Summer 2013 Boston Symphony Orchestra

Home , Andonova, Arnold Volpe, Camilla Tilling, Crooked Still, David Boreanaz, David Zinman

boston symphony orchestra summer 2013

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

132nd season, 2012–2013

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

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

Overseers Emeriti

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

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

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

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

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 24 through August 25. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. A “Special Focus” Exhibit at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the Music Shed at Tanglewood

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

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

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

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

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 1 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 1 p.m., and from noon through intermission on Sundays. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $30 (front and boxes) and $20 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2013

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

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

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. (BSO Archives) An expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcon- tinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thir- teenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour On the lawn at Tanglewood in 1941, with a sign promoting a mainland China after the nor- gala benefit concert for the United Service Organizations and malization of relations. British War Relief (BSO Archives/courtesy The Berkshire Eagle) Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiat- ed when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he takes up in the 2014-15 season, following a year as music director designate (see next page). Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world. Andris Nelsons Named Next BSO Music Director

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

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

Table of Contents

Thursday, August 15, 8:30pm 2 THE GOAT RODEO SHOW Yo-Yo Ma, Stuart Duncan, Edgar Meyer, and Chris Thile, with Aoife O’Donovan, vocals

Friday, August 16, 6pm (Prelude Concert) 6 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Lutosławski, Vivaldi/Bach, Stevens, and Bozza

Friday, August 16, 8:30pm 12 BOSTON POPS ORCHESTRA KEITH LOCKHART conducting; MICHAEL FEINSTEIN AND FRIENDS, with FAITH PRINCE and CHEYENNE JACKSON Michael Feinstein’s American Songbook

Saturday, August 17, 8:30pm 21 BOSTON SYMPHONY ORCHESTRA BERNARD HAITINK conducting; ISABELLE FAUST, violin; CAMILLA TILLING, soprano Music of Mozart and Mahler

Sunday, August 18, 2:30pm 32 TANGLEWOOD MUSIC CENTER ORCHESTRA CHRISTOPH VON DOHNÁNYI conducting; EMANUEL AX, piano Music of Mozart and Mahler

“This Week at Tanglewood” Again this summer, Tanglewood patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, August 16, are Boston Pops Conductor Keith Lockhart and pianist Emanuel Ax. The series continues through Friday, August 23, the final weekend of the BSO’s 2013 Tanglewood season.

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

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

TANGLEWOODWEEK 7 TABLEOFCONTENTS 1 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, August 15, 8:30pm THE CAROL AND JOE REICH CONCERT

THE GOAT RODEO SHOW YO-YO MA, cello STUART DUNCAN, fiddle EDGAR MEYER, bass CHRIS THILE, mandolin with AOIFE O’DONOVAN, vocals

Selections to be announced from the stage.

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

Guest Artists

The Goat Rodeo Show The many-faceted career of cellist Yo-Yo Ma is testament to his continual search for new ways to communicate with audiences and to his personal desire for artistic growth and renewal. Mr. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities. His discography includes over seventy-five albums, including more than fifteen Grammy award-winners. Mr. Ma serves as the artistic director of the Silk Road Project, an organization he founded to promote the study of cultural, artistic and intellectual traditions along the ancient Silk Road trade routes. Since the Project’s inception, more than sixty works have been commissioned specifically for the Silk Road Ensemble, which tours annually. He also serves as the Judson and Joyce Green Creative Consultant to the Chicago Symphony Orchestra’s Institute for Learning, Access and Training. His work focuses on the

2 transformative power music can have in individuals’ lives, and on increasing the number and variety of opportunities audiences have to experience music in their communities. Mr. Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at age four, attended the Juilliard School, and in 1976 graduated from Harvard University. His numerous awards include the 2001 National Medal of Arts, the 2006 Sonning Prize, the 2008 World Economic Forum’s Crystal Award, the 2010 Presidential Medal of Freedom, and the 2012 Polar Music Prize. In 2011 he was recognized as a Kennedy Center Honoree. Yo-Yo Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. Visit www.yo-yoma.com, www.silkroadproject.org, and www.opus3artists.com for additional information. Multi-instrumentalist Stuart Duncan has built upon his bluegrass roots to become an artist who defies categorization and surpasses the limits of any specific genre. The con- summate sideman, he has lent his particular taste and tone to countless artists and projects. Whether trading dizzying instrumental licks with the likes of Béla Fleck and Jerry Douglas, or adding complimentary fills for vocalists Alan Jackson and Barbra Streisand, Stuart Duncan has found a professional “home” both in the studio and on tour. From Robert Plant to Panic at the Disco, his playing and influence can be heard among many of today’s top hit-makers. The most recent evidence of his cross-genre

The Carol and Joe Reich Concert Thursday, August 15, 2013 The performance on Thursday evening is supported by a generous gift from Great Benefactors Carol and Joe Reich. Carol and Joe have delighted in the sights and sounds of Tanglewood for more than forty years. Lovers of both the beauty of the landscape and the wonder of the music, Carol and Joe have proudly shared the joy of Tanglewood with their children and grandchildren. “The first thing I think of about Tanglewood is its great beauty,” says Carol. “Tanglewood is a gift, and it is still a gift to us when we attend today. It is an important gathering and listening place that we love to share.” True advocates for Tanglewood, Carol and Joe have graciously donated to the BSO and Tanglewood for many years and are members of the Koussevitzky Society at the Chairman’s level. Reflecting their shared dedication to education, they have generously supported education initiatives including Days in the Arts (DARTS) and the Tangle- wood Music Center. As leadership donors to many BSO fundraising initiatives, Carol and Joe hope to inspire others to support Tanglewood and its programs, regardless of giving level. “Whether it is $5 or $5,000, the idea is to give—it is all important,” says Carol. Carol and Joe have dedicated their other philanthropic efforts to ensuring that underserved children have access to high quality education. In 1992 they launched an innovative new public school in Brooklyn, which became one of the first charter schools in New York. They have written and published a book about the inspiring story of the school’s creation, entitled Getting to Bartlett Street: Our 25-Year Quest to Level the Playing Field in Education, which was released in 2012.

TANGLEWOODWEEK 7 GUESTARTISTS 3 expansion is “The Goat Rodeo Sessions,” in collaboration with Chris Thile, Edgar Meyer, and Yo-Yo Ma. The creative course of this recording opened his mind, not only musically, but also to a broader concept of composition. When not active in the studio or on tour with others, Stuart Duncan can be seen and heard with The Nashville Blue- grass Band, of which he has been a contributing member since 1985. The band has won two Grammy awards, multiple awards from IBMA (International Bluegrass Music Association) and SPBMA (Society for the Preservation of Bluegrass Music of America), and has toured globally from the United States to the Middle East and China. Together they continue to be an outstanding representation of classic bluegrass music in America— as relevant today as when they started. In demand as both a performer and a composer, Edgar Meyer has formed a unique role in the music world, which was recognized with a 2002 MacArthur Award. As a solo classical bassist, he has released a concerto album with the St. Paul Chamber Orchestra featuring Bottesini’s Gran Duo with Joshua Bell, his own Double Concerto for bass and cello with Yo-Yo Ma, Bottesini’s Bass Concerto No. 2, and his own Concerto in D for bass, as well as an album of three of Bach’s Unaccompanied Suites for cello. Other recordings include a self-titled 2006 solo recording; a 2007 Sony/BMG compilation, “The Stu Rosner

4 Best of Edgar Meyer”; and 2011’s “The Goat Rodeo Sessions.” Summer 2012 brought the debut of Mr. Meyer’s Double Concerto for double bass and violin, with Joshua Bell, which was performed at Tanglewood with the Boston Symphony Orchestra, at the Hollywood Bowl with the Los Angeles Philharmonic, and at the Aspen Music Festi- val; in spring 2013 the work was performed by the Nashville Symphony and the Toronto Symphony. In the 2011-12 season, Mr. Meyer was composer-in-residence with the Alabama Symphony; his residency included the premiere of his third concerto for double bass. Mr. Meyer previously performed with the Boston Symphony at Tanglewood in July 2000, in the premiere of his Double Concerto for bass and cello with Yo-Yo Ma, conducted by Seiji Ozawa. Collaborations are a central part of Mr. Meyer’s work. His performing and recording projects—including a CD/DVD of original material written and recorded with Chris Thile, following extensive touring together; a duo with Béla Fleck; a quartet with Joshua Bell, Sam Bush, and Mike Marshall; a trio with Béla Fleck and Mike Marshall; and a trio with Yo-Yo Ma and Mark O’Connor—have been widely acclaimed. The latter trio collaborated for the chart-topping “Appalachia Waltz” and for the Grammy-winning follow-up, “Appalachian Journey.” In 1994 Edgar Meyer received the Avery Fisher Career Grant and in 2000 became the only bassist to receive the Avery Fisher Prize. Currently he is Visiting Professor of Double Bass at the Royal Academy of Music and at the Curtis Institute of Music in Philadelphia. Chris Thile, of Punch Brothers, is a mandolin virtuoso, composer, and vocalist. With a broad outlook that encompasses progressive bluegrass, classical, rock, and jazz, he transcends the borders of conventionally circumscribed genres, creating a distinctly American canon and a new musical aesthetic for performers and audiences alike. In addition to his work on “The Goat Rodeo Sessions,” which won two Grammy awards in 2013, he was recently awarded a prestigious MacArthur Fellowship. As a soloist, Chris Thile has released four albums, as well as performing and recording extensively as a duo with fellow “Goat Rodeo” collaborator, double bass virtuoso Edgar Meyer, as well as eminent mandolinist Mike Marshall. In 2011 Nonesuch Records released the Grammy-nominated “Sleep with One Eye Open,” an impassioned collaboration/con- versation between Thile and guitarist Michael Daves. Mr. Thile has also collaborated with a pantheon of musical innovators from across the musical spectrum including Béla Fleck, Dolly Parton, Brad Mehldau, and Hilary Hahn. For more than fifteen years, Chris Thile played in the wildly popular band Nickel Creek, with which he released three albums, sold two million records, and was awarded a Grammy in 2002. His current group, Punch Brothers, released their latest album, “Who’s Feeling Young Now?,” in 2012 on Nonesuch Records. This summer brings the release of his recording of Bach Sonatas & Partitas Vol. 1, also on Nonesuch.

Aoife O’Donovan Aoife O’Donovan is best known as the lead singer of Crooked Still and as a member of the folk noir trio Sometymes Why. The stunning versatility and appeal of her voice has brought her to the attention of some of the most eminent names across the musical spectrum—including roots, classical, bluegrass, and jazz—leading to collaborations across a wide variety of genres with everyone from Alison Krauss to Dave Douglas. Aoife (pronounced “ee-fuh”) steps to the fore this summer with her debut solo album, “Fossils,” produced by Tucker Martine (My Morning Jacket, Tift Merritt) on Yep Roc Records. Aoife O’Donovan appeared with the Boston Pops Orchestra and Keith Lockhart in June 2005.

TANGLEWOODWEEK 7 GUESTARTISTS 5 2013 Tanglewood

Prelude Concert Friday, August 16, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA THOMAS ROLFS and THOMAS SIDERS, trumpets JAMES SOMMERVILLE, horn TOBY OFT, trombone MIKE ROYLANCE, tuba

LUTOSŁAWSKI “Mini-Overture”

VIVALDI/BACH Second movement (Allegro) from Concerto (arr. David Baldwin) for Brass Quintet

STEVENS “Seasons,” A Symphony for Brass Quintet Spring Summer Autumn Winter

BOZZA Sonatine Allegro vivo Andante ma non troppo Allegro vivo Largo—Allegro

6 NOTES ON THE PROGRAM

Tonight’s concert stretches beyond the traditional brass associations of fanfare and hunting calls, bringing four works for brass quintet through soundscapes that span centuries, styles, and cultures. The expressive range, virtuosity, and technical prowess of the brass family is on full display in the hands of diverse composers, and may surprise the ear. By the time prominent 20th-century Polish composer Witold Lutosławski (1913-1994) wrote his Mini-Overture in 1982, he was moving away from his ad libitum aleatoric style which had defined so much of his previous work; as he said, his style was evolving “to give the most faithful expression of a constantly changing and developing world that exists within me.” But the little piece, barely three minutes long, bears his char- acteristically detailed structure and intricate textures created by thematic layering, and is an exciting, striking work full of unexpected colors. It was commissioned by Dr. Walter Strebi, a Swiss lawyer and patron of music who for many years served as president of the Lucerne Festival, in celebration of his daughter Ursula’s fiftieth birthday. Unfortunately Dr. Strebi did not live to hear the premiere on March 11, 1982, in Lucerne, performed by Ursula’s husband Philip Jones and the Philip Jones Brass Quintet. The fascinated audience demanded an encore. Structured as a mini- sonata, the short piece’s two compact themes are built from contrasting twelve-tone series. The first theme is choppy, sharp, and propulsive, with repeated tones and short chromatic runs. The second theme is more lyrical, its long-held notes convey- ing a sense of repose before the first theme returns for further development. The music of Antonio Vivaldi (1678-1741) and Johann Sebastian Bach (1685-1750) moves into a more tonally familiar realm than that of Lutosławski’s, but is not the most obvious home for brass quintet. Bach became acquainted with Vivaldi’s concertos during his appointment as court organist in Weimar, Germany, in the early 1700s, when fascination with the Italian concerto was sweeping Europe. Ever the enthusiastic learner, he took to reworking Vivaldi’s violin concertos for the organ, in his usual method of using transcription and arrangement as a way to absorb and learn from other composers’ works. Bach’s Organ Concerto in D minor, BWV 596, is a faithful arrangement of Vivaldi’s Concerto No. 11 in D minor, RV 565, from L’estro armonico, a collection of twelve violin concertos, of which Bach reworked six for keyboard. More than 200 years later, its evolution continued when the Bach concerto was

