2013–2014 Season | Week 7

bernard haitink conductor emeritus seiji ozawa music director laureate

andris nelsons music director designate

season sponsors

Table of Contents | Week 7

7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 ruin and renewal: britten’s “war requiem” by thomas may 28 this week’s program

Notes on the Program

30 The Program in Brief… 31 Maurice Ravel 35 Krzysztof Penderecki 43 Edward Elgar 57 To Read and Hear More…

Guest Artists

61 Charles Dutoit 63 Gautier Capuçon 65 Daniel Müller-Schott 67 Arto Noras

68 sponsors and donors 80 future programs 82 symphony hall exit plan 84 symphony hall information

the friday preview talk on november 1 is given by elizabeth seitz of the boston conservatory.

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

andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014

trustees of the boston symphony orchestra, inc.

Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair

David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Stephen B. Kay • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Theresa M. Stone • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

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

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. •

week 7 trustees and overseers 3

photos by Michael J. Lutch

Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

† Deceased

week 7 trustees and overseers 5

BSO News

BSO “Insights,” October 23-November 9: “Britten’s ‘War Requiem’: Music and Pacifism” The first of the BSO’s two “Insights” series this season—“Britten’s War Requiem: Music and Pacifism,” October 23-November 9, in connection with the BSO’s upcoming performances of the War Requiem on November 7, 8, and 9—offers a variety of lectures and additional concerts presented by the BSO in collaboration with the New England Conservatory and the John F. Kennedy Library and Museum. For a complete listing of these events, which continue from November 3 through November 8, see page 24.

BSO Community Chamber Concerts in November The BSO is happy to continue offering free Community Chamber Concerts in locations across Massachusetts during the 2013-14 season. These Sunday-afternoon concerts offer engaging chamber music performances by BSO musicians for communities limited in access to the BSO by either distance or economics; they are designed to build personal connections to the BSO and orchestral music, allowing community members to become more deeply engaged with the BSO. Each program lasts approximately one hour and is followed by a coffee-and-dessert reception for the audience and musicians. In November, the BSO hosts Community Chamber Concerts on November 3 at 3 p.m. at the JFK Presidential Library and Museum in Boston; on November 10 at 2:30 p.m. at Hibernian Hall in Roxbury; on November 17 at 3 p.m. at Cambridge Public Library; and on November 24 at 3 p.m. at First Church in Dedham. All of these concerts are free, but tickets are required and available by calling SymphonyCharge at 1-888-266-1200.

BSO 101—The Free Adult Education Series at Symphony Hall Again this year, BSO 101 offers informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall. The two remaining sessions this fall take place on Tuesday, November 12 (“An Insider’s View” of the BSO library with principal librarian Marshall Burlingame) and Wednesday, November 20 (“Are You Listening?”: BSO Director of Program Publications Marc Mandel discusses “musical signposts” in works of Beethoven, Mozart, Bruckner, and Brahms). These sessions take place from 5:30-6:45 p.m. at Symphony Hall, and each is followed by a reception offering beverages and hors d’oeuvres. Admission to the BSO 101 sessions is free; please note, however, that as of this season, there is a nominal charge to attend the receptions. To reserve your place for the date or dates you’re planning to attend, please e-mail [email protected] or call (617) 638-9395. For further information, please visit bso.org.

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“Do You Hear What I Hear?”: A Series of New, Composer-Curated Prelude Concerts This season, in conjunction with its performances of newly commissioned works from Mark-Anthony Turnage, Marc Neikrug, and Bernard Rands, the BSO has teamed up with the New England Conservatory in creating Prelude Chamber Concerts curated by the composers themselves, to offer an intimate and revealing window into how these composers listen to music, and how what they hear informs their own compositional process. The concerts are prepared and presented by student artists at NEC, with each composer offering commentary on the chosen works in conversation with BSO Assistant Artistic Administrator Benjamin Schwartz. These free, hour-long concerts, all at 6 p.m., take place in Williams Hall at NEC prior to the initial BSO performances of the composers’ new symphonic works. The next of these concerts, curated by Marc Neikrug (whose BSO- commissioned Concerto for Bassoon and Orchestra receives its world premiere in November) is scheduled for November 21 and will feature works by Mozart, Mahler, Berg, Scriabin, and Varèse. The first such concert, curated by Mark-Anthony Turnage, preceded the BSO’s American-premiere performance on Thursday, October 24, of the composer’s Speranza.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant 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 week’s Friday Preview is by Elizabeth Seitz of the Boston Conservatory. Upcoming speakers include Helen Greenwald of the New England Conservatory on November 15, Robert Kirzinger on November 22, and Jan Swafford of the Boston Conservatory on November 29. individual tickets are on sale for all concerts in the bso’s 2013-2014 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.

The Ruth Gordon Shapiro Memorial Wellesley. She fondly recalled catching the Concert, Friday, November 1, 2013 train to Boston for Friday rush tickets and hearing memorable performances by leg- The BSO performance on Friday afternoon is endary musicians such as Pablo Casals, named in memory of BSO Great Benefactor Vladimir Horowitz, Artur Rubinstein, and the and former Overseer Emerita Ruth Gordon preeminent violinist Jascha Heifetz, who was, Shapiro, who passed away in October 2012. according to Ruth, “the most wonderful.” This performance is supported by Ruth’s Attending concerts at Symphony Hall and friends and family. Tanglewood over the years brought Ruth A longtime BSO subscriber, Ruth was elected great pleasure and joy. Ruth and her husband, to the BSO Board of Overseers in 1992 and Carl, passed on their love of great music to was elevated to Overseer Emerita in 1994. their three daughters, Rhonda Zinner, Ellen Born and raised in Chelsea, MA, Ruth was a Jaffe, and Linda Waintrup, who have enjoyed 1937 graduate of Wellesley College, where Symphony performances with their families she majored in music. Ruth began attending as well. Ellen previously served on the BSO BSO concerts when she was a student at Board of Overseers from 1994 to 2003, and

week 7 bso news 9

Rhonda’s husband, Michael Zinner, M.D., has porters, helping to ensure the future of the been on the BSO Board of Overseers since BSO’s extraordinary performances. Members 2004. are recognized in several of our publications and offered a variety of exclusive benefits, A talented pianist, Ruth volunteered her time including invitations to various events in to teach underprivileged children at the Longy Boston and at Tanglewood. If you would like School of Music of Bard College in Cambridge, more information about planned gift options MA. In addition to music, Ruth was passionate and how to join the Walter Piston Society, about art and education. She joined Brandeis please contact John MacRae, Director of University’s National Women’s Committee in Principal and Planned Giving, at (617) 638- 1948, served as an Overseer and Honorary 9268 or [email protected]. We would be Overseer at the Museum of Fine Arts, Boston, delighted to help you orchestrate your legacy and additionally served on the boards of the for the BSO. Norton Museum of Art, the Palm Beach Opera, and the Kravis Center for the Performing Arts. Together, Ruth and Carl shared a strong Friday-afternoon Bus Service to commitment to philanthropy, supporting Symphony Hall many cultural, medical, and educational insti- tutions, a tradition that Carl, Rhonda, Ellen, If you’re tired of fighting traffic and search- and Linda continue to this day. ing for a parking space when you come to Friday-afternoon Boston Symphony concerts, As Great Benefactors, the Shapiros are among why not consider taking the bus from your the most generous supporters of the BSO. In community directly to Symphony Hall? The addition to their longtime support of the Sym- Boston Symphony Orchestra is pleased to phony Annual Fund, Ruth and Carl generously continue offering round-trip bus service on endowed in perpetuity a BSO first violin chair, Friday afternoons at cost from the following currently held by Jennie Shames, in 1992. communities: Beverly, Canton, Cape Cod, Concord, Framingham, Marblehead/Swamp- Planned Gifts for the BSO: scott, Wellesley, Weston, the South Shore, Orchestrate Your Legacy and Worcester in Massachusetts; Nashua, New Hampshire; and Rhode Island. Taking There are many creative ways that you can advantage of your area’s bus service not only support the BSO over the long-term. Planned helps keep this convenient service operating, gifts such as bequest intentions (through but also provides opportunities to spend your will, personal trust, IRA, or insurance time with your Symphony friends, meet new policy), charitable trusts, and gift annuities people, and conserve energy. If you would can generate significant benefits for you now like further information about bus transporta- while enabling you to make a larger gift to the tion to Friday-afternoon Boston Symphony BSO than you had otherwise thought possible. concerts, please call the Subscription Ofﬁce In many cases, you could realize significant at (617) 266-7575. tax savings and secure an attractive income stream for you and/or a loved one, all while providing valuable future support for the BSO Members in Concert music and programs you care about. When The Walden Chamber Players, whose mem- you establish and notify us of your planned bership includes BSO musicians Tatiana gift for the Boston Symphony Orchestra, you Dimitriades and Alexander Velinzon, violins, will become a member of the Walter Piston and Richard Ranti, bassoon, perform Mozart’s Society, named for Pulitzer Prize-winning Flute Quartet, K.285b (with guest artist Linda composer and noted musician Walter Piston, Chesis), Thomas Christian David’s Duo for who endowed the BSO’s principal flute chair flute and viola, Gerhard Schedl’s String Trio, with a bequest. Joining the Piston Society and a work to feature the winner of the 2013 places you among the BSO’s most loyal sup- Young Artist Competition on Sunday, Novem-

