Summer 2012 Boston Symphony Orchestra

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boston symphony orchestra summer 2012

Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate

131st season, 2011–2012

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 • Vincent M. O’Reilly, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Susan Bredhoff Cohen, ex-officio • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Aaron J. Nurick, ex-officio • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Stemberg • Theresa M. Stone • 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 • Helene R. Cahners • James F. Cleary† • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • William J. Poorvu • Irving W. Rabb† • Peter C. Read • 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-Chairman • Peter Palandjian, Co-Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin • 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 Burke • Ronald G. Casty • Richard E. Cavanagh • Carol Feinberg Cohen • Richard F. Connolly, Jr. • Charles L. Cooney • Ranny Cooper • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. • Peter Fiedler • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Robert P. Gittens • 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 • Robert Kleinberg • John L. Klinck, Jr. • Farla H. Krentzman • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Nancy K. Lubin • Jay Marks • Jeffrey E. Marshall • Linda A. Mason • Robert D. Matthews, Jr. • C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Maureen Miskovic •

Programs copyright ©2012 Boston Symphony Orchestra Cover photo by Stu Rosner Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Vincent Panetta, Jr. • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Joyce L. Plotkin • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg • 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 • 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 • Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb • 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 • David I. Kosowsky • Robert K. Kraft • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York 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 expen-

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

sive, 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 further simplify Saarinen’s plans, 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 expan- sion 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 season closes with a weekend-long Jazz Festival. 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 cen- turies. 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 21 through August 26. Hours are from 10 a.m. to 5 p.m. Monday through Friday, from 9 a.m. through intermission of the evening concert on Saturday, and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Archival Exhibits at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the BSO at Tanglewood

To mark the 75th anniversary of the Boston Symphony Orchestra’s first concerts at Tanglewood, the historical displays located in the Tanglewood Visitor Center have been completely refurbished. The historical displays in the Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information and artifacts docu- menting the history of Tangle- wood the place as well as the ori- gins and early years of the Tanglewood Music Festival, with special emphasis on how Tanglewood became the BSO’s summer home in 1937.

Serge Koussevitzky with Mrs. Gorham This year, visitors will also be able Brooks and her daughter Daphne to experience aspects of Brooks (later Daphne Brooks Prout), Tanglewood’s history with a new who donated the Tanglewood estate to the BSO (BSO Archives/courtesy Interactive Media Exhibit. Daphne Brooks Prout) Located in what was originally the Tappan House library, the Interactive Media Exhibit allows visitors to watch historical footage and other films about the history of Program book for the BSO's first Tanglewood, travel the Tanglewood Time Line, and learn Tanglewood concerts in August 1937 about the 75 archival audio (BSO Archives) downloads being made available this summer as part of the 75th-anniversary celebrations.

Leonard Bernstein, Aaron Copland, and Serge Koussevitzky at Tangle- wood in the late 1940s (BSO Erich Leinsdorf conducting the Berkshire Music Center Archives/photo by Ruth Orkin) Orchestra (now called the Tanglewood Music Center Orchestra) in the Theatre-Concert Hall, c.1967 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo)

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. until intermission; and Sunday from 10 a.m. until intermission. 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 purchase 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 can be obtained 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 2:30 p.m., and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open from 5:30 p.m. through intermission on Fridays and Saturdays 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. OPEN REHEARSALS by the Boston Symphony Orchestra take place each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. Seating in the Koussevitzky Music Shed is reserved and ticketed at $30 and $20 per ticket. General admission to the lawn is $10. Tickets are available at the Tanglewood box office. 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 2012

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

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

Now in its 131st season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown. Today the BSO reaches millions through radio, television, the internet, 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 Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the most important training grounds for young professional- caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, is known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. The BSO gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, Boston Symphony Orchestra 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 Major Henry Lee Higginson, succeeded by the German-born and -trained conductors Wilhelm founder of the Boston Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating Symphony Orchestra in the appointment of the legendary Karl Muck, who served two (BSO Archives) tenures, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony Orchestra had given their first “Promenade” concert, offering both music and refreshments, and fulfilling Major Higginson’s wish to give “concerts of a lighter kind of music.” These concerts, soon to be given in the springtime and renamed first “Popular” and then “Pops,” fast became a tradition. In 1915 the orchestra made its first transcontinental 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

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. In 1929 free Esplanade concerts were inaugurated by Arthur Fiedler, a member of the orchestra since 1915 and who in 1930 became eighteenth conductor of the Boston Pops. Fiedler was Pops conductor for half a century, being followed by John Williams in 1980 and Keith Lockhart in 1995. 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. Koussevitzky 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. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO Serge Koussevitzky arriving at in Boston, New York, at Tanglewood, and on tour in Tanglewood prior to a concert (BSO Archives) Europe, as well as recording with the orchestra. 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, partic- ularly 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 summer 2007 led the BSO in an acclaimed tour of European music festivals. Through its worldwide activities and more than 250 concerts annually, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson.

On the lawn at Tanglewood in 1941, with a sign promoting a gala benefit concert for the United Service Organizations and British War Relief (BSO Archives/courtesy The Berkshire Eagle)

Table of Contents

3 WELCOME TO TANGLEWOOD

Friday, July 6, 6pm (Prelude Concert) 4 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA IGNAT SOLZHENITSYN, piano Music of Schubert, Kodály, Martin˚u, and Beethoven

Friday, July 6, 8:30pm 11 BOSTON SYMPHONY ORCHESTRA CHRISTOPH VON DOHNÁNYI conducting All-Beethoven program

Saturday, July 7, 8:30pm 21 BOSTON SYMPHONY ORCHESTRA MICHAEL STERN conducting; JOSHUA BELL, violin; EDGAR MEYER, double bass Music of Barber, Ravel, Meyer, and Tchaikovsky

Sunday, July 8, 2:30pm 35 BOSTON POPS ORCHESTRA KEITH LOCKHART conducting; BERNADETTE PETERS, special guest

“This Week at Tanglewood” Once again this summer, Tanglewood patrons are invited to join us in the Koussevit- zky 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, July 6, are conductor Michael Stern and violinist Joshua Bell. The series continues through Friday, August 24, the final weekend of the BSO’s 2011 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 7 and 21; August 4—Robert Kirzinger, BSO Assistant Director of Program Publications July 28; August 11 and 25—Marc Mandel, BSO Director of Program Publications

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

TANGLEWOODWEEK 1 TABLEOFCONTENTS 1

Welcome to Tanglewood

On behalf of everyone affiliated with the Boston Symphony Orchestra and Tanglewood, it is my pleasure and privilege to welcome you here this summer as we celebrate the 75th anniversary of the BSO’s first Tanglewood concerts. In 1937, Serge Koussevitzky and the BSO played just six concerts, two of which we are replicating this year—the all-Beethoven opener, and the all-Wagner concert so famously interrupted by a severe thunderstorm. As it turned out, however, that storm provided an unanticipated bonus: it led ultimately to the construction of the Music Shed, which remains the venue for the BSO’s Tanglewood concerts to this day. The 1937 season was actually the second year that Koussevitzky and the orchestra played concerts in the Berkshires: they had first done so in 1936, making such a profound impression that the owners of the Tanglewood estate donated it to Koussevitzky as a place for the BSO to continue its summer music-making. Over the years, Tanglewood has since expanded its offerings to include an entire summer’s worth of concerts encompassing music of all kinds, performed by a vast range of internationally celebrated artists, drawing audiences that today number consistently in the hundreds of thousands each year. Visitors to Tanglewood of course experience more than just world-class music- making: they share experiences that are immeasurably heightened by the beautiful and idyllic surroundings of Tanglewood and the Berkshire Hills—another reason patrons find themselves returning year after year. This summer we take further pride in our surroundings by marking the anniversary with the planting of 75 trees to enhance Tanglewood’s beauty even more. But even as we celebrate Tanglewood’s rich history, we also continue always to look to the future, and not just through an ever-increasing range of musical offerings. Since its founding by Koussevitzky in 1940 as the Berkshire Music Center, the Tanglewood Music Center has continued to train and nourish countless young musicians on the verge of professional careers. We are also continually increasing the range of offerings made possible by the most recent advances in media and technology, including, to mark the 75th anniversary this summer, an Interactive Media Center at the Tanglewood Visitor Center, an Interactive Time Line about the history of Tanglewood, and a series of 75 historic audio performances from the BSO’s Tanglewood archives, being issued as downloads on the BSO’s website. In conclusion, I thank you on behalf of us all for your being at Tanglewood and by supporting us, and this historic festival, with your presence. We hope to see you here again soon, and often. Yours truly,

Mark Volpe Eunice and Julian Cohen Managing Director Boston Symphony Orchestra

TANGLEWOODWEEK 1 WELCOMETOTANGLEWOOD 3 Tanglewood 75 SUMMER 2012

Prelude Concert Friday, July 6, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE MAE AND GABRIEL SHAPIRO MEMORIAL CONCERT

JULIANNE LEE, violin EDWARD GAZOULEAS, viola OWEN YOUNG, cello IGNAT SOLZHENITSYN, piano

SCHUBERT String Trio (Allegro) in B-flat, D.471

KODÁLY Intermezzo (Allegretto) for string trio

MARTINU˚ Three Madrigals for violin and viola (1947) Poco allegro Poco andante Allegro

BEETHOVEN Trio in G for piano, violin, and cello, Opus 1, No. 2 Adagio—Allegro vivace Largo con espressione Scherzo: Allegro Finale: Presto

Bank of America is proud to sponsor the 2012 Tanglewood season. 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.

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.

4 NOTES ON THE PROGRAM

Franz Schubert (1797-1828) began two trios for the combination of violin, viola, and cello, both in the key of B-flat. The first was composed, though left incomplete, in September 1816; the second, his only finished string trio, followed it exactly a year later. Both were among the many Schubert works that remained almost entirely unknown after the composer’s premature death. The earlier trio, D.471, remained unpublished until 1890. It is a relatively unprepossessing work illustrating the kind of lighthearted chamber music that Schubert wrote in his youth, largely for use in the circle of his family and friends, where active music-making was a regular pastime. Yet it also seems to be aiming at a rather more elevated style, and it is probably significant that Schubert wrote it at about the same time as an overture in B-flat in which he was consciously trying on Beethovenian wings. (The chamber work and the overture grow out of a similar Allegro theme.) Lyrical throughout, and covering a remarkably wide range of emotion, the completed movement shows the young genius—not yet out of his teens—aiming at a very high mark indeed. After complet- ing the Allegro, Schubert wrote only a few bars of a slow movement marked “Andante sostenuto” and then—for reasons unknown—dropped the work. He never returned to it again.

Zoltán Kodály (1882-1967) began inventing music when he was as young as four years old; his earliest notated sketches date from his mid-teens. His early musical education was hands-on; he taught himself to play piano, violin, viola, and cello and performed chamber music at home with his parents. Later he attended Budapest University and the Academy of Music concurrently. A period of study abroad following a prize won for his Summer Evening led him to discover the music of Debussy, which immediately affected his style. Along with his friend and colleague Bartók, throughout his life he was an important collector and scholar of all kinds of Central European vernacular music, the styles and energy of which infused all of his original compositions. Kodály was also the most important Hungarian teacher of composition, counting among his students many of the best-known of later generations, including Pál Kadosa and Péter Eötvös. His concern for musical literacy among the general Hungarian populace led to the development of a system of elementary music education that is still employed throughout the world today under the aus- pices of the Kodály Institute. Kodály’s earliest important works tended to be either for chamber or choral forces (although Summer Evening is an exception); most of his handful of orchestral works date from the 1930s. In the 1920s he achieved worldwide renown for his opera Háry János, the suite from which became his most enduring concert work. He began conducting his own work, and his music also appeared on the programs of the great conductors of the day, including Koussevitzky, Toscanini, and Mengelberg, among others. Although, like Bartók, he was incensed and anxious following the German Anschluss prior to World War II, he remained in Hungary, where he continued to compose, conduct, teach, and study and compile folk song for the remainder of his long life. Among his chamber works, his two string quartets are well thought of, and his Duo for violin and cello and Sonata for solo cello are performed often. The brief Inter- mezzo for string trio is a relatively early work, composed in 1905, when he was still studying at the Budapest Academy of Music. He began his collecting of folk song in the summer of that year. The Intermezzo is a charming five-minute work, greatly assured in its light use of folk-like turns of phrase but classically balanced in its essentially ABA structure.

TANGLEWOODWEEK 1 PRELUDEPROGRAMNOTES 5 In a little town named Poliˇcka, north of Brno and east of Prague in what’s now called the Czech Republic, Bohuslav Martin˚u’s father was the Town Watcher. He lived with the family in a tower in the St. James Church, responsible for winding the church clock, tolling the bells, and keeping lookout for fires like the one that had destroyed the town center in 1845. Bohuslav was born in the tower and, being a sickly child, rarely left it in the first six years of his life. Although his talent was recognized at an early age, Martin˚u (1890-1959) was a disappointment in his formal musical training. All he wanted to do was compose. He learned his craft by performing in the violin section of the Czech Philharmonic, becoming familiar with an expanded European repertoire that included the music of Debussy and Stravinsky. A move to Paris in 1923 broadened his horizons and increased his sphere of musical acquaintance; in his first years there he studied privately with Albert Roussel. Once he had gained confidence as a composer, he was very prolific in a wide range of genres, including the smallest chamber music works all the way up to symphonies and operas. He became acquainted with Stravinsky and Les Six and experienced jazz, imported from the U.S. after World War I, which had a major impact on his musical language. By

6 the later 1920s he had achieved a great deal of local and international success. His compositional style has the clarity and rhythmic vitality of neoclassicism, with, later, specific reference to Baroque models such as the concerto grosso. In the 1930s Martin˚u’s love for his homeland resulted in greater identification with the indige- nous music of Bohemia, including rhythms based on traditional dances and certain scale and melodic patterns. Martin˚u moved to the United States from Paris during World War II, fleeing Europe before the advance of the German Army after being blacklisted by the Third Reich for providing assistance to his countrymen who remained in Bohemia. Lacking English and introverted since childhood, Martin˚u (and his wife) had a difficult time adjusting to the United States, but, along with other help, Serge Koussevitzky’s commissions for the composer’s First Symphony for the Boston Symphony and a later invitation to teach at Tanglewood helped keep his career afloat. Serge Kousse- vitzky had conducted the BSO in the premiere of Martin˚u’s tone-poem La Bagarre (“Tumult”) in 1927, which was the start of the composer’s long relationship with the orchestra, leading to the BSO’s ultimately giving the first performances of nine of his orchestral works. His Fantaisies symphoniques (Symphony No. 6) was a BSO 75th anniversary commission premiered by the BSO and Charles Munch in 1955. In his last decade he divided his time between Europe (mostly France and Switzerland) and the U.S. While at Tanglewood as an instructor in 1946, Martin˚u suffered a head injury during a fall from a height, with damage extensive enough to delay a planned return to Prague. (Political upheaval and the resultant seizure of government power by the Soviets in early 1948 put an end to his plans.) When he began to compose again, he was as prolific as ever. The first piece he wrote during his convalescence was his String Quartet No. 6; the Three Madrigals followed a bit later. The title references a genre of Renaissance polyphonic vocal music, one distinctive characteristic of which is dramatic word-painting. In these neoclassical instrumental works, the fluid narrative drama and contrapuntal textures of Martin˚u’s nominal model probably suggest- ed the interplay of personalities between the violin and viola parts in these three movements.

