was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich, including biographies of Berlioz, Bizet, and Scriabin, and a recently completed book on the operas of Saint-Saëns.

WHAT MAY HAVE BEEN THE FIRST AMERICAN PERFORMANCE of Elgar’s Cello Concerto was given by the Saint Louis Symphony with Vladimir Golschmann conducting and soloist Max Steindel on January 19, 1934.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF ELGAR’S CELLO CONCERTO was conducted by Charles Munch with soloist Maurice Eisenberg on April 12, 1955 (a single Tuesday-night performance). Subsequent BSO performances featured Jacqueline du Pré (with Daniel Barenboim conducting), Zara Nelsova (William Steinberg: the first BSO subscription series to include the piece, in December 1969), Ralph Kirshbaum (Myung-Whun Chung), Yo-Yo Ma (on five occasions between August 1989 and August 2010, with Jeffrey Tate in August 1989; André Previn in February 1990, in Boston and New York; John Williams in August 1993 and August 2003; and Charles Dutoit in August 2010), Lynn Harrell (with Tate, Neville Marriner, and Julian Kuerti), and Mischa Maisky (Yan Pascal Tortelier). Yo-Yo Ma has returned to perform Elgar’s Cello Concerto on two further occasions: for the BSO’s most recent Tanglewood performance, on August 11, 2012, with Stéphane Denève conducting; and for the most recent subscription performances, in October 2016, again with Dutoit conducting.

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Become part of a 62+ community where daily activities, classes and social events keep you energized and engaged at natick Carl Nielsen Symphony No. 5, Opus 50

CARL AUGUST NIELSEN was born in Sortelung, Denmark, on June 9, 1865, and died in Copenhagen on October 3, 1931. He composed his Symphony No. 5 between October 1920 and January 15, 1922, and himself conducted the Musikforeningen Orchestra in the symphony’s first performance the following week, on January 24, 1922, in Copenhagen.

THE SCORE OF NIELSEN’S SYMPHONY NO. 5 calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, cymbals, triangle, tambourine, snare drum, celesta, and strings.

In the 19th century Scandinavian composers normally studied in Germany as soon as they could acquire the necessary fundamentals in their home countries. Conservatories established in Stockholm and Copenhagen were often staffed by German musicians, and the better students generally progressed to Berlin, Leipzig, or Vienna for further study. The exchange of skills and experience was profitable for all. But by the time Carl Nielsen came of age, it was widely felt that northern composers should preserve their independence from the great German tradition, and that without pursuing a narrow nationalist path on the basis of folk melodies (which some felt the Russians and Czechs had taken to excess) they should express a distinctive character of their own. While his friend Sibelius took a course of strict study in Berlin, Nielsen, having grounded his studies at the Copenhagen Conservatory, preferred to travel from one city to the next in Germany, France, and Italy, sampling and savoring the music he encountered along the way. He returned to Denmark as Sibelius did to Finland, both determined to put their countries on the musical map by the sheer force of their creative personalities, not by waving a flag.

Nielsen was a man of simple origins, brought up in poverty far from any city, and largely self-taught in music. Throughout his life he reached out for new ideas, new experience, and a greater understanding of the world of feeling and expression. He was highly active

week 4 program notes 43 Program page for the first Boston Symphony Orchestra performances of Nielsen’s Symphony No. 5 on November 6 and 7, 1953, with Charles Munch conducting (BSO Archives)

44 in all musical spheres, as composer, violinist, conductor, and teacher, and he traveled widely. He rose steadily to a supreme position in Danish musical life and at the time of the composition of the Fifth Symphony was conductor of Copenhagen’s long-established concert society, the Musikforeningen, at the head of whose orchestra he presented his new work as soon as it was finished, early in 1922.

He is everywhere regarded as the greatest of Danish composers, yet only a few of his works are regularly heard outside of Denmark, and his star shines only fitfully in the bright constellation that includes his friends and fellow Nordic composers Sibelius and Stenhammar, not to mention the plethora of creative talent that challenged the ears of Europe and America in the first years of the 20th century—Mahler, Debussy, Strauss, Scriabin, Schoenberg, Elgar, Roussel, Szymanowski, to mention only a few. Many of these composers regarded the symphony as their prime creative outlet, as did Nielsen, and the inheritance from Beethoven was still the driving impulse behind their conception of form and expression. Despite the allure of novelty to which all the arts succumbed in those years, Nielsen remained true to his original ideals, which he found in the music of Haydn and Mozart, and in the language of traditional tonality. He never wrote for the huge orchestras so fashionable around 1910. As in Sibelius, there is a certain austerity in Nielsen’s orchestral palette (in the Fifth Symphony there is no bass clarinet, no English horn, and no harp). He avoided sensationalism and sentimentality, and strove to write music that presented its own arguments and reached its own solutions. A Nielsen

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week 4 program notes 45 symphony is a self-contained experience that demands no more than willing concentra- tion and a sympathetic, discerning ear.

