Summer 2012 Boston Symphony Orchestra

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 spring- time 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 appoint- ments 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, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center, and in 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 20, 6pm (Prelude Concert) 5 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Beethoven and Schoenberg

Friday, July 20, 8:30pm 9 BOSTON SYMPHONY ORCHESTRA CHRISTOPH ESCHENBACH, conductor; DAN ZHU, violin Music of Bernstein and Tchaikovsky

Saturday, July 21, 8:30pm 19 BOSTON SYMPHONY ORCHESTRA ASHER FISCH, conductor All-Wagner program

Sunday, July 22, 2:30pm 33 BOSTON SYMPHONY ORCHESTRA KEN-DAVID MASUR and KURT MASUR, conductors; GERHARD OPPITZ, piano All-Mozart program

“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 20, are conductor Asher Fisch and pianist Gerhard Oppitz. 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 3 TABLEOFCONTENTS 1 From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

2 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 beauti- ful 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 3 WELCOMETOTANGLEWOOD 3 Horse ring at the Dan Hanna Farm near Stockbridge, where, in 1934, Henry Hadley conducted the first Berkshire Festival concerts with members of the New York Philharmonic (Stockbridge Library Association/photo by David Milton Jones)

4 Tanglewood 75 SUMMER 2012

Prelude Concert Friday, July 20, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA ALEXANDER VELINZON, violin THOMAS MARTIN, clarinet SI-JING HUANG, violin MICHAEL WAYNE, E-flat clarinet EDWARD GAZOULEAS, viola CRAIG NORDSTROM, bass clarinet MIHAIL JOJATU, cello RICHARD RANTI, bassoon LAWRENCE WOLFE, double bass GREGG HENEGAR, contrabassoon ELIZABETH OSTLING, flute RICHARD SEBRING, horn CYNTHIA MEYERS, piccolo RACHEL CHILDERS, horn MARK MCEWEN, oboe JAMES SOMMERVILLE, conductor ROBERT SHEENA, English horn (Schoenberg)

BEETHOVEN String Quartet in C minor, Opus 18, No. 4 Allegro, ma non tanto Scherzo: Andante scherzoso, quasi allegretto Menuetto: Allegretto Allegro

SCHOENBERG Chamber Symphony No. 1, Opus 9

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.

NOTES ON THE PROGRAM

It was standard practice in the time of Haydn, Mozart, and Ludwig van Beethoven (1770-1827) to publish compositions—whether sonatas, string quartets, or symphonies—in groups of six, of which one would be in a minor key. Beethoven clearly chose to follow this tradition in his Opus 18, his first set of string quartets, and—as he was often to do—he chose the key of C minor for the fourth quartet of the set. Beethoven scholars have long suspected that this quartet is a recomposition of older

TANGLEWOODWEEK 3 PRELUDEPROGRAM 5 material, possibly ideas he had brought to Vienna from Bonn in 1792, as well as newer ideas worked out while he was composing the other quartets of the group. The principal theme of the first movement is decorated and filled with the appog- giatura figure that became a melodic cliché in the Classical period and is known as the “Mannheim sigh” from its frequent appearance in the works of the Mannheim composers. (So hackneyed did this gesture become that one modern scholar has referred to it as “the sigh heard ’round the world”!) The derivation of the secondary theme (in the relative major) from the first theme reinforces the scholars’ suspicion that this is, to some extent at least, an earlier composition, since Beethoven’s concern for this kind of thematic unification was especially strong during his Bonn period. The second movement is, unexpectedly, marked “Scherzo,” though it is not a substi- tute for the dance movement traditionally in third place, since we have a minuet still to come. This scherzo shows off Beethoven’s fugal prowess in a manner akin to the corresponding movement of the First Symphony, which may have been composed before Beethoven got to the final working-out of the Opus 18 quartets. The thematic ideas themselves are standard contrapuntal figures, even clichés, but this allows for a certain degree of wit in the unexpected phrasing of their elaboration. The minuet, with its purposeful harmonic travels and accented offbeats, sounds most authentically like Beethoven despite reminiscences of Mozart’s G minor symphony. The rondo of the last movement is almost totally devoid of sonata-form elements with which Beethoven liked to strengthen the architecture of his finales, to give them a greater sense of line and cohesion. All in all, the C minor quartet is perhaps the least typical of all the Beethoven string quartets, but for that reason also holds points of special interest: it shows a composer striking out in several directions, experimenting, trying new ideas, trying to balance form and expression, on the verge of the great creative explosion that was soon to produce the Eroica Symphony and its equivalent in the string quartet repertory, the three Opus 59 quartets dedicated to Count Razumovsky.

When Arnold Schoenberg (1874-1951) completed the Chamber Symphony No. 1 in 1906, he told his friends: “Now I have established my style. Now I know how I have to compose.” He quickly realized this was not true: as he put it, he was “not des- tined” to continue in this post-Romantic manner. Looking back, he saw that the Chamber Symphony was only a way station—but an important one—on the road toward his goal, which was to master what he described as “a style of concision and brevity in which every technical or structural necessity was carried out without unnecessary extension, in which every single unit is supposed to be functional.” Within a few years, Schoenberg was composing an astoundingly dense, nonrepetitive, richly detailed new music: the Stefan George song cycle Das Buch der hängende Gärten (The Book of the Hanging Gardens); Three Pieces for Piano, Opus 11; Five Pieces for Orchestra, Opus 16, and the one-character opera Erwartung (Expectation), all completed in 1909, had gone far away from the luxuriant Romanticism of the earlier

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.

6 Verklärte Nacht and Gurrelieder. Something that did not change was Schoenberg’s artistic personality and his temperament. From Verklärte Nacht to the last scores, passion is a constant, and the most immediate and ultimately overwhelming impression the Chamber Symphony No. 1 makes is that of urgent, ardent, even wild utterance. The Chamber Symphony is in one movement. It is also in five movements. Schoen- berg uses a formal device that had served him well in Pelleas und Melisande and the String Quartet No. 1: he combines the traditional four-movement plan—sonata allegro, scherzo, slow movement, finale—with that of a single sonata movement. Sections I, III, and V are characterized sharply enough to encourage you to hear five distinct movements; at the same time, their mutual connectedness is so clear that the symphony’s master plan as a single sonata movement with extended interludes on either side of the development is also readily audible. The Chamber Symphony opens with a great pile-up of notes that coalesce into a lus- cious five-note chord, which resolves ever so suavely into a chord of F major. As soon as the very fast main tempo begins, Schoenberg has the horn rush impetuously up the steep slope of fourths from D below middle C to the F at the top of the treble staff. After the horn call, the cello plays an energetic, upward-rushing theme easily recognized by its persistent triplets as well as by its Debussyan whole-tone steps. This moves forward to an intense climax, which is followed by a new melody for violin and horn in a broad, singing style. The first movement presents a series of fervent, spirited, and variegated themes in rapid succession. The return of the energetic cello theme becomes a transition to the scherzo. The scherzo itself is even faster than the first movement; the ghostly Trio takes about twenty seconds. In the symphony’s main development section, the themes of the first movement are reconsid- ered, recombined, and recostumed with captivating energy. Rising fourths introduce the slow movement, but now they take on the form of incorporeal double-bass harmonics, delicate six-note woodwind chords, weightless clarinet arpeggios, a dreamy melody for the first violin, all pianissimo. The music that ensues is a feast of lyric inspiration. The finale recapitulates and sometimes further transforms earlier themes with great freedom in their order of appearance. The rising fourths and the excited theme from the beginning of the first movement return in the coda. The close, with exultant horns and emphatic assertions of E major against the chromatic current, is joyously exuberant.