week 7 bso news 11 12 ber 3, at 4 p.m. at Andover Newton Theologi- mation table in the Brooke Corridor on the cal School’s Wilson Chapel, 210 Herrick Road, Massachusetts Avenue side of Symphony Newton Centre. Tickets ($20 adults, $10 Hall (orchestra level). There you will find students, free for children under twelve) are the latest performance, membership, and available at the door or by visiting walden- Symphony Hall information provided by chamberplayers.org. For more information knowledgeable members of the Boston call (617) 871-9WCP or email info@walden- Symphony Association of Volunteers. The chamberplayers.org BSO Information Table is staffed before each concert and during intermission. BSO clarinet Thomas Martin is the featured soloist in Debussy’s Rhapsody for clarinet with the Wellesley Symphony Orchestra, Those Electronic Devices… under the direction of former BSO violinist As the presence of smartphones, tablets, and Max Hobart, on Sunday, November 17, at 3 other electronic devices used for communica- p.m. at MassBay Community College, 50 tion, note-taking, and photography continues Oakland Street, Wellesley Hills, in a program to increase, there have also been increased also including the Prelude to Act III of Wagner’s expressions of concern from concertgoers Lohengrin, John Williams’s “Viktor’s Tale” and musicians who find themselves distracted from The Terminal, and Schumann’s Symphony not only by the illuminated screens on these No. 4. A pre-concert talk begins at 2:15. devices, but also by the physical movements Tickets are $25 for adults (discounted for that accompany their use. For this reason, seniors, students, and groups) and free for and as a courtesy both to those on stage and children under 12 and those with a MassBay those around you, we respectfully request ID. Visit www.wellesleysymphony.org or call that all such electronic devices be turned (781) 235-0515 for further information. off and kept from view while BSO perform- Founded by BSO cellist Jonathan Miller, the ances are in progress. In addition, please Boston Artists Ensemble performs Mozart’s also keep in mind that taking pictures of the Divertimento in E-flat, K.563, and Mendels- orchestra—whether photographs or videos— sohn’s String Quartet in E minor, Opus 44, is prohibited during concerts. Thank you very No. 2, on Friday, November 22, at 8 p.m. at much for your cooperation. the Peabody Essex Museum in Salem, and on Sunday, November 24, at 2:30 p.m. at Trinity Church in Newton Centre. Joining Mr. Miller Comings and Goings... are BSO members Tatiana Dimitriades, violin, Please note that latecomers will be seated and Edward Gazouleas, viola, as well as vio- by the patron service staff during the first linist Bayla Keyes. Tickets are $27, with dis- convenient pause in the program. In addition, counts for seniors and students. For more please also note that patrons who leave the information, visit bostonartistsensemble.org hall during the performance will not be or call (617) 964-6553. allowed to reenter until the next convenient pause in the program, so as not to disturb the The Information Table: performers or other audience members while the concert is in progress. We thank you for Find Out What’s Happening your cooperation in this matter. at the BSO Are you interested in upcoming BSO concert information? Special events at Symphony Hall? BSO youth activities? Stop by the infor-

week 7 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display in the Brooke Corridor celebrating the 50th anniversary this season of the Boston Symphony Chamber Players, with special emphasis on the ensemble’s early international tours to Europe and the Soviet Union in 1967, and to Colombia in 1972 • a display case also in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • marking the centennial of Benjamin Britten’s birth, a display case in the Huntington Avenue corridor highlighting the American premiere of the composer’s War Requiem, given by Erich Leinsdorf and the BSO at Tanglewood in July 1963 exhibits on the first-balcony level of symphony hall include: • anticipating the BSO’s tour next May to China and Japan, a display case in the first- balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • anticipating this season’s complete cycle in March of the Beethoven piano concertos, a display case, audience-left, spotlighting several of the pianists who have performed those works with the BSO • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrates its 75th anniversary this year

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad Erich Leinsdorf in rehearsal with the BSO and soprano Phyllis Curtin for the American premiere of Britten’s “War Requiem” at Tanglewood (Heinz Weissenstein, Whitestone Photo) Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 7 on display 15 Boston Symphony Orchestra 2013–2014

andris nelsons bernard haitink seiji ozawa thomas wilkins Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Designate Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity

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

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

week 7 boston symphony orchestra 17

Ruin and Renewal: Britten’s “War Requiem” by Thomas May

This November 7, 8, and 9, the Boston Symphony Orchestra marks the 100th anniversary of Benjamin Britten’s birth on November 22, 1913, with performances of his “War Requiem,” given its American premiere by the BSO in July 1963 at Tanglewood and not heard in BSO concerts since February 2000. In conjunction with these performances, the BSO also offers the first of its two “Insights” series this season—“Britten’s War Requiem: Music and Pacifism,” October 23-November 9, a variety of lectures and additional concerts presented by the BSO in collaboration with the New England Conservatory of Music and the John F. Kennedy Library and Museum (see page 24).

“I was completely absorbed in this piece, as really never before, but with considerable agony in finding the adequate notes for such a subject (and such words!), and dread discovering that I’ve not succeeded.” So Benjamin Britten confided to a friend not long before the War Requiem’s premiere in May 1962. Britten’s agony produced not only one of the landmark compositions of his career but a testimony to the power of art to confront humanity’s failings and at the same time offer hope. As for the dread of not succeeding, the War Requiem stands out as a rare instance in 20th-century music of a new work that was greeted with overwhelming approval by critics and audiences alike.

“The composer’s duty, as a member of society,” declared Britten in his famous speech

Benjamin Britten in 1967

week 7 britten’s “war requiem” 19 ZAREH THOMAJAN ~ GREG THOMAJAN

Celebrating our 80th Anniversary

SERVING THE FINANCIAL DISTRICT SINCE 1933

ONE LIBERTY SQUARE BOSTON, MA 02109 617-350-6070

New England’s Largest Oxxford Dealer Visit us at ZarehBoston.com accepting the Aspen Award in 1964, “[is] to speak to or for his fellow human beings.” From first note to last, the War Requiem holds true to this conviction of the role of music in society. The ethical perspective of the lifelong pacifist who had been a conscientious objector in the Second World War converges with the remarkable gifts that made Britten one of the supreme musical dramatists of the past century and a master of large-form architecture. At the same time, the imperative to communicate by no means required adhering to safe, comfortable formulas. In taking up one of the most tradition-laden texts of Western music, the Latin Mass for the Dead, Britten challenged and reinvigorated the very meaning of this ritual.

After the Second World War, the composer had actually considered Requiem-like works to commemorate the victims of the atomic bombings of Japan and, later, the assassina- tion of Gandhi, but these plans never crystallized. Earlier, in 1940, he had written a purely instrumental Sinfonia da Requiem, but that work exists in a category all its own. The commission to supply a new score as part of the upcoming consecration of the newly rebuilt Coventry Cathedral provided Britten with the stimulus he needed at last to embark on a large-scale choral-symphonic composition. His biographer Humphrey Carpenter suggests that the composer’s sadness over the recent suicide of a former friend who had survived the war but struggled with depression may also have occasioned the need to compose the War Requiem as a more private response to tragedy. This may explain Britten’s puzzling statement: “That’s what the War Requiem is about; it is repara- tion.” In his recently published Benjamin Britten: A Life for Music, the biographer and jour-

week 7 britten’s “war requiem” 21

Wilfred Owen in 1916

nalist Neil Powell notes that “a work which had originated as a very public commission was increasingly concerned with a very private subtext.”

Bombing raids by the Luftwaffe during the blitzkrieg in 1940 had nearly destroyed the industrial city of Coventry in the West Midlands, including the Gothic Cathedral of St. Michael dating from the 14th century. The Scottish architect Basil Spence designed a new modernist structure, but not merely as replacement: he decided to retain the roof- less, ruined shell of the earlier church, whose spire had been left standing, and link it to the new building. The consecration ceremony thus offered an occasion to reflect on the destruction wrought by the war—coinciding, as it happened, with the height of the Cold War that was threatening outright annihilation of humanity. Just a few months after the War Requiem’s premiere, the Cuban Missile crisis would bring the West to the brink of apocalypse.