TANGLEWOODWEEK 7 PRELUDEPROGRAMNOTES 7 arranged in 1984 by David Baldwin (b.1953), trumpet professor at the University of Minnesota School of Music and active performer, composer, and arranger. It proved to be well-suited to the brass family: the second-movement Allegro heard this evening highlights the nobility of the brass instruments with its elegant and bright, running scale melodies, which ascend and cascade in fugal imitation of one another, building layers of texture. Its Baroque origins are reflected in the tuba’s basso continuo line, the standard bass accompaniment of Vivaldi’s time that runs underneath, throughout the piece. The title of Seasons, A Symphony for Brass Quintet, by John Stevens (b.1951) may evoke another of Vivaldi’s works, but Stevens’s piece was inspired by the American Midwest rather than pastoral Italy. Throughout his varied career, which has included teaching, performing, composing, arranging, and conducting, Stevens has made major contributions to the brass repertoire, most notably with his Tuba Concerto in 2000. His Seasons, completed in 1987, was written for the Wisconsin Brass Quintet, the University of Wisconsin-Madison’s faculty ensemble-in-residence for which he plays tuba. The programmatic piece was inspired by his return, when he moved from Florida to Wisconsin, to a region with four distinct seasons, which are here expressed through a range of tonal colors and rhythmic patterns. The opening “Spring” movement is introduced with distant heraldic calls, played freely with no fixed rhythm, to signal a gentle awakening. “Summer” is a lively and festive movement, with a dance-like ostinato beat. The more melancholy “Autumn” spins out a contemplative, ballad-like melody. “Winter,” in contrast, marches in with harsh, brittle phrases, short and snappy like ice cracking. In the end, though, the opening calls of spring return, the cyclical nature of the seasons being, according to Stevens, “perhaps their greatest beauty.” The work that influenced all of the preceding pieces by opening up new possibilities for brass ensemble remains a fresh-sounding part of the repertoire today. French composer Eugène Bozza (1905-1991) is best-known for his writing for wind ensemble, but he amazed audiences and inspired fellow composers with his buoyant Sonatine for Brass Quintet in 1951. A brilliant, dynamic piece, it blends the clarity and elegance of structure characteristic of 20th-century French music with qualities never before heard in a brass ensemble. Its technical complexity, range of colors, and virtuosity brought brass composition into new territory. In four quick movements it covers a wide emotional range at a breathtaking and fun pace, challenging the performers to remain expressive while exercising their agility as they skip light-footedly through the piece. The bright opening Allegro lightly bounces its phrases back and forth between the instruments. The lyrical second movement starts with a pulsing in the low brass which leads into a dirge-like melody, followed in the third movement by a contrasting display of instrumental fireworks. The final movement starts with brief fanfares, but dark in color and layered with commanding low tones underneath, to usher in an ironic dance: a tarantella, also known as a kind of “death dance” but here played humorously, fast-paced and demanding endurance to the end.

PAMELA FEO Pamela Feo, the 2013 Tanglewood Publications Fellow, is a Boston-based musicologist who works in arts administration. She holds the Theodore Edson Parker Foundation Fellowship this summer.

8 Artists

Thomas Rolfs is principal trumpet of the Boston Symphony Orchestra, occupying the Roger Louis Voisin Chair; he is also principal trumpet of the Boston Pops Orchestra, occupying the Roberta and Stephen R. Weiner Chair. He joined the BSO trumpet section in 1991, serving first as fourth trumpet and later as associate principal trumpet. Mr. Rolfs was a Tanglewood Music Center Fellow in 1978. He earned a bachelor of music degree from the University of Minnesota and a master of music degree from Northwestern University. He returned to Minnesota in 1986 for a five- year tenure with the Saint Paul Chamber Orchestra. Mr. Rolfs has been a soloist with the Boston Symphony, the Boston Pops, and the Saint Paul Chamber Orchestra. At John Williams’s request, he was a featured soloist on Mr. Williams’s Grammy- nominated soundtrack to the Academy Award-winning film Saving Private Ryan. His varied musical background includes performances with the Minnesota Orchestra, the Vienna Philharmonic, Empire Brass, the Saint Petersburg Philharmonic, Lyric Opera of Chicago, and the American Ballet Orchestra, as well as teaching at New England Conservatory, the Tanglewood Music Center, and Boston University. On July 4, 2001, Mr. Rolfs was soloist in John Williams’s Summon the Heroes for the nationally televised Boston Pops concert on the Esplanade. He has been soloist with the BSO in Frank Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra. A native of Champaign, Illinois, Thomas Siders joined the Boston Symphony Orches- tra as assistant principal/third trumpet in January 2010; he occupies the BSO’s Kathryn H. and Edward M. Lupean Chair. Mr. Siders grew up in a musical family; he began playing the piano at six and the trumpet at ten. He was fortunate to have ter-

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

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TANGLEWOODWEEK 7 PRELUDEPROGRAMNOTES 9 rific trumpet instruction throughout middle school and high school, studying with Michael Allen, Sal Percoco, Ray Sasaki, and the late Dr. Michael Ewald. He pursued further study with Professor Sasaki at the University of Texas at Austin, and graduated with high honors in 2007. Although his first love was jazz, Mr. Siders decided to shift his focus to orchestral trumpet playing. He attended Rice University’s Shepherd School of Music, where he studied with Marie Speziale. After receiving his master's degree in 2009, he joined the New World Symphony in Miami Beach. He was a Tanglewood Music Center Fellow in 2008 and 2009, and was the recipient of the 2009 Voisin Trumpet Award. In May 2009 he was a featured performer in the Con- servatory Project, part of the Millennium Stage series at the Kennedy Center in Washington, D.C. He has performed with the Boston Symphony Orchestra, Houston Symphony, Houston Grand Opera Orchestra, and Santa Fe Symphony. James Sommerville became principal horn of the Boston Symphony Orchestra in 1998, occupying the Helen Sagoff Slosberg/Edna S. Kalman Chair. As principal horn, he is also a member of the Boston Symphony Chamber Players. Mr. Sommerville is also music director of the Hamilton Philharmonic Orchestra. Winner of the highest prizes at the Munich, Toulon, and CBC competitions, he has pursued a solo career spanning thirty years and has made critically acclaimed appearances with major orchestras throughout North America and Europe. His disc of the Mozart Horn Concertos with the CBC Vancouver Orchestra won the JUNO Award for Best Classical Recording in Canada. Other award-winning CBC recordings include Britten’s Sere- nade for Tenor, Horn, and Strings and Britten’s Canticle III. He has recorded chamber music for Deutsche Grammophon, Telarc, CBC, Summit, Marquis, and BSO Classics. Mr. Sommerville has been a member of the Toronto Symphony Orchestra, the Mon- treal Symphony Orchestra, the Canadian Opera Company Orchestra, and Symphony Nova Scotia, and was acting solo horn of the Chamber Orchestra of Europe. He has toured and recorded extensively as an orchestral player, is heard regularly on the CBC network, and has recorded all of the standard solo horn repertoire for broadcast. As a guest artist and faculty member, he has performed at chamber music festivals worldwide. Solo performances have included the world premiere of Christos Hatzis’s Winter Solstice; the North American premiere of Ligeti’s Hamburg Concerto with the BSO; John Williams’s Horn Concerto, and the world premiere of Elliott Carter’s Horn Concerto, commissioned for him by the BSO. Mr. Sommerville has himself commissioned and premiered a great deal of music by young composers, including

10 works ranging from solo horn to full orchestra. As a conductor, he has appeared with many professional orchestras and ensembles throughout Canada and the U.S. Boston Symphony principal trombone Toby Oft, who holds the J.P. and Mary B. Barger Chair, joined the BSO as principal trombone at the start of the 2008-09 season. The son of music educators, he was born and raised in Portland, Oregon. He started playing trombone with his father Michael Oft at age six, and began study with such notable teachers as Warren Baker, Jeff Uusitalo, and Peter Ellefson when he reached high school. His inspiration in high school was jazz trombone, but when he began college he shifted focus to classical trombone and orchestral study. He holds a bachelor of music degree from Indiana University and a master of music from North- western University. Moving to Evanston, Illinois, for his graduate work, he maintained a successful freelance career in the greater Chicago area until he won his first full- time job in 2002 as principal trombone of the Florida West Coast Symphony. Mr. Oft has performed throughout Europe and the United States and has held numerous principal positions in orchestras across the country, including the Northwest Indiana Symphony, the Florida West Coast Symphony, and the San Diego Symphony. He has also performed with the Tonhalle Orchestra of Zurich, the Royal Liverpool Philhar- monic, the Los Angeles Philharmonic, the New York Philharmonic, and the Buffalo Philharmonic. During his season as acting principal trombone with the Buffalo Philharmonic, the orchestra recorded an all-Copland album for the Naxos label. Throughout his professional career, Toby Oft has continued his study of music and the trombone, gaining tremendous insight from working with Roger Rocco, Michael Mulcahy, Joseph Alessi, Scott Hartman, M. Dee Stewart, and John Swallow. A faculty member at the New England Conservatory of Music and the Tanglewood Music Center, he teaches trombone and performance master classes. He has been soloist with the BSO in Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra. Born in Washington, D.C., Mike Roylance was appointed principal tuba of the Boston Symphony Orchestra in 2003 while finishing his graduate studies at DePaul University in Chicago; he occupies the BSO’s Margaret and William C. Rousseau Chair. Mr. Roylance attended the University of Miami and received a bachelor of arts degree from Rollins College in Winter Park, Florida. At Rollins College, he served on the faculty conducting the brass ensemble and directing the Pep Band. He was also professor of tuba and euphonium at the University of Central Florida. While in Chicago, he performed with the Chicago Symphony Orchestra, Minnesota Orchestra, and Seattle Symphony Orchestra, and was principal tuba of the Civic Orchestra of Chicago for the 2001-02 season. Prior to joining the Boston Symphony in 2003, he spent fifteen years as a freelance musician and teacher in Orlando, Florida. He performed on tuba and electric bass in a wide range of ensembles including orchestras, chamber groups, Dixieland bands, big bands, and Broadway shows. He was a member of Walt Disney World’s “Future Corps” and the Walt Disney World Orchestra. While living in Orlando, he was also a member of Rosie O’Grady’s Dixieland Jazz Band as well as the Sam Rivers RivBea Jazz Orchestra. His career includes performances throughout Europe and Japan. Mike Roylance has studied with such notable players as former University of Miami professor Connie Weldon, James Jenkins of the Jacksonville Symphony, Bob Tucci of the Bavarian State Opera, former Boston Symphony tubist Chester Schmitz, Gene Pokorny of the Chicago Symphony, and Floyd Cooley, formerly of the San Francisco Symphony. Mr. Roylance currently teaches at Yale University, the New England Conservatory, and Boston University.

TANGLEWOODWEEK 7 PRELUDEPROGRAMNOTES 11 2013 Tanglewood

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

Friday, August 16, 8:30pm SPONSORED BY CRANWELL RESORT, SPA AND GOLF CLUB

KEITH LOCKHART CONDUCTING

MICHAEL FEINSTEIN’S AMERICAN SONGBOOK

WHITING/MERCER Hooray for Hollywood arr. WILLIAMS

STEINER/arr. MORLEY Main title from “Gone With the Wind”

NORTH/ZARET Unchained Melody, from “Ghost” arr. HOLDRIDGE

JARRE Lawrence of Arabia

Presenting MICHAEL FEINSTEIN AND FRIENDS with FAITH PRINCE Tedd Firth, piano

Selections to be announced from the stage.

{Intermission}

arr. RAMIN Dancing With Fred Astaire Top Hat, White Tie and Tails—I Won't Dance— Dancing In the Dark—The Continental— Change Partners—The Carioca

Presenting MICHAEL FEINSTEIN AND FRIENDS with CHEYENNE JACKSON

Selections to be announced from the stage.

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records.