Notes by STEVEN LEDBETTER (Beethoven) and MICHAEL STEINBERG (Schoenberg) Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. 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. BSO Archives

TANGLEWOODWEEK 3 PRELUDEPROGRAMNOTES 7

Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Friday, July 20, 8:30pm

CHRISTOPH ESCHENBACH conducting

BERNSTEIN Serenade (after Plato’s “Symposium”) for violin, string orchestra, harp, and percussion I. Phaedrus; Pausanias (Lento—Allegro) II. Aristophanes (Allegretto) III. Eryximachus (Presto) IV. Agathon (Adagio) V. Socrates; Alcibiades (Molto tenuto—Allegro molto vivace) DAN ZHU

{Intermission}

TCHAIKOVSKY Symphony No. 6 in B minor, Opus 74, “Pathétique” Adagio—Allegro non troppo Allegro con grazia Allegro molto vivace Adagio lamentoso—Andante

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

TANGLEWOODWEEK 3 FRIDAYPROGRAM 9 Serge Koussevitzky conducting the BSO at Tanglewood (BSO Archives)

10 NOTES ON THE PROGRAM

Leonard Bernstein (1918-1990) Serenade (after Plato’s “Symposium”) for violin, string orchestra, harp, and percussion First performance: September 12, 1954, Teatro Fenice, Venice, Italy, Isaac Stern, soloist. First BSO performance: April 14, 1955 (United States premiere), Charles Munch cond., Isaac Stern, soloist. First Tanglewood performance: July 3, 1971, Seiji Ozawa, cond., Joseph Silverstein, soloist. Most recent Tanglewood performance: July 27, 2001, Hugh Wolff cond., Joshua Bell, soloist. Leonard Bernstein composed his Serenade on a commission from the Kousse- vitzky Music Foundation in 1954, completing the work on August 7 of that year. The score bears the dedication “To the beloved memory of Serge and Natalie Koussevitzky.” Bernstein’s music has always been intimately connected with the theater, whether in a ballet, musical show, or opera. And even his more abstract concert music almost always has elements of theatricality, a sense of characteriza- tion in the melodies that can bring them vividly into the imagination of the listener. In the case of the musical “conversation” that underlies his Serenade, the continuity of the “discussion,” which evolves continuously, is varied by the different viewpoints of the characters who take part. The composer’s own commentary, written the day after he completed the score, is the best guide to the work’s course, and is printed below.

STEVEN LEDBETTER

There is no literal program for this Serenade. The music, like Plato’s dialogue, is a series of related statements in praise of love. The relatedness of the movements does not depend on common thematic material, but rather on a system whereby each movement evolves out of elements in the preceding one, a form I initiated in my second symphony, The Age of Anxiety. I. Phaedrus; Pausanias (Lento—Allegro). Phaedrus opens the symposium with a lyri- cal oration in praise of Eros, the god of love. (Fugato, begun by the solo violin.) Pausanias continues by describing the duality of the lover as compared with the beloved. This is expressed in a classical sonata-allegro, based on the material of the opening fugato. II. Aristophanes (Allegretto). Aristophanes does not play the role of clown in this dialogue, but instead that of the bedtime-storyteller, invoking the fairy-tale mythology of love. The atmosphere is one of quiet charm. III. Erixymachus (Presto). The physician speaks of bodily harmony as a scientiﬁc model for the workings of love-patterns. This is an extremely short fugato scherzo, born of a blend of mystery and humor. IV. Agathon (Adagio). Perhaps the most moving (and famous) speech of the dialogue, Agathon’s panegyric embraces all aspects of love’s powers, charms, and functions. This movement is simply a three-part song. V. Socrates; Alcibiades (Molto tenuto—Allegro molto vivace). Socrates describes his visit to the seer Diotima, quoting her speech on the demonology of love. Love as a daemon is Socrates’ image for the profundity of love; and his seniority adds to the

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 11 feeling of didactic soberness in an otherwise pleasant and convivial after-dinner discussion. This is a slow introduction of greater weight than any of the preceding movements, and serves as a highly developed reprise of the middle section of the Agathon movement, thus suggesting a hidden sonata-form. The famous interruption by Alcibiades and his band of drunken revelers ushers in the Allegro, which is an extended rondo ranging in spirit from agitation through jig-like dance music to joy- ful celebration. If there is a hint of jazz in the celebration, I hope it will not be taken as anachronistic Greek party-music, but rather the natural expression of a contemporary American composer imbued with the spirit of that timeless dinner party.

LEONARD BERNSTEIN

Pyotr Ilyich Tchaikovsky (1841-1893) Symphony No. 6 in B minor, Opus 74, “Pathétique” First performance: October 28, 1893, St. Petersburg, Tchaikovsky cond. (nine days before his death). First BSO performance: December 29, 1894, Emil Paur cond. First Tanglewood performance: August 13, 1938, Serge Koussevitzky cond. Most recent Tangle- wood performance: July 10, 2011, Miguel Harth-Bedoya cond. During Tchaikovsky’s last years, his reputation grew enormously outside of Russia, but he was left prey to deepening inner gloom, since his countrymen rarely recognized his genius. He had, moreover, been shattered by the sudden breaking- off of the strange but profoundly moving epistolary relationship that he had carried on for fourteen years with Nadezhda von Meck, whose ﬁnancial assistance and understanding had sustained him through difﬁcult times. Though they never met face to face, their relationship was one of the strongest, in its emotional depth, that either of them was ever to experience; she, for unknown reasons, decided to end the correspondence decisively in October 1890. Tchaikovsky never fully recovered from the blow. Another reason for his depression was an old but continuing concern—the constant fear that his homosexuality might become known to the public at large or to the authorities (which would lead to terrible consequences, since homosexuality was regard- ed as a crime that might involve serious legal consequences, including banishment and the loss of his civil rights).