Britten wasn’t interested in a reassuring but simplistic idealism about the sacrifices of war that whitewashed or forgave war’s inherent atrocity. The War Requiem—the title itself suggests an uneasy juxtaposition—thus combines the traditional Latin texts (with one telling change, in the Agnus Dei) with the mordantly ironic antiwar poetry of Wilfred Owen, a victim of the First World War—and whose brother Harold would send Britten a letter praising the War Requiem, and expressing joy “that Wilfred’s poetry will forever be a part of this great work.” The implicit homoeroticism of Owen’s poetry also resonated with Britten, who had already set his words to music alongside several other poets in the song cycle Nocturne (1958); its sound-world in fact foreshadows parts of the War Requiem. As an epigraph to the latter, Britten quoted a passage by Owen that mirrors his own vision here as a composer: “My subject is War, and the pity of War. The Poetry is in the pity. All a poet can do today is warn.”

week 7 britten’s “war requiem” 23 BSO“INSIGHTS,” OCTOBER 23-NOVEMBER 9, 2013: BRITTEN’S“WARREQUIEM”:MUSICANDPACIFISM The first of the BSO’s two “Insights” series this season—“Britten’s War Requiem: Music and Pacifism,” October 23-November 9, in connection with the BSO’s upcoming performances of the War Requiem on November 7, 8, and 9—offers a variety of lectures and additional concerts presented by the BSO in collaboration with the New England Conservatory and the John F. Kennedy Library and Museum. Wednesday, October 23, 5:30pm, Symphony Hall—Words and Music in Benjamin Britten’s “War Requiem”: BSO Director of Program Publications Marc Mandel discusses Benjamin Britten’s response in the War Requiem to the text of the Latin Requiem Mass and the poetry of Wilfred Owen. Monday, October 28, 8pm, Jordan Hall at NEC—20th Century Chamber Music: “Britten+”: NEC students perform Britten’s late String Quartet No. 3, plus music by Brandt, Harbison, Heiss, and Ligeti. Sunday, November 3, 3pm, Kennedy Library and Museum—Celebrating the Centennial of Benjamin Britten and Music of the Kennedy Era: The Hawthorne String Quartet and BSO clarinetist Thomas Martin present a special program commemorating the centennial Britten’s, recalling music performed at the time of President John F. Kennedy's death in 1963 (the year after the War Requiem was premiered), plus readings of poetry by First and Second World War writers. (To be repeated on Friday, November 8, 1:30pm, at Northeastern University’s Fenway Center.) Monday, November 4, 5:30pm, Symphony Hall—“Britten in a Cold War Context”: Distinguished lecturer Harlow Robinson speaks about the Cold War context in which Britten wrote his War Requiem and on the artistic rebuilding of Europe following World War II. Following the lecture, attendees are invited to observe a piano rehearsal of the War Requiem with the Tanglewood Festival Chorus, conducted by Charles Dutoit. Monday, November 4, 8pm, Jordan Hall at NEC—First Monday: Program to include Britten’s Prelude and Fugue for eighteen string instruments. Wednesday, November 6, 5:30pm, Symphony Hall—“Britten’s ‘War Requiem’ in Performance”: BSO Artistic Administrator Anthony Fogg, with tenor John Mark Ainsley, TFC conductor John Oliver, and Britten scholar Michael Foster, discusses approaches to performing the War Requiem, in a presentation to include filmed excerpts from past performances led by Britten himself, Erich Leinsdorf (the 1963 American premiere with the BSO at Tanglewood), and BSO Music Director Designate Andris Nelsons. Thursday/Friday/Saturday, November 7/8/9, 6:45-7:15pm, Symphony Hall— “The Idea Was Good: The Story of Benjamin Britten’s ‘War Requiem’”: Prior to the BSO’s performances, Michael Foster, author of a recent study of the War Requiem, offers insights into the creation of Britten’s masterpiece. Friday, November 8, 6pm, Williams Hall at NEC: As a prelude to the BSO’s Friday- night performance of Britten’s War Requiem, NEC students perform vocal works and folksong arrangements by the composer.

For additional information, please visit bso.org.

24 At a rehearsal for the first performance of the “War Requiem,” at St. Michael’s Cathedral, Coventry: Britten, who conducted the chamber orchestra, confers with principal conductor Meredith Davies. Tenor soloist Peter Pears is at far right, baritone Dietrich Fischer-Dieskau seated to his right.

To anchor his antiwar message, Britten taps into a tradition of sacred music that carries a plea for peace amid contemporary turmoil. Well-known examples from the sacred music canon are Haydn’s Mass in Time of War and Beethoven’s Missa Solemnis. Britten’s mixture of Latin liturgical texts with secular poetry is likewise not without precedent. Yet he jux- taposes the poems of Owen so that they become a provocative commentary on the familiar Requiem. The result is a complex yet ingeniously lucid six-movement structure in which is embedded an ongoing song cycle for tenor and baritone.

In a sense, this fusion of the ancient and the modern to underscore both the “pity” and the poet’s warning—the secondary level that comments on the primary, ritual, archaic level—might be interpreted as the composer’s musical and textual counterpart to Spence’s bold architectural design. In his Aspen speech, Britten refers to the importance of suiting the music to the setting: “The best music to listen to in a great Gothic cathedral is the polyphony which was written for it, and was calculated for its resonance: this was my approach in the War Requiem. I calculated it for a big, reverberant acoustic and that is where it sounds best.” (The American premiere, a proud part of the Boston Symphony Orchestra’s history, in fact took place in the spacious acoustic of Tangle- wood’s Music Shed fifty years ago.)

But it’s more specifically Spence’s conflation of ruin and renewal that is replicated in Britten’s unique structure, which at several points subverts the expected biblical truths. This happens to especially devastating effect, for example, in Owen’s dark retelling of the sacrifice of Isaac, which intervenes in the Offertorium and inverts its message with terrible irony. Immediately following this is the shockingly triumphant Sanctus, with its echoes of both ceremonial gamelan music and Monteverdi, this in turn being countered, in the baritone’s solo, by Owen’s poetic denial of the afterlife’s consolation. The apoca- lyptic and the personal, the archetypal pattern and the concretely, painfully historical

week 7 britten’s “war requiem” 25 moment—these are the different planes that intersect in fascinating ways throughout the War Requiem.

Britten’s vast array of performing forces further points to the architectural and spatial aspects of his conception. The scoring is divided into three groupings that are perceived to emanate from three distinct spheres. There is the conventional sound-world of the full orchestra (including enlarged brass and percussion sections) and mixed chorus, which sings only the Latin texts, and the soprano solos. If these performers are the world of humanity in general, facing our mortal condition, the boys’ choir, accompanied throughout by organ or harmonium, exists suspended beyond it as the voice of eternal, angelic innocence. (Britten specifies that their sound is to be “distant.”) The third level, with its reduced satellite orchestra and two male soloists, is closer to the world of art song and chamber opera. This is the real world not of ideals, but of violence and meaningless death—the plane on which innocence is corrupted.

Mediating among all these spheres is the core harmonic idea of the War Requiem: the interval of the tritone (heard at the outset as C pitted against F-sharp), whose instability highlights the pervasive feeling of ambivalence. “There are very few easy resolutions in Britten’s later work,” writes Powell, “and ease, when it is attempted, is always troubled by ambiguity.” This is how Powell reads the composer’s statement near the end of his life about the effect on him of witnessing Belsen and other former concentration camps during a tour he and Yehudi Menuhin undertook shortly after the Second World War. As his partner Peter Pears discolosed, Britten said “that the experience had colored everything he had written subsequently.”

In his unforgettable setting of the final Owen poem, Britten dissolves the scene of immense pathos of the former enemy soldiers meeting after death. As they choose eternal peace and oblivion, the composer leads us into the final Latin prayer, In paradisum, where, for the first time, he joins all the performing forces together. The chorus repeats the harmonic sequence that had concluded the first movement, but the composer forces us to wonder: is this merely the reboot of humanity’s eternally recurring pattern? thomas may writes about the arts for various publications including the Boston Symphony Orchestra program book. The editor of “The John Adams Reader: Essential Writings of an American Composer,” and the author of “Decoding Wagner: An Invitation to his World of Music Drama,” he lectures about music and theater and blogs at memeteria.com.

week 7 britten’s “war requiem” 27 andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 133rd season, 2013–2014

Thursday, October 31, 8pm Friday, November 1, 1:30pm | the ruth gordon shapiro memorial concert Saturday, November 2, 8pm Tuesday, November 5, 8pm

charles dutoit conducting

ravel “le tombeau de couperin” Prélude Forlane Menuet Rigaudon ee Vanderwarker Peter

From the BSO library in Symphony Hall

28 penderecki concerto grosso no. 1 for three cellos and orchestra (2001) (celebrating the composer’s 80th birthday, november 23, 2013) Andante sostenuto—Allegro con brio— Allegretto giocoso—Notturno— Allegro con brio—Adagio gautier capu¸con daniel müller-schott arto noras

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

saturday evening’s guest artist appearances are supported by a generous gift from nancy and richard lubin. bank of america and emc corporation are proud to sponsor the bso’s 2013-2014 season.

The evening concerts will end about 10:10, the afternoon concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 7 program 29 The Program in Brief...