12 Artists

Keith Lockhart Keith Lockhart became the twentieth conductor of the Boston Pops in 1995, adding his artistic vision to the Pops tradition established by his predecessors John Williams and Arthur Fiedler. He holds the Julian and Eunice Cohen Boston Pops Conductor chair. Mr. Lockhart has promoted programs that focus on talented young musicians from the Tanglewood Music Center, Boston Conservatory, and Berklee College of Music. During his nineteen-year tenure, he has conducted more than 1,500 Boston Pops concerts and introduced the innovative JazzFest and EdgeFest series, featuring prominent jazz and indie artists performing with the Pops. He has also introduced concert performances of full-length Broadway shows, including Rodgers and Hammerstein’s Carousel and Stephen Sondheim’s A Little Night Music, and the PopSearch and High School Sing-Off competitions. Under his leadership, the Boston Pops has commissioned several new works— including The Dream Lives On, a tribute to the Kennedy brothers, which was premiered in May 2010 during the 125th anniversary season—and dozens of new arrangements. Keith Lockhart and the Boston Pops have released four self-produced recordings— Sleigh Ride, America, Oscar & Tony, and The Red Sox Album—and also recorded eight albums with RCA Victor—Runnin’ Wild: The Boston Pops Play Glenn Miller, American Visions, the Grammy-nominated The Celtic Album, Holiday Pops, A Splash of Pops, Encore!, the Latin Grammy-nominated The Latin Album, and My Favorite Things: A Richard Rodgers Celebration. He has made seventy-four television shows with the Boston Pops, including a 2009 concert featuring jazz trumpeter Chris Botti, and special guests Sting, John Mayer, and Steven Tyler; many Holiday Pops telecasts, and thirty-eight new programs for PBS’s Evening at Pops (1970-2004). He has led the Boston Pops on thirty- seven national tours, as well as performances at Carnegie Hall and Radio City Music Hall, and brought the music of “America’s Orchestra” overseas in four tours of Japan and Korea. Keith Lockhart currently serves as principal conductor of the BBC Concert Orchestra in London, which he led in the June 2012 Diamond Jubilee Concert for Queen Elizabeth II, and as artistic director of the Brevard Music Center summer institute and festival in North Carolina. He has appeared as a guest conductor with virtually every major symphonic ensemble in North America, as well as several in Asia and Europe. Music director of the Utah Symphony from 1998 to 2009, he led that orchestra in performances at the 2002 Olympic Games, as well as on its first European tour in two decades. Born in Poughkeepsie, New York, Keith Lockhart began his musical studies with piano lessons at the age of seven. He holds degrees from Furman Uni- versity and Carnegie Mellon University, and honorary doctorates from several American universities.

TANGLEWOODWEEK 7 ARTISTS 13

Michael Feinstein Dubbed “The Ambassador of the Great American Songbook,” Michael Feinstein performs 200-plus shows a year and has appeared at Carnegie Hall, the Sydney Opera House, the Hollywood Bowl, the White House, and Buckingham Palace. In 2007 he founded the Michael Feinstein Great American Songbook Initiative, encompassing educational programs, master classes, and the annual High School Vocal Academy and Competition. He also serves on the Library of Congress National Recording Preservation Board. In April 2013 he released a new CD, Change Of Heart: The Songs of André Previn (Concord), in collaboration with the noted composer-conductor-pianist, and featuring Previn songs written (mostly) for motion pictures. Mr. Feinstein earned his fifth Grammy Award nomination in 2009 for The Sinatra Project (also Concord); The Sinatra Project, Volume II: The Good Life was released in 2011. His Emmy-nominated TV special about the project has aired across the country, and the PBS series Michael Feinstein’s American Songbook earned the ASCAP Deems Taylor Television Broadcast Award. The series returned in 2013 for a third season, which is now available on DVD. He also hosts a nationally syndicated public radio program, “Song Travels.” His new book The Gershwins and Me, published by Simon & Schuster in October 2012, comes with a new CD of Gershwin standards performed with pianist Cyrus Chestnut. Other recent CDs include The Power Of Two with Cheyenne Jackson, Cheek To Cheek with Barbara Cook, and We Dreamed These Days, the title song of which was co-written by Mr. Feinstein and Dr. Maya Angelou. He is artistic director of the Palladium Center for the Performing Arts, a three-theater venue in Carmel, Indiana, which is home to an annual international Great American Arts festival, diverse live programming, and a museum for his rare memorabilia and manuscripts. Since 2010 he has been director of the Jazz and Popular Song Series at New York’s Jazz at Lincoln Center. He has designed a new piano for Steinway called “The First Ladies,” inspired by the White House piano and signed by several former First Ladies. His own

TANGLEWOODWEEK 7 ARTISTS 15 record label, Feinery (a Concord Records subsidiary), has released recordings by Mr. Feinstein and by other artists, and also restores recordings and musical broadcasts from the golden age of popular song. His Manhattan nightclub, Feinstein’s at Loews Regency, presented the top talents of pop and jazz from 1999 to 2012; the club was closed in December 2012 due to a year-long complete renovation of the Regency Hotel. In May 2013 he opened Feinstein’s at the Nikko, in San Francisco’s Nikko Hotel. Future plans include reopening in New York at a new location and opening a nightclub in London. The roots of all this work began in Columbus, Ohio, where Michael Feinstein started playing piano by ear as a five-year-old. After graduating from high school, he worked in local piano bars for two years, moving to Los Angeles when he was twenty. Oscar Levant’s widow introduced him to Ira Gershwin in July 1977. Mr. Feinstein became Mr. Gershwin’s assistant for six years, gaining access to numerous unpublished Gershwin songs, many of which he has since performed and recorded. Gershwin’s influence provided a solid base upon which Feinstein evolved into a captivating performer, composer, and arranger. For more information, please visit www.MichaelFeinstein.com.

Cheyenne Jackson Stage, television, and film actor Cheyenne Jackson makes his Boston Pops debut this evening. He will next be seen in DIRECTV’s Full Circle, a new television drama that examines the human condition through a series of conversations between char- acters whose lives are intertwined. Also with Kate Walsh, David Boreanaz, Minka Kelly, and Julian McMahon, the Neil LaBute series is slated to premiere this fall. Mr. Jackson most recently starred in Steven Soderbergh’s biopic, Behind the Candelabra, opposite Michael Douglas and Matt Damon. The film, which details the tempestuous six-year relationship between Liberace and Scott Thorson, premiered at the 2013 Cannes Film Festival and on HBO this past May. Mr. Jackson is set to co-star alongside Gena Rowlands and Jacki Weaver in Arthur Allan Seidelman’s film version of Six Dance Lessons in Six Weeks, based on Richard Alfieri’s Broadway play of the same name. In addition, he will soon be seen in Daniela Amavia’s Beautiful Now opposite Abigail Spencer, in Christopher Ashley’s Lucky Stiff with Nikki M. James and Jason Alexander, and in Matthew Watts’s Mutual Friends. Previous film credits include Price Check, Lola Versus, the short film Curiosity, The Green, Hysteria, Photo Op, and the Oscar-nominated United 93. A theater veteran, Mr. Jackson

TANGLEWOODWEEK 7 ARTISTS 17 recently starred on Broadway opposite Henry Winkler and Alicia Silverstone in David West Read’s The Performers. Among his other Broadway credits are the recent revival of Finian’s Rainbow (Drama Desk Award nomination), Xanadu (Drama Desk and Drama League Award nominations), All Shook Up (Theatre World Award, Drama League, and Outer Critics Circle Award nominations), Aida, and Thoroughly Modern Millie. He also starred in the Encores! production of Damn Yankees, the off-Broadway productions of The Agony & The Agony and Altar Boyz, and the benefit productions of The 24 Hour Plays and On the Twentieth Century. He joined an all-star cast for the benefit staged reading of Dustin Lance Black’s 8. On television Mr. Jackson has been seen in Amazon Studio’s Onion News Empire, a series about The Onion News Network, and in guest-starring roles in NBC’s Mockingbird Lane and 30 Rock. He was Dustin Goolsby in Fox’s Glee and Larry David’s trainer Terry in HBO’s Curb Your Enthusiasm. Additional television credits include roles in Family Practice, Life on Mars, Lipstick Jungle, Ugly Betty, Law and Order, and It Takes a Village. Also an accomplished singer, Cheyenne Jackson made his solo debut at Carnegie Hall with his show, “Cheyenne Jackson’s Cocktail Hour: Music of the ‘Mad Men’ Era,” and more recently joined Michael Feinstein on the Carnegie Hall stage for a duet concert featuring music from their CD collaboration, The Power of Two. Having signed with SONY/ATV as a songwriter and recording artist, Mr. Jackson recently released his first, full-length album of original music, entitled I'm Blue, Skies. He is an international ambassador for amfAR (The Foundation for AIDS Research) and also serves as the national ambassador for HMI (The Hetrick-Martin Institute). Cheyenne Jackson currently resides in New York City.

Faith Prince Faith Prince has been dazzling Broadway audiences since winning the Tony, Drama Desk, and Outer Critics Circle awards for her performance as Miss Adelaide in Guys and Dolls. In 2008 she was nominated for Tony, Drama Desk, and Outer Critics Circle awards for A Catered Affair. Other Broadway credits include The Little Mermaid, Bells Are Ringing (Tony, Drama Desk, and Outer Critics Circle nominations), Nick & Nora (Outer Critics Circle award), Jerome Robbins’ Broadway (Tony and Drama Desk nominations), Little Me, The Dead, and Noises Off. She also starred in the world premiere of Terrence McNally’s Unusual Acts of Devotion. Most recently, Faith starred in the national tour of the Broadway hit Billy Elliott. In addition to her current recurring role on Lifetime’s hit series Drop Dead Diva (as Brooke Elliott’s mother, Elaine), she was a series regular on Showtime’s Huff (starring as Kelly Knippers, the love interest of Oliver Platt), and appeared in a recurring role on Spin City for five seasons. Other television credits include A Gifted Man, Happy Endings, Ugly Betty, Grey’s Anatomy, CSI, Faith, House, Medium, Sweet Potato Queens, Monk, Now and Again, Welcome To New York, and Law and Order. Film credits include Our Very Own, Picture Perfect, Dave, and My Father the Hero. Ms. Prince has appeared on many occasions with the Boston Pops since her debut in 2003. She also appears often with the Utah Symphony, Cincinnati Pops, and Philly Pops, and recently starred in the Orlando Philharmonic’s concert version of Sweeney Todd. She toured her show “Moving On” in Australia to rave reviews, and also toured in “Over the Rainbow,” a concert celebrating the centennial of Harold Arlen. Faith Prince’s new album, Total Faith (Broadway Records), was recorded at the Royal Room in Palm Beach’s Colony Hotel. Her award-winning album, A Leap Of Faith, was recorded at Joe’s Pub in New York.

18 The Boston Pops Orchestra KEITH LOCKHART Julian and Eunice Cohen Rebecca Gitter* Michael Winter Boston Pops Conductor Wesley Collins* Jason Snider endowed in perpetuity Cellos Jonathan Menkis JOHN WILLIAMS Martha Babcock Trumpets Laureate Conductor Principal Thomas Rolfs Helene and Norman L. Principal First Violins Cahners chair, endowed Roberta and Stephen R. Tamara Smirnova• in perpetuity Weiner chair, endowed Concertmaster Sato Knudsen in perpetuity Beranek chair, Mihail Jojatu Benjamin Wright endowed in perpetuity Jonathan Miller* Thomas Siders Alexander Velinzon• Owen Young* Michael Martin Assistant Concertmaster Mickey Katz* Bruce Hall§ Edward and Bertha C. Alexandre Lecarme* Rose chair, endowed Trombones Adam Esbensen* Toby Oft in perpetuity Blaise Déjardin* Elita Kang Principal Assistant Concertmaster Basses Stephen Lange Julianne Lee Lawrence Wolfe Bass Trombone Acting Assistant Principal James Markey Concertmaster Benjamin Levy Bo Youp Hwang Dennis Roy Tuba Eunice and Julian Cohen James Orleans* Mike Roylance chair, endowed in perpetuity Todd Seeber* Principal Ikuko Mizuno John Stovall* Timpani Nancy Bracken* Thomas Van Dyck* Daniel Bauch Aza Raykhtsaum* Flutes Percussion Bonnie Bewick* Elizabeth Ostling J. William Hudgins James Cooke* Principal Kyle Brightwell Catherine French* Mr. and Mrs. William F. Matthew McKay Jason Horowitz* Connell chair, endowed James Gwin§ Ala Jojatu* in perpetuity Clint Foreman Harp Second Violins Ina Zdorovetchi§ Sheila Fiekowsky Piccolo Nicole Monahan Cynthia Meyers Piano Bob Winter§ Ronan Lefkowitz Oboes Ronald Knudsen• Keisuke Wakao+ Saxophones Vyacheslav Uritsky Principal Michael Monaghan§ Jennie Shames* Mark McEwen Dennis Cook§ Valeria Vilker Kuchment* Amanda Hardy§ Bob Bowlby§ Tatiana Dimitriades* Rod Ferland§ Si-Jing Huang* English Horn Marc Phaneuf§ Victor Romanul Robert Sheena Rhythm Bass Wendy Putnam* Clarinets Paul Nowinski§ Xin Ding* Thomas Martin Glen Cherry* Principal Guitar Yuncong Zhang* Michael Wayne Jon Finn§ Violas Bass Clarinet Cathy Basrak Craig Nordstrom Librarians Principal Marshall Burlingame Edward Gazouleas Bassoons Principal Robert Barnes Richard Ranti William Shisler Michael Zaretsky Principal John Perkel Suzanne Nelsen Mark Ludwig* Personnel Managers Rachel Fagerburg* Contrabassoon Lynn G. Larsen Kazuko Matsusaka* Gregg Henegar Bruce M. Creditor Horns Assistant Personnel Manager * Participating in a system Richard Sebring Stage Manager of rotated seating Principal John Demick § Substituting Rachel Childers + On sabbatical leave • On leave TANGLEWOODWEEK 7 ARTISTS 19 The Jean Thaxter Brett Memorial Concert Saturday, August 17, 2013 The Tanglewood concert on Saturday evening is supported by a generous gift from Great Benefactors Jan Brett and Joseph Hearne. The concert is named in memory of Jan’s mother, Jean Thaxter Brett. A retired nursery school teacher, Jean taught for twenty-six years; she also founded and ran the Lazy Eye Clinic for the Hingham Visiting Nurse Association for twenty- six years. A lifelong Hingham resident, Jean worked to preserve her hometown’s character and beauty, helping to pioneer recycling in Hingham and secure land for conservation. She was a member of the Second Parish Church and choir in Hingham, the Ladies Committee for the Museum of Fine Arts, Colonial Dames Society, and Hingham Yacht Club. As a young child, BSO Trustee Jan Brett would often attend Symphony’s youth concerts with her mother. Jan served on the BSO Board of Overseers from 1994 to 1999 and was elected to the BSO Board of Trustees in 1999. She is a member of the Trustees Nominating Committee. Her husband, Joe Hearne, is the player with the longest term of service currently in the Boston Symphony Orchestra. In 2012 he celebrated his 50th anniversary with the orchestra as a double bassist, having joined the BSO bass section in 1962 fresh out of Juilliard. For Jan and Joe, the BSO is tightly woven into the fabric of their lives together in Boston and the Berkshires, and they support the organization on many levels. Jan and Joe have supported the BSO’s educational programs in addition to endow- ing a full fellowship for a bass player at the Tanglewood Music Center and naming a BSO bass chair. They provide ongoing support through the Annual Funds, and in 2006 they served as chairs of the highly successful Opening Night at Tanglewood fundraiser. Jan and Joe are members of the Higginson Society at the Encore level, as well as members of the Walter Piston Society. With more than 38 million books in print, Jan is one of the nation’s foremost authors and illustrators of children’s books. She has published more than 30 works in as many years, including The Hat, The Three Snow Bears, Gingerbread Baby, and The Mitten, which celebrated its 20th anniversary in 2009. In 2005, Jan received the Boston Public Library’s Lifetime Achievement Award.