Ludwig van Beethoven (1770-1827) published a number of pieces early in his career before issuing something he deemed worthy of an opus number. There has long been the suspicion that he brought one or more of the three trios eventually published as Opus 1, already finished, with him from Bonn to Vienna in 1792. Although there may be something in this idea, there are also a number of sketches in the so- called “Kafka” sketchbook, dating from Beethoven’s earliest Vienna period, that suggest he did much work on them in his new home. These trios were first performed at one of the soirées of Beethoven’s patron Prince Lichnowsky (to whom the published set would be dedicated) in the presence of Haydn late in 1793 or in 1794, shortly before Haydn left for England. Haydn spoke warmly of the works but advised Beethoven not to publish the trio in C minor, which he felt was too advanced to be accepted by the general public. Beethoven was some- what angered by Haydn’s remarks, ascribing them to jealousy on the part of the older composer; but he did not rush the trios into print, and it was another year and a half until their publication, when he chose to identify them as his “Opus 1,” an explicit sign that he was now ready to be taken seriously as a composer. The G major trio is perhaps the least known of the three, suffering the common fate of middle siblings. The E-flat trio (No. 1) is the first published Beethoven work with

TANGLEWOODWEEK 1 PRELUDEPROGRAMNOTES 7 an opus number; the C minor trio (No. 3) is the most daring and “Beethovenian”; the second trio, a work of charm and wit, tends to get overlooked. The first movement opens with an Adagio ranging through a wide circle of keys before firmly establishing the tonic G. The Allegro vivace that follows begins wittily out of key and finds its way home with a well-calculated flourish. (The “Kafka” sketchbook contains an early version of this passage, revealing how much Beethoven improved its timing in working out the details.) The Largo is a tender and lyrical movement in a bright E major, the unusual choice of key indicating the young composer’s determination to stretch the boundaries of harmonic possibility. This music, too, seems to have been conceived after Beethoven’s arrival in Vienna: a sketch of the theme is intermingled with the counterpoint exercises that Beethoven wrote during his studies with Albrechtsberger. The scherzo begins and ends quietly, an unusual move, especially for a young composer. The finale ripples with wit and energy, racing along in its 2/4 Presto to the lively conclusion.

Notes by STEVEN LEDBETTER (Schubert, Beethoven) and ROBERT KIRZINGER (Kodály, Martin˚u) Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. Robert Kirzinger is the BSO’s Assistant Director of Program Publications.

Artists

A member of the Boston Symphony Orchestra since 2007, Julianne Lee recently received the Presser Music Award. She made her solo debut at age seven with the Lake Placid Symphonietta and has also appeared as soloist with the KBS Symphony Orchestra in Korea and the Baden-Baden Philharmonie in Germany. Her chamber music collaborations include concerts with such renowned artists as Joseph Silverstein, Peter Wiley, Roger Tapping, Samuel Rhodes, and Arnold Steinhardt. Ms. Lee has participated at the Marlboro Music Festival and Santa Fe Chamber Music Festival and toured Europe with the Australian Chamber Orchestra as guest principal violist. She holds a bachelor’s degree in violin performance and a diploma in viola performance from the Curtis Institute of Music, where she studied with Victor Danchenko, Joseph Silverstein, and Joseph DePasquale. She received her master’s degree from the New England Conservatory of Music, working with Donald Weilerstein and Kim Kashkashian. Violist Edward Gazouleas occupies the Lois and Harlan Anderson Chair in the Boston Symphony Orchestra’s viola section, and is on the faculties of Boston University College of Fine Arts and the Tanglewood Music Center. An active recitalist and chamber music player, he has appeared recently with the Boston Artists Ensemble, the Boston Symphony Chamber Players, and the new music group Collage. He was a prizewinner at the International String Quartet Competition in Evian, France, and has performed with members of the Muir, Lydian, and Audubon string quartets. Mr. Gazouleas has held teaching positions at Temple University and Wellesley College and was a member of the Pittsburgh Symphony under Lorin Maazel. He attended Yale and is a graduate of the Curtis Institute, where he studied with Michael Tree and Karen Tuttle. Cellist Owen Young joined the BSO in August 1991. A frequent collaborator in chamber music concerts and festivals, he has also appeared as concerto soloist with

8 numerous orchestras. He has appeared in the Tanglewood, Aspen, Banff, Davos, Sunflower, Gateway, Brevard, and St. Barth’s music festivals and is a founding member of the innovative chamber ensemble Innuendo. Mr. Young’s performances have been broadcast on National Public Radio, WQED in Pittsburgh, WITF in Harrisburg, and WGBH in Boston. He has performed frequently with singer/songwriter James Taylor, including the nationally televised concert “James Taylor Live at the Beacon Theatre” in New York City. Mr. Young was previously on the faculties of the Boston Conservatory, the New England Conservatory Extension Division, and the Longy School of Music; he is currently on the faculty of Berklee College of Music and is active in Project STEP (String Training and Education Program for students of color). From 1991 to 1996 he was a Harvard-appointed resident tutor and director of concerts in Dunster House at Harvard University. His teachers included Eleanor Osborn, Michael Grebanier, Anne Martindale Williams, and Aldo Parisot. Mr. Young holds both bachelor’s and master’s degrees from Yale University. He was a Tangle- wood Music Center Fellow in 1986 and 1987. After winning an Orchestra Fellowship in 1987, he played with the Atlanta Symphony in 1988 and with the Boston Symphony in 1988-89. He was a member of the New Haven Symphony in 1986-87 and of the Pittsburgh Symphony from 1989 until he joined the BSO in 1991. Owen Young occupies the John F. Cogan, Jr., and Mary L. Cornille chair in the orchestra’s cello section. Ignat Solzhenitsyn enjoys an active international career as both pianist and conductor. His extensive touring schedule in the United States and Europe has included concerto performances with such distinguished conductors as Blomstedt, Conlon, Dutoit, Gergiev, Penderecki, Previn, Rostropovich, Sawallisch, Maxim Shostakovich, Temirkanov, and Zinman. Recital appearances have taken him to such venues as New York’s 92nd Street Y, Philadelphia’s Kimmel Center, St. Paul’s Ordway Theatre, Salt Lake City’s Abravanel Hall, and San Francisco’s Herbst Theatre, as well as to major musical centers in London, Milan, Zurich, Moscow, Tokyo, and Sydney. An avid chamber musician, he has collaborated with the Emerson, Borodin, Brentano, and St. Petersburg string quartets and in four-hand recital with Mitsuko Uchida. Festival appearances have included Salzburg, Evian, Ludwigsburg, Caramoor, Ojai, Marlboro, Nizhniy Novgorod, and Moscow’s famed December Evenings. Principal guest conductor of the Moscow Symphony Orchestra, Mr. Solzhenitsyn has just stepped down after six seasons as music director of the Chamber Orchestra of Philadelphia, to become its conductor laureate. In much demand as a guest conductor, he has partnered with such world-renowned soloists as Richard Goode, Gary Graffman, Steven Isserlis, Leila Josefowicz, Sylvia McNair, Garrick Ohlsson, Mstislav Rostropovich, and Mitsuko Uchida. A winner of the Avery Fisher Career Grant, Ignat Solzhenitsyn serves on the piano faculty of the Curtis Institute of Music and the Tanglewood Music Center. He has been featured on many radio and television specials, including CBS Sunday Morning and ABC’s Nightline. Born in Moscow, he resides in New York City with his wife and three children. Stu Rosner

TANGLEWOODWEEK 1 PRELUDEPROGRAMNOTES 9

Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Friday, July 6, 8:30pm Opening Night at Tanglewood Sponsored by COUNTRY CURTAINS, THE RED LION INN, and BLANTYRE in loving memory of Jack Fitzpatrick

CHRISTOPH VON DOHNÁNYI conducting

ALL-BEETHOVEN PROGRAM 75

“Leonore” Overture No. 3

Symphony No. 6 in F, Opus 68, “Pastoral” Awakening of happy feelings upon reaching the countryside. Allegro ma non troppo Scene at the brook. Andante molto mosso Cheerful gathering of the country folk. Allegro— Thunderstorm. Allegro— Shepherd’s song. Happy, grateful feelings after the storm. Allegretto

{Intermission}

Symphony No. 5 in C minor, Opus 67 Allegro con brio Andante con moto Allegro— Allegro

75 Replicating the Boston Symphony Orchestra’s very first Tanglewood concert of August 5, 1937 (see page 14)

TANGLEWOODWEEK 1 FRIDAYPROGRAM 11 Sponsored by Country Curtains, The Red Lion Inn, and Blantyre in loving memory of Jack Fitzpatrick Friday, July 6, 2012 The performance on Friday evening is sponsored by Tanglewood Business Partners Country Curtains, The Red Lion Inn, and Blantyre. Country Curtains, The Red Lion Inn, Blantyre, and the Fitzpatrick family have been generous supporters of the Boston Symphony Orchestra and Tanglewood for more than forty years. Country Curtains was founded by BSO Life Trustee Jane Fitzpatrick and her late husband, Jack, in 1956. The company operated out of their home until 1969, when Jack and Jane purchased and restored The Red Lion Inn in Stockbridge and moved the business there. The couple’s two daughters, BSO Trustee Nancy Fitzpatrick and Ann Fitzpatrick Brown, serve as co-vice chairmen of The Fitzpatrick Companies, the parent company of Country Curtains. Tanglewood patrons for more than forty years, Jane and Jack Fitzpatrick are Great Benefactors, Walter Piston Society members, and Koussevitzky Society members at the Patron level. In addition to their support of the Annual Fund, they have supported numerous capital projects, endowment funds, and education initiatives, including the Tanglewood Forever Capital Fund, Ozawa Hall, Tanglewood Music Center, and the Cohen Wing, among others. Jane was elected to the Board of Overseers in 1978 and the Board of Trustees in 1982. She became a Life Trustee in 1996. Longtime supporters of Opening Night at Tanglewood, they served on the Benefactors Com- mittee for the Opening Night gala in 2007. The Fitzpatricks are prominent business and community leaders in the Berkshires. Nancy has continued her parents’ dedication and commitment to the BSO. She was elected to the Board of Overseers in 1995 and the Board of Trustees in 1998. Nancy serves as co-chair of the Tanglewood Business Partners Committee, and she also serves on the Overseers Nominating Committee. Nancy and her husband, Lincoln Russell, were co-chairs of 2009 Opening Night at Tanglewood. They are members of the Koussevitzky Society at the Maestro level, and they have regularly supported Opening Nights at Tanglewood and Symphony. Nancy and Lincoln have also gener- ously supported Stage One of the Beyond Measure campaign. Ann Fitzpatrick Brown, in the spirit of the Fitzpatrick family’s generosity, continues to support Tanglewood, hosting many fundraising events, including last year’s Wine Auction Dinner, at the historic and beautiful Blantyre Estate. Ann’s annual gift is at the Koussevitzky Patron level. Our Berkshire community and the BSO community mourn the loss of Jack, whose leadership, generosity, and jovial spirit will remain an inspiration to us all. Stu Rosner

12 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) “Leonore” Overture No. 3, Opus 73b First performance: March 29, 1806, to open a performance of Beethoven’s opera “Fidelio,” Ignaz von Seyfried cond. First BSO performance of the overture: March 1882, Georg Henschel cond. First Tanglewood performance: August 5, 1937 (the BSO’s first Tanglewood concert), Serge Koussevitzky cond. Most recent Tanglewood performance: July 22, 2007, Jens Georg Bachmann cond. Beethoven’s love affair with opera was long and not fairly requited. During the last four years of his life, he cherished a plan to collaborate with the poet Franz Grillparzer on a work based on the legend of the fairy Melusine, and the success of the one opera he actually wrote, the work that began as Leonore and came finally to be called Fidelio, came slowly and late, and at the cost of immense pain. That Beethoven, over the course of a decade, wrote four overtures for the work tells its own story. These four works embody three distinct concepts, Leonore No. 2 (1805) and Leonore No. 3 (1806) being variant workings-out of the same design, while the Fidelio Overture (1814) is the most different of the bunch. Fidelio is the one that normally introduces performances of the opera, which is in accordance with Beethoven’s final decision on the question, and Leonore No. 3 is the most popular of the four as a concert piece. (Leonore No. 3 also shows up in the opera house from time to time, as a sort of aggressive intermezzo before the finale, but that is strictly a touch of conductorial vanity, and the fact that Mahler was among the first so to use the piece does not in any way improve the idea.) Leonore-Fidelio is a work of the type historians classify as a “rescue opera,” a genre dis- tinctly popular in Beethoven’s day. A man called Florestan has been spirited away to

FROM THE TANGLEWOOD AUDIO ARCHIVES A Tanglewood 75th Anniversary Celebration For 75 days this summer, from June 20 through September 2, Tanglewood celebrates its 75th anniversary with the release, at tanglewood.org, one each day, of 75 historic performances from its audio archives. These historic recordings are being streamed free on the first day of release, and then released for purchase as downloads, with detailed program notes, as of the following day. THE RELEASES FOR THIS WEEK ARE: Friday, July 6: Excerpts from the BSO’s inaugural concert at Tanglewood (August 5, 1937) and Mozart’s Symphony No. 25 (August 5, 1944), Serge Koussevitzky conducting • Saturday, July 7: Mozart arias with soprano Beverly Sills, Erich Leinsdorf conducting (June 6, 1968) • Sunday, July 8: Bernstein’s Symphonic Dances from West Side Story and Divertimento for Orchestra, Leonard Bernstein conducting (July 4, 1981) • Monday, July 9: Messiaen’s Turangalîla- symphonie, Seiji Ozawa conducting (August 16, 1975) • Tuesday, July 10: Dvoˇrák’s Symphony No. 8, Tanglewood Music Center Orchestra, James Levine conducting (June 30, 2008) • Wednesday, July 11: Copland’s El Salón México and Clarinet Concerto, Aaron Copland conducting, Harold Wright, clarinet (July 5, 1980) • Thursday, July 12: Haydn’s Symphony No. 98 and Krenek’s Die Nachtigall, Michael Tilson Thomas conducting, Bethany Beardslee, soprano For complete details, please visit tanglewood.org.

TANGLEWOODWEEK 1 FRIDAYPROGRAMNOTES 13 Program page from the Boston Symphony Orchestra’s very first Tanglewood concert, the all-Beethoven program of August 5, 1937 (BSO Archives)

14 prison by a right-wing politician by the name of Don Pizarro. Florestan’s whereabouts is not known, and his wife, Leonore, sets out to find him. To make her quest possible, she assumes male disguise and takes the name of Fidelio. She finds him. Meanwhile, Pizarro gets word of an impending inspection of the prison by a minister from the capital. The presence of the unjustly held Florestan is compromising to Pizarro, who determines simply to liquidate him. At the moment of crisis, Leonore reveals her identity and a trumpeter on the prison tower signals the sighting of the minister’s carriage. Leonore No. 3 tells the story. It traces, at least, a path from darkly troubled beginnings to an anticipation of the aria in which Florestan, chained, starved, deprived of light, recalls the happy springtime of his life; from there to music of fiery energy and action, interrupted by the trumpet signal (heard, as it is in the opera, from offstage); and finally to a symphony of victory. In Beethoven’s music, humanistic idealism tran- scends the claptrap and melodrama of the libretto. In a way, Leonore No. 3 is the distillation of the Fidelio ideal. It is too strong a piece and too big, even too dramatic in its own musical terms, effectively to introduce a stage action. Beethoven allowed its use for only two performances of Leonore, and for the next revival, the extensively rewritten Fidelio of 1814, there was a new overture, less overwhelming and more appropriate. Leonore No. 3, however, stands as one of the great emblems of the heroic Beethoven, a potent and controlled musical embodiment of a noble passion.

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.