12 Tchaikovsky was also concerned that he was written out. In 1892 he began a symphony and had even partly orchestrated it when he decided to discard it entirely (some twenty-five years ago it was completed by a Russian musicologist and performed as Tchaikovsky’s “Seventh Symphony”; the composer’s self-critical view was right). But a trip to western Europe in December brought a warm reunion: he visited his old governess, whom he had not seen for over forty years. The two days he spent with her, reading over many letters from his mother and his brothers and sisters, not to mention some of his earliest musical and literary work, carried him off into a deep nostalgia. As the composer wrote to his brother Nikolai, “There were moments when I returned into the past so vividly that it became weird, and at the same time sweet, and we both had to keep back our tears.” The retrospective mood thus engendered may have remained even though he returned to Russia at low ebb: “It seems to me that my role is finished for good.” Yet the recent opportunity to recall his childhood, when combined with his fundamen- tally pessimistic outlook, may well have led to the program for the work that suggested itself to him and captured his attention on the way home. Within two weeks of writ- ing the foregoing words, Tchaikovsky was hard at work on what was to become his masterpiece. Home again, he wrote in mid-February to a nephew that he was in an excellent state of mind and hard at work on a new symphony with a program—“but a program that will be a riddle for everyone. Let them try and solve it.” He left only hints: “The program of this symphony is completely saturated with myself and quite often during my journey I cried profusely.” The work, he said, was going exceedingly well. On March 24 he completed the sketch of the second movement—evidently the last to be outlined in detail—and noted his satisfaction at the bottom of the page: “O Lord, I thank Thee! Today, March 24th, completed preliminary sketch well!!!” The orchestration was interrupted until July because he made a trip to Cambridge to receive an honorary doctorate, an honor that he shared with Saint-Saëns, Boito, Bruch, and Grieg (who was ill and unable to be present). He was presented for the degree with a citation in Latin that appropriately singled out the “ardor fervidus” and the “languor subtristis” of his music. When he returned home he found that the orchestration would be more difficult than he expected: “Twenty years ago I used to go full speed ahead and it came out very well. Now I have become cowardly and unsure of myself. For instance, today I sat the whole day over two pages—nothing went as I wanted it to.” In another letter he noted, “It will be... no surprise if this symphony is abused and unappreciated—that has happened before. But I definitely find it my very best, and in particular the most sincere of all my compositions. I love it as I have never loved any of my musical children.” Though Tchaikovsky was eager to begin an opera at once, the Sixth Symphony was to be the last work he would complete. The premiere on October 28 went off well despite the orchestra’s coolness toward the piece, but the audience was puzzled by the whole—not least by its somber ending. Rimsky-Korsakov confronted Tchaikovsky at intermission and asked whether there was not a program to that expressive music; the composer admitted that there was, indeed, a program, but he refused to give any details. Five days later Tchaikovsky failed to appear for breakfast; he complained of indigestion during the night, but refused to see a doctor. His situation worsened, and in the evening Modest sent for medical help anyway. For several days Tchaikovsky lingered on, generally in severe pain. He died at three o’clock in the morning on November 6. Though it is generally believed that Tchaikovsky’s death was the result of cholera brought on by his drinking a glass of unboiled water during an epidemic, the extra- ordinarily expressive richness of the Sixth Symphony, and particularly that of its

TANGLEWOODWEEK 3 FRIDAYPROGRAMNOTES 13 finale, has inspired a great deal of speculation regarding the composer’s demise. It has even been suggested that Tchaikovsky poisoned himself, fearing denunciation of himself to the Tsar as a homosexual by a duke with whose nephew he had struck up a friendship! Other writers have asserted that the music was composed because of the composer’s premonitions of impending death. Yet perusal of his letters makes clear that until the last few days he was in better spirits than he had enjoyed for years, confident and looking forward to future compositions. The expressive qualities of the Sixth Symphony follow from his two previous symphonies, which are also concerned in various ways with Fate. The Fourth and Fifth symphonies had offered two views of man’s response to Fate—on the one hand finding solace in the life of the peasants, on the other struggling to conquest, though through a somewhat unconvincing victory. In the Sixth Symphony, Fate leads only to despair. Tchaikovsky never did reveal a formal program to the symphony, though a note found among his papers is probably an early draft for one: The ultimate essence of the plan of the symphony is LIFE. First part—all impul- sive passion, confidence, thirst for activity. Must be short. (Finale DEATH— result of collapse.) Second part love; third disappointments; fourth ends dying away (also short). In the end, all of this (and any possible elaborations of it) remained the composer’s secret. The title that it now bears came only the day after the first performance, when the composer, having rejected “A Program Symphony” (since he had no intention of revealing the program) and Modest’s suggestion of “Tragic,” was taken with his brother’s alternative suggestion, “Pathetic.” Modest recalled his brother’s reac- tion: “‘Excellent, Modya, bravo, Pathetic !’ and before my eyes he wrote on the score the title by which it has since been known.” The title gives a misimpression in

14 English, where “pathetic” has become a debased slang word, almost totally losing its original sense of “passionate” or “emotional,” with a hint of its original Greek sense of “suffering.” In French it still retains its signiﬁcance. And the symphony is, without a doubt, the most successful evocation of Tchaikovsky’s emotional suffering, subli- mated into music of great power. Ultimately, of course, Tchaikovsky’s farewell vision is a somber one, congruent with his own pessimistic view of life. But it is worth remembering—especially given all the stories that whirl around the composer—that his art, and especially the Pathétique Symphony, was a means of self-transcendence, a way of overcoming the anguish and torment of his life. It has sometimes been assumed in the past that Tchaikovsky chose to revel in his misery; but in the Sixth Symphony, at least, he confronted it, recreated it in sound, and put it ﬁrmly behind him.

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

Guest Artists

Christoph Eschenbach Conductor and pianist Christoph Eschenbach began his tenure in September 2010 as music director of both the National Symphony Orchestra and the John F. Kennedy Center for the Performing Arts in Washington, D.C. In 2011-12 he led the National Symphony on tour to South America, toured Australia and the Far East with the Vienna Philharmonic, and conducted the orchestra in Vienna. He also appeared with China’s Central Philharmonic Orchestra in Beijing; the London Philharmonic at Royal Festival Hall and on tour in Oman and Spain; the Phila- delphia Orchestra, where he was music director from 2003 to 2008; the NDR Symphony Orchestra, where he was music director from 1998 to 2004; the Orchestre de Paris, where he was music director between 2000 and 2010, and the Boston Symphony Orchestra at Symphony Hall and Carnegie Hall. He also appeared with the Accademia Nazionale di Santa Cecilia in Rome, the Filar- monia della Scala, Czech Philharmonic, Los Angeles Philharmonic, and Orchester des Bayerischen Rundfunk, among others. Summer 2012 brings performances at Tanglewood and the Ravinia Festival. Principal conductor of the Schleswig-Holstein Music Festival International Orchestral Academy since 2004, he also appears regularly in Germany and on tour with the SHMF Orchestra. His ongoing collaboration with baritone Matthias Goerne includes recordings for Harmonia Mundi of Schubert’s Die schöne Müllerin, Winterreise, and Schwanengesang. In summer 2010 the duo performed all three Schubert works in three recitals (with Mr. Eschenbach also playing Schubert’s B-flat piano sonata, D.960) at the Salzburg Music Festival, where Mr. Eschenbach also conducted the Vienna Philharmonic. This season, the duo performed the complete cycle in Paris at the Salle Pleyel. Mr. Eschenbach’s extensive discography includes recordings with the Orchestre de Paris, London Symphony Orchestra, Vienna Phil- harmonic, Hamburg NDR Symphony, and Houston Symphony, among many others. Several of sixteen recent Ondine releases featuring Mr. Eschenbach with the Orchestre de Paris and the Philadelphia Orchestra have garnered honors, including BBC Magazine’s “Disc of the Month,” Gramophone’s “Editor’s Choice,” and the German Record Critics’ Award. His Ondine recording of music by Kaija Saariaho with the

TANGLEWOODWEEK 3 GUESTARTISTS 15 Orchestre de Paris and soprano Karita Mattila won the 2009 MIDEM Classical Award in Contemporary Music. Mentored by George Szell and Herbert von Karajan, Christoph Eschenbach has previously held chief artistic posts with the Tonhalle Orchestra, Houston Symphony, Ravinia Festival, and Schleswig-Holstein Music Festival. His many honors include the Légion d’Honneur, Commandeur dans l’Ordre des Arts et des Lettres, the Officer’s Cross with Star and Ribbon of the German Order of Merit, and the Comman- der’s Cross of the German Order of Merit for outstanding achievements as pianist and conductor. He also received the Leonard Bernstein Award from the Pacific Music Festival, where he was co-artistic director from 1992 to 1998. Christoph Eschenbach has appeared on many occasions as both conductor and pianist with the Boston Symphony Orchestra, his BSO appearances as pianist beginning with his Tanglewood debut in July 1969, his appearances as conductor beginning at Tanglewood in July 1978. His most recent Tanglewood appearances were in July 2011, when he conducted an all- Brahms program and a program of Haydn and Mahler. This past March he led the BSO in a program of Berlioz and Ravel at Symphony Hall in Boston and at Carnegie Hall in New York.

16 Dan Zhu Making his Boston Symphony Orchestra and Tanglewood debuts with this concert, violinist Dan Zhu has appeared as soloist with the National Orchestra of Belgium, China Philharmonic, Hong Kong Philharmonic, National Orchestra of France, Munich Symphony Orchestra, and Montreal Symphony Orchestra, among others, performing under the direction of Christoph Eschenbach, Philippe Entremont, Gianandrea Noseda, Krzysztof Penderecki, Long Yu, and Jean-Marie Zeitouni. An active chamber musician, he has appeared with Nobuko Imai, Dame Felicity Lott, Vladimir Mendelssohn, Mischa Maisky, Paul Meyer, and Jean-Yves Thibaudet. He has performed and given master classes at such festivals as Marlboro, Menton, Kuhmo, Schleswig-Holstein, Spoleto, and Eilat. Dan Zhu’s 2012-13 season includes Korngold’s Violin Concerto with the Beijing Symphony under Carl St. Clair; recitals in Mumbai, sponsored by the Mehli Mehta Foundation, and in Portugal and Germany; Bernstein’s Serenade with the QingDao Symphony; Men- delssohn’s Violin Concerto with Philippe Entremont conducting the Boca Symphony; Beethoven’s Violin Concerto with the National Orchestra of Egypt; Mozart’s Violin Concerto No. 5 with the National Symphony Orchestra and Christoph Eschenbach at Oman’s Royal Opera House Muscat, and Bruch’s G minor violin concerto with the HangZhou Philharmonic. In addition to his BSO debut this evening, appearances in 2011-12 include a duo-recital with Mr. Eschenbach of Mozart sonatas at the Kennedy Center and in Beijing’s National Center for Performing Arts, Bernstein’s Serenade with Camerata Salzburg at the Salzburg Festival, the Sibelius concerto at Théâtre des Champs-Elysées, Prokofiev with the Vancouver Symphony, a solo appearance with the Tokyo Symphony, the twenty-four Paganini Caprices at France’s Festival Royan, and recitals with pianists Peter Frankl and Alexander Paley in the United States and France and with Tzimon Barto at the Schleswig-Holstein Festival, as well as recital appearances in Athens, Greece; at the Houston Texas Music Festival, and at the Grieg Festival in Bergen, Norway. A native of Beijing, Dan Zhu made his first public appearance at age nine, performing Mendelssohn’s Violin Concerto with the China Youth Chamber Orchestra. At twelve he entered Beijing’s Central Conservatory of Music, where he studied with Xiao-zhi Huang. Four years later he was awarded the Alexis Gregory Scholarship to study with Lucie Robert at New York’s Mannes College of Music. He has won several prestigious international competitions, including Reine Elisabeth (Brussels), Montréal, Sendai, and the China International. His mentors have included Ivry Gitlis, Gerard Poulet, and Aaron Rosand. He has performed with such distinguished composers as George Benjamin, György Kurtág, and the late Gian Carlo Menotti. His interest in other creative fields has led to a close association with the celebrated French architect group, Arte-Charpentier, producing a series of collaborations linking music and architecture in Paris and Shanghai. Dan Zhu plays a 1763 Carlo Antonio Testore violin, on generous loan from the Alexis Gregory Foundation. His concert attire is provided by Blanc de Chine. For more information on Dan Zhu, please visit www.danzhumusic.com. Stu Rosner

TANGLEWOODWEEK 3 GUESTARTISTS 17

Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Saturday, July 21, 8:30pm

ASHER FISCH conducting

ALL-WAGNER PROGRAM 75

Overture to “Rienzi”

“Siegfried Idyll”

Prelude and Love-death from “Tristan und Isolde”

{Intermission}

Ride of the Valkyries from “Die Walküre”

Forest Murmurs from “Siegfried”

Prelude to Act I of “Parsifal”

Overture to “Tannhäuser”

75 Replicating the Boston Symphony Orchestra’s Tanglewood program of August 12, 1937 (see page 21)

The original 1937 program notes by then BSO annotator John N. Burk are reproduced beginning on page 25.

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

TANGLEWOODWEEK 3 SATURDAYPROGRAM 19 Guest Artist

Asher Fisch Making his Boston Symphony Orchestra and Tanglewood debuts this evening, Israeli- born conductor Asher Fisch is particularly noted for the core German repertoire from Beethoven through Berg, including virtually the entire canon of Wagner and Strauss. He is currently principal guest conductor of the Seattle Opera and previously served as music director of New Israeli Opera (1998-2008) and the Wiener Volksoper (1995-2000). In September 2013 he will become principal conductor and artistic advisor of the West Australian Symphony Orchestra. His 2011-12 season has been split between two of Germany’s principal opera houses: the Bayerische Staatsoper, for Don Carlo, Tosca, Turandot, and Die Zauberflöte; and the Dresden Semperoper (Sächsische Staatsoper), for Rigoletto. The season also included the Paris Opera production of Léhar’s Die Lustige Witwe, Cavalleria rus- ticana/I pagliacci at the Wiener Staatsoper, the Italian premiere of Zemlinsky’s König Kandaulus at the Teatro Massimo Palermo, and Turandot at Seattle Opera. On the orchestral stage, Mr. Fisch conducted the Dresdner Staatskapelle and Staatsphil- harmonie Rheinland-Pfalz, and returned to the National Orchestral Institute. In 2012-13 he returns to the Metropolitan Opera for Parsifal and to Seattle for Fidelio, and in German opera houses (Hamburg and Munich) he leads Die Zauberflöte, Der fliegende Holländer, and Manon Lescaut. He conducts the Atlanta Symphony and Kansas City Symphony before returning to Seattle in summer 2013 for its quadrennial complete Ring cycle. Asher Fisch began his conducting career as Daniel Barenboim’s assistant and Kappellmeister at the Berlin Staatsoper. Since then he has developed enduring relationships internationally. In North America he has conducted the symphony orchestras of Chicago, New York, Philadelphia, Los Angeles, Dallas, Seattle, Atlanta, Houston, Saint Louis, Toronto, Montreal, Minnesota, and the National Symphony in Washington, D.C. In Europe he appears regularly at the Munich Philharmonic and has also conducted the Berlin Philharmonic, Dresdner Staatskapelle, Leipzig’s Gewandhaus Orchestra, the London Philharmonic Orchestra, and Orchestre National de France, among others. He is a regular guest with the West Australian Symphony Orchestra (Perth) and with the Adelaide Symphony Orchestra, having led and recorded a Ring cycle for the Adelaide Festival in 2004. Mr. Fisch has conducted repertoire ranging from Mozart to Berg at the Berlin Staatsoper (Unter den Linden), Vienna Staatsoper, Milan’s La Scala, Paris Opera, Dresden Semperoper, Bayerische Staatsoper, Hamburg Staatsoper, Leipzig Opera, and the Royal Opera House, Covent Garden, where he conducted the concert gala celebrating the Golden Jubilee of the Royal Opera House. Since his United States debut with Los Angeles Opera in 1995, Mr. Fisch has conducted at the Metropolitan Opera, Chicago Lyric Opera, and Houston Grand Opera. In 2003 he inaugurated the new Seattle Opera House with Parsifal, returning there in 2004 for Lohengrin. That same year he led the new production of Wagner’s Ring cycle for South Australian Opera, which won ten awards at Australia’s Helpmann Awards. Asher Fisch is also an accomplished pianist. He often conducts from the keyboard, and also participates in chamber music and vocal recitals.

20 Program page for the Boston Symphony Orchestra’s all-Wagner concert of August 12, 1937, during the BSO’s first Tanglewood season (BSO Archives)

TANGLEWOODWEEK 3 INTRODUCTION 21 Insert bound into the archival volume of programs from the BSO’s early Berkshire Festival seasons, noting, after the fact, the omission of the “Siegfried Idyll” from the Wagner concert of August 12, 1937, due to a famously interruptive thunderstorm (BSO Archives)

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 20: Stockhausen Gruppen, Tanglewood Music Center Orchestra, Oliver Knussen, Reinbert de Leeuw, and Robert Spano, conductors (August 25, 1993) • Saturday, July 21: Mozart Piano Concerto No. 17 in G, K.453, Leonard Bernstein, conductor and soloist (July 4, 1975) • Sunday, July 22: Weber Konzertstück for piano and orchestra, Erich Leinsdorf conducting, Jorge Bolet, piano (July 26, 1968) • Monday, July 23: Williams Suite from Angela’s Ashes, Boston Pops Orchestra, John Williams conducting, Frank McCourt, nar- rator (July 20, 2000) • Tuesday, July 24: Songs by Debussy and Fauré, and Latin American songs; Phyllis Curtin, soprano, Ryan Edwards, piano (August 18, 1964) • Wednesday, July 25: Mozart Requiem, Colin Davis conducting, Benita Valente, Beverly Wolff, Kenneth Riegel, and Robert Hale, soloists, Tanglewood Festival Chorus (August 8, 1971) • Thursday, July 26: Bartók Concerto for Orchestra, Pierre Monteux conducting (July 22, 1956) For complete details, please visit tanglewood.org.

22 August 12, 1937: A Significant Date in Tanglewood History

It was during one of the multiple interruptions to the Boston Symphony Orchestra’s thunderstorm-afflicted all-Wagner concert of August 12, 1937, at Tanglewood that Berkshire Symphonic Festival mover/shaker/co-founder Gertrude Robinson Smith initiated a fundraising drive aimed toward the building of the permanent structure— the Tanglewood Shed—that serves as venue for the BSO’s Tanglewood concerts to this day. As she put it, “this storm has proved conclusively the need for a Shed. We must raise $100,000 to build it!” Members of the audience donated $30,000 on the spot. A year later, the Shed was ready for the BSO’s 1938 Tanglewood concerts. The following account of that famous Wagner concert was written, specifically for a permanent record to be kept in the BSO Archives, by Sylvia G. Dreyfus, the wife of Boston publisher Carl Dreyfus and, like her husband, a friend of Koussevitzky. It is taken here from the book “Tanglewood: A Group Memoir” by Peggy Daniel (Amadeus Press, 2008).

“I hope the Festival committee, and, above all, Mr. Koussevitzky will forgive me when I say that the dominant memory of the 1937 season was the weather. And as the weather played such a decisive part in the development of the Festival, I dare say I shall be forgiven. You have all heard the story of the all- Wagner program and the storm. You know how the rain held off until the audience was assembled in the tent and, perhaps five minutes before eight-thirty, began to pour. There was thunder and lightning. Shortly after the scheduled starting time, K. [Koussevitzky] took his place on the podium. The rain stopped. He raised his baton for the beginning of the Rienzi Overture and played a few bars. The downpour started again, steady, loud, resounding on the wet canvas top [of the tent] like drumbeats or machine-gun fire. K. stopped. A lull. He started again and managed to get through the overture; but with the opening measures of the Siegfried Idyll the rain began once more, a deluge. Gertrude Robinson Smith “With a gesture of despair, K. left the platform. For half an hour we (BSO Archives) awaited the pleasure of the storm. The audience began to get wet, and people kept shifting to different seats to escape the water, which

After the storm of August 12, 1937, which precipitated a fundraising drive for the construction of the Tanglewood Shed (BSO Archives)

TANGLEWOODWEEK 3 INTRODUCTION 23 dripped through the joints in the tent and through the holes around the great upright poles. Nobody could leave—the downpour was too heavy. Everyone was good natured, including the conductor, who proved not only that he had an indomitable will but that he was a really good sport. Eventually he played all the noisier numbers (Wagner lovers, forgive me the word noisy) regardless of the order of the program. You would be surprised to know how exciting the ‘Ride of the Valkyries’ sounded against the elements that were really the appropriate setting for those dauntless ladies. The program ended with Tristan und Isolde, instead of Tannhäuser, but by that time the rain had stopped. The conductor was cheered to the skies that wept no longer. “Later that night, four or five of us were sitting in the deserted so-called bar of the Berkshire Hunt Club when K. stopped in to say good night to us. He was bedraggled and weary, but triumphant. ‘So,’ he said gaily, ‘here I am. You see, not fire nor water shall drive me out. But not again will I do this. I will not conduct here next year if there is no protection against storms. It is not fair to my orchestra. It is not fair to my audience. It is not fair to music.’”

The BSO’s 1937 Berkshire Festival schedule as printed in the program book for the season’s six concerts (BSO Archives)

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 25 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives)

26 TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 27 A page from the 1937 program book for the Boston Symphony Orchestra’s first concerts at Tanglewood (BSO Archives)

28 TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 29 30 TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 31 32 Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Sunday, July 22, 2:30pm

KEN-DAVID MASUR and KURT MASUR conducting

ALL-MOZART PROGRAM

KEN-DAVID MASUR conducting

Serenade No. 13 in G for strings, K.525, “Eine kleine Nachtmusik” Allegro Romanze. Andante Menuetto: Allegro Rondo: Allegro

Piano Concerto No. 24 in C minor, K.491 Allegro Larghetto Allegretto GERHARD OPPITZ

{Intermission}

KURT MASUR conducting

Symphony No. 36 in C, K.425, “Linz” Adagio—Allegro spiritoso Andante Menuetto Presto

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

TANGLEWOODWEEK 3 SUNDAYPROGRAM 33

NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) Serenade No. 13 in G for strings, K.525, “Eine kleine Nachtmusik” First performance: Entered into Mozart’s own catalogue on August 10, 1787, but early performance history unknown. First BSO performance: March 1924, Georg Schnéevoigt cond. First Tanglewood performance: August 7, 1938, Serge Koussevitzky cond. Most recent Tanglewood performance by the BSO: July 20, 1984, Kurt Masur cond., though a more recent Tanglewood performance was given on August 24, 1991, by the Cleveland Orchestra, Christoph von Dohnányi cond. The title, for us, is so specific, so redolent, so laden with an atmosphere of candle- light, Tokay, and delicate erotic intrigue. Alas for illusion. To Mozart, “Nachtmusik”— “night music”—was simply a common and potentially lucrative musical genre, the one more familiar to us as “Serenade,” something for the evening. (In general, Mozart preferred the Italianate designation, “serenata”). By 1787, Mozart kept a regular catalogue of his works, and the entry for August 10, 1787, reads: “Eine kleine Nacht Musick, bestehend in einem Allegro, Menuett und Trio,—Romance, Menuett und Trio, und Finale.” And here we have a mystery: the first minuet with its Trio is missing, the page on which it was written removed from the manuscript. When? By whom? Why? Is the minuet circulating in some other context, an undetected fugitive? We don’t know. Alfred Einstein harbored a notion that the minuet from the partially spurious piano sonata in G, K.App.C.25.05(App.136), might be the missing minuet, that it could easily be (re)scored for strings and placed between the first two movements of Eine kleine Nachtmusik, but I don’t know that anyone ever pursued his sugges-

TANGLEWOODWEEK 3 SUNDAYPROGRAMNOTES 35 tion. Serenades normally had two minuets, but for us the experience of the four- movement symphony is so central that we cannot, except in the most self-conscious way, make ourselves hear Eine kleine Nachtmusik (“A little night-music”) as stunted or in any sense “wrong.” (And the two wind octet serenades in E-flat and C minor, K.375 and 384a[388], are, after all, four-movement pieces, too.) But “klein” this Nachtmusik is, not only because it has fewer movements than many serenades, but because Mozart has made the movements themselves singularly “classical” and compact. It was his last serenade and his only one for strings alone.* He interrupted work on Don Giovanni in order to write Eine kleine Nachtmusik. It comes near the end of an amazing four-year period in which he wrote most of his piano concertos, the Prague Symphony, five each of quartets and quintets, both piano quartets, three trios and five sonatas, the Rondo in A minor for piano, his most important songs, and three operas—Figaro, Don Giovanni, and Der Schauspieldirektor (The Impresario). “Among other things,” one must of course add, and that is not yet taking into account his exceedingly active life as performer and teacher. Among the other things is A Musical Joke, K.522, and Einstein suggests—on no evidence, but with penetrating psychologi- cal insight—that Mozart wrote Eine kleine Nachtmusik, as clear and elegant a piece as he knew how to make and as ever he did make, as a necessary antidote to those deli- ciously inverted clumsinesses and wrong notes. Or was there a commission, some

*One hears it occasionally played by string quintet, but Mozart’s designation of plural “bassi” tells us that he intended an orchestral complement.

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)

36 other sort of external occasion? Again, we don’t know. And we have then the para- dox that this most popular, familiar, unclouded work of Mozart’s, so finished and ﬁne, is encircled by unanswered questions.

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.

Wolfgang Amadè Mozart Piano Concerto No. 24 in C minor, K.491 First performance: April 3, 1786, Burgtheater, Vienna, Mozart, soloist. First BSO performance: December 1, 1959, Charles Munch cond., Claude Frank, soloist. First Tanglewood performance: July 16, 1960, Charles Munch cond., Claude Frank, soloist. Most recent Tanglewood performance by the BSO: July 30, 2004, Edo de Waart cond., Richard Goode, soloist. Most recent Tanglewood performance: August 21, 2005, Orchestra of St. Luke’s, Peter Oundjian cond., Peter Serkin, soloist. Mozart composed three piano concertos during the time he was working on Le nozze di Figaro in the winter of 1785-86. The first two of these (K.482 in E-flat and K.488 in A) were, to some extent, retrenchments to a decorative lyric style that would be sure to please the Viennese, as if Mozart realized that the very symphonic pair of concertos that immediately preceded them—K.466 in D minor and K.467 in C major— had stretched the limits of his audience’s comprehension. Both of the first two concertos in the triptych exploit new instrumental colors (they have clarinets for the first time in Mozart’s concertos, though they omit oboes) and boast an incredible wealth of fresh melodic ideas. The third of the concertos, however, in the key of C minor, which was always, in Mozart’s mind, a tonality for music of particularly dramatic character, reverts to the symphonic elaboration of the earlier concertos without, however, losing the new coloristic interest; it is the only Mozart concerto to have both oboes and clarinets. At the same time, it is unusually single-minded in its concentration on the principal thematic material presented at the very outset—a rare procedure for Mozart, especially in the piano concertos, where a multiplicity of ideas usually helps to differentiate soloist and orchestra. But here, possibly influenced by Haydn’s tendency to monothematicism, Mozart composes a work that is tightly organized thematically—Haydn’s technique, but in Mozart’s style. The tense emotional storms called forth by the tonality, the frequent chromatic movement, and the thematic concentration bespeak Mozart at every moment. The symphonic development, built up of fragments of the first theme, cost him a great deal of effort, as the much-cancelled and rewritten manuscript reveals. The introductory orchestral ritornello is so completely devoted to the opening material and its developments that there is hardly a hint of any second theme. Even when the piano takes off on its own exposition, the relative major key of E-flat does not bring with it a memorable new melody, just a momentary relief from chromatic intensity—and the relief is indeed momentary. After this tempest of uncertainty, the slow movement brings the air of something almost too pure to exist in the real world, as exemplified by the passions of the opening movement. The play of the woodwinds is particularly felicitous; for much of