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

20 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Saturday, August 17, 8:30pm THE JEAN THAXTER BRETT MEMORIAL CONCERT

BERNARD HAITINK conducting

MOZART Violin Concerto No. 5 in A, K.219 Allegro aperto Adagio Tempo di menuetto—Allegro—Tempo di menuetto ISABELLE FAUST

{Intermission}

MAHLER Symphony No. 4 in G Bedächtig. Nicht eilen. [Deliberately. Do not hurry.] In gemächlicher Bewegung. Ohne Hast. [With easygoing motion. Without haste.] Ruhevoll (Poco adagio) [Serene (Somewhat slow)] Sehr behaglich [Very comfortably] CAMILLA TILLING, soprano

Text and translation begin on page 26.

TANGLEWOODWEEK 7 SATURDAYPROGRAM 21

NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Violin Concerto No. 5 in A, K.219 First performance: not known; composed 1775. First BSO performance: December 31, 1907, in Providence, Rhode Island, Karl Muck cond., Carl Wendling, soloist. First Tanglewood performance: July 17, 1949, Serge Koussevitzky cond., Dorotha Powers, soloist. Most recent Tanglewood performance: July 11, 2010, Rafael Frühbeck de Burgos cond., Pinchas Zukerman, soloist. In 1775, the main fact of Mozart’s professional life was that he was obliged to provide music for a perfectly disagreeable patron, Archbishop Colloredo of Salzburg. The relation eventually came to a violent end—literally, with the Archbishop’s chamberlain kicking the composer down the staircase of the archiepiscopal palace—but meanwhile, one of Mozart’s more delightful tasks must have been the composition of a series of concertos for the gifted Salzburg concertmaster, Antonio Brunetti. The A major concerto, K.219, is the last of these. A major is always a special key for Mozart. It is the farthest he moves out toward the sharp side—there are individual movements in E, but no large- scale works, and there is none in B, F-sharp, or beyond—and the music for which he chooses it almost always partakes of a special and softly moonlit luminosity. Mozart marks the first movement “Allegro aperto,” a designation used apparently only by him and only in three other places, one being the first movement of his D major concerto for flute, K.314(285d). As a non-standard term, it appears in no reference works or tutors of the time, and one must try to infer from the music itself what Mozart meant by an “open” Allegro—something, one would imagine, not too fast, with a sense of space between the notes, and also with a certain Beechamesque swag- ger. At the beginning, Brunetti would have played along with the orchestral violins; the audience would have waited for him to detach himself and take off in solo flight. The first solo entrance in a concerto was always, for Mozart, apt to be an occasion for special wit and ingenuity. Here in fact Mozart gives us a double surprise, first the Adagio entrance with those murmuring strings and delicately accented wood- wind chords that look ahead to the “Soave sia il vento” trio in Così fan tutte, then the resumption of the quick tempo with a brand-new idea. As a kind of counterweight to these delightful contrasts, Mozart makes sure that there is also some cousinship among the themes. The second movement is a real Adagio, rather rare in Mozart, and its soft wave-patterns recall the brief and poetic Adagio surprise in the first movement. The finale is an ever so slightly flirtatious minuet, but its courtly gestures are interrupted by piquant country dance music, contrasting in both mode and meter, from somewhere more than a few miles east of Salzburg or even Vienna.

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

TANGLEWOODWEEK 7 SATURDAYPROGRAMNOTES 23 Gustav Mahler (1860-1911) Symphony No. 4 in G First performance: November 25, 1901, Kaim Orchestra of Munich, Gustav Mahler cond., Margarete Michalek, soprano. First BSO performance: January 30, 1942, Richard Burgin cond., Cleora Wood, soprano. First Tanglewood performance: July 3, 1966, Erich Leinsdorf cond., Anne Elgar, soprano. Most recent Tanglewood performance: July 31, 2010, Juanjo Mena cond., Hei-Kyung Hong, soprano. Many a love affair with Mahler has begun with the sunlit Fourth Symphony. Mahler himself thought of it as a work whose transparency, relative brevity, and non-aggres- sive stance might win him new friends. In the event, it enraged most of its first hear- ers. Munich hated it, and so did most of the German cities—Stuttgart being, for some reason, the exception—where Felix Weingartner took it on tour with the Kaim Orchestra immediately after the premiere. In a letter of September 1903, Mahler refers to it as “this persecuted stepchild.” It at last made the impression he had hoped for at a concert he conducted in October 1904 with the Concertgebouw Orchestra in Amsterdam (the program: Mahler Fourth—intermission—Mahler Fourth). The very qualities Mahler had banked on were the ones that annoyed. The bells, real and imitated (in flutes), with which the music begins! And that chawbacon tune in the violins! What in heaven’s name was the composer of the Resurrection Symphony up to with this newfound naiveté? Most of the answers proposed at the time were politicized, anti-Semitic, ugly. Today we perceive more clearly that what he was up to was writing a Mahler symphony, uncharacteristic only in its all but exclusive involvement with the sunny end of the expressive range. “Turning cliché into event” is how Theodor W. Adorno characterized Mahler’s practice. Ideas lead to many different conclusions and can be ordered in so many ways: Mahler’s master here is the Haydn of the London symphonies and string quartets of the 1790s. The scoring, too, rests on Mahler’s ability to apply an original and altogether personal fantasy to resources not in themselves extraordinary. Trombones and tuba are absent; only the percussion is on the lavish side. Mahler plays with this orchestra as though with a kaleidoscope. He can write a brilliantly sonorous tutti, but he hardly ever does. What he likes better is to have the thread of discourse passed rapidly, wittily from instrument to instrument, section to section. He thinks polyphonically, but he enjoys the combining of textures and colors as much as the combining of themes. He values transparency, and his revisions, over ten years, of the Fourth Symphony are always and consistently in the direction of achieving a more aerated sound. He could think of the most wonderful titles for the movements of this symphony, he wrote to a friend, but he refused “to betray them to the rabble of critics and listeners” who would then subject them to “their banal misunderstandings.” We do, however, have his name for the scherzo: “Freund Hein spielt auf ” (“Death Strikes Up”).* Alma Mahler amplified that hint by writing that here “the composer was under the spell of the self-portrait by Arnold Böcklin, in which Death fiddles into the painter’s ear while the latter sits entranced.” Death’s fiddle is tuned a whole tone high to make it harsher (the player is also instructed to make it sound like a country instrument and to enter “very aggressively”). Twice Mahler tempers these grotesqueries

*Freund Hein—literally this could be rendered as “Friend Hal”—is a fairy-tale bogy whose name is most often a euphemism for Death.

24 with a gentle Trio: Willem Mengelberg, the Amsterdam conductor, took detailed notes at Mahler’s 1904 rehearsals, and at this point he put into his score that “here, he leads us into a lovely landscape.” (Later, at the magical turn into D major, with the great harp chord and the violin glissandi crossing in opposite directions, Mengelberg wrote “noch schöner” [“still more beautiful”].) The Adagio, which Mahler thought his finest slow movement, is a set of softly and gradually unfolding variations. It is rich in seductive melody, but the constant feature to which Mahler always returns is the tolling of the basses, piano under the pianissimo of the violas and cellos. The variations, twice interrupted by a leanly scored lament in the minor mode, become shorter, more diverse in character, more given to abrupt changes of outlook. They are also pulled more and more in the direction of E major, a key that dramatically asserts itself at the end of the movement in a blaze of sounds. Working miracles in harmony, pacing, and orchestral fabric, Mahler, pronouncing a benediction, brings us back to serene quiet on the very threshold of the original G major, but when the finale almost imperceptibly emerges, it is in E. Our entry into this region has been prepared, but it is well that the music sounds new, for Mahler means us to understand that now we are in heaven. On February 6, 1892, Mahler had finished a song he called “Das himmlische Leben” (“Life in Heaven”), one of five Humoresques on texts from Des Knaben Wunderhorn (The Boy’s Magic Horn). Des Knaben Wunderhorn is a collection of German folk poetry, compiled in nationalistic and Romantic fervor just after 1800 by two poets in their twenties, Clemens Brentano and Achim von Arnim. That, at least, is what it purports to be: in fact, the two poets indulged themselves freely in paraphrases, additions, and deletions, fixing things so as to give them a more antique and authentic ring, even contributing poems all their own. However that may be, their collection, whose three volumes came out between 1805 and 1808, made a considerable impact, being widely read, discussed, criticized, and imitated. A number of composers went to the Wunderhorn for texts,* none more often or more fruitfully than Mahler, who began to write Wunderhorn songs immediately after completing the First Symphony in 1888 (he had already borrowed a Wunderhorn

*The Brahms Lullaby must be the most famous of all Wunderhorn songs.

TANGLEWOODWEEK 7 SATURDAYPROGRAMNOTES 25 poem as the foundation of the first of his Traveling Wayfarer songs of 1884-85). The Wunderhorn then touches the Second, Third, and Fourth symphonies. The scherzo of No. 2 was composed together and shares material with a setting of the poem about Saint Anthony of Padua’s sermon to the fishes, and the next movement is the song “Urlicht” (“Primal Light”). The Third Symphony’s fifth movement is another Wunderhorn song, “Es sungen drei Engel” (“Three Angels Sang”), and until about a year before completing that symphony, Mahler meant to end it with “Das himmlische Leben,” the song we now know as the finale of the Fourth. That explains why the Third appears to “quote” the Fourth, twice in the minuet, and again in the “Drei Engel” song: those moments prepare for an event that was not, after all, allowed to occur (or that did not occur until five years and one symphony later). For that matter, Mahler had to plan parts of the Fourth Symphony from the end back, so that the song would appear to be the outcome and conclusion of what was in fact composed eight years after the song. From a late letter of Mahler’s to the Leipzig conductor Georg Göhler, we know how important it was to him that listeners clearly understand how the first three movements all point toward and are resolved in the finale. The music, though gloriously inventive in detail, is of utmost cleanness and simplicity. The solemn and archaic chords first heard at “Sankt Peter in Himmel sieht zu” (“Saint Peter in heaven looks on”) have a double meaning for Mahler; here they are associated with details about the domestic arrangements in this mystical, sweetly scurrile picture of heaven, but in the Third Symphony they belong with the bitter self-castigation at having transgressed the Ten Commandments and with the plea to God for forgiveness. Whether you are listening to the Fourth and remember- ing the Third, or the other way around, the reference is touching. It reminds us, as well, how much all of Mahler’s work is one work. Just as the symphony began with bells, so it ends with them—this time those wonderful, deep single harp-tones of which Mahler was the discoverer. The poem is a Bavarian folk song called “Der Himmel hängt voll Geigen” (“Heaven is Hung With Violins”). Mahler drops the four lines in brackets and makes a few small alterations (we print his version).

MICHAEL STEINBERG

GUSTAV MAHLER Symphony No. 4 (Finale)

Das Himmlische Leben Life in Heaven Wir geniessen die himmlischen Freuden, We enjoy heavenly pleasures D’rum thun wir das Irdische meiden. And therefore avoid earthly ones. Kein weltlich’ Getümmel No worldly tumult Hört man nicht im Himmel! Is to be heard in heaven. Lebt Alles in sanftester Ruh’! All live in gentlest peace. Wir führen ein englisches Leben! We lead angelic lives, Sind dennoch ganz lustig daneben! Yet have a merry time of it besides. Wir tanzen und springen, We dance and we spring, Wir hüpfen und singen! We skip and we sing. Sankt Peter im Himmel sieht zu! Saint Peter in heaven looks on.