Ludwig van Beethoven Symphony No. 6 in F, Opus 68, “Pastoral” First performance: December 22, 1808, Vienna, Beethoven cond. First BSO performance: January 1882, Georg Henschel cond. First Tanglewood performance: August 5, 1937 (the BSO’s ﬁrst Tanglewood concert), Serge Koussevitzky cond. Most recent Tanglewood performance: July 11, 2008, Bernard Haitink cond. Beethoven took delight in the world of nature. When in Vienna he never failed to take his daily walk around the ramparts, and during his summers spent outside of town he would be outdoors most of the day The notion of treating the natu- ral world in music seems to have occurred to him as early as 1803, when he wrote down in one of his sketchbooks a musical fragment in 12/8 time (the same meter used in the Pastoral’s “Scene at the brook”) with a note: “The more water, the deeper the tone.” Other musical ideas later to end up in the Sixth Symphony appear in Beethoven’s sketchbooks sporadically in 1804. During the winter of 1806-07, he worked out much of the thematic material for all the movements but the second. In the fall of 1807 and the spring of 1808 he concentrated seriously on the work and apparently ﬁnished it by summer 1808, since he reached an agreement that September 14 with the publisher Breitkopf & Härtel for the sale of this symphony with four other major works. One thing that aroused extended discussion of the new symphony—a discussion that lasted for decades—was the fact that Beethoven provided each movement of the work with a program, or literary guide to its meaning. His titles are little more than

TANGLEWOODWEEK 1 FRIDAYPROGRAMNOTES 15 brief images, just enough to suggest a specific setting: I. Awakening of happy feelings upon reaching the countryside. II. Scene at the brook. III. Cheerful gathering of the country folk. IV. Thunderstorm. V. Shepherd’s song. Happy, grateful feelings after the storm. But much more important for an understanding of Beethoven’s view is the overall heading that Beethoven had printed in the program for the first performance: “Pastoral Symphony, more an expression of feeling than a painting.” Even given the birdcalls of the second movement, the thunderstorm of the fourth, and the ranz des vaches (Swiss herdsman’s song) borrowed by Beethoven to introduce the final movement’s “hymn of thanksgiving,” he never intended that this work be considered an attempt to represent events in the real world, an objective narrative in musical guise. Rather, this symphony provided yet again what all of his symphonies had offered: subjective moods and impressions captured in harmony, melody, color, and the structured passage of time. Ultimately, all those elements that might be labeled “programmatic” can be seen to nestle snugly and fittingly into what the eminent critic and annotator Donald Francis Tovey has called “a perfect classical symphony.” Beethoven’s sketchbooks also reveal that he was working on his Fifth and Sixth symphonies at the same time. They were finished virtually together, given consecutive opus numbers (67 and 68), and premiered in the same concert (where they were reversed in numbering, with the Pastoral, given first on the program, identified as “Symphony No. 5”). Further, only twice in Beethoven’s symphonic writing—that is, in these two symphonies—did Beethoven link the movements of a symphony so they would be performed without a break. In the Fifth Symphony, the scherzo is connected to the finale by an extended, harmonically tense passage that demands resolution in the bright C major of the closing movement. Much the same thing happens in the Pastoral Symphony, although the level of tension is not nearly so high, and the linking passage has grown to a full movement in and of itself (the thunderstorm), resulting in Beethoven’s only five-movement symphony. Yet no two symphonies are less likely to be confused, even by the most casual listener— the Fifth, with its demonic energy, tense harmonies, and powerful dramatic climaxes on the one hand, and the Sixth, with its smiling and sunny air of relaxation and joy on the other. Nothing shows more clearly the range of Beethoven’s work than these two masterpieces, twins in their gestation, but hardly identical. Popular biographies of Beethoven tend to emphasize the heaven-storming, heroic works of the middle period—the Eroica and Fifth symphonies, the Egmont Overture, the Emperor Concerto, the Razumovsky string quartets, the Waldstein and Appassionata sonatas—at the expense of other aspects of his art. On the other hand, some critics of a “neoclassical” orientation claim to find the even-numbered symphonies to be more successful than the overtly dramatic works. Both views are equally one-sided and give a blinkered representation of Beethoven. His art embraces both elements and much more.

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.

16 Ludwig van Beethoven Symphony No. 5 in C minor, Opus 67 First performance: December 22, 1808, Vienna, Beethoven cond. (see below). First BSO performance: December 1881, Georg Henschel cond. First Tanglewood performance: August 5, 1937 (the BSO’s first Tanglewood concert), Serge Koussevitzky cond. Most recent Tanglewood performance: August 27, 2011, Itzhak Perlman cond. On December 17, 1808, the Wiener Zeitung announced for the following Thursday, December 22, a benefit concert at the Theater-an-der-Wien on behalf of and to be led by Ludwig van Beethoven, with all the selections “of his composition, entirely new, and not yet heard in public,” to begin at half-past six, and to include the following: First Part: 1, A Symphony, entitled: “A Recollection of Country Life,” in F major (No. 5). 2, Aria. 3, Hymn with Latin text, composed in the church style with chorus and solos. 4, Pianoforte Concerto played by himself. Second Part: 1, Grand Symphony in C minor (No. 6). 2, Sanctus with Latin text composed in the church style with chorus and solos. 3, Fantasia for Pianoforte alone. 4, Fantasia for the Pianoforte which ends with the gradual entrance of the entire orchestra and the introduction of choruses as a finale. One witness to this event of gargantuan proportion—which lasted for about four hours in a bitterly cold, unheated hall—commented on “the truth that one can easily have too much of a good thing—and still more of a loud one.” The hymn and Sanctus were drawn from Beethoven’s Mass in C, the concerto was the Fourth, and the aria was “Ah! perfido” (with a last-minute change of soloist). The solo piano fantasia was an improvisation by the composer; the concluding number was the Opus 80 Choral Fantasy (written shortly before the concert—Beethoven did not want to end the evening with the C minor symphony for fear the audience would be too tired to appreciate the last movement); the symphony listed as “No. 5” was the one actually published as the Sixth, the Pastoral; and the symphony labeled “No. 6” was the one published as the Fifth. Beethoven was by this time one of the most important composers on the European musical scene. He had introduced himself to Viennese concert hall audiences in April 1800 with a program including, besides some Mozart and Haydn, his own Septet and First Symphony; and, following the success of his ballet score The Creatures of Prometheus during the 1801-02 musical season, he began to attract the attention of foreign publishers. He was, also at that time, becoming increasingly aware of the deterioration in his hearing (the emotional outpouring known as the Heiligenstadt Testament dates from October 1802) and only first coming to grips with this problem that would ultimately affect the very nature of his music. As the nineteenth century’s first decade progressed, Beethoven’s music would be performed as frequently as Haydn’s and Mozart’s; his popularity in Vienna would be rivaled only by that of Haydn; and, between 1802 and 1813, he would compose six symphonies, four concertos, an opera, oratorio, and mass, a variety of chamber and piano works, incidental music, songs, and several overtures. Beethoven composed his Third Symphony, the Eroica, between May and November 1803. From the end of 1804 until April 1806 his primary concern was his opera Leo- nore (which ultimately became Fidelio), and the remainder of 1806 saw work on compositions including the Fourth Piano Concerto, the Fourth Symphony, the Violin Concerto, and the Razumovsky Quartets, Opus 59. Sketches for both the Fifth and Sixth symphonies are to be found in Beethoven’s Eroica sketchbook of 1803-04—it

TANGLEWOODWEEK 1 FRIDAYPROGRAMNOTES 17 was absolutely typical for Beethoven to concern himself with several works at once— and, as noted above, the Fifth was completed in the spring of 1808 and given its first performance that December, on the very same, very long concert that concluded with the Choral Fantasy. In a Boston Symphony program note many years ago, John N. Burk wrote that “something in the direct impelling drive of the first movement of the C minor Symphony commanded general attention when it was new, challenged the skeptical, and soon forced its acceptance. Goethe heard it with grumbling disapproval, according to Mendelssohn, but was astonished and impressed in spite of himself. Lesueur, hide- bound professor at the Conservatoire, was talked by Berlioz into breaking his vow never to listen to another note of Beethoven, and found his prejudices and resistances quite swept away. A less plausible tale reports Maria Malibran as having been thrown into convulsions by this symphony. The instances could be multiplied. There was no gainsaying that forthright, sweeping storminess.” In the language of another age, in an important review for the Allgemeine musikalische Zeitung of July 4 and 11, 1810, E.T.A. Hoffmann recognized the Fifth as “one of the most important works of the master whose stature as a first-rate instrumental composer probably no one will now dispute” and, following a detailed analysis, noted its effect upon the listener: “For many people, the whole work rushes by like an ingenious rhapsody. The heart of every sensitive listener, however, will certainly be deeply and intimately moved by an enduring feeling—precisely that feeling of fore- boding, indescribable longing—which remains until the final chord. Indeed, many moments will pass before he will be able to step out of the wonderful realm of the spirits where pain and bliss, taking tonal form, surrounded him.” In his Eroica Symphony, Beethoven introduced, in the words of his biographer May- nard Solomon, “the concept of a heroic music responding to the stormy currents of contemporary history.” The shadow of Napoleon hovers over the Eroica; for the Fifth Symphony we have no such specific political connotations. But we do have, in the Fifth, and in such post-Eroica works as Fidelio and Egmont, the very clear notion of affirmation through struggle expressed in musical discourse, and perhaps in no instance more powerfully and concisely than in the Symphony No. 5. So much that was startling in this music when it was new—the aggressive, compact language of the first movement, the soloistic writing for double basses in the third- movement Trio, the mysterious, overwhelmingly powerful transition between scherzo and finale, the introduction of trombones and piccolo into the symphony orchestra for the first time (in the final movement)—is now taken virtually for granted, given the countless performances the Fifth has had since its Vienna premiere, and given the variety of different languages music has since proved able to express. And by now, most conductors seem to realize that the first three notes of the symphony must not sound like a triplet, although just what to do with the fermata and rest following the first statement of that four-note motive sometimes seems open to argu- ment. But there are times when Beethoven’s Fifth seems to fall from grace. Once rarely absent from a year’s concert programming, and frequently used to open or close a season, it is periodically deemed to be overplayed, or just too “popular.” But the Fifth Symphony is popular for good reason, and so ultimately retains its important and rightful place in the repertoire. It needs, even demands, to be heard on a regular basis, representing as it does not just what music can be about, but every- thing that music can succeed in doing.

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

18 Guest Artist

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. In 2011-12 he returned to North America to lead subscription concerts with the Boston Symphony, Kansas City Symphony, New York Philharmonic, and Cleveland Orchestra. He also conducted Brahms’s German Requiem with the Philharmonia Orchestra in London; returned to Israel several times for concerts with the Israel Philharmonic; conducted Strauss’s Salome with Zurich Opera and orchestra concerts with the Zurich Tonhalle. Honorary Conductor for Life of London’s Philharmonia Orchestra, he and that orchestra have played in residence at 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, Schoenberg’s 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 Philharmonic, 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. In summer 2010 he conducted the Tanglewood Music Center’s production of Richard Strauss’s Ariadne auf Naxos. During his years with the Cleveland Orchestra, Christoph von Dohnányi led that ensemble in a thousand concerts, fifteen international tours, twenty-four premieres, and recordings of more than one hundred 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 has 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 Schoenberg’s Moses und Aron. He has made many critically acclaimed recordings for London/Decca with the Cleveland Orchestra and the Vienna Philhar- monic. 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 at Tanglewood since his BSO subscription concerts of November 2002, most recently leading subscription performances of Brahms’s Ein deutsches Requiem at Symphony Hall this past April. He returns to Tanglewood next month to participate in the gala August 7 Tanglewood on Parade concert and leads two weeks of BSO subscription concerts next February, including music of Brahms, Sibelius, Beethoven, Mozart, and Bruckner.

TANGLEWOODWEEK 1 GUESTARTIST 19

Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Saturday, July 7, 8:30pm THE EVELYN AND SAMUEL LOURIE MEMORIAL CONCERT

MICHAEL STERN conducting

BARBER Overture to “The School for Scandal,” Opus 5

RAVEL “Tzigane,” Concert Rhapsody for violin and orchestra JOSHUA BELL

MEYER Double Concerto for Violin, Double Bass, and Orchestra (world premiere) (in three movements)

JOSHUA BELL EDGAR MEYER

{Intermission}

TCHAIKOVSKY Symphony No. 4 in F minor, Opus 36 75 Andante sostenuto—Moderato con anima Andantino in modo di canzona Scherzo (Pizzicato ostinato): Allegro Finale: Allegro con fuoco

75 Performed during the Boston Symphony Orchestra’s first Tanglewood season, on August 7, 1937 (see page 28)

TANGLEWOODWEEK 1 SATURDAYROGRAM 21 The Evelyn and Samuel Lourie Memorial Concert Saturday, July 7, 2012 The performance on Saturday evening is supported by a generous gift from BSO Overseer Linda J.L. Becker in memory of her parents, Evelyn and Samuel Lourie. Linda has been a donor and concert attendee at Tanglewood for more than ten years. She was elected to the BSO Board of Overseers in 2006, and she is a former member of the Annual Funds Committee. Linda is one of the most generous supporters of the Tanglewood Annual Fund, contributing to the Koussevitzky Society at the Virtuoso level and supporting a full fellowship at the Tanglewood Music Center since 2003. In addition to her Annual Fund support, Linda has regularly supported Opening Nights at Tanglewood. Linda is the School Grammarian and English teacher at the Pine Cobble School in Williamstown, MA. She is an alumna of Smith College and the Harvard Graduate School of Education. In addition to her involvement at the BSO, Linda has been involved with several organizations in the Berkshires. She is a Trustee of the North Adams Steeplecats baseball team, Director Emerita of the Williamstown Rural Lands Foundation, and former chair of the Board of Trustees of the Milne Public Library in Williamstown.

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)

22 NOTES ON THE PROGRAM

Samuel Barber (1910-1981) Overture to “The School for Scandal,” Opus 5 First performance: August 30, 1933, Philadelphia Orchestra, Alexander Smallens cond. First BSO performance: November 15, 1940, Serge Koussevitzky cond. First Tangle- wood performance: July 26, 1947, Koussevitzky cond. Most recent Tanglewood performance: July 25, 1998, John Williams cond. Samuel Barber began piano lessons at six, started composing at seven, and was encouraged in his musical pursuits by his maternal aunt, the contralto Louise Homer. In 1924, at fourteen, he entered the Curtis Institute of Music in Philadelphia as a member of its first class, studying piano, composition, conducting, and voice. Already during his eight years at Curtis, where he later taught composition from 1939 until 1942, he produced several works that marked him as a talented composer, among them his Opus 3 Dover Beach, a setting for voice and string quartet of Matthew Arnold’s text, which Barber himself recorded in 1935. By the time of his death in January 1981, the seventy-year-old composer had produced works in nearly every important genre. Vladimir Horowitz called his Piano Sonata “the first truly great native work in the form.” The Adagio for Strings, originally the slow movement of his String Quartet, was premiered in its string-orchestra guise, along with Barber’s First Essay for Orchestra, by Arturo Toscanini and the NBC Symphony in 1938. His Overture to The School for Scandal, his first composition for full orchestra, was the first of his works to be performed by a major orchestra—the Philadelphia Orchestra, two years after he wrote it. In his approach to musical form and harmony, Barber never attempted to deny his affinity for the musical romanticism of the nineteenth century. In 1971 he observed: “I write what I feel. I’m not a self-conscious composer.” His work is always lyrically and dramatically expressive in a way that readily brings the listener into his music. And it is not surprising that his first composition for full orchestra takes as its point of departure a theatrical work—Richard Sheridan’s 1777 comedy of manners, The School for Scandal—given his love of literature and the frequency with which he would set words to music, including opera, orchestral settings, and song. In fact, his inclination toward vocal music and the theater was presaged early on, when, at age ten, the young Sam Barber composed one act (all that the librettist, the family cook, could produce!) of an opera, The Rose Tree, which he performed with his sister Sara. With his Curtis classmate and life partner Gian Carlo Menotti, Barber spent several summers in Italy, primarily in Cadegliano, the country town near Lake Lugano where Menotti was born. It was there that he conceived the idea for the Overture to The School for Scandal, in the summer of 1931, during which he also made time for lessons with his composition teacher Rosario Scalero, who lived a short distance away. (Barber’s biographer Barbara B. Heyman has written that the overture was “tossed off between tennis matches, swimming, bicycle trips, reading, and shopping excur- sions.”) He copied out the parts in Philadelphia that fall but was unsuccessful in his attempts to have the orchestra of the Curtis Institute try the piece out. He was in Italy again in 1933 when news reached him of the work’s premiere by the Philadelphia Orchestra, in its last outdoor summer concert that season at the Robin Hood Dell, before an audience of nearly 8,000 people. Also that year the overture won the Bearns Prize of Columbia University (which Barber had previously won for his Violin Sonata in 1928), and the $1200 prize money enabled him to take singing lessons