TANGLEWOODWEEK 3 SUNDAYPROGRAMNOTES 37 the movement, even though he has both clarinets and oboes at hand, Mozart builds his woodwind interludes with flute on top, bassoon on the bottom, and either clarinets or oboes in the middle. Gradually they begin to impinge upon one another until all of the woodwinds (supported by the horns), like balmy zephyrs, bring in the soloist for another statement of his theme. In Mozart’s earlier minor-key piano concerto (K.466 in D minor) the finale had been light enough to disperse the memory of the opening movement’s stormy qualities. In this concerto, however, the finale draws upon many of the same chromatic ges- tures that made the opening so powerful. There is variety here, to be sure, but many reminders of the overall mood, even when, after the cadenza, the piano unexpectedly takes off in a rollicking—or what would normally be a rollicking—6/8 version of the theme to bring the concerto to its conclusion. The C minor concerto is one of those works in which Mozart approached most closely to the romantic expression of the next generation. It is not surprising that Beethoven is known to have especially admired it. Once, in the summer of 1798, he was walking through the Augarten in Vienna with the visiting pianist and composer J.B. Cramer when they heard a performance of this concerto. Beethoven drew Cra- mer’s attention to a particular passage at the end of the first movement and cried,

38 “Cramer, Cramer, we shall never be able to do anything like that!” It is most likely that the passage Beethoven had in mind was that surprising moment after the first- movement cadenza when the pianist enters again. (Up until this work, the soloist’s job was normally finished after playing the cadenza, and the orchestra would normally conclude the movement with a more-or-less perfunctory final ritornello.) In this case, what follows the cadenza is the big surprise: rather than ending with fortis- simo orchestral statements and flashy virtuosic fireworks, all is suddenly misty and mysterious, vanishing in a whisper. How unlike any concerto that had ever been written! Small wonder that when Beethoven came to write his own piano concerto in C minor soon after hearing the performance in the Augarten, he should reintro- duce the piano in a similar way, with his own surprising, quiet culmination, thus overtly signaling his recognition of the grand tradition and his indebtedness to the old master.

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.

Wolfgang Amadè Mozart Symphony No. 36 in C, K.425, “Linz” First performance: November 4, 1783, Linz, Count Thun’s orchestra (see below). First BSO performance: November 1882, Wilhelm Gericke cond. First Tanglewood performance: July 17, 1949, Serge Koussevitzky cond. Most recent Tanglewood performance: August 23, 2002, James Conlon cond. Linz is Austria’s third largest city, industrial, not especially attractive, but renowned for a heady chocolate, almond, and jam cake, and for this symphony of Mozart’s. Wolfgang and Constanze Mozart visited there for three weeks in the fall of 1783 as guests of Count Johann Joseph Thun, an old friend of the Mozart family. They had gone from Vienna to Salzburg to present Constanze to Wolfgang’s father and in the hope of reconciling him to their marriage. Leopold Mozart, however, was adamantly difficult, and the young couple, unhappy about the storm clouds chez Papa, were relieved to get away. When they got to Linz after stops at Vöcklabruck, Lambach (where Mozart arrived just in time to accompany the Agnus Dei at Mass), and Ebelsberg they were met at the city gates by a servant of the Thun house- hold, to make sure they not stop at an inn, but go instead to the family’s house in Minorite Square. A letter from Mozart to his father tells us that Count Thun had already scheduled a concert for the following Tuesday, November 4; since he had no symphony with him, Mozart had to “work on a new one at head-over-heels speed.” It is a grandly inventive work that Mozart made in such a hurry. For the first time, he begins a symphony with a slow introduction, declamatory at first, then yielding and full of pathos, and cannily creating suspense. The Allegro to which it leads is energetic, festive, with a touch of the march about it. And how delightful the first theme is, with those slow notes that so carefully fail to prepare us for the sudden rush of the third and fourth bars. Only the recapitulation—more of a repeat than the continuation of development we are apt to expect from Mozart at this point in his life—reminds us of the daunting deadline against which he wrote, as does the regularity of the recapitulation of the finale. Some editions give a marking of “Poco adagio” for the second movement, but that

TANGLEWOODWEEK 3 SATURDAYPROGRAMNOTES 39 is incorrect, though not altogether wrong in spirit. This Andante, touched by the 6/8 lilt of the siciliano, is in F major, but yearns always for minor-mode harmonies. Unusual is the presence of trumpets and drums, most often silent in the not neces- sarily so slow “slow movements” of classical symphonies. It seems likely that it was from this Andante that Beethoven got the idea of using trumpets and drums so effectively in the second movement of his Symphony No. 1, and the Mozart scholar Neal Zaslaw suggests that here could be the inspiration for the dramatic trumpet- and-drum interventions in the great Largo of Haydn’s Symphony No. 88. The minuet is courtly; the Trio, which is piano all the way through, demurely rustic. The scoring in the Trio, for oboe an octave above the violins and bassoon an octave below (sometimes in canon, sometimes a sixth below), is delicious. The finale brings back the first movement’s exuberance, but in heightened form: the first page alone contains three distinct ideas. Here is Mozart at his most dazzlingly prodigal. The development begins with an ordinary G major chord, made not at all ordinary by being laid out as a descending zigzag, like lightning in slow motion. This zigzag proves to be a powerful motor indeed as first violins, cellos, bassoon, oboes, and violas (in a most striking touch of color) explore it by turns. The recapitulation proceeds as expected, which is to say, delightfully. There is no coda.

MICHAEL STEINBERG

Guest Artists

Kurt Masur Kurt Masur is well known to orchestras and audiences alike as both a distinguished conductor and a humanist. In September 2002 he became music director of the Orchestre National de France in Paris, then in September 2008 assumed the title of Honorary Music Director for Life. From 2000 to 2007 he was principal conductor of the London Philharmonic. From 1991 to 2002 he was music director of the New York Philharmonic; following his tenure there he was named Music Director Emeritus, becoming the first New York Philharmonic music director to receive that title, and only the second (after the late Leonard Bernstein, who was named Laureate Conductor) to be given an honorary position. In addition, the New York Philharmonic established the Kurt Masur Fund for the Orchestra, endowing “conductor debut week” at the Philharmonic in perpetuity in his honor. From 1970 until 1996, Mr. Masur served as Gewandhaus Kapellmeister of the Leipzig Gewandhaus Orchestra; upon his retirement from that post, the Gewandhaus named him its first-ever Conductor Laureate. He also holds the lifetime title of Honorary Guest Conductor of the Israel Philharmonic Orchestra. Since 1989, when he played a central role in the peaceful demonstrations that led to the German reunification, the impact of his leadership has attracted worldwide attention. His many honors include the Cross of the Order of Merit of the Federal Republic of Germany; the Gold Medal of Honor for Music from the National Arts Club; the titles of Commander of the Legion of Honor from the French government (subse- quently upgraded to Grand Officer of the Legion of Honor, a rank rarely given to for- eign citizens) and New York City Cultural Ambassador from the City of New York; the Commander Cross of Merit of the Polish Republic; the Cross with Star of the Order of Merit of the Federal Republic of Germany; Germany’s Great Cross of the Legion of Honor with Star and Ribbon, and, most recently, the Furtwängler Prize. In July 2004 he was appointed chairman of the Beethoven House in Bonn (the composer’s birth- place). Kurt Masur made his United States debut with the Cleveland Orchestra in 1974

TANGLEWOODWEEK 3 GUESTARTISTS 41 and led the Gewandhaus Orchestra on its first American tour that same year. He made his Boston Symphony debut in 1980 and his New York Philharmonic debut in 1981. He now returns to the United States annually to conduct the Boston Symphony, New York Philharmonic, Cleveland Orchestra, Philadelphia Orchestra, Chicago Symphony, San Francisco Symphony, and the National Symphony Orchestra in Washington, D.C. In Europe he works with, among others, the Gewandhaus Orchestra, Dresden Phil- harmonic, Concertgebouw Orchestra, Berlin Philharmonic, Rome’s Santa Cecilia Orchestra, the orchestras of Teatro La Scala and La Fenice, and the London Philhar- monic. In July 2007, at his 80th Birthday Concert at the BBC Proms in London, he conducted joint forces of the London Philharmonic Orchestra and the Orchestre National de France. A professor at the Leipzig Academy of Music since 1975, Kurt Masur is also an Honorary Citizen of his hometown of Brieg. He has made well over 100 recordings with numerous orchestras, holds honorary degrees from educational institutions on both sides of the Atlantic, and in 2008 celebrated sixty years as a professional conductor. Visit kurtmasur.com for further information. Since his BSO debut in 1980, Kurt Masur has appeared frequently with the Boston Symphony Orchestra in Symphony Hall and at Tanglewood, where last summer he conducted both the BSO and the Tanglewood Music Center Orchestra. His most recent BSO subscription appearances were in October 2011, when he led an all-Brahms program.

Ken-David Masur This is Ken-David Masur’s second summer as a Conducting Fellow at the Tanglewood Music Center. He is the recipient this summer of the Edward H. and Joyce Linde Fellowship and last summer received the Seiji Ozawa Conducting Fellowship. His recent engagements have included appearances with the Dresden Philhar- monic, Russian National Philharmonic, Israel Philharmonic, Orchestre National de Toulouse, and Orchestra Sinfonica Siciliana. Ken-David Masur currently serves as principal guest conductor of the Munich Symphony as well as assistant conductor of the San Diego Symphony. Between 2004 and 2006 he was an assistant conductor for the Orchestre National de France in Paris before being appointed resident conductor of the San Antonio Symphony in 2007. In 2010 he conducted the London Symphony Orchestra as one of three finalists in the prestigious Donatella Flick Conducting Competition in London.

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

42 Gerhard Oppitz Gerhard Oppitz was born in Frauenau, Bavaria, in 1953. He started playing the piano at age five, making his debut with a performance of Mozart’s D minor piano concerto when he was eleven. Along with his great enthusiasm for school, especially for science and mathematics, he continued his musical education in Stuttgart and Munich starting in 1966 with professors Paul Buck and Hugo Steurer, and later with Wilhelm Kempff, concentrating on the works of Beethoven. In 1977 he was awarded first prize at the Artur Rubinstein Competition in Israel, performing Beethoven’s Piano Concerto No. 5 (Emperor) and Brahms’s Piano Concerto No. 1 for an international jury headed by Mr. Rubinstein himself. This event marked the beginning of his worldwide concert activities. Mr. Oppitz performs with the world’s most prestigious orchestras, including the Berlin, Vienna, London, Israel, and Royal Philharmonic orchestras, the Philadelphia Orchestra, and Cleveland Orchestra, as well as with the Boston, Pittsburgh, and London symphony orchestras and the Bavarian Radio Symphony Orchestra, under conductors including Sir Colin Davis, Wolfgang Sawallisch, Riccardo Muti, Lorin Maazel, Dmitri Kitajenko, Gianluigi Gelmetti, Marek Janowski, Zubin Mehta, Herbert Blomstedt, Kent Nagano, and Sir Neville Marriner. Performances of complete piano cycles feature prominently in his concert programming, including Schubert’s solo piano music, Beethoven and Mozart sonatas, Bach’s Well-Tempered Clavier, Grieg’s solo works, and Brahms’s complete piano works. He has performed complete Brahms cycles in most of the major European cities as well as in Tokyo. His extensive discography includes Brahms’s complete solo piano works, the two Brahms concertos with Sir Colin Davis, Grieg’s complete solo piano works, Beethoven’s piano concertos with the Leipzig Gewandhaus Orchestra and Marek Janowski (the first complete Beethoven concerto cycle to be recorded with that ensemble, and also including Beethoven’s own transcription for piano of his Violin Concerto), four Weber works for piano and orchestra—the two concertos, the Konzertstück, Opus 49, and the Polonaise brillante in a Liszt orchestration—with Sir Colin Davis and the Bavarian Radio Symphony Orchestra, the complete Beethoven sonatas, and Schubert’s piano works. His main interest is the classical-romantic repertoire, although he has always devoted himself to music of the twentieth century as well, playing premiere performances of several piano concertos. Since 1981 he has been teaching post-graduate students at the Academy of Music in Munich. Mr. Oppitz has previously appeared as soloist with the BSO in Brahms’s Piano Concerto No. 2, for his BSO debut in March 1995 at Symphony Hall, and Beethoven’s Piano Concerto No. 3, at Tanglewood in July 2010. In addition to his Tanglewood appearance with the BSO this afternoon, Mr. Oppitz is also performing Brahms’s complete music for solo piano in four Seiji Ozawa Hall recitals, the first two having taken place this past week, the remaining two to take place this coming Wednesday and Thursday nights. Kevin Toler

TANGLEWOODWEEK 3 GUESTARTISTS 43

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

BSO Members’ Association • 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

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 3 THEKOUSSEVITZKYSOCIETY 45 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 • 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 • 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 •

46 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. David Friedson and Ms. Susan Kaplan • 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 • Richard Holland • 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 • Drs. Gail and Allen Meisel • 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. • Michael and Elsa Daspin Suisman • 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 • Stephen M. Weiner and Donald G. Cornuet • 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 (8) † Deceased

TANGLEWOODWEEK 3 THEKOUSSEVITZKYSOCIETY 47

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 participat- ed in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying 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