26 Johannes das Lämmlein auslasset, John lets the little lamb out, Der Metzger Herodes drauf passet! And Herod the Butcher lies in wait for it. Wir führen ein geduldig’s, We lead a patient, Unschuldig’s, geduldig’s, Innocent, patient, Ein liebliches Lämmlein zu Tod! Dear little lamb to its death. Sankt Lucas den Ochsen thät schlachten Saint Luke slaughters the ox Ohn’ einig’s Bedenken und Achten, Without any thought or concern. Der Wein kost kein Heller Wine doesn’t cost a penny Im himmlischen Keller, In the heavenly cellars. Die Englein, die backen das Brot. The angels bake the bread. Gut’ Kräuter von allerhand Arten, Good greens of every sort Die wachsen im himmlischen Garten! Grow in the heavenly vegetable patch. Gut’ Spargel, Fisolen Good asparagus, string beans, Und was wir nur wollen! And whatever we want! Ganze Schüsseln voll sind uns bereit! Whole dishfuls are set for us! Gut’ Äpfel, gut’ Birn’ und gut’ Trauben! Good apples, good pears, and good grapes, Die Gärtner, die Alles erlauben! And gardeners who allow everything! Willst Rehbock, willst Hasen, If you want venison or hare, Auf offener Strassen sie laufen You’ll find them running on the herbei. public streets. Sollt ein Fasttag etwa kommen Should a fast-day come along, Alle Fische gleich mit Freuden All the fishes at once come swimming angeschwommen! with joy. Dort läuft schon Sankt Peter There goes Saint Peter running Mit Netz und mit Köder With his net and his bait Zum himmlischen Weiher hinein. To the heavenly pond. Sankt Martha die Köchin muss sein. Saint Martha shall be the cook. Kein Musik ist ja nicht auf Erden, There is just no music on earth Die uns’rer verglichen kann werden. That can compare to ours. Elftausend Jungfrauen Even the eleven thousand virgins Zu tanzen sich trauen Venture to dance, Sankt Ursula selbst dazu lacht! And Saint Ursula herself has to laugh. Cäcilia mit ihren Verwandten Cecilia and all her relations Sind treffliche Hofmusikanten! Make excellent court musicians. Die englischen Stimmen The angelic voices Ermuntern die Sinnen! Gladden our senses, Dass Alles für Freuden erwacht. So that all for very joy awake.

From “DES KNABEN WUNDERHORN” Trans. MICHAEL STEINBERG

TANGLEWOODWEEK 7 SATURDAYPROGRAMNOTES 27

Guest Artists

Bernard Haitink With an international conducting career that has spanned nearly six decades, Amsterdam- born Bernard Haitink is one of today’s most celebrated conductors. Mr. Haitink was for twenty-seven years Chief Conductor of the Royal Concertgebouw Orchestra; he is now their Conductor Laureate. In addition, he has previously held posts as music director of the Royal Opera–Covent Garden and Glyndebourne Festival Opera, and as principal conductor of the Chicago Symphony Orchestra and the London Philharmonic. Mr. Haitink was appointed Principal Guest Conductor of the Boston Symphony in 1995 and since 2004 has been the LaCroix Family Fund Conductor Emeritus of the BSO. He has made frequent guest appearances with most of the world’s leading orchestras. During the 2012-13 season he led the Berlin Philharmonic and visited the United States twice—for two weeks of concerts with the Chicago Symphony Orchestra in October, and for two weeks of subscription programs to close the Boston Symphony Orchestra’s 2012-13 season. In February/March 2013 he returned to Asia for a three-week tour of Korea and Japan with the London Symphony Orchestra, preceded by concerts in London. Other highlights of the current season have included engagements with the Bavarian Radio Symphony Orchestra and Royal Concertgebouw Orchestra, and projects with the Chamber Orchestra of Europe in Lucerne and Frankfurt. Mr. Haitink has recorded widely for the Philips, Decca, and EMI labels, with the Concertgebouw, the Berlin Philharmonic, the Vienna Philharmonic, and the Boston Symphony Orchestra. His discography also includes many opera recordings with the Royal Opera and Glynde- bourne, as well as the Bavarian Radio Orchestra. Most recently he has recorded extensively with the London Symphony Orchestra for the LSO Live label, including the

TANGLEWOODWEEK 7 GUESTARTISTS 29 complete Brahms and Beethoven symphonies, and also with the Chicago Symphony for its Resound label. He received Grammy Awards for his recordings of Janáˇcek’s Jen˚ufa with the Royal Opera, and for Shostakovich’s Symphony No. 4 with the Chicago Symphony Orchestra. With the Boston Symphony Orchestra he has recorded Brahms’s four symphonies and Alto Rhapsody, orchestral works of Ravel, and Brahms’s Piano Concerto No. 2 with soloist Emanuel Ax. Mr. Haitink has received many international awards in recognition of his services to music, including both an honorary Companion of Honour in the United Kingdom, and the House Order of Orange-Nassau in the Netherlands. Bernard Haitink made his Boston Symphony Orchestra debut in February 1971. In addition to concerts in Boston, he has led the orchestra at Tanglewood (where he appeared for the first time in 1994), Carnegie Hall, and on a 2001 tour of European summer music festivals. His most recent BSO appearances were this past April and May in Symphony Hall, leading the two final programs of the orchestra’s 2012-13 subscription season, and he returns to Symphony Hall, again for two weeks of subscription concerts, in January and February 2014; an all-Ravel program, and a program of Stucky, Schumann, and Brahms. Next Sunday he will again be on the Tanglewood podium, to lead the BSO’s traditional season-ending performance of Beethoven’s Ninth Symphony.

Isabelle Faust Violinist Isabelle Faust’s perspective on music reflects her wide variety of experiences and discoveries. Ms. Faust founded a string quartet when she was just eleven; her early chamber music experiences imbued in her a fundamental belief that performing is a give-and-take process in which listening is just as important as expressing one’s own personality. When she was just fifteen, her victory at the 1987 Leopold Mozart Competition brought with it the prospect of a solo career; but the guid- ing principles instilled in her as a chamber musician remained strong. In Christoph Poppen, the longtime first violinist of the Cherubini Quartet, she found a teacher who shared and fostered her own musical convictions; whether performing sonatas or concertos, she constantly sought dialogue and the exchange of musical ideas. After winning the 1993 Paganini Competition Ms. Faust moved to France, where she grew to love the French repertoire, particularly Fauré and Debussy. Here she also came to international attention with her first recording—sonatas by Bartók, Szymanowski, and Janáˇcek—and gradually refined her command of the most important works for violin. In 2003 she released her first recording of a major Romantic work for orchestra—the Dvoˇrák Violin Concerto, which she had first performed at age fifteen under Yehudi Menuhin, and which remains a main- stay of her repertoire. In 2007 she released a critically acclaimed recording of the Beethoven Violin Concerto, a recording reflecting her awareness of period performance not as dogma, but as a challenge and incentive to reassess the substance of the music at hand in a way that enables convincing performance both with period ensembles and with large symphony orchestras. Given her affinity for wide-ranging musical idioms, she is also much in demand as a performer of contemporary music; she has premiered works by composers extending from Olivier Messiaen to Werner Egk and Jörg Widmann. She is a fervent proponent of music by György Ligeti, Morton Feldman, Luigi Nono, and Giacinto Scelsi, and also of such forgotten works as French composer André Jolivet’s violin concerto. In 2009 she premiered works dedicated to her by composers Thomas Larcher and Michael Jarrell. Ms. Faust can be heard with her duet partner, the pianist Alexander Melnikov, in chamber music repertoire recorded for harmonia mundi. Their recording of the complete Beethoven violin sonatas garnered the ECHO Klassik Award and the Gramophone Award, among others, as well as a Grammy nomination. Her latest solo recording, featuring the partitas and sonatas of J.S. Bach,

30 was honored with the Diapason d’Or de l’année 2010, among other awards. In recent years, she has developed fruitful artistic partnerships with, among others, Claudio Abbado, Charles Dutoit, Daniel Harding, Heinz Holliger, Mariss Jansons, the Berlin Philharmonic, the Munich Philharmonic, the Orchestre de Paris, the Boston Symphony Orchestra, the BBC orchestras, and the Mahler Chamber Orchestra. Isabelle Faust performs on the 1704 “Sleeping Beauty” Stradivarius on loan to her from Germany’s L-Bank Baden-Württemberg. Making her Tanglewood debut this evening, she has appeared twice previously in subscription concerts with the BSO: in February 2008 (in Berg’s Chamber Concerto for piano and violin) and April 2009 (as soloist in Beethoven’s Violin Concerto).

Camilla Tilling A graduate of the University of Gothenburg and London’s Royal College of Music, Swedish soprano Camilla Tilling launched her international career at New York City Opera as Corinna in Rossini’s Il viaggio a Reims and, by the end of the subse- quent two seasons, had made debuts at the Royal Opera House–Covent Garden, the Aix en Provence, Glyndebourne, and Drottningholm festivals, La Monnaie in Brussels, and at the Metropolitan Opera. Highlights of 2013-14 include Orfeo ed Euridice with Les Musiciens du Louvre Grenoble under Marc Minkowski, Le nozze di Figaro at Covent Garden, and a role debut in Daphne at the Théâtre du Capitole, Toulouse. In concert she performs Strauss’s Four Last Songs with the Vienna Symphony under David Zinman, Berg’s Seven Early Songs with the Los Angeles Philharmonic under Lionel Bringuier, the St. Matthew Passion and St. John Passion with the Berlin Philharmonic under Sir Simon Rattle, and Waisenhausmesse with the Orchestre de Paris under Giovanni Antonini. Recent major engagements on both sides of the Atlantic include Pamina (Die Zauberflöte), Sophie (Der Rosenkavalier), Dorinda (Orlando), Oscar (Un ballo in maschera), Arminda (La finta giardiniera), and Gretel (Hänsel und Gretel) at Covent Garden; Zerlina (Don Giovanni) and Nannetta (Falstaff) at the Metropolitan Opera; Ilia (Idomeneo) at Teatro alla Scala; Sophie for Lyric Opera of Chicago; Sophie, Susanna, the Princess (L’Enfant et les sor- tilèges), and Donna Clara (Der Zwerg) at Bayerische Staatsoper; Oscar and Susanna for Opéra National de Paris; Susanna at San Francisco Opera; the Angel (St. François d’Assise) at Teatro Real Madrid, and her role debut as Fiordiligi (Così fan tutte) at the Théâtre des Champs-Elysées. She has collaborated with such conductors as Antonio Pappano, Andrew Davis, James Levine, Daniel Harding, Seiji Ozawa, John Eliot Gardiner, Semyon Bychkov, and Charles Mackerras. Recent concert highlights include Mahler’s Symphony No. 4 with the Boston Symphony Orchestra under Bernard Haitink; Mahler’s Symphony No. 2 in Gothenburg and with the Berlin Philharmonic at Carnegie Hall; Strauss’s Four Last Songs with the Hong Kong Philharmonic Orchestra; Haydn’s Die Schöpfung with the Los Angeles Philharmonic, and Beethoven’s Ah! perfido in Stockholm. Ms. Tilling has recorded Cherubini’s Mass in D minor with Riccardo Muti (EMI); Mahler’s Symphony No. 4 with Benjamin Zander (Telarc); Belinda in Purcell’s Dido and Aeneas and the Angel in Handel’s La resurrezione with Emanuelle Haïm, as well as Grieg’s Peer Gynt with Paavo Järvi (all Virgin Classics), and Mozart’s Mass in C minor and Beethoven’s Ah! perfido with Paul McCreesh (DG Archiv). Her two solo discs with Paul Rivinius are “Rote Rosen,” a selection of Strauss Lieder, and a selection of Schubert songs entitled “Bei dir allein!” (both BIS). Making her Tanglewood debut this evening, Camilla Tilling made her Boston Symphony debut in January 2012 in Mendelssohn’s Lobgesang with Bramwell Tovey conducting, and returned to Symphony Hall this past April for performances of Mahler’s Symphony No. 4 under Bernard Haitink’s direction.

TANGLEWOODWEEK 7 GUESTARTISTS 31 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Sunday, August 18, 2:30pm THE LEONARD BERNSTEIN MEMORIAL CONCERT

TANGLEWOOD MUSIC CENTER ORCHESTRA CHRISTOPH VON DOHNÁNYI conducting

MOZART Piano Concerto No. 9 in E-flat, K.271 Allegro Andantino Presto—Menuetto: Cantabile—Presto EMANUEL AX

{Intermission}

MAHLER Symphony No. 1 in D Langsam. Schleppend [Slow. Dragging] Kräftig bewegt, doch nicht zu schnell; [With powerful motion, but not too fast] Trio: Recht gemächlich [Pretty easygoing] Feierlich und gemessen, ohne zu schleppen [Solemn and measured, without dragging] Stürmisch bewegt [With tempestuous motion]

The 2013 Leonard Bernstein Memorial Concert is supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. Schneider, and Diane H. Lupean.

32 NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Piano Concerto No. 9 in E-flat, K.271 First performance: Undocumented, but the work was completed in January 1777 for a touring French pianist, Mlle. Jeunehomme, whose name sometimes appears as a subtitle for the concerto. First BSO performance: April 1943, Serge Koussevitzky cond., Emma Boynet, soloist. First Tanglewood performance: July 5, 1963, Erich Leinsdorf cond., Rudolf Serkin, soloist. Most recent Tanglewood performance: August 12, 2007, Boston Symphony Orchestra, Rafael Frühbeck de Burgos cond., Emanuel Ax, soloist. On February 12, 1874, Miss Amy Fay, a young pianist then in her fifth year of living in Germany where she had gone, as they said in those days, to refine her taste and improve her technique, wrote to her family in St. Albans, Vermont: Deppe wants me to play a Mozart concerto for two pianos with Fräulein Steiniger, the first thing I play in public. Did you know that Mozart wrote twenty concertos for the piano, and that nine of them are masterpieces? Yet nobody plays them. Why? Because they are too hard, Deppe says, and Lebert, the head of the Stuttgardt conservatory, told me the same thing at Weimar. I remember that the musical critic of the Atlantic Monthly remarked that “we should regard Mozart’s passages and cadenzas as child’s play, now-a-days.” Child’s play, indeed! That critic, whoever it is, “had better go to school again,” as C. always says! Actually, counting the concerto for two pianos that Miss Fay prepared with Fräulein Steiniger, and another for three pianos, Mozart wrote twenty-three piano concertos. (This does not take into account his adaptations of sonatas by other composers that he made for his tours between 1765 and 1767.) Most of us, moreover, would have a hard time reducing the number of “masterpieces” to just nine. The series, at any rate, begins with the still seldom heard, inventive, brilliant, if not perfectly equili- brated concerto in D, K.175, of December 1773, and concludes with one of the most familiar of the “masterpieces,” the gently shadowed concerto in B-flat, K.595, completed three weeks before Mozart’s thirty-fifth and last birthday. Mozart’s most intense concentration on the genre occurred in the middle of the 1780s, the peak of his popularity as a composer and as an adult performer. The concerto that Emanuel Ax plays at this concert holds a special place in the sequence, for, after the dashing display of ingenuity of K.175 and the charms of K.238 in B-flat and K.246 in C, it is an all but inconceivable leap forward in ambition and achievement alike. At twenty- one, Mozart is mature. It all leaves us most curious about Mlle. Jeunehomme—“die jenomy”—whose playing, whose personality, or perhaps whose reputation so stimulated Mozart. But to no avail. She passes through Salzburg and through musical history for just a moment in January 1777, leaving her indiscriminately spelled name attached to the work in which Mozart, as it were, became Mozart, and she disappears again—to France, one imagines, to concerts and teaching, perhaps to marriage and retirement from public life. We know that Mozart himself played “her” concerto at a private concert in Munich on October 4, 1777, and from his sending “Eingänge” to Nannerl in February 1783 we know that it continued to engage his attention. The scoring is modest: only pairs of oboes and horns join the strings, something remembered always with surprise because the impression is so firmly of a big concerto. (It is, in fact, Mozart’s longest.) But Mozart uses these restricted resources remark- ably: the horn gets to play a melody in unison with the piano, and more than once

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 33 Mozart explores the uncommon sonority of the keyboard instrument joined only by the two oboes. The orchestra’s opening flourish is a formal call to attention. The piano’s response is a delicious impertinence. Normal concerto etiquette after all obliges the soloist to wait until the end of an extended tutti. But the piano’s pen- chant for playing at unexpected times once established, the whole issue of who plays when becomes the subject of continuing, subtle jokes and surprises. It was often typical of Mozart to translate the gestures of opera into the context of the concerto. In the slow movement of his Sinfonia concertante for violin and viola, for example, Mozart engages the soloists in impassioned operatic duetting. Here, in the Andantino of this concerto, he presents a scene from some somber tragedy. Strings are muted, violins proceed by close imitation, and the music that prepares the singer’s entrance makes its cadence on the formal full close of an opera seria recitative. The aria is impassioned and complex, the C minor of its beginning soothed occasionally by a gentler music in E-flat major, but it is the gestures of recitative, now pathetic, now stern, that dominate the discourse. The ﬁnale begins in unbuttoned and purling virtuosity, and again we might infer that Mlle. Jeunehomme was an especially elegant executant of trills. One of the vir-

34 tuosic sweeps down the keyboard and up again leads to the opening of a door onto a world of whose existence we had not expected a reminder: we hear a minuet, music of a new character, a new meter, a new key. Mozart outdoes himself both in his me- lodic embellishments, so characteristic in their conﬂuence of invention and control, pathos, and grace, and also in the wonderfully piquant scoring as each strain is repeated with orchestral accompaniment (ﬁrst violins and the lowest strings pizzicato, but the former with far more notes; the middle voices sustained, but their tone veiled by mutes). The minuet dissolves into another cadenza, whence the Presto emerges again to send the music to its runaway close.

Gustav Mahler (1860-1911) Symphony No. 1 in D First performance: November 20, 1889, Budapest Philharmonic, Mahler cond. (original five-movement version); December 16, 1909, New York Philharmonic, Mahler cond. (final, four-movement version). First BSO performance: November 23, 1923, Pierre Monteux cond. First Tanglewood performance: July 29, 1956, Richard Burgin cond. Most recent Tanglewood performance: July 31, 2011, Boston Symphony Orchestra, Christoph Eschenbach cond. Mahler’s first contribution to the genre of the symphony, which he was to dominate and change drastically, took an unusually long gestation period to reach its final form. His first two symphonies seem to have changed character in the composer’s mind over a period of years and several performances. He may have begun active composition on the First Symphony as early as 1884. A review of the premiere in 1889 actually claimed that he had finished the symphony five years earlier, but this is patently incorrect; probably the critic misunderstood some comment about his having completed some aspect of the work at that early date. Or perhaps the critic simply confused the composition of the Songs of a Wayfarer, written in response to his unhappy affair with the soprano Johanna Richter, with the composition of the symphony, which uses some of the same thematic material. Much of the concentrated work of shaping the score in its first version took place under the impetus of a troubling involvement with a married woman, Marion Mathilda von Weber, the wife of a German soldier, Captain Carl von Weber, who was the grandson of the composer of Der Freischütz. Mahler had become involved with the Weber family late in 1886, when the Leipzig Opera revived a number of Weber’s works for the centennial of the composer’s birth, many of them conducted by Mahler. He continued in close contact with the family while working to complete Weber’s unfinished opera Die drei Pintos. It was at their house that he first imagined the opening sonority of the First Symphony, the extraordinary sound of the dominant note, A, spanning seven octaves; after conceiving this sound, Mahler took a place at the Webers’ piano while they sat on either side of him, playing the note in the octaves his hands were unable to reach. Before he knew it, he found himself in love with Marion, and she with him. They planned to run away together, but in the end, Mahler did not show up at the appointed rendezvous.

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 35 He poured the emotional energies thus released into compositional activity, completing the work that we now call the First Symphony and writing the first movement of what we now call the Second Symphony. But Mahler was not prepared to call either piece a symphony; in his mind, both of them were symphonic poems, that is, program music with some kind of story to tell (whether made explicit or not). It took him several versions to work his way to a recognition that he was in fact making a contribution to the most prestigious of all orchestral forms, the traditional symphony. At the premiere in Budapest on November 20, 1889, Mahler listed the work in the program like this: Mahler. “Symphonic Poem” in two parts. Part I: 1. Introduction and Allegro comodo. 2. Andante. 3. Scherzo. Part II: 4. A la pompes funèbres; attacca. 5. Molto appassionato. There were five movements (not the present four), arranged into two large parts. And, though he indicated that the work was a “symphonic poem,” he gave no hint as to its nature or subject matter. Moreover, when he did offer some clue to the music, the music was often ironic in a way that virtually guaranteed the public would not understand his hints. The title of the fourth movement signals that it is some kind of funeral march; but in fact, Mahler produced a parody of a funeral march, with no explanation. It can scarcely be surprising that the critics, though recognizing Mahler’s “profound sensitivity and genuine musical gifts, combining a wealth of lively imagi- nation with highly developed powers of organization,” still found the work to over- step “artistic moderation” and to “lack a unifying underlying note.” Unfortunately, this first version of the work is now lost; the earliest surviving manuscript of the symphony (now at Yale) already incorporates significant revisions that Mahler made for the second performance four years after the first. Evidently Mahler decided that he needed to offer more guidance to his listeners, though in his next performances—in Hamburg and Weimar, 1893 and 1894, respec- tively—he went rather overboard with programmatic description. Now the work itself had a title (“Titan, a tone-poem in symphonic form”), as did each of the two parts and five movements, while the fourth movement was treated to a virtual essay. Part I. “From the days of youth,” Flower-, Fruit-, and Thorn-pieces. 1. “Spring without End” (Introduction and Allegro comodo). The Intro- duction depicts Nature’s awakening from the long sleep of winter. 2. “Blumine” (Andante). 3. “In full sail” (Scherzo).

“The Hunter’s Funeral,” a woodcut after the drawing that inspired Mahler’s original fourth movement

36 Part II. “Commedia humana.” 4. “Aground” (Funeral march “in the manner of Callot”). The following may serve as explanation: The external stimulus for this piece of music came to the composer from the parodistic picture, known to all children in Austria, “The Hunter’s Funeral Procession,” from an old book of children’s fairy tales: the beasts of the forest accompany the dead woods- man’s cofﬁn to the grave, with hares carrying a small banner, with a band of Bohemian musicians, in front, and the procession escorted by music- making cats, toads, crows, etc., with stags, roes, foxes and other four- legged and feathered creatures of the forest in comic postures. At this point the piece is conceived as an expression of a mood now ironically merry, now weirdly brooding, which is then promptly followed by: 5. “Dall’Inferno” (Allegro furioso), the sudden eruption of a heart wounded to the quick. This was clearly overkill. When Mahler performed the work in Berlin in 1896, he gave it a form substantially like that in which we know it. No longer is it a tone poem, but a “Symphony in D for large orchestra.” He deleted the division into two parts, removed the original second movement (“Blumine”), and deleted the programmatic titles. In 1896 Mahler explained to the critic Max Marschalk why he had made these changes: ... [M]y friends persuaded me to provide a kind of program for the D major symphony in order to make it easier to understand. Therefore, I had thought up this title and explanatory material after the actual composition. I left them out for this performance, not only because I think they are inadequate and do not even characterize the music accurately, but also because I have learned through past experiences how the public has been misled by them.

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 37 Mahler had drawn his discarded programmatic ideas from the works of a favorite German romantic author, Jean Paul (the pen name of Johann Paul Friedrich Richter [1763-1825]), whose best-known novel, a massive work in four volumes called “Titan” (completed in 1803), dealt with a heaven-storming idealist whom Mahler clearly sought to emulate in choosing him as the title for his symphony. And the odd title “Flower-, Fruit-, and Thorn-pieces” that Mahler gave to Part I in 1893 derives from another Jean Paul book, the eccentrically titled “Flower-, Fruit-, and Thorn-pieces, or The Marital Condition, Death, and Wedding of the Advocate for the Poor F. St. Siebenkäs” (1796-97). But since Mahler himself insisted that he had invented all the explanations for his piece only after the fact, we can conveniently ignore them when considering the symphony as a work of art. There, for all practical purposes, the situation stands: we have a symphony in the “traditional” four movements—though very untraditional in so many aspects of its content and expressive quality. Mahler’s introduction takes its cue, in his own way, from Beethoven, growing gradually from almost nothing (“like a sound of nature,”

38 he says of the opening bars, containing but the single pitch, the dominant A, spread over seven octaves), followed by fragments of melody—bird calls, fanfares, a horn melody. The “cuckoo call” that appears so frequently is a descending fourth (Audubon never heard such a cuckoo!), an interval that forms one of the most constant musical ideas of the symphony. Gradually all of this takes coherent shape and picks up tempo, suddenly presenting us with a melody familiar from the Songs of a Wayfarer: “Ging heut’ morgen über’s Feld,” which becomes the principal material of the first movement, reappearing several times with its emotional quality affected by the character of the linking materials, particularly of the single powerful climax of the movement. The A major scherzo, a comfortable Austrian Ländler straightforward enough to as- sure that even the first audiences would like it, conjures up the vigor of a peasant dance, with reference to Mahler’s own song “Hans und Grete,” composed in 1880. The Trio, in F, is far more nostalgic and delicate by contrast. The third movement unsettled most early listeners. Mahler’s ironic treatment of death was too new and too disturbing. Timpani softly play a march beat, reiterating the descending fourths that are so frequent a motif in this symphony; over the rhythmic pattern, a solo double bass eerily intones the melody we have all sung as “Frère Jacques”—only in the minor key! The hushed stillness, the muffled drums, and the use of a children’s tune in this context all contribute to the uncanny mood of the movement. By contrast a strain of what listeners today may well recognize as “klezmer music” overlays the march with an unexplained mood of parody. A turn to a consoling passage in G major (the closing strains of the Wayfarer Songs, representing a gentle

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 39 acceptance of death) does not last; the opening materials return to emphasize death as a fearsome specter. Mahler once described the finale as “the cry of a wounded heart,” a description that is particularly apropos for the opening gesture of the movement. This finale aims to move from doubt and tragedy to triumph, and it does so first of all through a violent struggle to regain the home key of the symphony, D major, not heard since the first movement. Mahler first does so with an extraordinary theatrical stroke: a violent, gear-wrenching shift from C minor directly to D major in the full orchestra, triple- forte. But this “triumph” has been dishonestly won; it is completely unmotivated, in harmonic terms, too jarring, too unsatisfactory. So even though this passage seems at first to be the victorious conclusion, it ends in a return to the inchoate music of the symphony’s very opening, this time building gradually to the truly jubilant conclusion, for which Mahler requests that all the horns, playing the “chorale resound- ing over everything,” stand up so that the melody may make its proper effect and, if possible, drown out everything else with the song of joyous triumph.

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.