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 23 and study conducting in Vienna that fall. The years immediately following brought further travel in Europe, composition at the American Academy in Rome funded by Pulitzer traveling scholarships and the Prix de Rome, and several important premieres, including performances by the Cleveland Orchestra under Artur Rodzinski and the NBC Symphony under Arturo Toscanini, whom Barber and Menotti had met in Italy just weeks before the Overture to The School for Scandal was first played by the Philadelphia Orchestra. Intended from the start for concert performance rather than in conjunction with a theatrical production of the play, Barber’s music evokes the sly wit and humor of Sheridan’s comedy. As the composer put it, he intended it “as a musical reflection of the play’s spirit.” First performed on May 8, 1777, at London’s Drury Lane Theatre, Sheridan’s five-act comedy centers around a group of characters for whom gossip— and its use—are not just a primary activity, but a way of life. Here, from the fourth act, is a typical exchange: LADY TEAZLE: But isn’t it provoking to hear the most ill-natured things said to one? And there’s my friend Lady Sneerwell [who] has circulated I don’t know how many scandalous tales of me! and all without any foundation too—that’s what vexes me. JOSEPH SURFACE: Aye madam, to be sure that is the provoking circumstance without foundation! yes, yes, there’s the mortification, indeed—for when a scandalous story is believed against one, there certainly is no comfort like the consciousness of having deserved it. The overture opens with a sardonic, harshly dissonant call to attention which gives way to a series of jagged rhythmic fragments in the strings, mocked by disconnected jibes in the woodwinds. The low strings take up a more continuous version of the earlier fragments, and the full orchestra provides a quick but powerful buildup to the main theme (anticipated in the earlier fragments) now taking full advantage of the expansive and flexible 9/8 meter, and concluding with brilliant trumpet fanfares. Nosethumbing woodwinds mark the transition to the poignantly pastoral contrasting theme, sung by the oboe before the strings take it up with great relish. The music then returns to 9/8 with an undulating clarinet figure; this provides the taking-off point for another period of spirited orchestral banter which brings the exposition to a close. The development is brief but clearly characterized, and thrown into perfect relief by the tension-filled passage—culminating in a rush of harp glissandi and strings followed by biting brass chords—that prepares the return of the main theme. The pastoral theme is given this time around to the English horn. Strings open the coda with the suggestion of a mocking fugue; they are joined by chattering woodwinds, which round things off with some thoughts of their own. Now the strings introduce a moment of calm, but this is necessarily short-lived: a bright, raucously boisterous outburst fills the final measures. In its eight-minute span, Barber’s initial orchestral opus bears out the evaluation by George Boyle, his first piano teacher at Curtis: “Astonishingly musical insight and a very extraordinary gift for composition.”

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

Maurice Ravel (1875-1937) “Tzigane,” Concert Rhapsody for violin and orchestra First performance (original version for violin and piano): April 26, 1924, London, Jelly d’Arányi, violin; Henri Gil-Marchex, piano-luthéal (see below). First performance of orchestral version: November 30, 1924, Paris, Concerts Colonne, Gabriel Pierné cond., Jelly d’Arányi, soloist. First BSO performance: February 26, 1925, Serge Koussevitzky cond., Paul Kochanski, soloist. First Tanglewood performance: Tonight’s performance is the first by the BSO at Tanglewood, the orchestra’s most recent performances having been given in the 1979-80 season with Seiji Ozawa conducting and then concertmaster Joseph Silverstein as soloist, at Symphony Hall, Carnegie Hall, and eight other out-of-town locations on tour in the United States and Canada. During one of Maurice Ravel’s visits to London, following a private musicale during which the Hungarian violinist Jelly d’Arányi performed the composer’s recent Sonata for Violin and Cello with the cellist Hans Kindler, Ravel asked Mlle. d’Arányi—who was a grandniece of the famed Austro-Hungarian violinist-composer-conductor- teacher Joseph Joachim—to play him some Gypsy melodies. This went on until five in the morning and presumably was the first event in the history of Ravel’s Tzigane for violin and orchestra. Ravel completed the Tzigane (which means “Gypsy”) just shortly before its premiere in April 1924; the orchestral version was given for the first time half a year later. On both these occasions, the soloist was Mlle. d’Arányi, who was dedicatee of the violin sonatas by Vaughan Williams and Bartók as well as of the present work. It was also she who spurred the unearthing of Robert Schumann’s Violin Concerto in 1937 by claiming the composer’s spirit had visited her. When it was new, a striking feature of Tzigane in its original violin-and-piano version was Ravel’s use of the recently devised piano-luthéal, a modified grand piano that allowed the player to alter the timbre of the instrument by employ- ing harmonium-like stops set above the keyboard to produce a variety of sounds (lute- and harpsichord-like, as well as the normal timbre of the piano). One of these stops—fittingly, for Tzigane—created a sound similar to the Hungarian cimbalom, a hammered dulcimer whose use in that country is traceable back to the sixteenth century. Ravel also called for this instrument in his opera L’Enfant et les sortilèges (“The Child and the Magic Spells”), completed in 1925. In any event, the first performance of Tzigane astounded both the composer and the audience, especially given the limited rehearsal time. Ravel’s ability to write for an instrument he had never studied also attracted notice. The reviewer for the London Times, however, was skeptical. Describing the piece as “rhapsodical in the literal meaning of the word, being a series of episodes in the Hungarian manner strung together,” he was “puzzled to understand what M. Ravel is at. Either the work is a parody of the Liszt-Hubay-Brahms-Joachim school of Hungarian violin music…or it is an attempt to get away from the limited sphere of his previous compositions to infuse into his work a little of the warm blood it needs.” Such commentary seems superfluous. Tzigane is, simply and straightforwardly, a virtuoso showpiece, opening with an extended “quasi cadenza” for the soloist and, along the way, using just about every violinist trick in the book.

MARC MANDEL

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 25 Edgar Meyer (b.1960) Double Concerto for Violin, Double Bass, and Orchestra (2012) First performance: The present performance is the world premiere. Joshua Bell and Edgar Meyer met at Indiana University in Bloomington, Indiana, when the precocious violinist was twelve years old and studying with the renowned violinist and teacher Josef Gingold, and the bassist was pursuing a degree in music. Their longtime collaboration as established performers has almost the feel of an extended, often interrupted jam session, a joint exploration of different styles of music both inside and outside the classical traditions. They’ve recorded with world-class mandolinists Sam Bush and Chris Thile and multi- instrumentalist Mike Marshall, and also recorded the Romantic-era composer Giovanni Bottesini’s Gran Duo Concertante for violin, double bass, and orchestra together with the St. Paul Chamber Orchestra. That Bottesini CD also includes Meyer’s Double Concerto for cello, double bass, and orchestra performed by the composer with Yo-Yo Ma, as well as solo double bass concertos by Meyer and Bottesini. Ma and Meyer played the bassist’s earlier Double Concerto at Tanglewood in 2000 with the BSO led by Seiji Ozawa. Violinist Hilary Hahn commissioned, premiered, and recorded Meyer’s Violin Concerto, and performed it with the BSO at Symphony Hall in 2003. In 2002 Meyer was named a MacArthur Foundation Fellow. Recently, Meyer and Yo-Yo Ma were two of a quartet also including Chris Thile and guitarist Stuart Duncan for “The Goat Rodeo Sessions,” an improvisation-based, roots-music-influenced recording in 2011. Meyer also released a 2006 album on which he performed all the instrumental parts, playing not only double bass but piano, dobro, banjo, mandolin, guitar, and viola da gamba. He has also been a session bassist for Lyle Lovett and Garth Brooks recordings. As for his classical chops, in addition to the Bottesini works, he has performed and recorded the Bach solo cello suites in a double bass arrangement. Here at Tanglewood in 1995, Meyer was part of an all-star quintet including Yo-Yo Ma, Pamela Frank, Emanuel Ax, and Rebecca Young in a performance of Schubert’s Trout Quintet. Edgar Meyer’s path to the double bass was through his father, also a double bassist; as a five-year-old Edgar became obsessed with the instrument. His father’s eclectic tastes were a big influence, too, in part explaining Meyer’s boundary-free approach that encompasses classical, jazz, country, folk, and bluegrass. As a composer his style is strongly connected to his life as a performer, in much the same way that Fernando Sor’s focus was on the guitar and Kreisler’s on the violin; most of his compositions involve his own instrument. In his concertos, a restrained, classical use of the orchestra combines with exuberant, often dancing solo parts demonstrating the joy of performance. His language touches on Mozart as well as jazz and old-time fiddle music, along with what we might characterize as a generally American openness of harmony and melody, reminiscent of composers from Billings to Stephen Foster to Copland. Meyer composed the violin part of his new Double Concerto for Violin, Double Bass, and Orchestra specifically for Joshua Bell. The work is in the classical three-movement pattern, with strong motivic connections among the movements. The idea of dance permeates the music, which features light orchestration supporting the buoyant, virtuosic interplay—both cooperative and contrasting—between the soloists.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

26 Pyotr Ilyich Tchaikovsky (1840-1893) Symphony No. 4 in F minor, Opus 36 First performance: February 22, 1878, Moscow, Nikolai Rubinstein cond. First BSO performances: November 1896, Emil Paur cond. (but preceded by Arthur Nikisch’s performances in October 1890 of the second and third movements). First Tanglewood performance: August 7, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: July 6, 2007, James Levine cond. For Tchaikovsky, the Symphony No. 4 was a breakthrough work, a bounding creative leap beyond his first three symphonies. In scale, control of form, intensity, and ambi- tion it towers above any symphonies previously produced by other Russian composers, most of whom shunned the symphonic form in favor of operas and programmatic works. Here, in one of the masterpieces of late Romanticism, Tchaikovsky combines his strong sense of the theatrical (already demonstrated in Romeo and Juliet, Francesca da Rimini, and Swan Lake) with a heightened mastery of orchestration and thematic development. The year of the composition of the Fourth Symphony—1877—has been called the most fateful year in the composer’s eventful and emotionally volatile life. It was in 1877 that he made the rash and ultimately tragic decision to marry Antonina Ivanovna Milyukova, a woman he barely knew. He did so (on July 18) in a panic-stricken attempt to conceal—or even overcome—his homosexual inclinations. Not surprisingly, given Tchaikovsky’s lack of sexual interest in women and the unbalanced personality of Milyukova, the marriage ended in disaster. It lasted a mere two months, at the end of which Tchaikovsky attempted suicide by walking into the frigid Moscow River in the hopes of contracting pneumonia. (Those who have seen Ken Russell’s film-bio of Tchaikovsky, The Music Lovers, will no doubt remember the scene.) Fleeing his wife and his botched attempt at a “normal” life, he escaped to St. Petersburg and then to Europe. It was there, far from the problems that awaited him in Russia, that he completed the Fourth Symphony, begun in the spring. From this time on, Tchaikovsky restlessly divided his time between Russia and Europe, feeling entirely comfortable in neither. Milyukova was not the only woman in Tchaikovsky’s life at the time. The other was Nadezhda von Meck, a wealthy widow so passionate about the composer’s music that she became his patron, giving him large sums of money so he could continue composing without financial worries. At von Meck’s insistence, however, they never met, and instead maintained a remarkable epistolary relationship. During the stressful period of his failed marriage, Tchaikovsky turned to von Meck for emotional and financial support. She did not fail him. In gratitude, Tchaikovsky dedicated to her his new Fourth Symphony, but anonymously, as they had agreed: “To my best friend.” Not only did the composer dedicate the Fourth Symphony to von Meck, he also provided her with a detailed written description of its emotional program. “In our symphony there is a programme,” he wrote, “i.e. it is possible to express in words what it is trying to say, and to you, and only to you, I am able and willing to explain the meaning both of the whole and of the separate movements.” The symphony’s “signature,” and among the most famous music Tchaikovsky ever wrote, is its stunning, even alarming opening fanfare scored for brass and woodwinds. This introduction, Tchaikovsky told von Meck, “is the seed of the whole symphony, undoubtedly the main idea.... This is fate, this is the fateful force which prevents the impulse to happiness from attaining its goal....It is invincible, and you will never

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 27 Program page, from the Boston Symphony Orchestra’s first Tanglewood season, for the concert of August 7, 1937, which included Tchaikovsky’s Symphony No. 4 (BSO Archives)

28 overcome it. You can only reconcile yourself to it, and languish fruitlessly.” This “fate” motif appears most prominently in the opening movement, but reappears dramatically in the finale. (Tchaikovsky would go even further in the Fifth Symphony, using a “signature” motif in all the movements.) In the finale, the “fate” motif grows (at measure 200) out of a folk song in a most ingenious and startling manner. If this fanfare represents thwarted happiness, then the stuttering waltz theme that follows in the first movement also reflects frustration, Tchaikovsky told von Meck. The theme is in 9/8 meter, which lends it a fluid and yet halting gait. “The cheerless and hopeless feeling grows yet stronger and more burning. Is it not better to turn away from reality and submerge yourself in daydreams?” These daydreams (remember that the title of Tchaikovsky’s First Symphony was “Winter Daydreams”) are reflected in the melancholy, rising-and-falling theme given to the clarinet. Of the much shorter second movement (Andantino in modo di canzone), Tchaikov- sky said this: “This is that melancholy feeling which comes in the evening when, weary from your labor, you are sitting alone, you take a book—but it falls from your hand. There comes a whole host of memories. You both regret the past, yet do not wish to begin your life again. Life has wearied you.... It’s sad and somehow sweet to immerse yourself in the past.” The scherzo (pizzicato ostinato) offers respite from the emotional intensity of the outer movements. Constructed in classical, even Mozartian fashion, in three sections (ABA), this delicate and innovative confection is dominated by the strings, playing pizzicato, with a middle Trio section featuring a playful military-style theme in the brass and winds. A well-known Russian folk song (“A little birch tree stood in the field”: “Vo polye bery- ozinka stoyala”) provides the central focus for the relatively brief but fiery final movement. (It’s not labeled “Allegro con fuoco”—“Fast, with fire”—for nothing!) Some years earlier, Russian composer Mily Balakirev (1837-1910) had used the same folk song in his Overture on Three Russian Themes, but treated it very differently. Balakirev retained the circular free rhythmic structure of the tune, remaining faithful to the Russian folk tradition. But Tchaikovsky, more of a “Westernizer,” adds two beats after the first phrase, squaring the tune to fit into conventional 4/4 meter. By the finale’s end, Tchaikovsky has whipped this innocent little tune into a tragic frenzy that cul- minates in the majestic reentry of the “fate” theme. “Hardly have you managed to forget yourself and to be carried away by the spectacle of others’ joys, than irrepressible fate again appears and reminds you of yourself,” the composer wrote to von Meck about the finale. “But others do not care about you. They have not even turned around, they have not glanced at you, and they have not noticed that you are solitary and sad.” Musicologists and biographers have long debated how accurately Tchaikovsky’s over- heated description of the Fourth Symphony reflects its content. They do agree on one thing. The score, despite some flaws (excessive repetition, and what Russian composer Sergei Taneyev called an overuse of “ballet music”), established Tchaikovsky as one of the masters of the symphonic form in Russia and elsewhere.