Ravel’s Tombeau de Couperin, like many of his orchestral works, originated as a suite for piano solo. As “tombeau” indicates, the suite served a memorial function: its individual movements were all dedicated to friends and acquaintances who lost their lives during World War I. Ravel saw some of the horrors of that conflict firsthand as an ambulance driver. The piece is also, though, an homage to the French Baroque composer François Couperin, whose suites for harpsichord solo served Ravel as a model for his own versions of French dance genres. Ravel completed the piano suite in 1917 and within the next two years orchestrated four of the movements: Prelude, Forlane, Menuet, and Rigaudon.

The celebrated Polish composer and conductor Krzysztof Penderecki celebrates his eightieth birthday on November 23, 2013. In his honor, Swiss conductor Charles Dutoit leads a work he himself premiered in 2001, Penderecki’s Concerto grosso No. 1 for three cellos and orchestra, the score of which is dedicated to Maestro Dutoit. Penderecki bor- rowed the title “Concerto grosso” from the Baroque genre, a concerto featuring a group of soloists with an ensemble; the model here, though, is closer to Beethoven’s Triple Concerto, with much more flexible give and take between the soloists and orchestra. The piece is continuous, but alternates big sections of slow-vs.-fast tempos and rhapsodic- vs.-aggressive character.

Edward Elgar grew up in a musical household, but the circumstances of the family didn’t allow him a formal education in music following his general schooling. Violin and piano lessons brought him to competence on those instruments but he was fundamentally self-taught as a composer. He gained much of his experience and knowledge of instruments by conducting a local tradesmen’s orchestra, learned the bassoon, and played the violin in the orchestras of the great choral festivals, where he first made a local name for himself in the 1880s and ’90s.

At age forty-two, in 1899, Elgar began writing the Variations on an Original Theme for orchestra, which upon completion he sent to the eminent conductor Hans Richter, who decided to program the piece. At its premiere it proved to be a sensational success, almost immediately establishing Elgar’s stature not only in London but also in Germany. Apart from being a tour de force of compositional skill and orchestral brilliance, the “Enigma” aspect of the piece titillated: Elgar produced fourteen wide-ranging character sketches of friends and acquaintances based on his original theme, beginning with his wife Alice and ending with himself. Although he later revealed to the public most of the personalities sketched in his piece, one has never been satisfactorily identified (No. 13); further, in Elgar’s words, “through and over the whole set another theme ‘goes’ but is not played.” He never revealed that unheard theme—an enigma, in spite of the sweat of many musicologists’ brows, that remains unraveled.

Robert Kirzinger

30 Maurice Ravel “Le Tombeau de Couperin”

JOSEPH MAURICE RAVEL was born in Ciboure near Saint-Jean-de-Luz, Basses-Pyrénées, in the Basque region of France just a short distance from the Spanish border, on March 7, 1875, and died in Paris on December 28, 1937. He composed “Le Tombeau de Couperin” as a suite in six movements for piano solo between 1914 and 1917, then orchestrated four of those movements in 1919. The orchestral suite was first performed on February 28, 1920, Rhené-Baton conducting.

THE SCORE OF “LE TOMBEAU DE COUPERIN” calls for a modest orchestra of two flutes, oboe, two clarinets, two bassoons, two horns, trumpet, harp, and strings.

During the sixteenth and seventeenth centuries French poets frequently wrote short poems—or assembled collections of such poems—commemorating the death of a notable person. Such poems were called “tombeaux” (“tombstones”). Usually the deceased person to be so honored was of the high nobility, though occasionally the death of a great poet, like Ronsard, might generate an outpouring of literary tributes. During the seventeenth century the tombeau tradition was adopted by French composers, who wrote their works most frequently for solo lute or solo harpsichord, usually in the form of a slow, stately dance movement. A group of French composers in the late nineteenth and early twentieth centuries, concerned with recapturing some of the history of the French musical tradition, began reusing the neoclassical dance forms in their compositions. Ravel was the ﬁrst to reuse the term tombeau, in his tribute to his great predecessor François Couperin (1668-1733), whose music shares with Ravel’s own a characteristic concern for grace, elegance, and decoration.

The original piano-solo version of Le Tombeau de Couperin occupied Ravel for some three years, on and off, during the devastating course of World War I, which was personally shattering to him. The piano work was a tombeau not only to the Baroque composer Couperin but also to deceased friends—each of the six movements was dedicated to a victim of the war. The piano version contained the following sections: Prélude, Fugue, Forlane, Rigaudon, Menuet, and Toccata. When Ravel decided to orchestrate the work

week 7 program notes 31 Program page for the first Boston Symphony Orchestra performances—which were also the first American performances—of Ravel’s “Le Tombeau de Couperin” on November 19 and 20, 1920, with Pierre Monteux conducting (BSO Archives)

32 François Couperin (1668-1733)

in 1919, he omitted the Fugue and Toccata entirely and reversed the positions of the Menuet and Rigaudon.

The music of Ravel’s Tombeau is not really an evocation of Couperin’s own style—not even in a very extended way. Ravel simply hoped to pay tribute to the entire French musical tradition (then evidently under attack—culturally as well as militarily—from Germany). In its orchestral guise, the Prélude, with its running sixteenth-note ﬁgurations, makes extended demands on the articulation and breath-control of the woodwind players, especially the oboist. The Forlane is fetchingly graceful, delicate, and highly polished. (Oddly enough, given Ravel’s evident intention of commemorating French music, the forlane is an old dance from Italy, not France!) Ravel was evidently especially fond of the Menuet, which was the last music to be seen on his music rack when he died in 1937. And the Rigaudon, with its brassy outbursts, brings the Tombeau to a cheerful and lively conclusion.

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

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCES of “Le Tombeau de Couperin” on November 19 and 20, 1920, with Pierre Monteux conducting, were also the first of this music in America, subsequent BSO performances being given by Ravel himself (in January 1928), Serge Koussevitzky, Richard Burgin, Charles Munch, Jean Martinon, Jorge Mester, Seiji Ozawa, André Previn, Leonard Slatkin, Robert Spano, Bernard Haitink, Charles Dutoit, David Robertson, Hans Graf (the most recent Tanglewood performance, on July 30, 2005), Susanna Mälkki, and Esa-Pekka Salonen (the most recent subscription performances, in April 2012).

week 7 program notes 33

Krzysztof Penderecki Concerto grosso No. 1 for three violoncellos and orchestra (2001)

KRZYSZTOF PENDERECKI was born in D˛ebica, Poland, on November 23, 1933, and lives near Krakow. He composed the Concerto grosso No. 1 for three cellos and orchestra in 2000-2001 for Charles Dutoit and the NHK Symphony Orchestra in Tokyo; the score is dedicated to Dutoit. Charles Dutoit led the NHK Symphony and cello soloists Boris Pergamenschikow, Truls Mørk, and Han-Na Chang in the premiere performance, which took place in NHK Hall in Tokyo on June 22, 2001. Dutoit also led the first United States performance, on October 10, 2008, with the Philadelphia Orchestra and soloists Han-Na Chang, Arto Noras, and Daniel Müller-Schott. The BSO’s performances of the piece this week—its first of the work—are given in honor of the composer’s upcoming eightieth birthday.

IN ADDITION TO THE THREE CELLO SOLOISTS, the score of the Concerto grosso No. 1 calls for two flutes (second doubling piccolo), two oboes (second doubling English horn), two clarinets (second doubling E-flat), bass clarinet, two bassoons (second doubling contrabassoon), four horns, two trumpets, three trombones, tuba, percussion (three players, playing variously triangle tree, bell tree, suspended cymbal, crash cymbals, tubular bells, two tam-tams, tambourine, snare drum, tenor drum, bass drum with cymbal, glockenspiel, and marimbaphone), harp, celesta, and strings. The duration of the piece is about thirty-five minutes.

On November 23, 2013, Krzysztof Penderecki turns eighty years old; his legacy as one of the most important European composers of the past century is being celebrated worldwide this year. The largest of these celebrations is a six-day Krzysztof Penderecki Festival that will take place in Warsaw, November 17-23, featuring performances of more than forty of his works from throughout his five-decade career. A recently revised version of his first opera The Devils of Loudun, based on Aldous Huxley’s novel, was produced at the Royal Danish Theater this past winter and in Warsaw in October 2013. These, though, are just concentrated occurrences for someone whose music is among the most frequently performed of any living composer.

Penderecki’s current position in music, and his compositional voice, are a far cry from the

week 7 program notes 35 36 situation of the iconoclastic twenty-six year-old who burst upon the international scene at the Donaueschingen Music Days festival in 1960 with his orchestral work Anaklasis. Pendrecki had instruction in violin and piano as a boy; he considered a career as a concert violinist. After studying a variety of subjects, including music, at Jagiellonian University in Krakow, he enrolled in the Krakow Academy of Music in 1954. In 1959 he received national recognition with prizes from the League of Polish Composers for his Strophes, Psalms of David, and Emanations. A recording of the Webernesque, expressionistic Strophes, which was performed at the Warsaw Autumn Festival, made its way to the German new music eminence Heinrich Strobel, who was impressed enough to arrange for the commission of a new work—which would be Anaklasis—for Donaueschingen.