Guest Artists

Christoph von Dohnányi Christoph von Dohnányi is recognized as one of the world’s preeminent orchestral and opera conductors. In addition to guest engagements with the major opera houses and orchestras of Europe and North America, his appointments have included opera directorships in Frankfurt and Hamburg, principal orchestral conducting posts in Germany, London, and Paris, and his legendary twenty-year tenure as music director of the Cleveland Orchestra. Last summer he opened the Boston Symphony Orchestra’s 75th-anniversary season at Tanglewood, returning there for three additional concerts in August. This season has included the opening concerts at the Teatro alla Scala and for the Orchestre de Paris; and Bruckner’s Symphony No. 8 with London’s Philharmonia Orchestra, where he is Honorary Conductor for Life. Spring 2013 brought Schoenberg’s Moses und Aron with the Israel Philharmonic and a return to the Philharmonia for Beethoven’s Eroica Symphony. In North America this season he led subscription weeks with the New York Philharmonic, National Symphony, and Cleveland Orchestra, as well as two weeks of concerts with both the Philadelphia Orchestra and Boston Symphony. Mr. von Dohnányi and the Philharmonia have played in residence in Vienna’s Musikverein and toured Germany and the west coast of the United States. With the Théâtre du Châtelet in Paris, he has collaborated on productions of Strauss’s Arabella, Die Frau ohne Schatten, and Die schweigsame Frau, Moses und Aron, Stravinsky’s Oedipus Rex, and Humperdinck’s Hänsel und Gretel. Other highlights of recent seasons include concerts with the Royal Concertgebouw Orchestra of Amsterdam, the Orchestre de Paris, and the Israel Phil- harmonic, as well as concert series with the Los Angeles Philharmonic (leading all four Brahms symphonies over a two-week period), the Boston and Chicago symphonies, New York Philharmonic, and Cleveland Orchestra. During his years with the Cleveland Orchestra, Christoph von Dohnányi led the ensemble in a thousand concerts, fifteen international tours, twenty-four premieres, and recordings of more than one hundred

TANGLEWOODWEEK 7 GUESTARTISTS 41 works. Immediately upon concluding his tenure there in 2002, he made long-awaited guest appearances with the major orchestras of Boston, Philadelphia, Pittsburgh, Chicago, and New York. He also conducts frequently at the world’s great opera houses, including Covent Garden, La Scala, the Vienna State Opera, Berlin, and Paris. He has been a frequent guest with the Vienna Philharmonic at the Salzburg Festival, leading the world premieres of Henze’s Die Bassariden and Cerha’s Baal. He also regularly appears with Zurich Opera, where in recent years he conducted Die schweigsame Frau, a double bill of Stravinsky’s Oedipus Rex and Bartók’s Bluebeard’s Castle, and new productions of Verdi’s Un ballo in maschera, Berg’s Wozzeck, and Moses und Aron. He has made many critically acclaimed recordings for London/Decca with the Cleveland Orchestra and the Vienna Philharmonic. With Vienna he recorded a variety of symphonic works and a number of operas. His large and varied Cleveland Orchestra discography includes, among many other things, Wagner’s Die Walküre and Das Rheingold, and the complete symphonies of Beethoven, Brahms, and Schumann. An alumnus of the Tanglewood Music Center, Christoph von Dohnányi made his BSO subscription series debut in February 1989 and has been a frequent guest with the orchestra at Symphony Hall and Tanglewood since his BSO subscription concerts of November 2002, most recently for two subscription weeks this past February at Symphony Hall, and two Boston Symphony concerts last week here at Tanglewood. He returns to the Symphony Hall podium next month, to open the BSO’s 2013-14 season with an all- Brahms program, followed by performances of Mahler’s Symphony No. 2, Resurrection, and again in March 2014, to lead all five Beethoven piano concertos and the Triple Concerto with pianist Yefim Bronfman.

Emanuel Ax Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. He studied at the Juilliard School and Columbia University, cap- turing public attention in 1974 when he won the first Arthur Rubinstein Inter- national Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize. The 2013-14 season begins with appearances at the Barbican Centre and Lincoln Center with the London Symphony Orchestra under Bernard Haitink, as well as collaborations with the Concertgebouw Orchestra and Mariss Jansons in Amsterdam, Bucharest, China, and Japan during that orchestra’s worldwide centenary celebrations. The second half of the season brings the realization of a project inspired by Brahms, which includes new works linked to Brahms from composers Missy Mazzoli, Nico Muhly, Brett Dean, and Anders Hillborg, commissioned jointly by the Los Angeles Philharmonic, Cal Performances Berkeley, Chicago Symphony, and Carnegie Hall, and including the participation of collaborators Anne- Sophie von Otter and Yo-Yo Ma. To conclude the season, Mr. Ax will travel to Hong Kong and Australia for the complete Beethoven piano concertos with incoming chief conductor David Robertson in Sydney and with Sir Andrew Davis in Melbourne. In conjunction with his multiple weeks as artist-in-residence with the New York Philhar- monic in 2012-13, Sony Classical released his latest recital disc of works from Haydn to Schumann to Copland, reflecting their different uses of the “variation” concept. He also joined the New York Philharmonic and Alan Gilbert on a European tour and returned to the orchestras of Los Angeles, St. Louis, Atlanta, Detroit, Washington, and Pittsburgh. An exclusive Sony Classical recording artist since 1987, Mr. Ax has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms cello sonatas. Recent releases include Mendelssohn trios with Mr. Ma and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart, and

TANGLEWOODWEEK 7 GUESTARTISTS 43 discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. In recent years, Mr. Ax has turned his attention toward the music of 20th-century composers, premiering works by John Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner. Also devoted to chamber music, he has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Mr. Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia universities. Please visit www.emanuelax.com for more information. Emanuel Ax made his Boston Symphony Orchestra debut in August 1978 at Tanglewood and has since appeared many times with the orchestra at Tanglewood, where he is also a member of the Tanglewood Music Center’s chamber music faculty, and at Symphony Hall, most recently for subscription performances in February 2012. He appeared three times at Tanglewood last summer: as soloist in music of Haydn with the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th-anniversary gala concert; as soloist in Schoenberg’s Piano Concerto with the TMCO, and as soloist in Beethoven’s Piano Concerto No. 3 with the BSO, his most recent appearance with the orchestra.

44 Tanglewood Music Center Orchestra (August 18, 2013)

Violin I Louise Grévin Horn Kathryn Andersen° Dahae Kim Dominic Brancazio° Sarah Hamilton Atwood Young Sook Lee Kevin Haseltine Kelsey Blumenthal Francesca McNeeley Elyse Lauzon Cynthia Burton* Clare Monfredo Trevor Nuckols Benjamin Carson Sofia Nowik Adedeji Bailes Ogunfolu* Autumn Chodorowski Patricia Ryan Jaclyn Rainey† Andrea Daigle Clayton Vaughn David Raschella Aika Ito† Matt Zucker Trumpet Natsuki Kumagai Double Bass Cheuk-Yin Clement Luu Joseph Brown Genevieve Micheletti Mariya-Andoniya Andonova Dylan Girard Julia Noone Zac A. Camhi Pierre-Louis Marques Lucia Nowik Paul Cannon Stuart Stephenson† Nicholas Cathcart* Sarah Peters Trombone Maria Semes Michael Chiarello† Charles Clements° Dan De Vere Tess Varley Andrew Nissen Jennifer Wey Ian Hallas Nate Paer Joseph Peterson† Violin II Flute Bass Trombone Samantha Bennett† Adam Rainey° Thomas Hofmann Francesco Camuglia Erica Hudson Masha Popova Tuba Matthew Roitstein† Ivana Jasova Bethany Wiese Caitlin Kelley Adrian Sanborn Harp KahYee Lee Piccolo Yue (Grace) Guo Tara Lynn Ramsey Francesco Camuglia Annabelle Taubl† Micah Ringham° Masha Popova Lauren Roth Adrian Sanborn Timpani Matthew Vera* Jeffrey DeRoche Molly Werts Oboe James Ritchie Melissa Wilmot Martha Kleiner Ludek Wojtkowski Geoff Sanford* Percussion Corbin Stair† Viola Joseph Kelly John Upton Andres Pichardo-Rosenthal† Camilla Berretta Scott Verduin Sekyeong Cheon English Horn Mary Ferrillo Martha Kleiner Personnel Manager Caroline Gilbert Jason Varvaro Anna Griffis Clarinet Jacqueline Hanson Samuel Almaguer Librarians Adrienne Hochman Gabriel Campos Zamora John Perkel Elizabeth Oka John Diodati Melissa Steinberg Evan Perry Samuel Rothstein Anya Brodrick (TMC Fellow) Erica Schwartz* Brad Whitfield† Ashton Bush (TMC Fellow) Jacob Shack Bass Clarinet Daniel Stone† Samuel Rothstein Rainey Weber Danielle Wiebe Bassoon * Principal, Mozart Joshua Baker † Principal, Mahler Cello Andrew Brady† ° Guest Musician Grace An Jack Peña Yska Benzakoun Thomas Carpenter† Contrabassoon Jesse Christeson Sean Maree Diana Flores*

TANGLEWOODWEEK 7 GUESTARTISTS 45 FELLOWS OF THE 2013 TANGLEWOOD MUSIC CENTER

Violin Molly Werts, Fairway, KS Sarah Hamilton Atwood, East Messinger Family Fellowship Dummerston, VT Jennifer Wey, Saratoga, CA Robert J. and Jane B. Mayer Fellowship Caroline Grosvenor Congdon Memorial Fellowship Samantha Bennett, Ames, IA Melissa Wilmot, Kelowna, BC, Canada Dr. Marshall N. Fulton Memorial Fellowship/ Bill and Barbara Leith Fellowship Richman/Auerbach Family Fellowship Ludek Wojtkowski, Tucson, AZ Kelsey Blumenthal, Cape Elizabeth, ME Haskell and Ina Gordon Fellowship Fitzpatrick Family Fellowship Viola Cynthia Burton, Banner Elk, NC Red Lion Inn/Blantyre Fellowship Camilla Berretta, Perugia, Italy Benjamin Carson, Holliston, MA Leo L. Beranek Fellowship/Lucy Lowell Fellowship Judy Gardiner Fellowship Sekyeong Cheon, Jeju, Korea Autumn Chodorowski, Woodstock, IL Harold G. Colt, Jr. Memorial Fellowship Ushers and Programmers Fellowship, in memory Mary Ferrillo, Harvard, MA of Marcia Friedman Carolyn and George R. Rowland Fellowship in Andrea Daigle, Boulder, CO honor of the Reverend Eleanor J. Panasevich Frederic and Juliette Brandi Fellowship Caroline Gilbert, Bloomington, IN Thomas Hofmann, Toyama, Japan James A. Macdonald Foundation Fellowship/ Carol and George Jacobstein Fellowship/John F. Paul and Lori Deninger Fellowship Cogan, Jr. and Mary L. Cornille Fellowship Anna Griffis, Annapolis, MD Erica Hudson, Glenview, IL Kingsbury Road Charitable Foundation Fellowship David B. Cooper Memorial Fellowship/Philip and Jacqueline Hanson, Kalamazoo, MI Bernice Krupp Fellowship Frelinghuysen Foundation Fellowship Aika Ito, Tokyo, Japan Adrienne Hochman, Houston, TX Tappan Dixey Brooks Memorial Fellowship Dorothy and Charlie Jenkins Fellowship Ivana Jasova, Bački Petrovac, Serbia Elizabeth Oka, Monrovia, CA Brookline Youth Concerts Awards Committee Susan B. Kaplan Fellowship Fellowship/Harry and Marion Dubbs Fellowship Evan Perry, Somerset, MA Caitlin Kelley, Seattle, WA Jonathan and Ronnie Halpern Fellowship/ Robert and Luise Kleinberg Fellowship R. Amory Thorndike Fellowship Natsuki Kumagai, Chicago, IL Erica Schwartz, Albany, NY Akiko Shiraki Dynner Memorial Fellowship Charles E. Culpeper Foundation Fellowship KahYee Lee, Kuala Lumpur, Malaysia Jacob Shack, Andover, MA Mr. and Mrs. Allen Z. Kluchman Memorial BSAV/Carrie L. Peace Fellowship Fellowship Daniel Stone, Chicago, IL Cheuk-Yin Clement Luu, Hong Kong, Donald Law Fellowship Hong Kong Rainey Weber, Houston, TX Morris A. Schapiro Fellowship Claire and Millard Pryor Fellowship Genevieve Micheletti, Salinas, CA Danielle Wiebe, Calgary, AB, Canada Edward G. Shufro Fund Fellowship/Stephanie and BSO Members’ Association Fellowship Bob Gittleman Fellowship Cello Julia Noone, Boston, MA Samuel Rapaporte, Jr. Family Foundation Grace An, Villa Park, CA Fellowship Merwin Geffen, M.D. and Norman Solomon, M.D. Lucia Nowik, North Plainfield, NJ Fellowship Ann and Gordon Getty Foundation Fellowship Yska Benzakoun, Paris, France Sarah Peters, Tokyo, Japan Ruth S. Morse Fellowship George and Roberta Berry Fellowship Thomas Carpenter, Charlottesville, VA Tara Lynn Ramsey, Cedar Falls, IA Fassino Family Fellowship Max Winder Memorial Fellowship Jesse Christeson, Daytona Beach, FL Lauren Roth, Seattle, WA Arlene and Donald Shapiro Fellowship/Dan and Casty Family Fellowship/T. Donald and Janet Gloria Schusterman Fellowship Eisenstein Fellowship Diana Flores, San José, Costa Rica Maria Semes, Philadelphia, PA Saville Ryan and Omar Del Carlo Fellowship Michael and Sally Gordon Fellowship Louise Grèvin, Toulouse, France Tess Varley, Coopersburg, PA Steve and Nan Kay Fellowship Penny and Claudio Pincus Fellowship Dahae Kim, New City, NY Matthew Vera, Tucson, AZ Stephen and Dorothy Weber Fellowship Gerald Gelbloom Memorial Fellowship/William E. Young Sook Lee, Daejeon, Korea Crofut Family Scholarship Starr Foundation Fellowship

46 Francesca McNeeley, Port-au-Prince, Haiti Brad Whitfield, Birmingham, AL Mr. and Mrs. Jay Marks Fellowship Mr. and Mrs. Daniel Pierce Fellowship/Sydelle and Clare Monfredo, Seal Harbor, ME Lee Blatt Fellowship Marion Callanan Memorial Fellowship/Sagner Family Fellowship Bass Clarinet Sofia Nowik, North Plainfield, NJ Samuel Rothstein, Vernon Hills, IL Arno and Maria Maris Student Memorial Lola and Edwin Jaffe Fellowship Fellowship Patricia Ryan, San Diego, CA Bassoon Luke B. Hancock Foundation Fellowship Joshua Baker, Boise, ID Clayton Vaughn, Meridian, MS Ushers/Programmers Instrumental Fellowship, James and Caroline Taylor Fellowship in honor of Bob Rosenblatt Matt Zucker, Cleveland, OH Andrew Brady, Johnson City, TN Fassino Family Fellowship John and Elizabeth Loder Fellowship Sean Maree, Springfield, VA Double Bass Denis and Diana Osgood Tottenham Fellowship/ Mariya-Andoniya Andonova, Plovdiv, Sherman Walt Memorial Fellowship Bulgaria Jack Peña, Carrollton, TX Jacques Kohn Fellowship/Mr. and Mrs. David B. Robert G. McClellan, Jr. & IBM Matching Grants Arnold, Jr. Fellowship Fellowship Zac A. Camhi, Indianapolis, IN Kitte Sporn Fellowship Horn Paul Cannon, Olympia, WA Kevin Haseltine, Houston, TX Jan Brett and Joe Hearne Fellowship Edward S. Brackett, Jr. Fellowship Nicholas Cathcart, Lake Jackson, TX Elyse Lauzon, Port Washington, NY Ronald and Karen Rettner Fellowship Kitte Sporn Fellowship Michael Chiarello, Setauket, NY Trevor Nuckols, Brownsville, TX Darling Family Fellowship Rosamund Sturgis Brooks Memorial Fellowship Ian Hallas, Northbrook, IL Adedeji Bailes Ogunfolu, Washington, DC George and Ginger Elvin Fellowship Leaves of Grass Fellowship Nate Paer, Fair Lawn, NJ Jaclyn Rainey, LaGrange, KY Dr. John Knowles Fellowship Edward G. Shufro Fund Fellowship David Raschella, Baldwinsville, NY Flute Surdna Foundation Fellowship Francesco Camuglia, Las Vegas, NV Leslie and Stephen Jerome Fellowship Trumpet Masha Popova, Oak Park, IL Joseph Brown, Houston, TX Dr. Lewis R. and Florence W. Lawrence Tanglewood Jerome Zipkin Fellowship Fellowship/Suzanne and Burt Rubin Fellowship Dylan Girard, Bend, OR Matthew Roitstein, Valencia, CA André Cûme Memorial Fellowship Theodore and Cora Ginsberg Fellowship George Goad, Rockford, MI Adrian Sanborn, Palo Alto, CA Armando A. Ghitalla Fellowship Northern California Fellowship Pierre-Louis Marques, Guémar, Alsace, France Oboe Florence Gould Foundation Fellowship Martha Kleiner, Manhattan Beach, CA Stuart Stephenson, Fairfax Station, VA Kitte Sporn Fellowship Kitte Sporn Fellowship Geoff Sanford, Shaker Heights, OH Fernand Gillet Memorial Fellowship Trombone Corbin Stair, Warsaw, IN Dan De Vere, Orono, MN Augustus Thorndike Fellowship/Steinberg Rita Meyer Fellowship Fellowship Andrew Nissen, Sydney, New South Wales, John Upton, Lake Orion, MI Australia Eduardo and Lina Plantilla Fellowship Linda J.L. Becker Fellowship Joseph Peterson, Bothell, WA Clarinet Arthur and Barbara Kravitz Fellowship/Winkler/ Samuel Almaguer, San Antonio, TX Drezner Fellowship Edwin and Elaine London Family Fellowship Gabriel Campos Zamora, San José, Costa Bass Trombone Rica David Hagee, Cincinnati, OH Omar Del Carlo Fellowship William F. and Juliana W. Thompson Fellowship John Diodati, Andover, MA Evelyn and Ron Shapiro Fellowship

TANGLEWOODWEEK 7 GUESTARTISTS 47 Tuba Yungee Rhie, Jinju, South Korea Bethany Wiese, Davenport, IA Dr. Richard M. Shiff Fellowship Juliet Esselborn Geier Memorial Fellowship Lauren Snouffer, Austin, TX Stanley Chapple Fellowship Harp Laura Strickling, Chicago, IL Yue (Grace) Guo, Beijing, China Valerie and Allen Hyman Family Fellowship John and Susanne Grandin Fellowship Mezzo-Soprano Annabelle Taubl, Derry, NH Andrea and Kenan Sahin Fellowship/Kathleen Tammy Coil, Denver, CO Hall Banks Fellowship Eunice Alberts and Adelle Alberts Vocal Studies Fellowship Percussion Samantha Malk, Johannesburg, South Jeffrey DeRoche, Skokie, IL Africa Barbara Lee/Raymond E. Lee Foundation Everett and Margery Jassy Fellowship/Anonymous Fellowship Fellowship Joseph Kelly, Asbury, NJ Katherine Maysek, Boxford, MA Albert L. and Elizabeth P. Nickerson Fellowship Eugene Cook Scholarship/KMD Foundation Andres Pichardo-Rosenthal, Santa Fellowship Monica, CA Reilly Nelson, Sault Ste. Marie, ON, Lost & Foundation Fellowship Canada James Ritchie, Blacksburg, VA Morningstar Family Fellowship/Stephen and Avedis Zildjian Fellowship, in honor of Vic Firth/ Persis Morris Fellowship Helene R. and Norman L. Cahners Fellowship Countertenor Nicholas Taylor, Racine, WI Pokross/Curhan/Wasserman Fellowship Augustine Mercante, Wilmington, DE Scott Verduin, Granger, IN Thelma Fisher Fellowship Clowes Fund Fellowship Daniel Moody, Cincinnati, OH Mary H. Smith Scholarship/Pearl and Alvin Piano (Instrumental) Schottenfeld Fellowship Andrew Hsu, Fremont, CA Tenor Catherine and Paul Buttenwieser Fellowship/ Nat Cole Memorial Fellowship Isaiah Bell, Fort St. John, BC, Canada Alex Peh, New York, NY Lia and William Poorvu Fellowship Peggy Rockefeller Memorial Fellowship Andrew Fuchs, Kansas City, MO Hyung-Min Suh, Seoul, South Korea Ushers/Programmers Harry Stedman Vocal Marie Gillet Fellowship Fellowship Xiaohui Yang, Chaoyang, China Jeffrey ML Hill, Fruitvale, BC, Canada Billy Joel Keyboard Fellowship Bernice and Lizbeth Krupp Fellowship/Leah Jansizian Memorial Scholarship Piano (Vocal) David Menzies, Shoal Lake, MB, Canada Bretton Brown, Murray, KY Daphne Brooks Prout Fellowship Wilhelmina C. Sandwen Memorial Fellowship Baritone Yu Gyung Kim, Anyang, South Korea Paul Jacobs Memorial Fellowship Steven Eddy, Laurel, MD Christina Lalog, Palm Coast, FL Dr. Raymond and Hannah H. Schneider Fellowship/ Adele and John Gray Memorial Fellowship/ Kandell Family Fellowship Felicia Montealegre Bernstein Fellowship Conor McDonald, Minneapolis, MN ChoEun Lee, Ulsan, Korea Harry and Mildred Remis Fellowship Leonard Bernstein Fellowship Edward Nelson, Los Angeles, CA Jessica Rucinski, Newton, MA William Randolph Hearst Foundation Fellowship Stephanie Morris Marryott & Franklin J. David Tinervia, Longmeadow, MA Marryott Fellowship Bay Bank/BankBoston Fellowship Wei-Han Wu, Kaohsiung, Taiwan Nathan Wyatt, Chapel Hill, NC Mr. and Mrs. Joseph L. Cohen Fellowship Edward I. and Carole J. Rudman Fellowship Soprano Conducting Jessica Aszodi, Melbourne, Victoria, Alexandre Bloch, Paris, France Australia Edward H. and Joyce Linde Fellowship Cynthia L. Spark Scholarship/Daniel and Shirlee Stilian Kirov, Sofia, Bulgaria Cohen Freed Fellowship Seiji Ozawa Fellowship Kristina Bachrach, Holliston, MA Ciarán McAuley, Dublin, Ireland Naomi and Philip Kruvant Family Fellowship Evelyn and Phil Spitalny Fellowship/Maurice Marie Marquis, Fulton, MS Abravanel Scholarship Athena and James Garivaltis Fellowship

48 Composition Associate Fellows Evan Antonellis, Glastonbury, CT James Barbato, tenor Elliott Carter Memorial Composer Fellowship Richard F. Gold Memorial Scholarship Yie-Eun Chun, Seoul, South Korea John Buffett, baritone Margaret Lee Crofts Fellowship Tisch Foundation Scholarship Nathan Heidelberger, Cortlandt Manor, NY Erik Krohg, baritone Patricia Plum Wylde Fellowship Ethel Barber Eno Scholarship Robert Honstein, Princeton, NJ Cairan Ryan, baritone William and Mary Greve Foundation-John J. Andrall and Joanne Pearson Scholarship Tommaney Memorial Fellowship Tonia Ko, Honolulu, HI Leonard Bernstein Fellowship New Fromm Players Nina C. Young, Nyack, NY Henrik Heide, flute, Madison, WI Otto Eckstein Family Fellowship Danny Goldman, clarinet, New York, NY Katherine Dowling, piano, Regina, SK, Library Canada Anya Brodrick, San Diego, CA Nicolas Namoradze, piano, Budapest, Mary E. Brosnan Fellowship Hungary Ashton Bush, Jamestown, NY Matthew Leslie Santana, violin, Miami, FL Miriam H. and S. Sidney Stoneman Fellowship Sarah Silver, violin, Pittsburgh, PA Audio Engineering Jocelin Pan, viola, Leawood, KS Michael Dahlberg, cello, Philadelphia, PA Zana Corbett, Kaunas, Lithuania C. D. Jackson Fellowship The New Fromm Players is an ensemble of musi- Lauran Jurrius, Heemstede, The cians drawn from recent TMC alumni who have Netherlands distinguished themselves in the performance of new Merrill Lynch Fellowship music. These artists will concentrate almost exclu- James Perrella, Niskayuna, NY sively on this literature, performing works by the Miriam H. and S. Sidney Stoneman Fellowship TMC Composition Fellows and works demanding Brandon Wells, Toronto, ON, Canada lengthy and intensive preparation during the Anna Sternberg and Clara J. Marum Fellowship Festival of Contemporary Music. The New Fromm Piano Technology Players ensemble has been funded by a generous Adam Schulte-Bukowinski, Camarillo, CA grant from the Fromm Music Foundation. Dorothy and Montgomery Crane Scholarship/ Miriam Ann Kenner Memorial Scholarship Conducting Workshop (July 12-23) Brian Hubbell, Cooperstown, NY Alfred E. Chase Fellowship Matthew Aucoin, Karina Canellakis, Cory Sheets, St. Paul, MN Aram Demirjian, and Oliver Hagen Jane W. Bancroft Fellowship The Conducting Workshop Program is sponsored by the Claudia and Steven Perles Family Foundation. Publications Pamela Feo, Boston, MA Theodore Edson Parker Foundation Fellowship Stu Rosner

TANGLEWOODWEEK 7 GUESTARTISTS 49 Society Giving at Tanglewood

The following recognizes gifts made since September 1, 2012, to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support of $3,000 or more during the 2012-13 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

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

Chairman’s

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

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

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

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

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

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

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

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

TANGLEWOODWEEK 7 SOCIETYGIVINGATTANGLEWOOD 51 Elaine Sollar and Edwin R. Eisen • Lauren Spitz • Lynn and Ken Stark • Lynn and Lewis Stein • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Mrs. Pat Strawgate • Roz and Charles Stuzin • Dorothy and Gerry Swimmer • Bill and Adrienne Taft • John Lowell Thorndike • Jerry and Roger Tilles • Jacqueline and Albert Togut • Barbara and Gene Trainor • Mr. and Mrs. Stanley Tulgan • Myra and Michael Tweedy • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Stephen M. Weiner and Donald G. Cornuet • Gail and Barry Weiss • Carol Andrea Whitcomb • Carole White • Robert and Roberta Winters • The Wittels Family • Pamela and Lawrence Wolfe • June Wu • Patricia Plum Wylde • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein

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

‡ Deceased Stu Rosner

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

54 55 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives)

August at Tanglewood

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Administration

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

Administrative Staff/Artistic

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

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

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

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

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

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

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

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

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

Sales, Subscription, and Marketing

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

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

Tanglewood Music Center

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

Tanglewood Summer Management Staff

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

Boston Symphony Association of Volunteers

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

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

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

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

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

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

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

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

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

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

One Million

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

Koussevitzky Music Shed

Seiji Ozawa Hall