HARLOW ROBINSON Harlow Robinson, Matthews Distinguished University Professor at Northeastern University, writes and lectures frequently on Russian music and culture for the Boston Symphony Orchestra, Metropolitan Opera, and Lincoln Center.

TANGLEWOODWEEK 1 SATURDAYPROGRAMNOTES 29 Guest Artists

Michael Stern Making his Boston Symphony Orchestra and Tanglewood debuts this evening, conductor Michael Stern is in his seventh season as music director of the Kansas City Symphony, hailed for its remarkable artistic growth and development since his tenure began. Mr. Stern and the orchestra, joined by distinguished guest artists, have performed to critical acclaim and sold out audiences in their new performance home, Helzberg Hall at the Kauffman Center for the Performing Arts. The Kansas City Symphony’s second CD for Reference Recordings, titled “Britten’s Orchestra,” won a 2011 Grammy award in the Surround Sound Album category, and producer David Frost won Producer of the Year, Classical. The orchestra and Mr. Stern have also recorded for the Naxos label. In July 2012 the Kansas City Symphony’s concerts with celebrated mezzo-soprano Joyce DiDonato will be featured on the national PBS “Summer Arts Series.” Mr. Stern is also the founding artistic director and principal conductor of IRIS Orchestra in Germantown, Tennessee. This unique group, now in its second decade, has been widely praised for

30 its virtuosity and programming, and has produced a string of recordings and acclaimed commissioned new works by American composers. Other positions Mr. Stern has held include chief conductor of Germany’s Saarbrücken Radio Symphony Orchestra (as the first American chief conductor in the orchestra’s history); permanent guest conductor of the Orchestre National de Lyon in France, a position he held for five years; and principal guest conductor of the Orchestre National de Lille, France. He has led orchestras throughout Europe and Asia, including the London Symphony, London Philharmonic, Royal Stockholm Philharmonic, Orchestre de Paris, Helsinki Philhar- monic, Budapest Radio Symphony Orchestra, Israel Philharmonic, Moscow Philhar- monic, National Symphony of Taiwan, Tokyo’s NHK Symphony, and the Vienna Radio Symphony, among many others. In North America, Mr. Stern has conducted the New York Philharmonic, Chicago Symphony, Cleveland Orchestra, Pittsburgh Symphony, St. Louis Symphony, Atlanta Symphony, Houston Symphony, Baltimore Symphony, Philadelphia Orchestra, Toronto Symphony, Cincinnati Symphony, Seattle Symphony, Montreal Symphony, Indianapolis Symphony, and the National Symphony in Washing- ton, D.C. He has also appeared regularly at the Aspen Music Festival. Mr. Stern received his music degree from the Curtis Institute of Music in Philadelphia, where his major teacher was the noted conductor and scholar Max Rudolf. Mr. Stern co edited the third edition of Rudolf’s famous textbook, The Grammar of Conducting, and also edited a new volume of Rudolf’s collected writings and correspondence. He is a 1981 graduate of Harvard University, where he earned a degree in American history.

Joshua Bell Joshua Bell is the recipient of the Avery Fisher Prize and music director of the Academy of St. Martin in the Fields. His 2011-12 appearances include the festivals of Ravinia, Tanglewood, Verbier, and Mostly Mozart; concerts with the Los Angeles Phi- lharmonic, New York Philharmonic, and the Montreal, Dallas, Colorado, Atlanta, and National symphony orchestras; performances in San Francisco as part of the San Francisco Symphony’s 100th-anniversary celebration, in recital, with the orchestra, and as leader and soloist with the Academy of St. Martin in the Fields; a Carnegie Hall recital, and extensive tours through Europe. High- lights of 2012 include a United States tour with the Academy of St. Martin in the Fields, a North American recital tour with pianist Sam Haywood, and European appearances on tour with the London Philharmonic Orchestra and Vladimir Jurowski and in recital with Jeremy Denk. Mr. Bell records exclusively for Sony Classical, a Masterworks label. “French Impressions,” his new sonata album (Ravel, Saint-Saëns, and Franck) with Jeremy Denk, was released in January 2012 and is his first sonata recording for Sony Classical. Recent releases include the soundtracks to For Colored Girls and Defiance, “At Home With Friends” (featuring Chris Botti, Sting, Josh Groban, Regina Spektor, Tiempo Libre, and others), Vivaldi’s The Four Seasons, Tchaikovsky’s Violin Concerto, The Red Violin Concerto, “The Essential Joshua Bell,” “Voice of the Violin,” and “Romance of the Violin.” In 2004 Billboard named “Romance of the Violin” its Classical CD of the Year and Mr. Bell Classical Artist of the Year. Since his first LP recording at age eighteen, he has made critically acclaimed recordings of the Beethoven and Mendelssohn concertos (both featuring his own cadenzas), the Sibelius and Goldmark concertos, and the Nicholas Maw concerto. His recording “Gershwin Fantasy” premiered a new work for violin and orchestra based on themes from Gershwin’s Porgy and Bess; its success led to an all-Bernstein recording that included the premiere of the West Side Story Suite as well as a new recording of the composer’s Serenade. Mr. Bell and his two sisters grew up on a farm in Bloomington, Indiana. As a child he was an avid computer game player and a competitive athlete. By age twelve he was serious about the violin, inspired by his beloved teacher Josef Gingold. He has

TANGLEWOODWEEK 1 GUESTARTISTS 31 made numerous television appearances (including five PBS “Live From Lincoln Center” broadcasts) and has been profiled in many publications. His alma mater, Indiana Uni- versity, honored him with a Distinguished Alumni Service Award only two years after his graduation in 1989. Named 2010 Instrumentalist of the Year by Musical America, he was recognized as a young global leader by the World Economic Forum, serves on the artist committee of the Kennedy Center Honors, and is on the Board of Directors of the New York Philharmonic. Following a 2009 performance for President Obama at Ford’s Theatre, he was invited to perform at the White House. Joshua Bell performs on the 1713 Gibson ex Huberman Stradivarius violin and uses a late 18th-century French bow by François Tourte. For more information, visit www.joshuabell.com. Joshua Bell has appeared regularly with the Boston Symphony Orchestra since his Tanglewood debut in July 1989, including performances at Symphony Hall, Tanglewood, Carnegie Hall, the New Jersey Performing Arts Center, and the Kennedy Center. His most recent BSO appearances were at Carnegie Hall in March 2011 and at Tangle- wood last July. This coming October he performs Bernstein’s Serenade (after Plato’s Symposium) in BSO subscription concerts at Symphony Hall with Marcelo Lehninger conducting.

32 Edgar Meyer 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 Unaccom- panied Suites for cello. Other recordings include a self-titled 2006 solo recording on which he wrote and played all of the pieces, incorporating instruments including piano, guitar, mandolin, dobro, banjo, gamba, and double bass; a 2007 Sony/BMG compilation, “The Best of Edgar Meyer”; and 2011’s “The Goat Rodeo Sessions” with Yo-Yo Ma, mandolinist Chris Thile, and fiddler Stuart Duncan. In the 2011-12 season, Mr. Meyer has been composer-in-residence with the Alabama Symphony; his residency includes the premiere of his third concerto for double bass. Fall 2009 saw the release of “The Melody of Rhythm,” a collection of trio pieces co-composed with Béla Fleck and Zakir Hussain; the album also featured their triple concerto for double bass, banjo, and tabla, which was commissioned for the opening of Nashville’s Schermerhorn Symphony Center, and was recorded in January 2009 with the Detroit Symphony Orchestra and Leonard Slatkin. The trio toured extensively throughout the United States and Europe in the 2009-10 and 2010-11 seasons. During the 2005-06 season, Mr. Meyer premiered the revised version of his Double Bass Concerto No. 2 with the Los Angeles Chamber Orchestra and was commissioned to write a piece for violin and piano to be performed by Joshua Bell at the Montalvo Arts Center and New York’s Lincoln Center. Mr. Meyer premiered his Double Bass Concerto No. 1 in 1993 with Edo de Waart and the Minnesota Orchestra; in 1995, in collaboration with the Emerson String Quartet, he premiered his Quintet for bass and string quartet, which was later recorded for Deutsche Grammophon. 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. In October 1999 his violin concerto, written for Hilary Hahn, was premiered and recorded by Ms. Hahn with the St. Paul Chamber Orchestra under Hugh Wolff. Collaborations are a central part of Mr. Meyer’s work. His CD/DVD of original material written and recorded with Chris Thile was released on Nonesuch in fall 2008, following their extensive tours together. His previous performing and recording projects—including 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 1996’s “Appalachia Waltz,” which remained at the top of the charts for sixteen weeks. “Appalachia Waltz” toured extensively in the U.S., and the trio was featured both on the David Letterman Show and the televised 1997 Inaugural Gala. In March 2000 the same trio released “Appalachian Journey,” the Grammy-winning follow-up to “Appalachia Waltz,” subsequently touring across the U.S. and to Europe and parts of Asia. In 2006-07, Mr. Meyer premiered a piece for double bass and piano that he performed with Emanuel Ax. Mr. Meyer also works with pianist Amy Dorfman, his longtime collaborator for solo recitals, featuring both classical repertoire and his own compositions. Edgar Meyer began studying bass at the age of five under the instruction of his father and continued his studies with Stuart Sankey. In 1994 he 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.

TANGLEWOODWEEK 1 GUESTARTISTS 33

Tanglewood 75 SUMMER 2012

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

Sunday, July 8, 2:30pm For the benefit of the Boston Symphony Orchestra Pension Fund THE ALLEN P. HARRIS CONCERT

KEITH LOCKHART CONDUCTING with special guest BERNADETTE PETERS

BRIGHT LIGHTS BIG CITY

WILLIAMS Liberty Fanfare

WARREN/arr. SEBESKY 42nd Street

HERRMANN “Taxi Driver”: A Night-Piece for Orchestra Prelude—Blues—Night Prowl—Bloodbath—Finale

MICHAEL MONAGHAN, alto sax

ELLINGTON Harlem

{Intermission}

Presenting BERNADETTE PETERS Marvin Laird, piano | Cubby O’Brien, drums | Mike Rivard, bass

Selections to be announced from the stage

Bank of America is proud to sponsor the 2012 Tanglewood season. The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to 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.

TANGLEWOODWEEK 1 SUNDAYPROGRAM 35 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. Mr. Lockhart holds the Eunice and Julian Cohen Boston Pops Conductor chair. He has worked with a wide array of established artists from virtually every corner of the entertainment world, while also promoting programs that focus on talented young musicians from the Tanglewood Music Center, Boston Conservatory, and Berklee College of Music. During his seven- teen-year tenure, he has conducted more than 1,400 Boston Pops concerts and introduced the innovative JazzFest and EdgeFest series featuring prominent jazz and indie artists performing with the Pops. Mr. Lockhart 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 Pops’ 125th anniversary season—and dozens of new arrangements. Audiences worldwide love Keith Lockhart’s inimitable style, expressed not only through his consummate music-making, but also by his unique ability to speak directly to the audience about the music to which he feels so passionately committed. He 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

36 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. Keith Lockhart has made 73 television shows with the Boston Pops, including a 2009 concert featuring jazz trumpeter Chris Botti, and special guests Sting, John Mayer, and Steven Tyler, and the annual Boston Pops Fireworks Spectacular, broadcast nationally on CBS Television. He has also led many Holiday Pops telecasts, as well as 38 new programs for PBS’s Evening at Pops (1970-2004). He has led the Boston Pops on 35 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. Mr. Lockhart has led the Boston Pops in the national anthem for numerous major sports events. Keith Lockhart currently serves as principal conductor of the BBC Concert Orchestra in London, and as artistic director of the Brevard Music Center summer institute and festival in North Carolina. He has appeared with virtually every major symphonic ensemble in North America, as well as several in Asia and Europe. He was music director of the Utah Symphony from 1998 to 2009, and led that orchestra in performances at the 2002 Olympic Games, as well as on its first European tour in two decades. Prior to coming to Boston, he was the associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras, as well as music director of the Cincinnati Chamber Orchestra. Born in Poughkeepsie, NY, Keith Lockhart began his musical studies with piano lessons at the age of seven. He holds degrees from Furman University and Carnegie Mellon University, and honorary doctorates from several American universi- ties. Visit keithlockhart.com for further information.

Bernadette Peters Bernadette Peters recently appeared on Broadway in A Little Night Music, and on Broadway and at the Kennedy Center in Follies. In June she received the Isabelle Stevenson Award, which honors volunteerism, at the Tony Awards ceremony. She wrote a best-selling children’s book (which also includes a recording of an original song), “Broadway Barks,” named after the organization she co-founded with Mary Tyler Moore and which benefits animal shelters throughout the New York City area. Her second children’s book, “Stella Is a Star,” features another original song written and sung by the author. Her November 2009 one-night- only concert, “Bernadette Peters: A Special Concert for Broadway Barks Because Broadway Cares,” benefited both Broadway Barks and Broadway Cares/Equity Fights AIDS. In 2003 she received her seventh Tony Award nomination, for her portrayal of Momma Rose in Gypsy. In June 1999 she earned her second Tony Award, her third Drama Desk Award, and an Outer Critics Circle Award as Annie Oakley in Annie Get Your Gun. Bernadette Peters began her performing career at age

The Boston Symphony Pension Institution Established in 1903, the Boston Symphony Pension Institution is the oldest among the American symphony orchestras. In recent years the Pension Institution has paid $3.9 million annually to nearly one hundred pensioners or their surviving spouses. Pension Institution income is derived from Pension Fund concerts and from Open Rehearsals at Symphony Hall and at Tanglewood. Contributions are also made each year by the Boston Symphony Orchestra, Inc. Representatives of the Players and the Corporation are members of the Pension Institution’s Board of Directors.

TANGLEWOODWEEK 1 ARTISTS 37 three with appearances on television. She made her Broadway debut in 1967 in Johnny No-Trump; in 1968 she starred with Joel Grey in the musical George M! and received a Drama Desk Award for her performance in the off-Broadway musical Dames at Sea. She received both the Tony and Drama Desk awards for her performance in Song and Dance and Tony nominations for The Goodbye Girl, Sunday in the Park With George, Mack and Mabel, and On The Town. She also earned a Drama Desk nomination as the Witch in Into the Woods. Her many television credits include NBC’s Smash, the Lifetime movie Living Proof opposite Harry Connick, Jr., Grey’s Anatomy, Ugly Betty, Evening at Pops, The Kennedy Center Honors, The Carol Burnett Show, The Muppet Show, and Ally McBeal. For PBS’s “Great Performances,” Ms. Peters has appeared in Sondheim: A Celebration at Carnegie Hall and Terrence McNally’s The Last Mile. She portrayed the wicked step- mother in Cinderella with Brandy and Whitney Houston, starred in Fall From Grace with Kevin Spacey and The Last Best Year with Mary Tyler Moore, and appeared in the Showtime movie Bobbie’s Girl and TNT’s Prince Charming. Her voice has been heard in the feature film Anastasia, in the special home video Beauty and the Beast: Enchanted Christmas, in The Land Before Time: The Great Longneck Migration, and as Rita the Cat in Animaniacs. Among her feature film credits are Pennies From Heaven (Golden Globe Award), The Jerk, The Longest Yard, Silent Movie, Annie, Pink Cadillac, Slaves of New York, Alice, Impromptu, and It Runs in the Family. Her most recent CD is the new Broadway cast recording of Follies. Her solo albums include Sondheim, Etc., Etc.: Bernadette Peters Live at Carnegie Hall (The Rest of It), Bernadette Peters Loves Rodgers & Hammerstein, Sondheim Etc.: Bernadette Peters Live At Carnegie Hall, I’ll Be Your Baby Tonight, Bernadette Peters, and Now Playing.