The character of his music is embodied in the titles he gave to three of his six symphonies. No. 3 is “expansive,” No. 4 is “inextinguishable,” and No. 6 is “simple.” Contradictory though these may seem, Nielsen felt strongly that music should be wide-ranging, explor- atory, searching, and self-confident, but always simple. The Fifth has no subtitle, but there are many that a fine performance might suggest: a challenge for every listener. When Nielsen was asked about the nature of the symphony, he replied: “I roll a stone up a hill, use the energy I have in me to get the stone up to a high point. And there the stone lies still. The energy is tied up in it—until I give it a kick, and the same energy is released and the stone rolls down again.”

Nielsen divided his symphony into two movements, the first itself in two parts, the second in four. There is something anarchic about the first movement, remote from classical models. Surprises are so frequent in this work as to be expected, paradoxically, although certain patterns can be sustained for quite a long time. There is an obsessive character in some of the music, like a dog with a bone, perhaps illustrated by repeated notes making up a theme, perhaps strong gestures repeated, unaltered, at intervals. What makes the opening of the first movement so distinct is a sense of immobility, the harbinger of a big work, and the independence of events. A long wavering figure on the violas continues for pages, as if deaf to violent interventions from the winds and independent of steadier themes elsewhere. The timpani pound away at two notes impervious to melodies and cries elsewhere, and a sense of separateness persists to the end of the section.

The second section (Adagio non troppo), in contrast, offers a homogeneous orchestra, melodious and warm. But eventually more insect-like intrusions from the upper winds attempt to disturb the steady flow. The ultimate gesture of independence arrives when the snare drum, until now conforming to the rhythmic pulse of the movement, strides

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46 Carl Nielsen’s residence at Frederiksholms Kanal 28, in Copenhagen

off on its own, refusing even to be part of the orchestra. The composer instructed the drummer to “improvise, as if at all costs to stop the progress of the music.” Chaos ensues, but the progress of the music is never actually stopped. The clarinet eventually sings what seems like a lament for ruin and desolation, now past.

The second movement is held together by the return of its opening at the end. This opening section has a strong symphonic feel, with contrasting themes and textures, and the usual intrusive surprises. It gives way to a whispering scherzo (Presto), a fugue led off by the first violins and embracing all the strings in turn. The spirit of Beethoven is alive here now. The Andante section is another fugue, mysterious in character and based on a slow version of the movement’s main theme. It grows into a reprise of the opening Allegro and a final apotheosis that resolves the hazardous journey this music has pursued since the start.

Hugh Macdonald

THE FIRST AMERICAN PERFORMANCE OF NIELSEN’S SYMPHONY NO. 5 took place in Washington, D.C., on January 3, 1951, with Erik Tuxen conducting the National Symphony Orchestra.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF NIELSEN’S SYMPHONY NO. 5 were led by Charles Munch on November 6 and 7, 1953, subsequent BSO performances being given by Sixten Ehrling (March 1968), Michael Tilson Thomas (December 1970 in Boston and Providence, followed by a Carnegie Hall performance in March 1971 and the BSO’s only Tanglewood performance that August 21), Andrew Davis (November 1983), and Simon Rattle (January 1993).

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Here’s to the Boston Symphony Orchestra. They always arrange things so beautifully. 617-245-4044 • gailroberts.com To Read and Hear More...

Robert Layton’s Sibelius in the Master Musicians series is a useful life-and-works study (Schirmer). The major biography of Sibelius, in Finnish, is by Erik Tawaststjerna. All three volumes have been translated into English by Robert Layton, but only the first two were published in this country (University of California; the third volume was published by Faber & Faber in London). Also useful are Andrew Barnett’s Sibelius, a detailed, single-volume study of the composer’s life and music (Yale University Press), and The Sibelius Companion, edited by Glenda Dawn Ross, a compendium of essays by a variety of Sibelius specialists (Greenwood Press). English-language editions of the Kalevala, the collection of Finnish folk legends that served as inspiration for a number of Sibelius’s works, include translations by Francis Peabody Magoun, Jr. (Harvard University paperback) and Keith Bosley (Oxford World’s Classic paperback).

The Boston Symphony Orchestra recorded Pohjola’s Daughter with Colin Davis conducting in 1980 as part of his standard-setting Sibelius cycle with the BSO (Philips). Serge Koussevitzky had previously recorded it with the BSO decades earlier, in 1936 (RCA; reissued on Naxos and Pearl CDs). An historic recording led by the early Sibelius champion Robert Kajanus is included in the seven-CD box set “Jean Sibelius: Historical Recordings and Rarities, 1928-1948” (Warner Classics). Other recordings of Pohjola’s Daughter include Hannu Lintu’s with the Finnish Radio Symphony Orchestra (Ondine), Jukka-Pekka Saraste’s live with the London Philharmonic (Lpo), Osmo Vänskä’s with the Lahti Symphony Orchestra (BIS), and Arturo Toscanini’s powerful 1940 broadcast performance with the NBC Symphony Orchestra (originally RCA).

Among the most important studies of Elgar and his music is Michael Kennedy’s Portrait of Elgar (Oxford). Kennedy is also the author of The life of Elgar in the series “Musical lives” (Cambridge University paperback) and of the compact BBC Music Guide Elgar Orchestral Music (University of Washington paperback). Another big biography is Jerrold Northrop Moore’s Edward Elgar: A Creative Life (Oxford). Moore also edited Edward Elgar: Letters of a Lifetime (Oxford) and produced a discography of Elgar’s work as a conductor, Elgar on Record: The Composer and the Gramophone (out of print). Edward Elgar, Modernist by J.P.E. Harper Scott, published in 2006, is described as “the first full-length analytical study of Edward Elgar’s music” (“Music in the 20th Century,” volume 20, Cambridge University Press; expensive). From 2007, and much more affordable, is Edward Elgar and his World, a compilation of essays originating from the Bard Music Festival and edited by Byron Adams (Princeton University paperback). Also from 2007 is Elgar: An Anniversary Portrait, a valuable collection of essays assembled and introduced by Nicholas Kenyon

week 4 read and hear more 49 50 (Continuum). Ian Parrott’s Elgar is part of the “Master Musicians” series (Dent). Much older books include recollections by the violinist W.R. Reed (who assisted the composer with the solo part in the Violin Concerto) in Elgar As I Knew Him (Oxford) and by two of the composer’s friends: Edward Elgar: Memories of a Variation by Mrs. Richard Powell, the “Dorabella” of Elgar’s Enigma Variations (Methuen), and Edward Elgar: The Record of a Friendship by Rosa Burley, headmistress of the school where he taught for a while (Barrie & Jenkins). Michael Steinberg’s notes on Elgar’s Cello Concerto and Violin Concerto are in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback).

Truls Mørk recorded Elgar’s Cello Concerto with Simon Rattle and the City of Birming- ham Symphony Orchestra (Warner Classics and Erato). Elgar himself took the podium for two recordings of the Cello Concerto, both with Beatrice Harrison as soloist, the first, abridged, in 1920, the second, in 1928, with the London Symphony Orchestra (the latter recording for a while being paired on an EMI “Great Recordings of the Century” CD with Elgar’s 1932 recording of his Violin Concerto with Yehudi Menuhin). Another historical recording of note, from 1945, has cellist Pablo Casals with Adrian Boult and the BBC Symphony Orchestra (EMI and other labels). Modern recordings feature (among others, and listed alphabetically by soloist) Jacqueline du Pré, either live in 1970 with Daniel Barenboim and the Philadelphia Orchestra (Sony) or in her famous 1965 studio account with John Barbirolli and the London Symphony Orchestra (Warner Classics; originally EMI), Lynn Harrell with Lorin Maazel and the Cleveland Orchestra (London/Decca), Steven Isserlis with Richard Hickox and the London Symphony Orchestra (Virgin Classics), Ralph Kirshbaum with Alexander Gibson and the Royal Scottish National Orchestra (Chan- dos), Yo-Yo Ma with André Previn and the London Symphony Orchestra (Sony), Johannes Moser with Andrew Manze and the Orchestre de la Suisse Romande (Pentatone), and Daniel Müller-Schott with André Previn and the Oslo Philharmonic (Orfeo).

Books about Nielsen include Carl Nielsen: Symphonist by Robert Simpson, long considered the best study of the composer’s symphonic works (Taplinger; published originally in 1952, revised 1979; Kahn & Averill paperback, 1986); Jack Lawson’s Carl Nielsen in the copiously illustrated “20th-Century Composers” series (Phaidon paperback), and The Nielsen Companion, edited by Mina F. Miller (Amadeus Press). A Guide to the Symphony, edited by Robert Layton, includes a chapter on Nielsen by David Fanning (Oxford paperback). It was Fanning who contributed the entry on Nielsen in the 2001 Grove Dictionary of Music and Musicians. Also worth noting is Carl Nielsen and the Idea of Modernism by Daniel M. Grimley (Boydell Press).

Recordings of Nielsen’s Symphony No. 5 include Herbert Blomstedt’s with the Danish Radio Symphony Orchestra (EMI) and San Francisco Symphony (Decca), Osmo Vänskä’s with the BBC Scottish Symphony (BIS), Paavo Berglund’s with the Royal Danish Orches- tra (RCA), Sir Colin Davis’s with the London Symphony Orchestra (LSO Live), Gustavo Dudamel’s with the Gothenburg Symphony Orchestra (Deutsche Grammophon), and Leonard Bernstein’s with the New York Philharmonic (Sony).

Marc Mandel

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Dima Slobodeniouk

Making his BSO subscription series debut this week, Dima Slobodeniouk has been principal conductor of the Lahti Symphony Orchestra and artistic director of that orchestra’s international Sibelius Festival since the 2016-17 season; his tenure in both positions was recently extended until summer 2021. In addition, he has been music director of the Orquesta Sinfónica de Galicia since 2013. Linking his native Russian roots with his musical studies in Finland, he draws on the powerful musical heritage of both countries. Last season he made his debut with the Concertgebouworkest in Amsterdam and on tour in Copenhagen, Gothenburg, and Tallinn. He also works with such ensembles as the Berlin Philharmonic, the Gewandhausorchester Leipzig, the Bavarian Radio Symphony Orchestra, the Radio Sin- fonieorchester Berlin, Vienna’s ORF Radio-Symphonieorchester, the London Philharmonic, London Symphony Orchestra, Finnish Radio Symphony Orchestra, Rotterdam Philharmonic, and the Chicago, Houston, Baltimore, and Sydney symphony orchestras. Highlights of 2019-20 include his debuts with the NHK Symphony Orchestra, Seoul Philharmonic, Tonhalle Orchester Zürich, Vienna Symphony, San Francisco Symphony, and Cleveland Orchestra; and return appearances with the London Philharmonic, Netherlands Radio Philharmonic, and Houston Symphony. Mr. Slobodeniouk opens the Orquesta Sinfónica de Galicia’s 2019-20 season with Stravinsky’s Symphony of Psalms, later touring with appearances including the Centro Nacional de Difusión Musical Madrid with Isabelle Faust as soloist. With the Lahti Symphony he celebrates the twentieth anniversary of the Sibelius Festival. Other soloists he works with include Nicolas Altstaedt, Leif Ove Andsnes, Khatia Buniatishvili, Vilde Frang, Vadim Gluzman, Johannes Moser, Baiba Skride, Simon Trpˇceski,

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54 Yuja Wang, and Frank Peter Zimmermann. Recent additions to Mr. Slobodeniouk’s discography include works by Stravinsky with Ilya Gringolts and the Orquesta Sinfónica de Galicia and works by Aho with the Lahti Symphony Orchestra, the latter receiving the BBC Music Magazine award in April 2018. Born in Moscow, Dima Slobodeniouk studied violin at the Central Music School under Zinaida Gilels and J. Chugajev, at the Middle Finland Conservatory, and at the Sibelius Academy under Olga Parhomenko. He continued his Sibelius Academy studies with Atso Almila with guidance from Leif Segerstam and Jorma Panula, and has also studied under Ilya Musin and Esa-Pekka Salonen. Dima Slobodeniouk has made two previous appearances with the Boston Symphony Orchestra, both at Tanglewood: his BSO debut in August 2018 leading a program of Borodin, Wieniawski, and Prokofiev, and a return Tanglewood appearance this past August for a program of Rachmaninoff and Sibelius.

Truls Mørk

Truls Mørk has established himself as a preeminent cellist of our time. He has appeared with such distinguished European orchestras as the Orchestre de Paris, Berlin Philharmonic, Vienna Philharmonic, Amsterdam’s Royal Concertgebouw Orchestra, the Munich Phil- harmonic, London’s Philharmonia Orchestra, the London Symphony, and the Gewand- hausorchester Leipzig. In North America he has appeared with the major orchestras of Boston, New York, Los Angeles, Philadelphia, and Cleveland. Conductors with whom he has collaborated include Mariss Jansons, David Zinman, Manfred Honeck, Esa-Pekka Salonen, Gustavo Dudamel, Sir Simon Rattle, Kent Nagano, Yannick Nézet-Séguin, and Christoph Eschenbach. Engagements this season include appearances with the Cleveland Orchestra, Royal Concertgebouw Orchestra, Rotterdam Philharmonic, and London Symphony. Follow- ing highly successful performances last season, Mr. Mørk will give the Japanese premiere of Esa-Pekka Salonen’s Cello Concerto with the composer conducting the Philharmonia Orchestra. In collaboration with Klaus Makela, he will also perform the concerto with the Philharmonique de Radio France and the Oslo Philharmonic. This season, as artist- in-residence with the Swedish Radio Symphony Orchestra, Mr. Mørk gives the world

week 4 guest artists 55 GET LOST.

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on-air • online • in the app | classicalwcrb.org premiere of Victoria Borisova-Ollas’s cello concerto, Oh Giselle, Remember Me, with conductor Cristian Mˇacelaru. A champion of contemporary music, Truls Mørk has given more than thirty premieres, among them Rautavaara’s Towards the Horizon with the BBC Symphony Orchestra under John Storgårds, Pavel Haas’s Cello Concerto with the Vienna Philharmonic under Jonathan Nott, Penderecki’s Concerto Grosso for Three Cellos with the NHK Symphony, and Hafliði Hallgrímsson’s Cello Concerto, co-commissioned by the Oslo Philharmonic, Iceland Symphony, and Scottish Chamber Orchestra. Mr. Mørk continues to give regular recitals at major venues and festivals throughout the world. In 2020 he continues his collaboration with pianist Behzod Abduraimov, performing at the Théâtre des Champs-Élysées and Kings Place. Many of his concerto recordings for such labels as Virgin Classics, EMI, Deutsche Grammophon, Ondine, Arte Nova, and Chandos have won international honors, including Gramophone, Grammy, Midem, and ECHO Klassik awards. These include the cello concertos of Dvoˇrák, Elgar, Haydn, and Miaskovsky, Britten’s Cello Symphony, Prokofiev’sSinfonia-Concertante , and Rautavaara’s Towards the Horizon; he has also recorded the complete cello suites of Bach and Britten. His most recent releases include Shostakovich’s concertos with Vasily Petrenko and the Oslo Philharmonic, and works for cello and orchestra by Massenet with Neeme Järvi and the Orchestre de la Suisse Romande. Initially taught by his father, Truls Mørk continued his studies with Frans Helmerson, Heinrich Schiff, and Natalia Schakowskaya. In his early career he won such competitions as the Tchaikovsky Competition in Moscow (1982), the Cassado Cello Competition in Florence (1983), the UNESCO Prize at the European Radio-Union competition in Bratislava (1983), and the Naumberg Competition in New York (1986). Truls Mørk has appeared on three previous occasions with the Boston Symphony Orchestra, as soloist in Dutilleux’s Tout un monde lointain... in November 2004 with André Previn conducting; Shostakovich’s Cello Concerto No. 2 in October 2007 with Marek Janowski, and Haydn’s Cello Concerto No. 1 in January 2019 with Herbert Blomstedt.

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

In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918, Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Chris Fiecoat, Assistant Director of Donor Relations, at 617-638-9251 or [email protected]. ‡ This symbol denotes a deceased donor.

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

60 one million Helaine B. Allen ‡ • American Airlines • Lois and Harlan Anderson ‡ • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. ‡ • AT&T • Liliana and Hillel Bachrach • Caroline Dwight Bain ‡ • William I. Bernell ‡ • Estate of Philip and Marion Bianchi • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation / Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Josh and Jessica Lutzker • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg ‡ • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhelmina C. (Hannaford) Sandwen ‡ • Hannah H. and Dr. Raymond Schneider ‡ • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation / Richard A and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Dorothy Dudley Thorndike ‡ and John Lowell Thorndike • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert ‡ and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

week 4 the great benefactors 61 “First Republic understands our legacy and our bold aspirations. We defi ne the goal, and they help us get there.”

AMERICAN BALLET THEATRE Kara Medoff Barnett, Executive Director

(855) 886-4824 | fi rstrepublic.com | New York Stock Exchange symbol: FRC MEMBER FDIC AND EQUAL HOUSING LENDER The Higginson Society The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members, whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by September 26, 2019. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Associate Director of Individual Giving, Annual Funds, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000 and above Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso $50,000 - $99,999 Alli and Bill Achtmeyer • Noubar and Anna Afeyan • Mr. and Mrs. George D. Behrakis • Mr. and Mrs. William N. Booth • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Cynthia and John S. Reed • Sue Rothenberg ‡ • Kristin and Roger Servison • Brooks and Linda Zug • Anonymous (2) encore $25,000 - $49,999 Amy and David Abrams • Jim and Virginia Aisner • Mr. Benjamin Altshuler • Lloyd Axelrod, M.D. • Judith and Harry ‡ Barr • Gabriella and Leo ‡ Beranek • Ann Bitetti and Doug Lober • Joan and John ‡ Bok • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. Casty • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Drs. Anna L. and Peter B. Davol • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Dr. David Fromm • Joy S. Gilbert • Mr. and Mrs. Paul B. Gilbert • Martha and Todd Golub • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Mrs. Nancy R. Herndon • Albert A. Holman III and Susan P. Stickells • Dr. and Mrs. Jeffrey M. Leiden • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Jane B. and Robert J. Mayer, M.D. • Sandra Moose and Eric ‡ Birch • Megan and Robert O’Block • William and Lia Poorvu • William and Helen Pounds • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard Smith; John and Amy Smith Berylson; James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Madeline Smith; Ryan Smith; Debra Smith Knez; Jessica Knez; Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Stephen and Dorothy Weber • Anonymous (4)

week 4 the higginson society 63 64 patron $12,000 - $24,999 Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson ‡ • Liliana and Hillel Bachrach • Mr. Edward B. Berk and Ms. Naomi Weinberg • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andrée Robert • Joanne and Timothy Burke • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Arthur Clarke and Susan Sloan • Barbara and Fred Clifford • Ernest Cravalho and Ruth Tuomala • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Raymond and Joan Green • Richard and Nancy Heath • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Michelle and Mark Jung • Steve Kidder and Judy Malone • Tom Kuo and Alexandra DeLaite • Mr. and Mrs. David S. Lee • Dr. and Mrs. Joseph B. Martin • Kurt and Therese Melden • Jo Frances and John P. Meyer • Dr. Martin C. Mihm, Jr. • Kyra and Jean Montagu • Anne M. Morgan • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Cecilia O’Keefe • In Memory of John Oliver • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Benjamin Schore • Arthur and Linda Schwartz • Robert ‡ and Rosmarie Scully • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Anne-Marie Soullière and Lindsey C.Y. Kiang • Katherine Chapman Stemberg • Blair Trippe • Drs. Roger and Jillian Tung • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mrs. Gwill E. York and Mr. Paul Maeder • Anonymous (3) sponsor $6,000 - $11,999 Nathaniel Adams and Sarah Grandfield • Ms. Deborah L. Allinson • Ms. Maureen Alphonse-Charles and Dr. Jean B. Charles • David and Holly Ambler • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Fred and Joanne Barber • Mr. and Mrs. Eugene F. Barnes III • Lucille Batal • Jim and Nancy Bildner • Mrs. Linda Cabot Black • Traudy and Stephen Bradley • Joseph Brooks • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • Mr. and Mrs. Miceal Chamberlain, Jr. • Ms. Bihua Chen and Jackson J. Loomis, Ph.D. • Ronald and Judy Clark • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Lynn Dale and Frank Wisneski • Deborah B. Davis • Mr. and Mrs. Samuel Denbo • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Shirley Fennell • Beth and Richard Fentin • Mr. and Mrs. Steven S. Fischman • Barbie and Reg Foster • Myrna H. Freedman • Nicki Nichols Gamble • Dr. and Mrs. Levi A. Garraway • Jim and Becky Garrett • Elizabeth T. and Roberto S. Goizueta • Jack Gorman • Marjorie and Nicholas Greville • David and Harriet Griesinger • Robert and Annette Hanson • William Hawes and Mieko Komagata ‡ • Alexander Healy • Mr. and Mrs. Ulf B. Heide • Drs. James and Eleanor Herzog • Mrs. Richard D. Hill • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey •

week 4 the higginson society 65 BUILDING SPACES THAT CREATE HARMONY

Proud supporter of the BSO and builders of Tanglewood’s new Linde Center for Music and Learning. Mr. ‡ and Mrs. Roger Hunt • Joanie V. Ingraham • Blake Ireland, in memory of Anne Ireland • Nancy and G. Timothy Johnson • Susan Johnston • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Dr. Nancy Koehn • Mr. Robert K. Kraft • Pamela S. Kunkemueller ‡ • Mr. Benjamin H. Lacy • Mr. and Mrs. Henry Lee • Thomas and Adrienne Linnell • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mahnidahni, in loving memory of her mother Paula • Nancy Lurie Marks Family Foundation • Mr. and Mrs. Jeffrey E. Marshall • Ann Merrifield and Wayne Davis • Mr. and Mrs. Paul M. Montrone • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • John O’Leary • Peter Palandjian and Eliza Dushku-Palandjian/Intercontinental Real Estate Corporation • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Ms. Pamela L. Peedin and Mr. Paul S. Rebuck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Susan J. Pharr and Robert C. Mitchell • Ann M. Philbin • Andrew and Suzanne Plump • Susanne and John Potts • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Dr. and Mrs. Michael Rater • Peter and Suzanne Read • Rita and Norton Reamer • John Sherburne Reidy • Sharon and Howard Rich • Mr. and Mrs. Henry Rosovsky • Debora and Alan Rottenberg • William and Kathleen Rousseau • Darin S. Samaraweera • Joanne Zervas Sattley • Roger A. Saunders • Mrs. Marvin G. Schorr • Carol Searle and Andrew Ley • Betsy and Will Shields • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Maria and Ray Stata • Sharon and David Steadman • Ann and David Swanson Fund of the Maine Community Foundation • Tazewell Foundation • Magdalena Tosteson • John Travis • Christopher and Alison Viehbacher • Mark and Martha Volpe • Linda and Daniel Waintrup • Lois Wasoff and James Catterton ‡ • Mr. and Mrs. David Weinstein • Ms. Vita L. Weir and Mr. Edward Brice, Jr. • Howard and Karen Wilcox • John C. Willis, Jr. • Elizabeth H. Wilson • June and Jeffrey Wolf • Marillyn Zacharis • Anonymous (5) member $4,000 - $5,999 Mrs. Sonia Abrams • Helaine B. Allen ‡ • Joel and Lisa Alvord • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. ‡ and Mrs. Lawrence Asquith • Mr. Neil Ayer, Jr. • Mardges Bacon and Charles Wood • Donald P. Barker, M.D. • Ms. Evelyn Barnes and Ms. Mary-Taylor Carter • Chris and Darcey Bartel • Hanna and James Bartlett • John and Molly Beard • Clark and Susana Bernard • Leonard and Jane Bernstein • Mrs. Stanton L. Black • Neil and Margery Blacklow • Mrs. Carolyn Boday • Mark G. and Linda Borden • Partha and Vinita Bose • Mr. Edgar W. Brenninkmeyer and Dr. John D. Golenski • Catherine Brigham • David and Jane Brigham • Ellen and Ronald Brown • Matthew Budd and Rosalind Gorin • Ms. Ruth A. Butler • The Cavanagh Family • Mrs. Assunta Cha • Drs. Magdalena and Lucian Chirieac • Mr. and Mrs. Yumin Choi • Mr. and Mrs. Dan Ciampa • Dr. Frank Clark and Dr. Lynn Delisi • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Mrs. Albert M. Creighton, Jr. • Robert and Sarah Croce • Prudence and William Crozier • Joanna Inches Cunningham • Mr. Mark H. Dalzell • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Pat and John Deutch • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Bob and Happy Doran • Joanne and Jerry Dreher • Mr. David L. Driscoll • Eran and Yukiko Egozy • Mrs. William V. Ellis • Elaine Epstein and Jim Krachey • Peter Erichsen and David Palumb • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel •

week 4 the higginson society 67 The Patio and a good book at Newbury Court inspire you to a life well lived.

For more information about our Inspired by distinguished residential options, a Good Book call 978.369.5155 or visit us at newburycourt.org

100 Newbury Court • Concord, MA 01742 facebook.com/newburycourt www.newburycourt.org

The Tudors 2019/20 Season

PACINI BRITTEN MARIA, REGINA GLORIANA D’INGHILTERRA APRIL 11, 2020 NOVEMBER 1+3, 2019 NEC’S JORDAN HALL HUNTINGTON AVENUE THEATRE GERMAN ROSNER MERRIE ENGLAND THE CHRONICLE JUNE 5 + 7, 2020 OF NINE HUNTINGTON AVENUE THEATRE FEBRUARY 1, 2020 NEC’S JORDAN HALL SAVE 15% ROSSINI WITH CODE ELISABETTA, REGINA OO15BSO D’INGHILTERRA MARCH 13+15, 2020 HUNTINGTON AVENUE THEATRE

JOIN THE JOURNEY BY CALLING 617.826.1626 OR VISIT ODYSSEYOPERA.ORG #ODYSSEYOPERA

68 Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Martha and Mark Fishman • Mr. Guido Frackers • Velma Frank • Beth and John Gamel • Dozier and Sandy Gardner • Diane Gipson • Alfred and Joan Goldberg • Jordan and Sandy Golding • Eric C. Green • Harriet and George Greenfield • Paula S. Greenman • The Rt. Rev. and Mrs. J. Clark Grew • Janice Guilbault • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • John and Ellen Harris • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. and Ms. Uni Joo • Carol and Robert Henderson • Anneliese Henderson • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Brian Hickox • Joan and Peter Hoffman • Pat and Paul Hogan • Ms. Mary Norato Indeglia • Norman and Irene Jacobs • Ms. Susan L. Johnson and Mr. Robert Wallace • In Memory of Blanche and George Jones • Teresa Kaltz • The Karp Family Foundation • Paul L. King • Mary S. Kingsbery • Mr. John L. Klinck, Jr. • Ms. Marilyn Bone Kloss • Meg and Joseph Koerner • Susan G. Kohn • Anna and Peter Kolchinsky • Alexander Kossey • Barbara N. Kravitz • Mr. and Ms. Tom Kush • Robert A. ‡ and Patricia P. Lawrence • Dr. Gi Soo Lee and Dr. Cynthia Tung • The Leonard Bernstein Office Inc. • Mr. and Mrs. Don LeSieur • Rosemarie and Alexander Levine • Emily Lewis • Mr. and Mrs. Francis V. Lloyd III • Mr. Anthony S. Lucas • Cherry Maddela-Garrido and Paul R. Garrido • Michael and Rosemary McElroy • Mr. and Mrs. George Mellman • Maureen and James Mellowes • Dale and Robert Mnookin • Robert and Jane Morse • Anne J. Neilson • Cornelia G. Nichols • Kathleen and Richard Norman • Mrs. Lawrence A. Norton • Jan Nyquist and David Harding • Jennifer and Alex Ogan • Christine Olsen and Robert Small • Martin and Helene Oppenheimer • Annette and Vincent ‡ O’Reilly • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Peter Parker and Susan Clare • Richard and Stephanie Parker • Joyce and Bruce Pastor • Michael and Frances Payne • Donald and Laurie Peck • Mr. Edward Perry and Ms. Cynthia Wood • Steven Pittman and Jenifer Handy • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Ms. Dorothy Puhy • Michael C.J. Putnam and Kenneth Gaulin • Jane M. Rabb • Helen and Peter Randolph • Peggy Reiser and Charles Cooney • Mr. and Mrs. Richard H. Rhoads • Kennedy P. and Susan M. Richardson • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Adrianne E. Rogers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Donald and Abby Rosenfeld • Arnold Roy • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Mr. and Mrs. Ross E. Sherbrooke • Mr. and Mrs. Michael Simon • Maggie and Jack Skenyon • Mr. and Mrs. Nathan Somogie • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • Mrs. Lee T. Sprague • In Honor of Ray and Maria Stata • Jan Steenbrugge • Nancy F. Steinmann • Valerie and John ‡ Stelling • Ms. Anne Stetson • Mrs. Edward A. Stettner • John Stevens and Virginia McIntyre • Fredericka and Howard Stevenson • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Patricia L. Tambone • Jean C. Tempel • Mr. and Mrs. Mark D. Thompson • Judith Ogden Thomson • Mr. and Mrs. W. Nicholas Thorndike • Mr. and Mrs. Richard K. Thorndike III • Marian ‡ and Dick Thornton • Diana O. Tottenham • Polly J. Townsend • Jack Turner and Tee Taggart • Marc and Nadia Ullman • Sandra A. Urie and Frank F. Herron • Mrs. Phyllis Vineyard • Michael Walsh and Susan Ruf • Donald and Susan Ware • Matthew and Susan Weatherbie • Norman Weeks • Ellen B. Widmer • Dudley H. Willis and Sally S. Willis • Chip and Jean Wood • The Workman Family • Drs. Richard and Judith Wurtman • Jean Yeager • Xiaohua Zhang • Anonymous (10)

week 4 the higginson society 69 Lifelong learning is healthy living on the campus of Lasell University

For more information and to schedule a tour, contact us at 617-663-7044 or visit lasellvillage.org

TEREZÍN 1944 • MUSIC • ART • DRAMA Our Will to Live

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

THREE SYMPHONY HALL PREMIERES:

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

HANS KRÁSA Overture.

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

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

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

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

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Sue Elliott, Judith and Stewart Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Leslie Wu Foley, Helaine B. Allen Director of Education and Community Engagement Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Chief Strategy Officer and Clerk of the Corporation Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

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

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Pat Meloveck, Stage Technician • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Christopher Thibdeau, Orchestra Management Office Administrator • Joel Watts, Assistant Audio and Recording Engineer boston pops

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

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

week 4 administration 73 corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

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

Jenna Goodearl, Program Director, Youth and Family Initiatives • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Program Director, Community Partnerships and Projects • Sarah Saenz, Manager of Education and Community Engagement event services Kyle Ronayne, Director of Events Administration James Gribaudo, Function Manager • Katherine Ludington, Tanglewood Venue Rental Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham, Custodian • Bernita Denny, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian

week 4 administration 75 Sunday, October 20 OR Sunday, November 3

WorcesterAcademy.org/OpenHouse

76 human resources

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

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

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

Emily Fritz-Endres, Assistant Director of Board Administration • Laura Sancken, Board Engagement Officer tanglewood learning institute

Emilio Gonzalez, TLI Program Manager tanglewood music center

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

week 4 administration 77 GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

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

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

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

week 4 administration 79 Next Program…

Thursday, October 17, 8pm Friday, October 18, 1:30pm Saturday, October 19, 8pm

sir andrás schiff, conductor and piano

j.s. bach piano concerto in f minor, bwv 1056 Allegro Largo Presto sir andrás schiff

beethoven piano concerto no. 1 in c, opus 15 Allegro con brio Largo Rondo: Allegro scherzando mr. schiff

{intermission}

brahms variations on a theme by haydn, opus 56a

bartók “dance suite” Moderato— Allegro molto— Allegro vivace— Molto tranquillo— Comodo— Finale: Allegro

The eminent Hungarian-born pianist András Schiff made his BSO debut in 1983 and last appeared with the orchestra in 2008. In his first appearances with the BSO as a conductor, he leads Bach’s F minor concerto and Beethoven’s Piano Concerto No. 1 from the keyboard. After intermission, he takes the podium to conduct Brahms’s Haydn Variations and Bartók’s pungent, folk-influenced Dance Suite. The Haydn Variations are based on the “Chorale St. Antoni,” a well-known melody once attributed to Haydn. Brahms composed this imaginative masterpiece of orchestral know-how in 1873, three years before completing his First Symphony. Bartók’s Dance Suite , based on a variety of traditional dance melodies, was immensely successful at the time of its 1923 premiere.

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

Thursday ‘B’ October 17, 8-10 Thursday ‘C’ October 24, 8-9:40 Friday ‘B’ October 18, 1:30-3:30 Friday ‘A’ October 25, 1:30-3:10 Saturday ‘A’ October 19, 8-10 Saturday ‘B’ October 26, 8-9:40 SIR ANDRÁS SCHIFF, conductor and piano SUSANNA MÄLKKI, conductor J.S. BACH Piano Concerto in F minor, ANDREAS HAEFLIGER, piano BWV 1056 FAURÉ Pavane BEETHOVEN Piano Concerto No. 1 DIETER AMMANN The Piano Concerto (“Gran BRAHMS Variations on a Theme Toccata”) (American premiere; by Haydn BSO co-commission) BARTÓK Dance Suite MESSIAEN “Alleluia on the trumpet, alleluia on the cymbal” from L’Ascension Sunday, October 20, 3pm DEBUSSY La Mer Jordan Hall, New England Conservatory

BOSTON SYMPHONY CHAMBER PLAYERS “LEIPZIG WEEK IN BOSTON” with PAOLO BORDIGNON, harpsichord Sunday, October 27, 3-4:50 STRAVINSKY Octet for Winds (Non-subscription; presented in association THOMSON Sonata da Chiesa, for clarinet, with the Celebrity Series of Boston) horn, trumpet, trombone, and viola GEWANDHAUSORCHESTER LEIPZIG ANDRIS NELSONS, conductor CARTER Sonata for flute, oboe, cello, and harpsichord LEONIDAS KAVAKOS, violin SOFIA Etudes, for double bass GAUTIER CAPUÇON, cello GUBAIDULINA BRAHMS Double Concerto for violin FALLA Concerto for harpsichord, and cello flute, oboe, clarinet, violin, SCHUBERT Symphony in C, The Great and cello

The BSO’s 2019-20 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

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

week 4 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Events Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To Purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4 p.m. on Saturday). Outside the 617 area code, phone (888) 266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call the Group Sales Office at (800) 933-4255 or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large-print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the

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

week 4 symphony hall information 83 concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Richard and Claire Morse Rush Ticket Fund. Rush Tickets are sold at $10 each, cash or credit card, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.