The Donaueschingen Festival, begun in the early 1920s, had and still has a reputation as a proving-ground for an astonishing number of significant new pieces, among them Xenakis’s Metastaseis and Ligeti’s Atmosphères, two orchestral works with which Anaklasis has been compared. In 1960 Penderecki wrote another of the early works that established his reputation, Threnody to the Victims of Hiroshima—originally an abstract study of the sonic possibilities of a large string orchestra, and renamed when the composer sought a title that matched its expressive impact. The masses of sound in Emanations, Anaklasis, and Threnody, the latter employing influential innovations in durational notation, became part of the trademark Penderecki sound of the 1960s through early 1970s, in works including Polymorphia, De natura sonoris nos. 1 and 2 (“On the Nature of Sound,” 1966 and 1971), the first two string quartets, and a handful of sacred works: the St. Luke Passion, Dies irae, and Utrenja (“Entombment and Resurrection of Christ”). Some of this music was used by Stanley Kubrick in his 1980 film of Stephen King’s The Shining, lending Penderecki’s name a somewhat broader pop-culture currency, as Kubrick’s 2001: A Space Odyssey had done for György Ligeti’s avant-garde orchestral works of the 1960s. Ironically, by 1980 Penderecki’s style had changed rather radically.

Penderecki grew up a staunch Catholic and once seemed destined for a life in the Church. His preoccupation with sacred music, which continues to the present day, has from the start allowed the composer to maintain a healthy connection with music of an older tradition, such as the Gregorian chant he employed in his early Stabat Mater. The expressive variety of textual episodes in sacred texts, as well as in his opera The Devils of Loudun, required a more eclectic and more illustrative approach than did his more abstract instrumental works of the time. This seems to have led to the composer’s redis- covery, beginning in the mid-1970s, of familiar musical forms and languages of the past—a shift also corresponding roughly to his increasing activity as an orchestral conductor beginning in 1972, which gave him a deeper and broader involvement with popu- lar symphonic repertoire. Penderecki’s Violin Concerto (1977), composed for and premiered by Isaac Stern, was seen as a high-profile departure from the style for which he had become known, as was his opera Paradise Lost, based on Milton’s poem. While it would be going too far to call the Violin Concerto a throwback to the Romantic era, the piece signaled a new era of inclusiveness, using harmonic, melodic, and formal approaches whose familiarity allowed for more direct communication with listeners. This new, or

week 7 program notes 37 38 Krzysztof Penderecki (left) and his compatriot Witold Lutosławski

expanded, perspective paralleled developments among the composer’s contemporaries, such as George Rochberg and David Del Tredici in the U.S., and Central and Eastern European progressive composers including the Polish Witold Lutosławski and Henryk Górecki (who had composed his now-famous Third Symphony, Symphony of Sorrowful Songs, in 1977), the Russian polystylist Alfred Schnittke, and the Estonian Arvo Pärt. (This is not to say that the music of these composers sounds much alike.) Penderecki never wholly abandoned the textural innovations of his early works; he folded them into his less abstract overall designs. Think of a painter using unusual expressionistic color combinations, exaggerated proportions, or impasto techniques to enliven the expressive potential of a figurative work.

Always a prolific composer, Penderecki has written a number of large-scale works in the past couple of decades that demonstrate the breadth of his compositional and extramu- sical interests, among them his Third through Eighth symphonies. His Seventh, Seven Gates of Jerusalem, commissioned by the City of Jerusalem for the city’s “3000 years” celebrations, is a seventy-minute work for two orchestras, three choruses, soloists, and narrator. His Eighth, also for chorus, soloists, and orchestra, is of only slightly smaller scale. In addition to several stand-alone Mass movements (including an hour-long Credo), there’s also the two-hour Polish Requiem, mirroring Brahms’s German Requiem.

The range of Penderecki’s musical experience helped him become an effective and sought-after teacher. He joined the faculty of the Krakow Academy just after graduation in 1958 and taught there for many years, later becoming its Rector; in the late 1960s he began teaching abroad as well, first in Germany, at Essen; and in the mid-1970s he was a professor of composition at Yale University. He has worked as a conductor with many of the major orchestras of the world, and was music director, from 1992 to 2001, of the Casals Festival in Puerto Rico (television broadcasts of which earned him two Emmy nominations). His list of honors and recognitions is vast: he has won the Grawemeyer

week 7 program notes 39

Award from the University of Louisville, one of classical music’s most prestigious awards, and multiple Grammy awards, including those for his Cello Concerto No. 2, his Violin Concerto No. 2, and his Credo. In 1991 he had an asteroid named for him. Earlier this year, the ambitious European Krzysztof Penderecki Center for Music was inaugurated in Lusławice, Poland, with a concert by the violinist Anne-Sophie Mutter.

Penderecki has written more than a dozen solo concertos, including three for solo cello, and a few works for multiple soloists with orchestra. His use of the title “concerto grosso” for the present work borrows a term from the Baroque genre of concertos for multiple instruments and orchestra; the composer would write a second concerto grosso, for five clarinets and orchestra, in 2004. The Concerto grosso for three cellos and orchestra doesn’t really follow the Baroque model, though, which would typically involve episodic alternation between the orchestra and soloists; this concerto is more like the Beethoven Triple Concerto for violin, cello, and piano, in which the soloists sometimes act as a group but are more usually individuals, sharing solo material and interacting with the orchestra in more fluid, integrated ways.

The piece is ostensibly in one large movement, but there are several shifts in character. It opens with a kind of recitative section, Andante sostenuto, presenting a zigzagging, descending chromatic line that will prove to be the motivic kernel around which the whole piece is built. After this brief orchestral introduction the three cellos enter, one by one, with their own ideas on that same theme. The first part continues in rather rhapsodic, and generally slow, fashion, for several minutes, giving way to a militaristic march (Allegro con brio) featuring dotted-rhythm figures based on the same chromatic idea. The underlying harmonic shifts give large-scale shape to the chromatic progression of the melodic figures. The march takes on a sardonic quality for an Allegro giocoso section—listen for the humorous asides in bassoons, contrabassoon, and bass clarinet as the march slows almost to a stop, leading to yearning melodies from the three soloists.

The next episode, beginning right about the midpoint of the piece, is a lyrical chorale having almost the quality of a Bach adagio; Penderecki marks it “Notturno” to indicate its dusky, somewhat mysterious quality. Following a broad, B minor chord in the brass, the cello soloists exchange and interweave cadenza-like phrases that recall the opening of the piece, and are joined by a solo violin. Increasing agitation leads to a new Allegro con brio. This begins like a development of ideas from the earlier march and is sidetracked by more lyrical music, a surging and abating of impetus that continues through several cadenza-like passages for each soloist and the three as a group. The final Adagio, again chorale-like with a few remaining cadenza passages, has the resolving effect of a coda.

Robert Kirzinger robert kirzinger, a composer and annotator, is Assistant Director of Program Publications of the Boston Symphony Orchestra.

week 7 program notes 41

Edward Elgar Variations on an Original Theme, Opus 36, “Enigma”

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

THE SCORE OF THE “ENIGMA” VARIATIONS calls for two flutes (second doubling piccolo), two oboes, two clarinets, two bassoons and contrabassoon, four horns, three trumpets, three trombones and tuba, timpani, side drum, triangle, bass drum, cymbals, organ (ad lib.), and strings.

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

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

week 7 program notes 43 Program page for the first Boston Symphony Orchestra performances of Elgar’s “Enigma” Variations on December 24 and 26, 1903, with Wihelm Gericke conducting (BSO Archives)

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

way a thorough practical knowledge of how instruments sound in performance. He later used to boast that he had never had to reorchestrate a passage after hearing it in performance because it always sounded exactly as he had imagined it would.

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

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

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

week 7 program notes 45 46 Elgar’s new piece. The composer played the piano, while Dora turned pages for him.

He played the theme and started in on the variations. Then he turned over two pages and I saw No. III, R.B.T., the initials of a connexion of mine. This was amusing! Before he had played many bars I began to laugh, which rather annoyed me. You don’t generally laugh when you hear a piece of music for the first time dedicated to someone you know, but I just couldn’t help it, and when it was over we both roared with laughter! “But you’ve made it like him! How on earth have you done it?”

Dora Penny (herself a “variation” named “Dorabella”) was probably the first person outside the Elgar household to learn the secret of the variations.

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

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

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

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

week 7 program notes 47

August Jaeger (“Nimrod”), the subject of Variation IX

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

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

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

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

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

V. (R.P.A.) Richard Penrose Arnold, a son of Matthew Arnold, a self-taught pianist. “His

week 7 program notes 49 50 “Dorabella,” the subject of Variation X, in a 1956 photograph

serious conversation was continually broken up by whimsical and witty remarks. The theme is given by the basses with solemnity and in the ensuing major portion there is much lighthearted badinage among the wind instruments.”

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

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

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

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

week 7 program notes 51

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

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

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

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

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

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

week 7 program notes 53 For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected]

54 XIV. (E.D.U.) Elgar himself. When Dora Penny first heard this movement in Elgar’s study, she couldn’t figure out whose initials stood at the head of the page. Only after he dropped a broad hint did she realize that it was Alice’s nickname for Elgar—“Edu”—written as if it were initials. Elgar wrote that the movement was “written at a time when friends were dubious and generally discouraging as to the composer’s musical future.” During the course of the movement he refers especially to C.A.E. and to Nimrod, “two great influ- ences on the life and art of the composer.” As Elgar correctly noted, “The whole of the work is summed up in the triumphant, broad presentation of the theme in the major.”

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

Steven Ledbetter

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

THEFIRSTBOSTONSYMPHONYPERFORMANCES of the “Enigma Variations” were given by Wilhelm Gericke on December 24 and 26, 1903. Since then, the orchestra has played it under the direction of Max Fiedler, Serge Koussevitzky, Sir Henry J. Wood, Sir Adrian Boult, Charles Munch, Jean Morel, Pierre Monteux, Eugene Ormandy, Erich Leinsdorf, Erich Kunzel, Colin Davis, André Previn, Seiji Ozawa, Charles Dutoit, Grant Llewellyn, Simon Rattle, Yuri Temirkanov, Jeffrey Tate, Andrew Davis (the most recent subscription performances, in November 1999), Sir Neville Marriner, Mark Elder, and Donald Runnicles (the most recent Tanglewood performance, on August 4, 2006).

week 7 program notes 55

To Read and Hear More...

Probably the most accessible and readily available biography of Krzysztof Penderecki in book form can be found in the chapters dedicated to him in Bernard Jacobson’s A Polish Renaissance, a study of the major Polish composers of the late-20th century—Lutosławski, Panufnik, Gorecki, and Penderecki (Phaidon paperback). Although there are several other books on the composer in English, they’re either aimed at an academic audience or are outdated and may be hard to find (or both). Penderecki’s own Labyrinth of Time: Five Addresses at the End of the Millennium, from 1998, discusses the composer’s aesthetic stance as drawn from his lectures of that period (Hinshaw Music). The New Grove Dictionary article on Penderecki (from 2000) is by Adrian Thomas. The website of the composer’s publisher, Schott, is a useful and up-to-date resource. Also of interest is the website of the European Krzysztof Penderecki Center for Music: penderecki-center.pl/en/; the Center itself is located in Lusławice, Poland.

Penderecki’s Concerto Grosso No. 1 was recorded by conductor Antoni Wit leading the Warsaw National Philharmonic Orchestra with cello soloists Ivan Monighetti, Arto Noras, and Rafael Kwiatkowski (Naxos, with other works for cello and orchestra). The Naxos label and Antoni Wit have been particularly attentive to the Penderecki catalog; there are literally dozens of Penderecki CDs available from Naxos, exploring most, if not all, of the composer’s important works. A box set of Wit and the Warsaw Philharmonic’s recordings of seven of Penderecki’s symphonies was released last year, and a five-disc collection of choral works—including the very significant relatively early works St. Luke Passion and Utrenja—was released in 2009. Given Penderecki’s status as a conductor, of particular interest are his own recordings of his music. The EMI label released a two- disc collection with the composer conducting the London Symphony Orchestra and the Polish Radio Symphony Orchestra in works including Anaklasis, Threnody for the Victims of Hiroshima, De natura sonoris Nos. 1 and 2, and other important pieces. There are many other recordings also available. The original Hamburg State Opera production of the composer’s 1969 opera The Devils of Loudun, conducted by Marek Janowski and starring Tatiana Troyanos and Andrej Hiolski, is available on DVD (ArtHaus). Another DVD has the conductor leading his Symphony No. 7, Seven Gates of Jerusalem, with the Penderecki Festival Orchestra and the Warsaw Philharmonic Choir (ArtHaus).

Robert Kirzinger

week 7 read and hear more 57 Roger Nichols’s Ravel, published in 2011 (Yale University Press), has now replaced his earlier biography of the composer that was part of the “Master Musicians” series. Nichols also assembled Ravel Remembered, which brings together recollections from musicians and non-musicians who knew the composer personally (Farrar Straus & Giroux). Gerald Larner’s Maurice Ravel is one of the many well-illustrated volumes in the biographical series “20th-Century Composers” (Phaidon paperback). Also useful are The Cambridge Companion to Ravel, edited by Deborah Mawer (Cambridge University Press), Arbie Orenstein’s Ravel: Man and Musician (Dover), Orenstein’s A Ravel Reader: Correspondence, Articles, Interviews (also Dover), and Benjamin Ivry’s Maurice Ravel: a Life (Welcome Rain). Michael J. Puri’s recent Ravel the Decadent: Sublimation and Desire examines the composer’s aesthetic, and that of his time, through close analysis of his music, particularly Daphnis et Chloé (Oxford University Press). Laurence Davies’s Ravel Orchestral Music in the series of BBC Music Guides provides a good brief introduction to that subject (University of Washington paperback). Also out of print but worth seeking is Davies’s The Gallic Muse, a collection of essays on Fauré, Duparc, Debussy, Satie, Ravel, and Poulenc (Barnes).

The Boston Symphony Orchestra recorded Ravel’s Le Tombeau de Couperin in 1996 under Bernard Haitink (Philips, Haitink having previously recorded it with the Concertgebouw Orchestra of Amsterdam) and in 1974 under Seiji Ozawa (Deutsche Grammophon). Charles Dutoit has recorded it with the Montreal Symphony Orchestra (Decca). Other noteworthy recordings include Paul Paray’s with the Detroit Symphony Orchestra (Mercury), André Cluytens’s with the Orchestra of the Paris Conservatoire (EMI), André Previn’s with the Royal Philharmonic (EMI), and Yan Pascal Tortelier’s with the Ulster Orchestra (Chandos) For a recording of the piano version, choices include (among numerous others) Jean-Efflam Bavouzet (Md&g), Robert Casadesus (Sony), Angela Hewitt (Hyperion), and Jean-Yves Thibaudet (Decca, the earlier of his two recordings).

58 Among the most important studies of Elgar and his music is Michael Kennedy’s Portrait of Elgar (Oxford). Kennedy is also the author of The life of Elgar in the series “Musical lives” (Cambridge University paperback) and of the compact BBC Music Guide on Elgar Orchestral Music (University of Washington paperback). Another big biography is Jerrold Northrop Moore’s Edward Elgar: A Creative Life (Oxford). Moore has 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 (Continuum). Diana McVeagh’s Elgar article from The New Grove (1980) was included in The New Grove Twentieth Century English Masters along with those on Britten, Delius, Holst, Tippett, Vaughan Williams, and Walton (Norton paperback). McVeagh’s article was retained, with some revisions, for the 2001 edition of Grove. 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). Volumes of correspondence include Percy M. Young’s Letters of Edward Elgar and Other Writings (Geoffrey Bles) and Letters to Nimrod: Edward Elgar to August Jaeger, 1897-1908 (Dennis Dobson), both published in England. Donald Francis Tovey’s program note on the Enigma Variations is among his Essays in Musical Analysis (Oxford).

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

Marc Mandel

week 7 read and hear more 59

Guest Artists

Charles Dutoit

Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both ven- ues, most recently for three weeks of subscription programs last season, and appearances with both the BSO and the Tanglewood Music Center Orchestra this past summer. In 2010-11, the Philadelphia Orchestra celebrated its thirty-year artistic collaboration with Mr. Dutoit, who made his debut with that orchestra in 1980 and who became chief conductor there in 2008. Last season he became the Philadelphia Orchestra’s conductor laureate. Also artistic director and principal conductor of London’s Royal Philharmonic Orchestra, Mr. Dutoit collab- orates regularly with the world’s leading orchestras, including the Chicago Symphony, Boston Symphony, Berlin Philharmonic, and Amsterdam’s Royal Concertgebouw Orchestra, as well as the Israel Philharmonic and the major orchestras of Japan, South America, and Australia. His more than 170 recordings for Decca, Deutsche Grammophon, EMI, Philips, and Erato have garnered more than forty awards and distinctions. For twenty-five years, from 1977 to 2002, he was artistic director of the Montreal Symphony Orchestra, a dynamic musical partnership recognized the world over. Between 1990 and 2010, he was artistic director and principal conductor of the Philadelphia Orchestra’s summer festival at the Saratoga Performing Arts Center in upstate New York. From 1991 to 2001, he was music director of the Orchestre National de France, with which he has toured extensively on five continents. In 1996 he was appointed music director of the NHK Symphony Orchestra in Tokyo, with which he has toured Europe, the United States, China, and Southeast Asia; he is now music director emeritus of that orchestra. Charles Dutoit has also been artistic director of both the Sapporo Pacific Music

week 7 guest artists 61 Festival and the Miyazaki International Music Festival in Japan, as well as the Canton Inter- national Summer Music Academy in Guangzhou, China, which he founded in 2005. In summer 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Mr. Dutoit was invited by Herbert von Karajan to lead the Vienna State Opera. He has since conducted regularly at the Royal Opera House–Covent Garden, the Metropolitan Opera in New York, and Deutsche Oper in Berlin, and has also led productions at the Los Angeles Music Center Opera and the Teatro Colón in Buenos Aires. He is an Honorary Citizen of the City of Philadelphia, a Grand Officier de l’Ordre National du Québec, a Commandeur de l’Ordre des Arts et des Lettres of France, and an Honorary Officer of the Order of Canada, the country’s highest award of merit. The recipient of the 2010 Governor’s Distinguished Arts Award, which recognizes a Pennsylvania artist of international fame, he recently received an honorary doctorate from the Curtis Institute of Music. He also holds honorary doctorates from McGill University, the University of Montreal, and Université Laval. Charles Dutoit was born in Lausanne, Switzerland; his extensive musical training included violin, viola, piano, percussion, the history of music, and composition at the conservatoires and music academies of Geneva, Siena, Venice, and Boston. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, Charles Dutoit has traveled in all the nations of the world.

62 Gautier Capuçon

Born in Chambéry, France, in 1981, Gautier Capuçon studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna. The winner of first prizes in numerous international competitions, including the International André Navarra Prize, he was named 2001 “New Talent of the Year” by Victoires de la Musique (the French equivalent of a Grammy). He received a Borletti-Buitoni Trust Award in 2004, since which time he has garnered several Echo Klassik awards. Mr. Capuçon performs regularly with major orchestras and conductors worldwide. Recent highlights have included concerto performances with the Los Angeles Philharmonic, Seattle Symphony, Boston Symphony, Chicago Symphony, San Francisco Symphony, Berlin Philharmonic, London Symphony, Chamber Orchestra of Europe, Vienna Symphony, and the Deutsches Symphonie- Orchester Berlin, with which he toured Europe. As a recital and chamber musician, he appears regularly in Europe’s major halls and festivals, and annually at the Verbier Festival and at Project Martha Argerich, Lugano, performing with such leading artists as Barenboim, Bashmet, Caussé, Kavakos, Kirchschlager, Pletnev, Pressler, Thibaudet, Znaider, his brother Renaud, and many others, including those with whom he has recorded. The 2013-14 season brings debuts with the Concertgebouw Orchestra under Bychkov, New York Philharmonic under Boreyko, and Staatskapelle Dresden under Eschenbach in Dresden and at the Salzburg Easter Festival. He also appears with the Munich Philharmonic and Semyon Bychkov in Munich and at the Enescu Festival in Bucharest; the Sydney Symphony under Lionel Bringuier; the Chamber Orchestra of Europe and Bernard Haitink in Amsterdam, Paris, and the Lucerne Festival; the Mariinsky Orchestra and Valery Gergiev at the Salle Pleyel in Paris; the NHK Symphony under Charles Dutoit; and in China with the China Philharmonic and Guangzhou Symphony. In recital, he performs with Frank Braley in Paris, Amsterdam, Brussels, Vienna, and Seoul, and with Yuja Wang in a tour of Japan. Gautier Capuçon records exclusively for Virgin Classics. His recordings include the Dvoˇrák Concerto with the Frankfurt Radio Symphony and Paavo Järvi, Tchaikovsky’s Rococo Variations and Prokofiev’s Sinfonia concertante with the Mariinsky Orchestra and Gergiev, the Brahms Double Concerto with his brother Renaud, and the Haydn cello concertos. His chamber music recordings include piano trios of Mendelssohn, Haydn, Brahms, Schubert, and Ravel, Schubert’s Trout Quintet, and cello sonatas of Rachmani- noff and Prokofiev. Upcoming releases include a recital disc of music by Schubert, Debussy,

week 7 guest artists 63 Britten, and Carter, and Saint-Saëns’s Cello Concerto No. 1 and La Muse et le poète. Recently released as a Deutsche Grammophon DVD is a live performance of Haydn’s Cello Concerto No. 1 featuring him with the Berlin Philharmonic under Dudamel. Gautier Capuçon plays a 1701 Matteo Goffriller. The acquisition of his Dominique Peccatte bow was made possible in part by the Colas Group, which also co-produced, with Virgin Classics, his recent recording with the Mariinsky Orchestra and Gergiev. Since 2007 he has been an Ambassador for the Zegna & Music project, which was founded in 1997 as a philanthropic activity to promote music and its values. Mr. Capuçon’s only previous appearances with the Boston Symphony Orchestra were in February 2012, when he made his BSO debut as soloist in Dutilleux’s Tout un monde lointain... also with Charles Dutoit conducting.

64 Daniel Müller-Schott

Noted for imaginative interpretations of the standard repertoire and deeply committed to the music of our time, Daniel Müller-Schott has had cello concertos by Sir André Previn and Peter Ruzicka dedicated to him. Recent and upcoming highlights include his Cleveland Orchestra debut at Blossom, return appearances with the New York Philharmonic and Boston Symphony Orchestra, the North American premiere of Previn’s new cello concerto with the New Jersey Symphony, and a recital tour with pianist Simon Trpˇceski. Previous engagements have taken him to the symphonies of Baltimore, Boston, Chicago, Colorado, Fort Worth, Houston, Indianapolis, Kansas City, North Carolina, Oregon, Phoenix, San Francisco, Seattle, Utah, and Vancouver, as well as the National Symphony, Los Angeles Philharmonic (at the Hollywood Bowl), Minnesota Orchestra, New York Philharmonic, Philadelphia Orchestra, and Saint Paul Chamber Orchestra. Internationally he has appeared with the BBC Symphony at the London Proms, the Academy of St. Martin in the Fields, BBC National Orchestra of Wales, BBC Philharmonic, Bilbao Symphony, Budapest Festival Orchestra, City of Birmingham Symphony, Danish Radio Symphony, Deutsche Symphonie-Orchester Berlin, Leipzig Gewandhaus Orchestra, Hamburg Philharmonic, London Philharmonia, London Philharmonic, Munich Philharmonic, Netherlands Philharmonic, Orchestre de Paris, Orchestre National de France, Orchestre Philharmonique de Monte-Carlo, Oslo Philharmonic, Rotterdam Philharmonic, Royal Liverpool Philharmonic, and the Spanish National Orchestra, as well as with the radio orchestras of Berlin, Frankfurt, Hamburg, Leipzig, Munich, and Stuttgart, and Japan’s NHK Symphony, Taiwan’s National Symphony, and the Seoul Philharmonic. During the 2013-14 season he returns to the BBC National Orchestra of Wales, Budapest Festival Orchestra, Dresden Philharmonic, Munich Philharmonic, and the Philharmonic Orchestra of Minas Gerais in Brazil. Festival appearances include Aspen, Blossom, Chamber Music Vancouver, Ravinia, Sarasota, Tanglewood, and Bravo! Vail Valley, as well as the City of London, Lucerne, Rheingau, Salzburg, Schleswig-Holstein, Schwetzingen, and Mecklenburg-Vorpommern festivals. Among the conductors with whom he has collaborated are Vladimir Ashkenazy, Thomas Dausgaard, Charles Dutoit, Christoph Eschenbach, Iván Fischer, Michael Gielen, Alan Gilbert, Bernard Haitink, Sir Neville Marriner, Kurt Masur, Andris Nelsons, Sakari Oramo, Vasily Petrenko, Sir André Previn, and Jukka-Pekka Saraste. An active recitalist and chamber musician, he has collaborated with Nicolas Angelich, Renaud Capuçon, Julia Fischer, Jonathan Gilad, Olli

week 7 guest artists 65 Mustonen, Anne-Sophie Mutter, Sir André Previn, Christian Tetzlaff, Jean-Yves Thibaudet, Lars Vogt, and the Ébène and Vogler quartets. Since making his first recording, Bach’s six solo cello suites (Glissando), he has created a comprehensive and award-winning discography on Orfeo, Deutsche Grammophon, PentaTone, and EMI Classics, including a newly released disc, marking Britten’s centennial, of the Britten and Prokofiev cello symphonies. Mr. Müller-Schott studied under Walter Nothas, Heinrich Schiff, and Steven Isserlis, and held a scholarship from Anne-Sophie Mutter’s foundation, through which he received private instruction from Mstislav Rostropovich for one year. At age fifteen he won first prize at Moscow’s International Tchaikov- sky Competition for Young Musicians. He plays the “Ex Shapiro” Matteo Goffriller cello made in Venice in 1727. Daniel Müller-Schott makes his BSO subscription series debut this week, having previously appeared twice with the BSO at Tanglewood: as soloist in Haydn’s C major cello concerto with André Previn conducting in July 2007, and in Beethoven’s Triple Concerto with pianist Jonathan Biss, violinist Julia Fischer, and conductor Bernard Haitink in July 2008.

66 Arto Noras

Arto Noras, founder and artistic director of the Naantali Music Festival and the International Paulo Cello Competition, is one of Finland’s most celebrated performers, noted as both soloist and chamber musician. Following studies with Professor Yrjo Selin at the Sibelius Academy, Mr. Noras went on to work with Paul Tortelier at the Paris Conservatoire, where he received the coveted Premier Prix diploma in 1964. Two years later he was awarded second prize at the Tchaikovsky Competition in Moscow, which launched an international career that has brought regular appearances at the most important concert halls of Europe, Asia, North America, and South America. He was awarded Denmark’s Sonning Prize in 1967 and the Finnish State Music Prize in 1972. Arto Noras’s repertoire covers all the principal works composed for his instrument, including many by contemporary composers that he has recorded for the Finlandia label (Warner). His extensive discography includes concerto recordings with the Norwegian Radio Orchestra, Finnish Radio Orchestra, Toronto Symphony Orchestra, Helsinki Philharmonic Orchestra, Warsaw National Philharmonic, BBC Philharmonic, and Bournemouth Symphony Orchestra, under such conductors as Jukka-Pekka Saraste, Sakari Oramo, Markus Lehtinen, Paavo Berglund, Yan Pascal Tortelier, and Krzysztof Penderecki, as well as sonata recordings with pianists Bruno Rigutto (works by Beethoven, Fauré, Franck, and Debussy), Ralf Gothoni (Sallinen), and Juhani Lagerspetz (Brahms and Schumann). He has appeared with most of the great orchestras of the world and in recital in the great concert halls. His 2013 engagements include the BBC Proms, the Festival Pablo Casals (in both San Juan, Puerto Rico, and Prades, France), and the Boston Symphony Orchestra, with which he makes his debut this week. A distinguished chamber musician, he is a member of the Helsinki Trio and a founding member of the Sibelius Academy Quartet. Mr. Noras performs regularly at the world’s leading music festivals, including the Casals Festival in France and Puerto Rico, the Kumho Chamber Music Festival, Turku Music Festival, Seoul International Music Festival, and his own Naantali Music Festival, which celebrated its thirtieth anniversary in 2011. He is also a noted teacher, appointed Professor of Cello at the Sibelius Academy in Helsinki in 1970 and more recently named Professor of Cello at the Hochschule für Musik in Hamburg, Germany. Also in considerable demand as a jurist for the world’s most important competitions, Arto Noras has served on the juries of the Tchaikovsky, Casals, Rostropovich, and Cassado competitions and gives master classes throughout the world.

week 7 guest artists 67 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million

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

68 one million

Alli and Bill Achtmeyer • Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (9)

‡ Deceased

week 7 the great benefactors 69 BSO Season Sponsors 2013–14 Season

Bank of America’s support of the arts reﬂects our belief that the arts are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. As an American company, our program has supported the arts sector in our nation while acting as a cultural diplomat through global programs such as international tours of the Chicago Symphony Orchestra and the Alvin Ailey American Dance Theater, support of museums, theater, Bob Gallery and dance worldwide, and our ﬂagship Art Conservation Project, which Massachusetts President, conserves the art of many nations and cultures. Bank of America

EMC is pleased to continue our longstanding partnership with the Boston Symphony Orchestra. EMC is a global leader in enabling businesses and service providers to transform their operations and deliver information technology as a service (ITaaS). Fundamental to this transformation is cloud computing. Through innovative products and services, EMC acceler- ates the journey to cloud computing, helping IT departments to store, manage, protect, and analyze their most valuable asset—information—in Joe Tucci a more agile, trusted, and cost-efﬁcient way. Chairman, President, and CEO “As a Great Benefactor, EMC is proud to help preserve the wonderful musical heritage of the BSO, so that it may continue to enrich the lives of listeners and create a new generation of music lovers,” said Joe Tucci, Chairman and CEO, EMC Corporation.

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reﬂect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the companies listed above and gratefully acknowledges their partnership. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

70 BSO Season Supporting Sponsors

The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to expand its support of the Boston Symphony Orchestra this John Donohue season through sponsorship of the BSO’s Youth & Family Concerts and Chairman, President College Card program. These outreach programs give both area students and CEO and students from around the globe the opportunity to experience great classical music performed by one of the world’s leading orchestras in one of the world’s greatest concert halls. Through the Foundation, Arbella helps support organizations like the Boston Symphony Orchestra that work so hard to positively impact the lives of those around them. We’re proud to be local, and our passion for everything that is New England helps us better meet all the unique insurance needs of our neighbors.

The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud to be the ofﬁcial hotel of the BSO. We look forward to Paul Tormey many years of supporting this wonderful organization. For more than Regional Vice President a century Fairmont Hotels & Resorts and the BSO have graced their and General Manager communities with timeless elegance and enriching experiences. The BSO is a New England tradition and like The Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

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

week 7 bso season sponsors and season supporting sponsors 71

Administration

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

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

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells†, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant

week 7 administration 73 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 7 administration 75 76 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/ Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box ofﬁce David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator box ofﬁce representatives Mary J. Broussard • John Lawless • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

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

week 7 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Audley H. Fuller Vice-Chair, Tanglewood, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2013-14

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, George Mellman • Membership Table/Hall Greeters, Melissa Riesgo • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 7 administration 79 Next Program…

Thursday, November 7, 8pm Friday, November 8, 8pm (UnderScore Friday concert, including comments from the stage) Saturday, November 9, 8pm

charles dutoit conducting

britten “war requiem,” opus 66, for soprano, tenor, and baritone solos, mixed chorus, boys’ choir, full orchestra, and chamber orchestra (words from the “missa pro defunctis” and the poems of wilfred owen) Requiem aeternam Dies irae Offertorium Sanctus Agnus Dei Libera me tatiana pavlovskaya, soprano john mark ainsley, tenor matthias goerne, baritone tanglewood festival chorus, john oliver, conductor the american boychoir, fernando malvar-ruiz, music director

To mark the centenary of the composer’s birth, Swiss conductor Charles Dutoit leads one of the greatest 20th-century works for chorus and orchestra, Benjamin Britten’s War Requiem. Written in 1961-62, this moving work was commissioned for the consecration of the rebuilt Coventry Cathedral, destroyed during a bombing raid in World War II. Britten’s piece takes a firm pacifist stance, setting World War I-era poetry by Wilfred Owen—sung by the two male soloists—inter- leaved with his setting of the traditional Latin Mass for the dead. Following the composer’s intention, the present performances bring together three soloists—one Russian, one English, and one German—from countries representing three major factions in the agonies of World War II. The Boston Symphony Orchestra gave the American premiere of this great work at Tanglewood in 1963 under Erich Leinsdorf. In conjunction with these performances of Britten’s War Requiem, the BSO is also pleased to offer the first of its two new “Insights” series” this season—a series of discussions and concerts on the larger theme of music and pacifism, presented by the BSO in collaboration with the JFK Library and Museum, and the New England Conservatory. See page 24 of this program book, or visit bso.org for complete details.

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

Thursday ‘D’ November 7, 8-9:40 Thursday ‘A’ November 21, 8-10:05 UnderScore Friday November 8, 8-9:50 Friday ‘B’ November 22, 1:30-3:35 (includes comments from the stage) Saturday ‘A’ November 23, 8-10:05 Saturday ‘B’ November 9, 8-9:40 RAFAELFRÜHBECKDEBURGOS, conductor CHARLESDUTOIT, conductor RICHARDSVOBODA, bassoon TATIANA PAVLOVSKAYA, soprano BEETHOVEN Symphony No. 6, Pastoral JOHNMARKAINSLEY, tenor NEIKRUG Concerto for Bassoon and MATTHIAS GOERNE, baritone Orchestra (world premiere; TANGLEWOOD FESTIVAL CHORUS, BSO co-commission) JOHNOLIVER , conductor FALLA The Three-cornered Hat, THEAMERICANBOYCHOIR, Suites 1 and 2 FERNANDO MALVAR-RUIZ, music director BRITTEN War Requiem (marking the centennial of the composer’s Tuesday ‘B’ November 26, 8-10 birth) Friday ‘A’ November 29, 1:30-3:30 Saturday ‘B’ November 30, 8-10 RAFAELFRÜHBECKDEBURGOS, conductor Thursday ‘C’ November 14, 8-9:55 PETERSERKIN, piano Friday ‘A’ November 15, 1:30-3:25 Saturday ‘A’ November 16, 8-9:55 BRAHMS Piano Concerto No. 2 Tuesday ‘C’ November 19, 8-9:55 BEETHOVEN Symphony No. 7 LEONIDAS KAVAKOS, violin and conductor MOZART Violin Concerto No. 4 in D, K.218 PROKOFIEV Symphony No. 1, Classical SCHUMANN Symphony No. 2

Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200, or at the Symphony Hall box office Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

week 7 coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. 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 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building.

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 7 symphony hall information 83 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. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 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 Thursday 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.