Michael Monaghan A freelance woodwind player in Boston for more than thirty-five years, Michael Monaghan also works as a jazz musician, studio singer, and back-up vocalist. He is a graduate of the Boston Conservatory and did graduate work at the University of Massachusetts and the Eastman School of Music. Mr. Monaghan’s freelance work includes performances with the Boston Symphony and Boston Pops orchestras; with orchestras for Boston Ballet, Joffrey Ballet, and Bolshoi Ballet; and in pit orchestras for touring shows including Cats, The Phantom of the Opera, Porgy and Bess, Sweeney Todd, and others, at the Wang, Colonial, and Shubert the- aters in Boston. In addition, he has performed with popular entertainers including Frank Sinatra, Tony Bennett, John Mellancamp, Cyndi Lauper, and many others. Mr. Monaghan has been a member of the Herb Pomeroy Jazz Orchestra; his jazz experience also includes performances at Carnegie Hall with Mel Tormé and Gerry Mulligan, participating in Rosemary Clooney’s “Demi-Centennial” special on A&E, and playing with the Woody Herman Band, the American Jazz Philharmonic Orchestra, and with many jazz artists, among them Anita O’Day, Buddy Rich, and Chick Corea. His Boston Pops experience includes working with Arthur Fiedler, John Williams, and Keith Lockhart at Symphony Hall and on the long-running PBS television series Evening at Pops. He has recorded with John Williams and has played on all of Keith Lockhart’s Boston Pops recordings, including The Latin Album, on which he is a featured saxophone soloist. In addition, his sax playing has been heard on many network TV programs, including Friends, Rescue Me, General Hospital, The Young and the Restless, Walker, Texas Ranger, and others. With the Boston Symphony Orchestra, he is the featured saxophone soloist on the soundtrack of Clint Eastwood’s highly acclaimed film Mystic River.

38 The Boston Pops Orchestra

KEITH LOCKHART Cellos Horns Julian and Eunice Cohen Martha Babcock Richard Sebring Boston Pops Conductor Principal Principal endowed in perpetuity Helene and Norman L. Rachel Childers Cahners chair, endowed in Jonathan Menkis JOHN WILLIAMS perpetuity Laureate Conductor Jason Snider Sato Knudsen Kevin Owen § Mihail Jojatu First Violins Jonathan Miller * Trumpets Tamara Smirnova Owen Young * Thomas Rolfs Concertmaster Mickey Katz * Principal Beranek chair, Alexandre Lecarme * Roberta and Stephen R. Weiner endowed in perpetuity Adam Esbensen * chair, endowed in perpetuity Alexander Velinzon Blaise Déjardin * Benjamin Wright Assistant Concertmaster Thomas Siders Edward and Bertha C. Rose Basses Michael Martin chair, endowed in perpetuity Lawrence Wolfe Anthony Kadleck § Elita Kang Principal Assistant Concertmaster Benjamin Levy Trombones Eunice and Julian Cohen Dennis Roy Toby Oft chair, endowed in perpetuity James Orleans * Principal Bo Youp Hwang Todd Seeber * Stephen Lange Ikuko Mizuno John Stovall * Jennie Shames * Bass Trombone Valeria Vilker Kuchment * Flutes Douglas Yeo Tatiana Dimitriades * Elizabeth Ostling Tuba Si-Jing Huang * Principal Mike Roylance Nicole Monahan * Mr. and Mrs. William F. Principal Wendy Putnam * Connell chair, endowed in Xin Ding * perpetuity Timpani Glen Cherry * Clint Foreman Timothy Genis Yuncong Zhang * Piccolo Percussion Second Violins Cynthia Meyers J. William Hudgins Vyacheslav Uritsky Oboes Daniel Bauch Principal Keisuke Wakao James Gwin Sheila Fiekowsky Principal Drums § Ronan Lefkowitz Mark McEwen Richard Flanagan Ronald Knudsen Harp Nancy Bracken * English Horn Aza Raykhtsaum * Robert Sheena Jessica Zhou Bonnie Bewick * Clarinets Keyboard James Cooke * Bob Winter Victor Romanul * Thomas Martin Catherine French * Principal Guitar Jason Horowitz * Michael Wayne Jonathan Finn § Julianne Lee * Bass Clarinet Electric Bass Ala Jojatu * Craig Nordstrom Michael Rivard § Violas Saxophones Librarians Cathy Basrak Michael Monaghan § Principal Marshall Burlingame Gregory Floor § Principal Edward Gazouleas Dennis Cook § Robert Barnes + William Shisler Robert Bowlby § John Perkel Michael Zaretsky Marc Phaneuf § Marc Jeanneret + Personnel Managers Mark Ludwig * Bassoons Lynn G. Larsen Rachel Fagerburg * Richard Ranti Kazuko Matsusaka * Principal Bruce M. Creditor Assistant Personnel Manager Rebecca Gitter * Suzanne Nelsen § Lisa Suslowicz Contrabassoon Stage Manager John Demick * Participating in a system Gregg Henegar of rotated seating § Substituting + On sabbatical TANGLEWOODWEEK 1 ARTISTS 39 A page from the 1937 program book for the Boston Symphony Orchestra's first Tanglewood concerts (BSO Archives)

40 The Koussevitzky Society

The Koussevitzky Society recognizes gifts made since September 1, 2011, to the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals, foundations, and businesses for their annual support of $3,000 or more during the 2011-12 season. For further information on becoming a Koussevitzky 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 $100,000 and above

Roberta and George Berry • Sally † and Michael Gordon • Carol and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Dorothy and Charlie Jenkins • Joyce Linde • Mrs. Irene Pollin • Susan and Dan Rothenberg • Kitte † and Michael Sporn Encore $25,000 to $49,999

Berkshire Money Management • Blantyre • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Canyon Ranch in the Berkshires • Country Curtains • Elizabeth W. and John M. Loder • Kate and Al Merck • The Claudia & Steven Perles Family Foundation • Claudio and Penny Pincus • The Red Lion Inn • Ronald and Karen Rettner • Stephen and Dorothy Weber Benefactors $20,000 to $24,999

Joseph and Phyllis Cohen • Ginger and George Elvin • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Scott and Ellen Hand • 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 • Jonathan D. Miller and Diane Fassino • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Carole and Edward I. Rudman • Evelyn and Ronald Shapiro • Hannah and Walter Shmerler • The Ushers and Programmers Fund • Mr. Jan Winkler and Ms. Hermine Drezner Maestro $15,000 to $19,999

BSO Members’ Association • Nancy J. Fitzpatrick and Lincoln Russell • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Millard H. Pryor, Jr. • Mr. and Mrs. Kenan E. Sahin Patrons $10,000 to $14,999

Robert and Elana Baum • Mr. and Mrs. George D. Behrakis • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Casablanca • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger • Jane Fitzpatrick • Robert and Stephanie Gittleman • Rhoda Herrick • 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 • Robert and Luise Kleinberg • Mr. and Mrs. Jacques Kohn • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Rebecca and Nathan Milikowsky • Frank M. Pringle • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Maureen and Joe Roxe/The Roxe Foundation • Sagner Family Foundation • Gloria Schusterman • Mr. and Mrs. Marvin Seline • Arlene and Donald Shapiro • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Carol and Irv Smokler • Margery and Lewis Steinberg • Suzanne and Robert Steinberg • Loet and Edith Velmans • Wheatleigh Hotel & Restaurant

TANGLEWOODWEEK 1 THEKOUSSEVITZKYSOCIETY 41 Prelude $7,500 to $9,999

Dr. Norman Atkin • Joan and Richard Barovick • Crane & Co., Inc. • Marion and Sig Dubrow • Dr Lynne B Harrison • Tanny and Courtney Jones • Arlene and Jerome Levine • Elaine and Ed London • Jerry and Mary Nelson • Joan and Michael Salke • Malcolm and BJ Salter • Mr. and Mrs. Ernest Schnesel • JoAnne and Joel Shapiro • Lois and David Swawite • Aso O. Tavitian • Anonymous Sponsors $5,000 to $7,499

Abbott’s Limo • Alli and Bill Achtmeyer • American Terry Co. • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch • Bayer Material Science • Berkshire Bank and Berkshire Insurance Group • The Berkshires Capital Investors • Linda and Tom Bielecki • Hildi and Walter Black • Brad and Terrie Bloom • Jane and Jay Braus • Judy and Simeon Brinberg • Anne and Darrel Brodke • Lynn and John Carter • The Cavanagh Family • James and Tina Collias • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ursula Ehret-Dichter and Channing Dichter • Alan R. Dynner • Dr. T. Donald and Janet Eisenstein • Eitan and Malka Evan • Mr. David Fehr • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Carolyn and Roger Friedlander • Myra and Raymond Friedman • Audrey and Ralph Friedner • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield • Dr. Donald and Phoebe Giddon • The Goldman Family Trust • Joe and Perry Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Corinne and Jerry Gorelick • Mr. David Haas • Joseph K. and Mary Jane Handler • Ann L. Henegan • Richard Holland • In memory of D.M. Delinferni • Stephen and Michele Jackman • Liz and Alan Jaffe • Martin and Wendy Kaplan • Natalie Katz, in memory of Murray S. Katz • Deborah and Arthur Kaufman • Mrs. Sarah K. Kennedy • Koppers Chocolate • William and Marilyn Larkin • Helaine and Marvin Lender • Phyllis and Walter F. Loeb • Carmine A. and Beth V. Martignetti • Janet McKinley • Judy and Richard J. Miller • Mr. and Mrs. Michael Monts • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Myriad Productions • The Netter Foundation • Mike, Lonna and Callie Offner • Mr. and Mrs. Chet Opalka • Dr. and Mrs. Simon Parisier • Wendy Philbrick • Jonathan and Amy Poorvu • Quality Printing Company, Inc. • The Charles L. Read Foundation • Ms. Deborah Reich and Mr. Frank Murphy • Mary and Lee Rivollier • Elaine and Bernard Roberts • Barbara and Michael Rosenbaum • Ruth and Milton Rubin • Suzanne and Burton Rubin • Sue Z. Rudd • Dr. Beth Sackler • Ms. Sherri Samuels • Dr. and Mrs. James Satovsky • Marcia and Albert Schmier • Mr. Daniel Schulman and Ms. Jennie Kassanoff • The Shields Family • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Noreene Storrie and Wesley McCain • Norma and Jerry Strassler • Jerry and Nancy Straus • Roz and Charles Stuzin • Bill and Adrienne Taft • Jerry and Roger Tilles • Jacqueline and Albert Togut • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Mr. and Mrs. Edwin A. Weiller III • Mr. and Mrs. Barry Weiss • Robert and Roberta Winters • Patricia Plum Wylde • Anonymous (6) Members $3,000 to $4,999

Abbott Capital Management, LLC • Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Arthur Appelstein and Lorraine Becker • Apple Tree Inn & Restaurant • Barrington Associates Realty Trust • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Dr. Burton and Susan Benjamin • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Mr. and Mrs. Richard Berkowitz • Berkshire Co-op Market • Berkshire Landmark Builders, Inc. • Biener Audi • Big Y Supermarkets • Mr. and Mrs. James L. Bildner • Gail and Stanley Bleifer • Birgit and Charles Blyth • Mr. and Mrs. Nat Bohrer • Marlene and Dr. Stuart H. Brager • Jim and Linda Brandi • Carol and Bob Braun • Sandra L. Brown • Samuel B. and Deborah D. Bruskin • Mr. and Mrs. Jon E. Budish • Rhea and Allan Bufferd • Bonnie and Terry Burman • Careers Through Culinary Arts Program (C-CAP) • Phyllis H. Carey • David and Maria Carls • Susan and Joel Cartun • Dr. Antonia Chayes • Frederick H. Chicos • Chocolate Springs Cafe • Lewis F. Clark, Jr. • Cohen Kinne Valicenti & Cook LLP • Carol and Randy Collord • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Cranwell Resort, Spa & Golf Club •

42 Ernest Cravalho and Ruth Tuomala • Mrs. Ann Cummis • Richard H. Danzig • Leslie and Richard Daspin • Mr. and Mrs. Jerome A. Deener • Arthur and Isadora Dellheim • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Dresser-Hull Company • Terry and Mel Drucker • The Dulye Family • Mrs. Harriett M. Eckstein • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Monroe B. England • Gwenn Earl Evitts • Mr. and Mrs. Sanford P. Fagadau • Dr. and Mrs. Gerald D. Falk • Marie V. Feder • Eunice and Carl Feinberg • Dr. Jeffrey and Barbara Feingold • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • Laura and Philip Fidler • Joseph and Marie Field • Doucet and Stephen Fischer • John M. and Sheila Flynn • Betty and Jack Fontaine • Herb and Barbara Franklin • Ms. Adaline Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Mr. and Mrs. Robert L. Gable • Genatt Associates, Inc. • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. Melvin Y. Gershman • Drs. Anne and Michael Gershon • Mr. and Mrs. James W. Giddens • Stephen Gilbert and Geraldine Staadecker • Glad Rags • David H. Glaser and Deborah F. Stone • Sy and Jane Glaser • Stuart Glazer and Barry Marcus • Sondra and Sy Goldman • Judi Goldsmith • Gorbach Family Foundation • Goshen Wine & Spirits, Inc. • Jud and Roz Gostin • Mrs. Roberta Greenberg • Mr. Harold Grinspoon and Ms. Diane Troderman • Charlotte and Sheldon Gross • Carol B. Grossman • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mr. and Mrs. Jonathan Halpern • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki T. and Michael S. Helfer • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Enid and Charles Hoffman • Howard Johnson Inn, Lenox • Iredale Mineral Cosmetics, LTD. • Madeline Brandt Jacquet • Lola Jaffe • Mr. and Mrs. Daniel R. Johnson • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Charlotte Kaitz and Family • Carol and Richard Kalikow • Adrienne and Alan Kane • Cathy M. Kaplan • Marcia Simon Kaplan • Mr. Chaim and Dr. Shulamit Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Robert E. Koch • Margaret and Joseph Koerner • Dr. Samuel Kopel and Sari Scheer • Dr. and Mrs. David Kosowsky • Margaret and Richard Kronenberg • J. Kenneth and Cathy Kruvant • Norma and Sol D. Kugler • Dr. and Mrs. Stephen Kulvin • Shirley and Bill Lehman • Cynthia and Robert J. Lepofsky • Mr. and Mrs. Bill Lewinski • Marjorie Lieberman • Murray and Patti Liebowitz • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Diane H. Lupean • Gloria and Leonard Luria • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • The Marketplace • Suzanne and Mort Marvin • Mary and James Maxymillian • Dr. and Mrs. Malcolm Mazow • The Messinger Family • Wilma and Norman Michaels • Peter and Yvette Mulderry • Paul Neely • Linda and Stuart Nelson • Mr. Richard Novik • Mr. and Mrs. Gerard O’Halloran • Patten Family Foundation • Ms. Joyce Plotkin and Bennett Aspel, M.D. • Ted Popoff and Dorothy Silverstein • Walter and Karen Pressey • Mary Ann and Bruno A. Quinson • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber • Robert and Ruth Remis • Mr. and Mrs. Albert P. Richman • Lucinda and Brian Ross • Mr. and Mrs. Stanley Ross • Mr. Robert M. Sanders • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Pearl and Alvin Schottenfeld • Jane and Marty Schwartz • Sol Schwartz Productions • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Seven Hills Inn • Lois and Leonard Sharzer • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Beverly and Arthur T. Shorin • Susan and Judd Shoval • Linda and Marc Silver • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Maggie and Jack Skenyon • Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn and Ken Stark • Mr. and Mrs. Lewis Stein • Mr. and Mrs. Daniel S. Sterling • Mrs. Pat Strawgate • Mr. and Mrs. Edward Streim • The Studley Press, Inc. • Marjorie and Sherwood Sumner • Mr. and Mrs. George A. Suter, Jr. • Mr. and Mrs. Gerald E. Swimmer • Mr. and Mrs. Richard Taylor • John Lowell Thorndike • David J. Tierney, Jr., Inc. • Bob Tokarczyk • Diana O. Tottenham • Barbara and Gene Trainor • Myra and Michael Tweedy • Mr. and Mrs. Howard J. Tytel • Mr. Antoine and Mrs. Emily B. Van Agtmael • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Michelle Wernli and John McGarry • Ms. Carol Andrea Whitcomb • Carole White • Peter D. Whitehead Builder, LLC • Mr. Robert G. Wilmers • The Wittels Family • Sally and Steve Wittenberg • Pamela and Lawrence Wolfe • Ira and Shirley Yohalem • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (7) † Deceased

TANGLEWOODWEEK 1 THEKOUSSEVITZKYSOCIETY 43 2012 Tanglewood Named Concerts and Guest Artists

The Boston Symphony Orchestra wishes to thank the following for naming a concert or guest artist appearance during the 2012 Tanglewood season. Concerts and guest artists are available for naming to Boston Symphony, Boston Pops, and Tanglewood Annual Fund supporters of $25,000 or more and may also be endowed for a minimum of ten years. BSO Prelude concerts are available for naming in recognition of annual fund donors of $7,500 or more.

2012 Tanglewood Named Concerts

Friday, July 6, 2012 (Prelude) The Mae and Gabriel Shapiro Memorial Concert Friday, July 6, 2012 Sponsored by Country Curtains, The Red Lion Inn, and Blantyre in loving memory of Jack Fitzpatrick Saturday, July 7, 2012 The Evelyn and Samuel Lourie Memorial Concert Sunday, July 8, 2012 (Matinee) The Allen P. Harris Concert Sunday, July 8, 2012 (Evening) The Phyllis and Lee Coffey Memorial Concert Wednesday, July 11, 2012 The Caroline and James Taylor Concert Friday, July 13, 2012 The Stephen and Dorothy Weber Concert Sunday, July 15, 2012 The Linde Family Concert Monday, July 16, 2012 The Daniel Freed and Shirlee Cohen Freed Memorial Concert Friday, July 27, 2012 (Prelude) The Valerie and Allen Hyman Concert Friday, July 27, 2012 The Serge and Olga Koussevitzky Memorial Concert Sunday, July 29, 2012 The Daniel and Lynne Ann Shapiro Concert Saturday, August 4, 2012 The Ting Tsung Chao Memorial Concert Sunday, August 5, 2012 (Evening) The Canyon Ranch Concert Tuesday, August 7, 2012 (Tanglewood On Parade) The Gregory E. Bulger Foundation Concert August 9, 2011 – August 13, 2011 (Festival of Contemporary Music) The 2012 Festival of Contemporary Music is made possible by grants from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, the Ernst von Siemens Music Foundation, the Helen F. Whitaker Fund, and by the generous support of Dr. Raymond and Hannah H. Schneider.

44 Friday, August 10, 2012 The George W. and Florence N. Adams Concert Saturday, August 11, 2012 The Jean Thaxter Brett Memorial Concert Sunday, August 12, 2012 (Morning) The Fromm Concert at Tanglewood Sunday, August 12, 2012 (Matinee) The Boston Symphony Association of Volunteers Concert Monday, August 13, 2012 The Margaret Lee Crofts Concert Saturday, August 18, 2012 The George and Roberta Berry Supporting Organization Concert Sunday, August 19, 2012 (Matinee) The Leonard Bernstein Memorial Concert The 2012 Leonard Bernstein Memorial Concert is supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. Schneider, and Diane H. Lupean. Friday, August 24, 2012 The Carol and Joe Reich Concert Saturday, August 25, 2012 (Family Concert) Supported by a gift from the James A. Macdonald Foundation Saturday, August 25, 2012 (Evening) Opera activities at Tanglewood are supported by the Geoffrey C. Hughes Foundation and the Tanglewood Music Center Opera Fund.

2012 Named Support of Tanglewood Guest Artists

All appearances of the Tanglewood Festival Chorus Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus

Pinchas Zukerman (August 10) Supported by a generous gift from Cynthia and Oliver Curme

TANGLEWOODWEEK 1 NAMEDCONCERTSANDGUESTARTISTS 45 Tanglewood Major Corporate Sponsors 2012 Season

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

At Bank of America, we celebrate the arts as a way to honor history, inspire innovation and creativity, and stimulate local economies.

Here at Tanglewood, our philanthropy funds scholarships for hundreds of youth to participate in “Days in the Arts at Tanglewood,” providing access to this Bob Gallery Massachusetts President, wonderful program for children from every corner Bank of America of the Commonwealth.

Bank of America offers customers free access to more than 150 of the nation’s finest cultural institutions on the first full weekend of every month through its acclaimed Museums on Us ® program. In fact, Massachu- setts Museum of Contemporary Art in North Adams is our most recent addition to this program, joining the other five participating Massachusetts museums in Boston, Cambridge, Cape Cod, Lincoln and Worcester. Visit www.bankofamerica.com/museums to learn more.

The arts, in all its forms, lend vitality to a community. At its best, art inspires, transcending socio-economic barriers and celebrating diversity – it represents what is best about the Berkshires. We are honored to continue our longstanding partnership with the Boston Symphony Orchestra – both during summers at Tangle- wood, and the remainder of the year in Boston – and regard them with the deepest admiration for enriching our communities, educating our families, celebrating the past and inspiring the future.

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

Harvard’s Division of Continuing Education is pleased to sponsor the Boston Symphony Orchestra at Tanglewood. Michael Shinagel, Through Harvard Extension School, Harvard Summer School, PhD Dean of Continuing and the Institute for Learning in Retirement, the Division Education and University offers more than 900 liberal arts and professional courses to Extension the public, educating more than 20,000 students each year. The BSO and Harvard Extension School have enriched the community for more than a century, and share the important tradition of bringing arts and education to the community.

Steinway & Sons is proud to be the exclusive provider of pianos to Symphony Hall and Tanglewood. Since 1853, Ron Losby President - Americas Steinway pianos have set an uncompromising standard for sound, touch, beauty, and investment value. Steinway remains the choice of 9 out of 10 concert artists, and it is the preferred piano of countless musicians, professional and amateur, throughout the world.

TANGLEWOODWEEK 1 MAJORCORPORATESPONSORS 47 48

July at Tanglewood

Thursday, July 5, 8pm Thursday, July 12, 8 p.m. Ozawa Hall EMERSON STRING QUARTET SEQUENTIA ENSEMBLE FOR MEDIEVAL Music of Mozart, Adès, and Beethoven MUSIC, BENJAMIN BAGBY, director “The Rheingold Curse: A Germanic Saga of Friday, July 6, 6pm (Prelude Concert) Greed and Vengeance from the Medieval MEMBERS OF THE BSO Icelandic Edda”: A dramatic presentation, IGNAT SOLZHENITSYN, piano sung in Old Norse with English supertitles Music of Schubert, Kodály, Martin˚u, and Beethoven Friday, July 13, 6pm (Prelude Concert) TANGLEWOOD FESTIVAL CHORUS Friday, July 6, 8:30om JOHN OLIVER, conductor Opening Night at Tanglewood Music of Delius, Vaughan-Williams, Britten, BSO—CHRISTOPH VON DOHNÁNYI, Martin, and Stanford conductor Friday, July 13, 8:30pm ALL-BEETHOVEN PROGRAM Leonore Overture No. 3; Symphony No. 6, BSO—ANNE-SOPHIE MUTTER, conductor Pastoral; Symphony No. 5 and violin ALL-MOZART PROGRAM Saturday, July 7, 10:30am Violin Concertos No. 2 in D, K.211; No. 3 in G, Open Rehearsal (Pre-Rehearsal Talk, 9:30am) K.216; No. 5 in A, K.219 BSO program of Saturday, July 7 Saturday, July 14, 10:30am Saturday, July 7, 8:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—MICHAEL STERN, conductor BSO program of Sunday, July 15 JOSHUA BELL, violin EDGAR MEYER, double bass Saturday, July 14, 8:30 p.m. Shed Tanglewood 75th Anniversary Celebration BARBER Overture to The School for Scandal TCHAIKOVSKY Meditation, for violin and BSO, BOSTON POPS ORCHESTRA, and orchestra TMC ORCHESTRA MEYER Double Concerto for violin, double JOHN WILLIAMS, KEITH LOCKHART, bass, and orchestra (world premiere) STEFAN ASBURY, and ANDRIS NELSONS, TCHAIKOVSKY Symphony No. 4 conductors ANNE-SOPHIE MUTTER, violin Sunday, July 8, 2:30pm YO-YO MA, cello EMANUEL AX and PETER SERKIN, piano BOSTON POPS ORCHESTRA JAMES TAYLOR, vocalist KEITH LOCKHART, conductor BERNADETTE PETERS, vocalist SPECIAL GUESTS TANGLEWOOD FESTIVAL CHORUS Sunday, July 8, 8pm Music of Copland, Bernstein, Haydn, TMC ORCHESTRA—MIGUEL HARTH- Tchaikovsky, Sarasate, Strauss, and Beethoven, BEDOYA and TMC CONDUCTING plus selections from the Great American FELLOWS, conductors Songbook DVORÁKˇ In Nature’s Realm Sunday, July 15, 2:30pm RESPIGHI Fountains of Rome BSO—ANDRIS NELSONS, conductor SCHULLER Dreamscape (world premiere) TANGLEWOOD FESTIVAL CHORUS PROKOFIEV Selections from Romeo and Juliet STRAVINSKY Symphony of Psalms Wednesday, July 11, 8pm BRAHMS Symphony No. 2 ANNE-SOPHIE MUTTER, violin Monday, July 16, 8pm LAMBERT ORKIS, piano Music of Mozart, Schubert, Previn, and TMC ORCHESTRA—MARCELO Saint-Saëns LEHNINGER and TMC CONDUCTING FELLOWS, conductors BRAHMS Tragic Overture SCHUBERT Symphony in B minor, Unfinished STRAUSS Also sprach Zarathustra

Wednesday, July 18, 8pm Wednesday, July 25, 8pm GERHARD OPPITZ, piano GERHARD OPPITZ, piano BRAHMS Complete Works for Solo Piano, BRAHMS Complete Works for Solo Piano, Program 1 Program 3

Thursday, July 19, 8pm Thursday, July 26, 8pm GERHARD OPPITZ, piano GERHARD OPPITZ, piano BRAHMS Complete Works for Solo Piano, BRAHMS Complete Works for Solo Piano, Program 2 Program 4

Friday, July 20, 6pm (Prelude Concert) Friday, July 27, 6pm (Prelude Concert) MEMBERS OF THE BSO MEMBERS OF THE BSO Music of Mozart and Schoenberg RANDALL HODGKINSON, piano Piano trios of Mozart and Schubert Friday, July 20, 8:30pm BSO—CHRISTOPH ESCHENBACH, Friday, July 27, 8:30pm conductor The Serge and Olga Koussevitzky DAN ZHU, violin Memorial Concert BERNSTEIN Serenade (after Plato’s MARCELO LEHNINGER, conductor Symposium) for violin and orchestra NELSON FREIRE, piano TCHAIKOVSKY Symphony No. 6, Pathétique MOZART Piano Concerto No. 20 in D minor, K.466 Saturday, July 21, 10:30am VILLA-LOBOS Momoprecoce, Fantasy for piano Open Rehearsal (Pre-Rehearsal Talk, 9:30am) and orchestra BSO program of Sunday, July 22 MUSSORGSKY/RAVEL Pictures at an Exhibition

Saturday, July 21, 8:30pm Saturday, July 28, 10:30am BSO—ASCHER FISCH, conductor Open Rehearsal (Pre-Rehearsal Talk, 9:30am) ALL-WAGNER PROGRAM BSO program of Sunday, July 29 Overture to Rienzi; Siegfried Idyll; Prelude and Saturday, July 28, 8:30pm Love-death from Tristan und Isolde; Ride of the Valkyries from Die Walküre; Forest Murmurs BSO—CHARLES DUTOIT, conductor from Siegfried; Prelude to Parsifal; Overture SUSAN GRAHAM, PAUL GROVES, SIR to Tannhäuser WILLARD WHITE, and CHRISTOPHER FEIGUM, vocal soloists Sunday, July 22, 2:30pm TANGLEWOOD FESTIVAL CHORUS PALS CHILDREN’S CHORUS BSO—Conductor to be announced GERHARD OPPITZ, piano BERLIOZ The Damnation of Faust Sung in French with English supertitles; ALL-MOZART PROGRAM performed without intermission Eine kleine Nachtmusik; Piano Concerto No. 24 in C minor, K.491; Symphony No. 36, Linz Sunday, July 29, 2:30pm Monday, June 23, 8pm BSO—CHARLES DUTOIT, conductor EMANUEL AX, piano TMC ORCHESTRA—STEFAN ASBURY and TMC CONDUCTING FELLOWS, conductors BEETHOVEN Piano Concerto No. 3 EMANUEL AX, piano TCHAIKOVSKY Symphony No. 5 IVES Three Places in New England Monday, July 30, 8pm SCHONBERG Piano Concerto STRAVINSKY Petrushka (1911 version) TMC ORCHESTRA—CHARLES DUTOIT and TMC CONDUCTING FELLOWS, conductor TANGLEWOOD FESTIVAL CHORUS LINDBERG Gran Duo MESSIAEN Oiseaux exotiques VARÈSE Intégrales STRAVINSKY Les Noces

Programs and artists subject to change. 2012 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium, Seiji Ozawa Hall. * indicates that tickets are only available through the Tanglewood Box Office, SymphonyCharge, or online at bso.org. indicates that admission is free, but restricted to that evening’s concert ticket holders.

Thursday, June 28, 8pm * Saturday, July 14, 6pm Friday, June 29, 8pm * Prelude Concert MARK MORRIS DANCE GROUP Saturday, July 14, 8:30pm (Shed) * TANGLEWOOD MUSIC CENTER FELLOWS Tanglewood 75th Anniversary Celebration LUCY SHELTON and MARK MORRIS, BSO, BOSTON POPS ORCHESTRA, and reciters Choreography by Mark Morris to music of TMC ORCHESTRA WALTON, SCHUBERT, and HUMMEL KEITH LOCKHART, JOHN WILLIAMS, STEFAN ASBURY, and ANDRIS NELSONS, Sunday, July 1, 10am conductors BRASS EXTRAVAGANZA EMANUEL AX, YO-YO MA, ANNE-SOPHIE Sunday, July 1, 8pm MUTTER, PETER SERKIN, JAMES TAYLOR, Monday, July 2, 10am & 1pm TANGLEWOOD FESTIVAL CHORUS, and STRING QUARTET MARATHON SPECIAL GUESTS One ticket provides admission to all three Sunday, July 15, 10am concerts. Chamber Music Thursday, July 5, 2:30pm Monday, July 16, 2pm (Chamber Music Hall) Opening Exercises STEPHEN DRURY, piano (free admission; open to the public; per- Free recital formances by TMC faculty) Monday, July 16, 6pm Saturday, July 7, 6pm Vocal Prelude Prelude Concert Monday, July 16, 8pm * Sunday, July 8, 10am The Daniel Freed and Shirlee Cohen Freed Chamber Music Memorial Concert Sunday, July 8, 6pm TMC ORCHESTRA—MARCELO Vocal Prelude LEHNINGER and TMC CONDUCTING FELLOWS, conductors Sunday, July 8, 8pm Music of BRAHMS, SCHUBERT, and The Phyllis and Lee Coffey Memorial Concert STRAUSS TMC ORCHESTRA—MIGUEL HARTH- BEDOYA and TMC CONDUCTING Saturday, July 21, 6pm FELLOWS, conductors Prelude Concert Music of RESPIGHI, DVORÁˇ K, and Sunday, July 22, 10am PROKOFIEV, plus SCHULLER Dreamscape Chamber Music (world premiere; TMC commission) Sunday, July 22, 8pm Tuesday, July 10, 8pm Vocal Concert Vocal Concert

TICKETS FOR ALL TMC PERFORMANCES are available through Tanglewood Box Office, SymphonyCharge, or online at bso.org. For TMC concerts other than TMC Orchestra concerts, tickets at $11 are available one hour before concert time at the Gate closest to Ozawa Hall (cash or check only). Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orchestra concerts of July 8, 16, 23, and 30 can be purchased in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at bso.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, the Fromm Concert, and TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music Concerts are available for $11. FOR INFORMATION ABOUT BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 of visit tanglewood.org. Monday, July 23, 6pm Thursday, August 9—Monday, August 13 Vocal Prelude 2012 FESTIVAL OF CONTEMPORARY Monday, July 23, 8pm * MUSIC TMC ORCHESTRA—STEFAN ASBURY and Oliver Knussen, Festival Director TMC CONDUCTING FELLOWS, conductors Directed by composer/conductor/TMC EMANUEL AX, piano alumnus Oliver Knussen, the 2012 Festival Music of IVES, SCHOENBERG, and highlights the work of Niccolò Castiglioni, STRAVINSKY a 20th century composer almost unknown in this country, and four rising stars: Saturday, July 28, 6pm English composers Luke Bedford and Prelude Concert Helen Grime, and Americans Sean Sunday, July 29, 10am Shepherd and Marti Epstein. Knussen's Chamber Music own work is represented by his one-act opera Higglety Pigglety Pop!, written in col- Monday, July 30, 8pm * laboration with the late Maurice Sendak. TMC ORCHESTRA—CHARLES DUTOIT and TMC CONDUCTING FELLOWS, conductors The 2012 Festival of Contemporary Music TANGLEWOOD FESTIVAL CHORUS is made possible by grants from the Aaron Copland Fund for Music, the Fromm Music Music of LINDBERG, VARÉSE, MESSIAEN, Foundation, the National Endowment for the and STRAVINSKY Arts, the Ernst von Siemens Music Founda- Wednesday, August 1, 7pm tion, the Helen F. Whitaker Fund, and by Vocal Concert the generous support of Dr. Raymond and Hannah H. Schneider. Saturday, August 4, 6pm Prelude Concert Thursday, August 9, 8pm Music of BIRTWISTLE, CARTER, BED- Sunday, August 5, 10am FORD, CASTIGLIONI, and SHEPHERD Chamber Music Friday, August 10, 2:30pm Tuesday, August 7 * GLORIA CHENG, piano TANGLEWOOD ON PARADE Music of BIRTWISTLE, BENJAMIN, 2:30pm: TMC Chamber Music KNUSSEN, HARBISON, RANDS, and 3:30pm: TMC Piano Music SALONEN 5pm: TMC Vocal Music 8pm: TMC Brass Fanfares (Shed) Saturday, August 11, 6pm 8:30pm: Gala Concert (Shed) (Prelude Concert) TMC ORCHESTRA, BSO, and BOSTON POPS An all-CHARLES IVES program, pre- ORCHESTRA pared and conducted by GUNTHER STÉPHANE DENÈVE, CHRISTOPH VON SCHULLER DOHNÁNYI, KEITH LOCKHART, LORIN Sunday, August 12, 10am MAAZEL, and JOHN WILLIAMS, conductors The Fromm Concert at Tanglewood Wednesday, August 15, 8pm STEFAN ASBURY and OLIVER Vocal Concert—Stephanie Blythe and TMC KNUSSEN, conductors Fellows (songs on Emily Dickinson texts) Music of BENJAMIN, BIRTWISTLE, Saturday, August 18, 11am CASTIGLIONI, EPSTEIN(world pre- COMPOSER PIECE-A-DAY PERFORMANCE miere; TMC commission), DEL TREDICI, Free admission GRIME, and SHEPHERD Sunday, August 12, 8pm Saturday, August 18, 6pm Prelude Concert CASTIGLIONI Inverno In-Ver KNUSSEN Higglety Pigglety Pop! (concert Sunday, August 19, 10am performance, including live video with Chamber Music images from the Sendak book by video Sunday, August 19, 1pm artist Netia Jones) Vocal Prelude Concert Monday, August 13, 8pm Sunday, August 19, 2:30pm (Shed) The Margaret Lee Crofts Concert The Leonard Bernstein Memorial Concert TMC ORCHESTRA Supported by generous endowments established in OLIVER KNUSSEN and STEFAN perpetuity by Dr. Raymond and Hannah H. ASBURY, conductors Schneider, and Diane Lupean PETER SERKIN, piano TMC ORCHESTRA—RAFAEL FRÜHBECK Music of BIRTWISTLE, GRIME, DE BURGOS, conductor SCHULLER (TMC commission), GIL SHAHAM, violin BENJAMIN, BEDFORD, and Music of BEETHOVEN and BARTÓK DEL TREDICI

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Sym- phony Orchestra and the Tanglewood Music Center. Now in its 47th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its interaction (photo: Michael J. Lutch) with the Boston Symphony Orchestra and the Tanglewood Music Center makes 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 administra- tors. The Institute includes Young Artists Programs for students age fourteen to nineteen (Instrumental, Vocal, Piano, Harp, and Composition) as well as Institute Workshops (Clari- net, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the Institute’s students receive financial assistance from funds contributed by individuals, foundations, and corporations to the Boston University Tanglewood Institute Scholarship Fund. 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) 637-1430 or (617) 353-3386.

2012 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRAPROGRAMS: Saturday, July 14, 2:30pm, Ryan McAdams conducts Berlioz’s Symphonie fantastique and Chávez’s Sinfonia india. Saturday, July 28, 2:30pm, Ann Howard Jones and Paul Haas conduct Beethoven’s Mass in C featuring the BUTI Vocal Program and Bernstein’s Jeremiah Symphony with TMC Vocal Fellow Tammy Coil. Saturday, August 11, 2:30pm, Paul Haas conducts Mahler’s Symphony No. 6.

WIND ENSEMBLE PROGRAMS: Friday, July 13, 8pm, David Martins conducts Williams, Mackey, Stout, Nelhybel, and Reineke. Friday, July 27, 8pm, H. Robert Reynolds conducts Maslanka, Shapiro, Gandolfi, Daugherty, and Bernstein featuring BUTI Faculty Axiom Brass Quintet.

VOCALPROGRAMS: Saturday, July 28, 2:30pm, Ann Howard Jones conducts Beetho- ven’s Mass in C.

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

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

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—Institutional Giving, Events, and Administration Elizabeth P. Roberts, Director of Development—Campaign and Individual Giving 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 • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor

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, 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 • 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, Development Communications Coordinator • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Donor Information and Data Coordinator • Laura Duerksen, Donor Ticketing Associate • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, 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, Donor Acknowledgment Writer and Coordinator • 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, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Benjamin Spalter, Annual Funds Coordinator, Friends Program • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research

Education and Community Programs Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager, 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 • Michael Maher, HVAC Technician 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

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

Eric Lange |Lange Media Sales |781-642-0400 |[email protected] Information Technology Timothy James, Director of Information Technology Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist

Public Relations

Kathleen Drohan, Associate Director of Public Relations • Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager

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 • Susan Beaudry, Manager of Tanglewood Business Partners • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Theresa Condito, Access Services Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Christina Malanga, Subscriptions Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, Subscriptions Associate • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Corporate Partnerships • 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 • 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 Manager • Thomas Cinella, Business Office Manager • Edward Collins, Logistics Operations Supervisor • Thomas Finnegan, Parking Supervisor • David Harding, TMC Concerts Front of House Manager • Matthew Heck, Manager of Visitor Center • Peggy and John Roethel, Seranak Innkeepers FAVORITE RESTAURANTS OF THE BERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Boston Symphony Association of Volunteers

Executive Committee Chair Aaron J. Nurick Chair-Elect and Vice-Chair, Boston Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller

Co-Chairs, Boston Mary C. Gregorio • Ellen W. Mayo • Natalie Slater

Co-Chairs, Tanglewood Roberta Cohn • Augusta Leibowitz • Alexandra Warshaw

Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Ken Singer

Tanglewood Project Leads 2012 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Off-Season Educational Resources, Norma Ruffer • Exhibit Docents, Maureen O'Hanlon Krentsa and Susan Price • Friends Office, David Galpern and Anne Hershman • Newsletter, Sylvia Stein • Recruit, Retain, Reward, Toby Morganstein and Carole Siegel • Seranak Flowers, Diane Saunders • Talks and Walks, Joyce Kates and Rita Kaye • Tanglewood Family Fun Fest, Margery Steinberg • Tanglewood for Kids, Judy Benjamin, Dianne Orenstein and Mark Orenstein • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman and Pam Levit Beiderman, Robert Braun and Carol Braun • Tour Guides, Mort Josel and Sandra Josel

Tanglewood Business Partners

The BSO gratefully acknowledges the following for their generous contributions of $650 or more during the 2011-12 fiscal year. An eighth note denotes support of $1,250-$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 Susan Beaudry, Manager of the 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 Cherry Bekaert & Holland, CPA in honor of Alfred & Phyliss Schneider • Joseph E. Green, CPA • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, PC, CPA Advertising/PR/Market Research/Professional Business Services/Consulting The Cohen Group • Ed Bride Associates • General Systems Company, Inc. • LA Communication • The Nielson Healthcare Group • Pilson Communications, Inc. • Robert Gal, LLC Alarm Services Alarms of Berkshire County Antiques/Art Galleries Charles Flint Fine Art & Antiques • DeVries Fine Art International, Inc. • Elise Abrams Antiques • Hoadley Gallery • Paul Kleinwald Art & Antiques, Inc. Architects/Designers Christian C. Carey, Architect, P.C. • edm – architecture . engineering . management • Hill Engineers, Architects, Planner, Inc. • Pamela Sandler, AIA, Architect Automotive BIENER AUDI Banking BERKSHIRE BANK • Lee Bank • Lenox National Bank • South Adams Savings Bank • TD Bank Beverage/Food Sales/Consumer Goods/Specialty Foods Barrington Bites • Barrington Coffee Roasting • BIG Y SUPERMARKETS • CHOCOLATE SPRINGS CAFÉ • BERKSHIRE CO-OP MARKET • Crescent Creamery, Inc. • Edible Adventures, LLC – Biscotti Babies and Yummy Gluten Free Cookies • GOSHEN WINE & SPIRITS, INC. • Guido’s Fresh Marketplace • KOPPERS CHOCOLATE Catering International Polo Club Catering powered by Aaron’s Catering of the Palm Beaches • THE MAKETPLACE KITCHEN Contracting/Building Supplies BERKSHIRE LANDMARK BUILDERS • DAVID J. TIERNEY, JR., INC. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Great River Construction Co., Inc. • PETER D. WHITEHEAD BUILDER, LLC Education Belvoir Terrace – Visual and Performing Arts and Sports Camp • Berkshire Country Day School • Berkshire Children and Families offering El Sistema through Kids 4 Harmony • CAREERS THROUGH CULINARY ARTS PROGRAM (C-CAP) • Marty Rudolph’s Math Tutoring Service • Massachusetts College of Liberal Arts • Thinking in Music • Westfield State University Energy/Utilities VIKING FUEL OIL CO., INC. Engineering Foresight Land Services Environmental Services MAXYMILLIAN TECHNOLOGIES, INC. - J.H. MAXYMILLIAN, INC. • Nowick Environmental Associates Finance ABBOTT CAPITAL MANAGEMENT, LLC • American Institute for Economic Research • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • BERKSHIRE CAPITAL INVESTORS • Kenneth R. Heyman, CFP • Kaplan Associates L.P. • Keator Group, LLC • Salisbury Bank • TD Wealth • True North Financial Services

Insurance Bader Insurance Agency, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. • Lawrence V. Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • Jay M. Cohen, PA • COHEN KINNE VALICENTI & COOK, LLP • Michael J. Considine, Attorney at Law • Deely & Deely, Attorneys • Hochfelder & Associates, PC • Lazan Glover & Puciloski, LLP • Ms. Linda Leffert • Norman Mednick, Esq. • Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lighting ESCO Energy Service Company • Limited Edition Lighting Lodging 1804 Walker House Inn • 1850 Windflower Inn • Applegate Inn • Berkshire Comfort Inn & Suites • Berkshire Days Inn • BERKSHIRE HOLIDAY INN EXPRESS & SUITES HOTELS • Birchwood Inn • BLANTYRE • Briarcliff Motel • Brook Farm Inn • Chesapeake Inn of Lenox • The Cornell • DAYS INN, LENOX • Devonfield Inn • An English Hideaway Inn • Federal House Inn • The Garden Gables Inn • Gateways Inn • Hampton Terrace Bed and Breakfast Inn • The Historic Merrell Inn • HOWARD JOHNSON INN, LENOX • Inn at Green River • The Inn at Stockbridge • THE PORCHES INN AT MASSMOCA • THE RED LION INN • The Rookwood Inn • SEVEN HILLS INN • TRAVELODGE SUITES, GREAT BARRINGTON • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Industrial BAYER MATERIAL SCIENCE • AMERICAN TERRY CO. Photography Edward Acker, Photographer Printing/Publishing QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS • THE STUDLEY PRESS, INC. Real Estate Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST • Brause Realty, Inc. • Cohen & White Associates • Barbara K. Greenfeld, Broker Associate at Roberts & Associates Realty • Michael Sucoff Real Estate • PATTEN FAMILY FOUNDATION • Pennington Management Co. • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties, LLC Restaurant Baba Louie’s Pizza • Café Lucia • Chez Nous • Cork ‘N Hearth • Firefly • Prime Italian Steakhouse & Bar Retail Arcadian Shop • Bare Necessities • Ben’s • CASABLANCA • COUNRTY CURTAINS • CRANE & CO., INC. • Garden Blossoms • The Gifted Child • GLAD RAGS • IREDALE MINERAL COSMETICS, LTD. • Namely Newborns • Onyx Specialty Papers, Inc. • Paul Rich & Sons Home Furnishings & Design • Wards Nursery & Garden Center • Windy Hill Farm, Inc. Science/Medical 510 Medical Walk-In • Stanley E. Bogaty, M.D. • Chelly Sterman Associates • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. and Mrs. Steven Gallant Fred Hochberg, M.D. • Livingstone Dental Excellence • Dr. Charles Mandel/Optical Care Associates • Dr. Donald Wm. Putnoi, M.D. • Dr. Robert Rosenthal • Royal Health Care Services of N.Y. and L.I. • Suburban Internal Medicine Services Aladco Linen Services • Camp Wagalot • Shear Design Storage Security Self Storage Technology New Yorker Electronics Co., Inc. Tourism/Resorts CANYON RANCH IN LENOX • CRANWELL RESORT, SPA & GOLF CLUB • Jiminy Peak Mountain Resort Travel & Transportation ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • AllPoints Drivers Video MYRIAD PRODUCTIONS 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 Elizabeth P. Roberts, Director of Development— Campaign and Individual Giving, at 617-638-9269 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. • 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. • National Endowment for the Arts • Lia and William Poorvu • 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 † • Vera M. and John D. MacDonald † • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • Andrew W. Mellon Foundation • Kate and Al Merck • 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 • Cecile Higginson Murphy • Mary S. Newman • Mrs. Mischa Nieland † and Dr. Michael L. Nieland • Mr. † and Mrs. Norio Ohga • P&G Gillette • John S. and Cynthia Reed • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. † • Susan and Dan Rothenberg • Carole and Edward I. Rudman • 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 Stu Rosner Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall