Conductor Emeritus Seiji Ozawa | Music Director Laureate

2012–2013 season | Week 10 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate

Table of Contents | Week 10

7 bso news 13 on display in symphony hall 14 in memoriam: elliott carter 16 the boston symphony orchestra 18 five new bso musicians 21 a toast to french music by hugh macdonald 28 this week’s program

Notes on the Program

30 The Program in Brief… 31 Hector Berlioz 37 Camille Saint-Saëns 43 James MacMillan 49 Albert Roussel 57 To Read and Hear More…

Guest Artists

61 Stéphane Denève 63 Jean-Yves Thibaudet

66 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

the friday preview talk on november 30 is given by bso director of program publications marc mandel.

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

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

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

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

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners† • 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 • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas other officers of the corporation

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

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

week 10 trustees and overseers 3

photos by Michael J. Lutch

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

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

week 10 trustees and overseers 5

BSO News

Boston Symphony Chamber Players at Jordan Hall, Sunday, January 13, at 3 p.m. The next Boston Symphony Chamber Players concert of their four-concert Jordan Hall series at the New England Conservatory takes place on Sunday afternoon, January 13. The program will include Lutosławski’s Dance Preludes for winds and strings, Gabriela Lena Frank’s Sueños de Chambi for flute and piano, and Copland’s Appalachian Spring in its original version for chamber orchestra. Single tickets at $38, $29, and $22 are available online at bso.org, at the Symphony Hall box office, or by calling Symphony Charge at (617) 266-1200. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street.

Free Chamber Music Concerts Featuring BSO Musicians at Northeastern University’s Fenway Center on St. Stephen Street Once again this season, the Boston Symphony Orchestra in collaboration with Northeastern University is pleased to offer free chamber music concerts by members of the Boston Symphony Orchestra on selected Friday afternoons at 1:30 p.m. at the Fenway Center at Northeastern University, 77 St. Stephen St. (at the corner of St. Stephen and Gainsborough streets). Free general-admission tickets can be reserved by e-mailing [email protected] or by calling (617) 373-4700; on the day of the performance, remaining tickets are available at the door. The next concert in this series will take place Friday, January 18—to include Verdi’s String Quartet in E minor, Previn’s Clarinet Quintet, and music of William Grant Still and Earle Brown, featuring the Hawthorne String Quartet (made up of BSO members) and BSO clarinetist Thomas Martin—with further concerts scheduled for March 1, March 8, and April 26. These free concerts are made possible in part by a generous grant from the Lowell Institute.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all BSO Friday- afternoon subscription concerts throughout the season. Given primarily by BSO Director of Program Publications Marc Mandel and Assistant Director of Program Publications Robert Kirzinger, these informative half-hour talks incorporate recorded examples from the music to be performed. The Friday Preview speakers for October and November are Marc Mandel (October 5 and 12; November 30), Robert Kirzinger (October 19; November 2 and 16), Harlow Robinson of Northeastern University (November 9), and Jan Swafford of The Boston Conservatory (November 23).

week 10 bso news 7

BSO 101 at Symphony Hall BSO 101 is an informative series of free adult education sessions on selected Tuesdays and Wednesdays, from 5:30-6:45 p.m. at Symphony Hall. The Wednesday sessions—“BSO 101: Are You Listening?,” with Director of Program Publications Marc Mandel and members of the BSO—are designed to enhance your listening abilities and appreciation of music by focusing on music from upcoming BSO programs. The Tuesday sessions—“BSO 101: An Insider’s View”—focus on behind-the-scenes activities at Symphony Hall. All of these free sessions are followed by a complimentary reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others. There will be two BSO 101 sessions in January. A Wednesday “Are You Listening?” session on January 9 with Marc Mandel and BSO Artistic Administrator Anthony Fogg will examine “Contrasting Voices” in music for voice and orchestra by Verdi, Wagner, Knussen, and Mahler. The Tuesday “Insider’s View” session on January 29 will offer the season’s second round table discussion with BSO members, to include BSO cellist Blaise Déjardin and principal trumpet Thomas Rolfs. Though admission is free, we do ask that you e-mail [email protected] or call (617) 638-9454 to reserve your place for the date or dates you’re planning to attend. Complete information about upcoming BSO 101 sessions can be found at bso.org, under the “Education & Community” tab on the BSO’s home page.

The BSO on the Web At BSO.org/MediaCenter, patrons can find a centralized location for access to all of the Boston Symphony Orchestra’s media offerings. The free and paid media options include radio broadcast concert streams, audio concert previews, interviews with BSO musicians and guest artists, excerpts from upcoming programs, and self-produced recordings by the BSO, Boston Pops, Boston Symphony Chamber Players, Tanglewood Festival Chorus, and Tanglewood Music Center Fellows. In addition, there are complete program notes available for download, printing, or saving to an e-reader. The BSO kids website offers educational games and resources designed to be fun and help teach various aspects of music theory and musical concepts. The BSO is also on Facebook (facebook.com/bostonsymphony) and Twitter, and you can watch video content at youtube.com/boston symphony. New this fall is a BSO mobile site, which allows patrons to access performance schedules; download program notes; listen to concert previews, music clips, and concert broadcast streams; and view video podcasts.

Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance onon Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

week 10 bso news 9 10 individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

Go Behind the Scenes: and Worcester in Massachusetts; Nashua, Symphony Hall Tours New Hampshire; and Rhode Island. Taking advantage of your area’s bus service not only Get a rare opportunity to go behind the helps keep this convenient service operating, scenes at Symphony Hall with a free, guided but also provides opportunities to spend tour, offered by the Boston Symphony Associ- time with your Symphony friends, meet new ation of Volunteers. Throughout the Symphony people, and conserve energy. If you would season, experienced volunteer guides discuss like further information about bus transporta- the history and traditions of the BSO and its tion to Friday-afternoon Boston Symphony world-famous home, historic Symphony Hall, concerts, please call the Subscription Ofﬁce as they lead participants through public and at (617) 266-7575. selected “behind-the-scenes” areas of the building. Free walk-up tours lasting approxi- mately one hour take place this fall at 2 p.m. Those Electronic Devices... on five Saturdays (October 6, 13; November As the presence of smartphones, tablets, 3, 17; December 1) and at 4 p.m. on eight and other electronic devices used for com- Wednesdays (October 3, 10, 17, 24, 31; munication and note-taking has continued to November 7, 14, 28). For more information, increase, there has also been an increase in visit bso.org/tours. All tours begin in the expressions of concern from concertgoers Massachusetts Avenue lobby of Symphony and musicians who find themselves distracted Hall. Special private tours for groups of ten not only by the illuminated screens on these guests or more—free for Boston-area elemen- devices, but also by the physical movements tary schools, high schools, and youth/educa- that accompany their use. For these reasons, tion community groups—can be scheduled in and as a courtesy to those on stage as well advance (the BSO’s schedule permitting). Make as those around you, we respectfully request your individual or group tour reservations that all such electronic devices be turned off today by visiting bso.org/tours, by contacting and kept from view while the BSO’s perform- the BSAV office at (617) 638-9390, or by ances are in progress. Thank you very much e-mailing [email protected]. for your cooperation.

Friday-afternoon Bus Service to Comings and Goings... Symphony Hall Please note that latecomers will be seated If you’re tired of fighting traffic and search- by the patron service staff during the first ing for a parking space when you come to convenient pause in the program. In addition, Friday-afternoon Boston Symphony concerts, please also note that patrons who leave the why not consider taking the bus from your hall during the performance will not be community directly to Symphony Hall? The allowed to reenter until the next convenient Boston Symphony Orchestra is pleased to pause in the program, so as not to disturb the continue offering round-trip bus service on performers or other audience members while Friday afternoons at cost from the following the concert is in progress. We thank you for communities: Beverly, Canton, Cape Cod, your cooperation in this matter. Concord, Framingham, Marblehead/Swamp- scott, Wellesley, Weston, the South Shore,

week 10 bso news 11 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two clarinets owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as Joseph Haydn for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 10 on display 13 ihe .Lutch J. Michael

IN MEMORIAM Elliott Cook Carter, Jr. (December 11, 1908–November 5, 2012)

The Boston Symphony Orchestra is deeply saddened by the death of American composer Elliott Carter. The BSO and its staff extend deepest sympathies to his family, friends, and admirers the world over.

Elliott Carter commanded universal respect as one of the great artists of our era. Intensely interested in modern cultural life, he was very well-read, spoke and read several languages, and took a strong interest in arts of many epochs. He maintained friendships with artists, writers, and musicians of several generations. Aaron Copland was an early advocate; Igor Stravinsky called his Double Concerto for piano, harpsichord, and two chamber orchestras a masterpiece, and his music has been championed by the Juilliard String Quartet, Pierre Boulez, Charles Rosen, Oliver Knussen, Ursula Oppens, James Levine, Daniel Barenboim, Pierre-Laurent Aimard, Fred Sherry, and many others. He was twice awarded the Pulitzer Prize in Music (for his Second and Third string quartets), was awarded the Ernst von Siemens Music Prize, and received the National Medal of Arts. This year the French government named him a Commandeur de la Légion d’honneur.

Carter’s relationship with the Boston Symphony Orchestra spanned nearly ninety years. Growing up in New York City, as a teenager he was fascinated by new currents in the arts, particularly music, and befriended the much older Charles Ives, with whom he often attended concerts. Carter later said that it was a Boston Symphony performance he attended with Ives of Stravinsky’s Rite of Spring at Carnegie Hall that convinced him to pursue music as a career. The presence of the BSO and its adventurous music director, Serge Koussevitzky, in Boston was one of the factors in Carter’s choice to attend Harvard University.

The Boston Symphony first played Elliott Carter’s music—his Variations for Orchestra— in 1964. The orchestra, with soloist Jacob Lateiner, gave the premiere of his Piano Concerto

Outside Seiji Ozawa Hall at Tanglewood in 2007

14 in 1967 under Erich Leinsdorf, and released the first recording of the piece. A member of the Tanglewood Music Center faculty many times over the years, Carter enjoyed an especially rich relationship with the BSO in the past decade, beginning with the orchestra’s commission of his Boston Concerto, premiered in 2003. During James Levine’s tenure as music director, the BSO commissioned Carter’s orchestral miniature Micomicón, later iayScott Hilary part of the triptych Three Illusions, and his Horn Concerto (premiered by BSO principal James Sommerville in 2007); and co-commissioned his Flute Concerto (American premiere by BSO principal Elizabeth Rowe in 2010), Mosaic for harp and ensemble (American premiere by BSO principal Ann Hobson Pilot in 2008), and Interventions for piano and orchestra. The latter, commissioned to celebrate the composer’s centennial, was premiered by the BSO under James Levine with pianist Daniel Barenboim at Symphony Hall, and was repeated in a special concert at Carnegie Hall on December 11, 2008, the composer’s 100th birthday.

Also in 2008, at James Levine’s instigation, the Tanglewood Music Center celebrated Carter’s centenary with a five-day Festival of Contemporary Music entirely dedicated to his During his 100th-birthday celebrations work in what was likely the most comprehensive such celebra- at Tanglewood in 2008 tion in the world. The Tanglewood Music Center also commissioned and presented the premieres of numerous works by Carter, including his string orchestra piece Sound Fields and the vocal ensemble piece Mad Regales in 2008. The TMC also gave the American stage premiere of his opera What Next? in 2006 under James Levine’s direction, subsequently released on DVD. In August 2013 during the

Festival of Contemporary Music, the TMC Lutch J. Michael will present a work co-commissioned with the Seattle Symphony Orchestra, Instances, in its East Coast premiere.

Sempre bravissimo, Mr. Carter.

With James Levine following the premiere in Symphony Hall of the Horn Concerto in November 2007

week 10 in memoriam 15 Boston Symphony Orchestra 2012–2013

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

bernard haitink seiji ozawa music director thomas wilkins 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

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

week 10 boston symphony orchestra 17 t Rosner Stu

Five New BSO Musicians

Five new members have joined the Boston Symphony Orchestra this season: (from left) Matthew McKay, percussion; Wesley Collins, viola; Kyle Brightwell, percussion; James Markey, bass trombone, and Michael Winter, horn.

Violist WESLEY COLLINS received his bachelor of music degree from the Cleveland Institute of Music, where he studied with Robert Vernon. An alumnus of the Tanglewood Music Center, he was a member of the Atlanta Symphony Orchestra before coming to the BSO. Originally from Cincinnati, he began studying violin with his mother at four; also played trumpet, which he studied with his father Philip Collins, former principal trumpet of the Cincinnati Symphony; and later switched to viola under the guidance of Michael Klotz, violist of the Amernet String Quartet. An active chamber musician, he was a founding member of the Vesuvius String Quartet

As the BSO’s new third horn, MICHAELWINTER occupies the Elizabeth B. Storer Chair. Before joining the BSO, he was acting principal horn of the Buffalo Philharmonic and principal horn of the Syracuse Symphony Orchestra. Born and raised in Southern California, he began his horn studies with his grandfather, Dr. James Winter, later studying with Jim Thatcher and John Mason, and at the New England Conservatory of Music with the BSO’s Richard Sebring and Richard Mackey. He has previously performed regularly in New England with the BSO, the Boston Pops, the Boston Ballet Orchestra, the Boston Philharmonic, and the Rhode Island Philharmonic.

New BSO bass trombonist JAMES MARKEY occupies the John Moors Cabot Chair, having previously held positions with the New York Philharmonic and the Pittsburgh Symphony. As an educator, he has been a featured artist at the International Trombone Festival, the Eastern Trombone Workshop, and the conferences of the New Jersey Music Educators

18 Association and the New York State School Music Association. Mr. Markey studied with Joseph Alessi at the Juilliard School, where he received his bachelor and master of music degrees in 2005 and 2006, respectively. Solo work includes appearances with the Pittsburgh Symphony and Sun Valley Summer Symphony, the United States Army Band, the Hora Decima Brass Ensemble, New York Staff Band of the Salvation Army, and the Hanover Wind Symphony.

Percussionist KYLE BRIGHTWELL occupies the BSO’s Peter Andrew Lurie Chair. He began studying piano and guitar at four before moving to percussion at age eleven. An alumnus of the Tanglewood Music Center and the Boston University Tanglewood Institute, he is a graduate of the Juilliard School, where he studied with New York Philharmonic percussionist Daniel Druckman, and received his master’s degree from Boston University, where he studied with BSO timpanist Timothy Genis. While in New York, he was a faculty member of Juilliard’s Music Advancement Program for underprivileged inner-city youth, and was also appointed a Fellow of the Gluck Community Service Fellowship (GCSF), for which he performed concerts in homeless shelters, psychiatric wards, AIDS centers, and other venues similarly in need of music.

Also an alumnus of the Tanglewood Music Center, MATTHEW MCKAY played percussion for the Oregon Symphony before joining the BSO. Originally from Fairfax, Virginia, he began violin at age four, piano at seven, and percussion at ten. He earned his bachelor’s degree from the New England Conservatory, where he studied with the BSO’s J. William Hudgins, and completed his master’s degree at Boston University, where he studied with BSO timpanist Timothy Genis. Other summer engagements have included fellowships at the Spoleto Music Festival, Schleswig-Holstein Music Festival, and National Orchestral Institute. He has also been a member of the Third Angle new music ensemble in Portland, Oregon.

week 10 five new bso musicians 19

A Toast to French Music by Hugh Macdonald

As the Boston Symphony Orchestra’s 2012-13 season proceeds, audiences have a chance to hear Ravel’s “L’Enfant et les sortilèges” (October 25-27); Berlioz’s Overture to “Les Francs-juges,” Saint-Saëns’s Piano Concerto No. 5, “The Egyptian,” and Roussel’s “Bacchus et Ariane,” Suite No. 2 (all this week, November 29-December 1); Dutilleux’s “Métaboles” and Ravel’s “La Valse” (both January 10-15), and Saint-Saëns’s “Organ Symphony” (March 14-16).

André Malraux, Charles de Gaulle’s Minister of Cultural Affairs, once declared: “France is not a musical nation.” Jean-Jacques Rousseau, a composer as well as a philosopher (Swiss-French, to be precise), similarly concluded that the “French have no music and cannot have any.” Germans and Italians have often looked at French music and wondered how such highly colored, over-literate, under-articulate music could win the admiration of their own people, let alone the world; and we are familiar with those famous falsehoods such as Germans calling England the “land without music,” or Hugo Wolf calling America the “last resort of the unmusical.” That excellent composer Edouard Lalo could see nothing admirable in Brahms’s Violin Concerto, even though he himself wrote a superb concerto (curiously named Symphonie espagnole) which has a lot in common, to our ears, with the other great concertos of that era by Bruch, Tchaikovsky, and, yes, Brahms. But why would the French insult their own music?

There is, or there should be, a common courtesy by which those who lack knowledge or understanding of something should respect those who possess it. “I know nothing about [...] but I know what I like,” is embarrassing but harmless. In France that courtesy has

week 10 a toast to french music 21 22 Maurice Ravel (left) Hector Berlioz

been freely disregarded over many centuries since culture, in its broadest sense, is everyone's concern. A more accurate portrayal of the French approach might be: “I know nothing about [...] but I offer my judgment nonetheless.” Squirming at the hubris of this, we should in fact be envying French culture, since it is broadly spread throughout the educated population and embraces the whole world of literature and the arts. French music is of incredible richness, and it has, like French painting, a distinctive color and character that many other nations might envy. How is that to be explained?

The answer lies in the soil and the climate, which combine to produce the miracle of fine wine. Blessed with the nectar of the gods, the French have developed the only fitting partner for it: the greatest cuisine in the world. For the French the table is the altar of life; everything must give place to le repas, and the sanctity of eating and drinking well is cen- tral to all activities—family life, business affairs, farming subsidies, politics, even love. Nothing can or should disturb those long hours spent at the table where the bottle is always there and where seemingly endless courses, each more exquisite than the last, are placed before the company. From this stems the Frenchman’s unrivaled capacity for talk. If you partake of such a meal, woe betide you if you have not read the latest novel, seen the latest film, or heard the trendiest concert. The French are a nation of critics. Everyone can offer an opinion whether or not he or she is qualified to do so. As the con- versation heats up and yet another bottle is drained, no one questions his companion’s authority to declare, de haut en bas, that so-and-so is a master while such-and-such has no talent.

For music there have been two effects of this culinary culture. First, French music, while being generously subventioned by the state, has always been subject to political pressure, whether during the Revolution or even in modern times, when the Minister of Culture effectively determines who does what across the nation. Second, every Frenchman likes to think he knows all about music, whether he does or not. Music thus has much more chance of survival if it has a literary or pictorial dimension that can render it accessible to

week 10 a toast to french music 23

Camille Saint-Saëns

the tone-deaf. The sonatas, symphonies, suites, and fugues so characteristic of German music have never been easy to discuss at French dinner tables, whereas ballet, opera, song, dramatic symphonies, symphonic poems, and film scores are juicy meat for the self-appointed critic to sink his knife into.

Although the French are not obviously a nation of singers, as the Italians are, and the language is not obviously easy to sing, as Italian is, it is opera that has claimed the attention of criticism and gossip over the centuries, since its literary and visual dimensions expose it to everyone. Berlioz remarked after the failure of his opera Benvenuto Cellini in 1838: “The French love to get into arguments about music without having the first idea about it or any feeling for it.” Opera has always attracted the unmusical, but never more than in France. Ballet has an even stronger lineage in France than opera, so it was no surprise that Diaghilev chose Paris as the city where his extraordinary new ballets were to be seen. Many French composers contributed to the flood of new ballets in the twentieth century, including Ravel and Roussel, Satie and Poulenc.

At the same time, the literary quality of French music is one of its chief glories. One can truly use the epithet “poetic” to describe Berlioz’s La Damnation de Faust or Debussy’s Prélude à l’Après-midi d’un faune. A gift for apt and touching illustration marks Couperin’s and Rameau’s music; the exotic images of Ravel’s Shéhérezade for voice and orchestra are superbly vivid. Berlioz’s Symphonie fantastique is a drama about unrequited passion which might equally have been a novel rather than a symphony. It never occurred to Berlioz to compose music without a story, a poem, a text, an image, or an experience as its subject-matter. A title such as “Symphony No. 3 in C minor” is unthinkable in Berlioz, yet Saint-Saëns, who admired Berlioz deeply and was close to him in his last years, composed exactly that, even though we prefer to label it his Organ Symphony. After Berlioz’s death and after the humiliation of the Franco-Prussian war of 1870-71, Saint-Saëns led the movement for the regeneration of French music by establishing a concert series in which only French music was to be performed. Hostile to Wagner and to what he saw as

week 10 a toast to french music 25 German excess, he nonetheless regarded Mozart as the model of classical purity, and wrote piano concertos and symphonies of immaculate classicism devoid of the least literary or pictorial image. An exception is to be found in the middle movement of the Fifth Piano Concerto, which has earned its nickname, the “Egyptian,” from the North African themes he imitated or adopted, since he composed the work mostly in a Cairo hotel. Only occasionally would Saint-Saëns drop his guard and compose something truly French such as the Carnaval des animaux, witty and delightful, but deeply embarrassing to the composer himself. Politically, he was a passionate nationalist who detested the Germans. So too was Vincent d’Indy, whose hostility to Germans and to Protestants could never eradicate his admiration of Bach.

The best French music depends on imagery and color, for French composers have a special feeling for orchestral sound, for visual effects, and for literary allusion. Neither Debussy nor Ravel was an admirer of Berlioz’s music, but they both acknowledged his mastery of orchestration and learnt much from it. Saint-Saëns, Massenet, and Messiaen, on the other hand, saw beyond the orchestration in Berlioz’s music to the substance and feeling also, just as Debussy found Rameau to be a worthy counterpart to Bach and Handel.

We call Debussy an Impressionist since he truly conveys the indistinct lines and subtle shades perfected by painters of the previous generation. There is a visual dimension in Debussy as there is a literary dimension in Berlioz. There are both in Dutilleux, a composer whose music is highly allusive, growing out of poetry and images without disclosing much about the secret of its structure. The sensitive orchestration of Dutilleux’s music is another element that connects him to his French forebears.

Ravel, the fastidious chain-smoker, seems wholly French in his perfect manners and effortless technique. Like Berlioz, he understood the orchestra completely without ever playing an orchestral instrument. He could draw on a palette of colors that a painter would envy, and he used that skill to evoke the world of children and animals in L’Enfant

26 Albert Roussel (left) Henri Dutilleux

et les sortilèges with absolute precision. He was a master of the Spanish idiom, he could evoke the Orient or the world of Greek folk song, and in La Valse he wrote a Viennese waltz as Viennese as anything the Strausses could dream of.

Hans von Bülow argued that Berlioz’s spirit was German through and through. On the other hand, Romain Rolland regarded Saint-Saëns as distinctively German in temperament— which cannot have pleased him—even if French in “la parfaite clarté.” “La clarté!” he went on, “that is the mark of M. d’Indy’s intelligence. There is no mind more French than his.” With clarté repeatedly put forward as the hallmark of French culture, it is wise not to interpret it as “clarity” since it more nearly suggests brightness or transparency. Impres- sionism, after all, seeks a deliberate unclearness. Logic is similarly invoked from time to time as a distinctive element of French music, although if that were true we would have to acknowledge Brahms as more French than Fauré.

In truth the famed rationality of the French intellect does not extend to music, for the abstraction of a self-contained, rationally constructed art form has little appeal. French music is sensuous, pictorial, elegant, allusive, decorative, imaginative, ritualistic, poetic, and many other things besides, but scarcely ever rational. And it all goes back to the wine. hugh macdonald is Avis Blewitt Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO. His latest book, “Music in 1853: Bio- graphy of a Year” (Boydell Press), was published this past spring.

week 10 a toast to french music 27 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, November 29, 8pm Friday, November 30, 1:30pm Saturday, December 1, 8pm

stéphane den`eve conducting

berlioz overture to “les francs-juges,” opus 3

saint-saëns piano concerto no. 5 in f, opus 103, “egyptian” Allegro animato Andante Molto allegro jean-yves thibaudet

{intermission} ee Vanderwarker Peter

28 macmillan three interludes from the opera “the sacrifice” I. The Parting II. Passacaglia III. The Investiture roussel “bacchus et ariane,” opus 43, suite no. 2 Ariadne’s awakening Ariadne and Bacchus Bacchus’ dance The kiss Bacchus’ cortège Ariadne’s dance Ariadne and Bacchus Bacchanale and the coronation of Ariadne

friday afternoon’s appearance by jean-yves thibaudet is supported by a generous gift in memory of hamilton osgood.

bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The evening concerts will end about 10, the Friday concert about 3:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 10 program 29 The Program in Brief...

This strongly Gallic, orchestrally electric program begins with an early work by Hector Berlioz, his Overture to Les Franc-juges. Berlioz never saw a staging of the ambitious opera for which the overture was intended and quickly despaired of having it performed, but he was justly proud of the overture, preserving it as a self-sufficient concert work. It is hardly credible that this magnificently orchestrated, finely crafted piece was Berlioz’s first work for orchestra and one of his first pieces to be performed publicly, its premiere taking place at a Paris Conservatoire concert in May 1928.

Camille Saint-Saëns was just a generation younger than Berlioz—he was thirty-three and an established composer when Berlioz died in 1869—but he lived to witness the dissolu- tion of Romanticism and the modernist eruption in early 20th-century France. A mar- velously precocious musician with pianistic skills rivaling Liszt’s, he wrote his fashionably virtuosic first four piano concertos between 1858 and 1875. He was sixty when he composed his final piano concerto, the Egyptian, so called because he wrote it (in just three weeks) while in Cairo; there are some hints of Middle Eastern musical character in the middle movement. Although sparkling with luminously nimble piano passages, the three-movement piece is less overt than the earlier concertos and more concerned with lyricism and atmosphere—perhaps the inevitable consequence of the composer’s matu- rity, but perhaps also the effect of the changing musical world around him.

The Scottish composer James MacMillan completed his second full-length opera, The Sacrifice, in 2006 for the Welsh National Opera. He and his librettist Michael Symmons Roberts turned to the Welsh collection of ancient myths and romances, the Mabinogion, for the plot, in which a young woman’s marriage to the leader of a rival people fails to heal the strife between the families. MacMillan, known for his striking—one might even say Berlioz-like—orchestration and musically dramatic imagination, extracted three pure- ly orchestral interludes from the opera to serve as a concert work. Each is a miniature, five-minute symphonic poem; knowledge of the larger plot is unnecessary to absorbing the intense emotional content of the three pieces.

Albert Roussel was of the generation of Debussy and Ravel—younger than the former, older than the latter—but was a late starter as a composer, having begun his professional life as a naval officer. His music, particularly early on, was strongly influenced by Debussy, but his later works, such as the Symphony No. 3 written for the Boston Symphony’s fiftieth anniversary, combine Impressionism’s lush harmonies and exotic orchestration with the formal and rhythmic rigor of neoclassicism. He wrote the score for the ballet Bacchus et Ariane in 1930 for the Paris Opera. The plot is from Greek myth: Ariadne, abandoned on Naxos by Theseus after the hero killed the Minotaur (Ariadne’s half-brother), is discov- ered by the god Bacchus, who takes her as his wife. The Suite No. 2 from the ballet is a series of highly characterful episodes featuring dances slow and fast, elegant and rough.

Robert Kirzinger

30 Hector Berlioz Overture to “Les Francs-juges,” Opus 3

HECTOR BERLIOZ was born at La Côte-Saint-André (Départment of Isère), south of Lyon, France, on December 11, 1803, and died in Paris on March 8, 1869. He composed his opera “Les Francs- juges” in 1825-26 in Paris. The overture was performed for the first time on May 26, 1828, in the Salle du Conservatoire, Paris, with Nathan Bloc conducting.

THE SCORE OF THE OVERTURE calls for two flutes, two piccolos, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, one cornet, three trombones, two ophicleides (for which tubas substitute in these concerts), timpani, bass drum, cymbals, and strings.

On New Year's Day 1865 the conductor Jules Pasdeloup included Berlioz's overture to Les Francs-juges in one of his “Popular Concerts” given in the Paris’s Cirque Napoléon, a huge tent-like space designed for circuses and grand equestrian displays. Pasdeloup was a pioneer of the idea of concerts for the masses, and he sustained the series for many years. The piece was wildly applauded by four thousand listeners. After the concert a lady stopped Berlioz in the street, saying, “What energy! What knowledge of the orchestra it shows! It must be one of your recent works.” “Alas, Madame,” Berlioz replied, “that work was written thirty-seven years ago. It was my first orchestral piece!”

Berlioz was wrong: it was actually thirty-nine years since he had composed the work and the opera to which it belonged, but he made the point that barely needs making: this is an astonishing piece for a twenty-two-year-old composer in his first year of study at the Conservatoire. It preceded the well-known Symphonie fantastique by a year or two. He was always proud of his precocious skill, and he was rewarded after the overture’s publi- cation by its popularity, especially abroad. Over 120 performances took place in his lifetime, far more than for any of his other works.

The avenue to fame as a composer in France lay in the field of opera, so it was natural that as soon as Berlioz began to feel sufficiently equipped he should look around for a libretto to set. In 1825 he was studying music privately with the elderly composer

week 10 program notes 31 Program page for the first Boston Symphony performances of Berlioz’s Overture to “Les Francs-juges” on December 5 and 6, 1902, with Wilhelm Gericke conducting (BSO Archives)

32 Lesueur and earning his living in any rough and ready way he could. His closest friend was a law student named Humbert Ferrand who shared his passion for opera and was also a poet. With the sinister tone of Weber's Der Freischütz in mind, Ferrand came up with a three-act story concerning the dark doings of the secret Vehmic courts which exercised great power in Germany in the later Middle Ages. (The title of the opera means “the free judges.”) A number of recent plays and books had revealed this history, much to the taste of readers of Gothic novels. A wicked usurper Olmerik, a captive princess Amélie, and a tenor hero Arnold constitute the standard operatic triangle, and the impasse is resolved by the arrival, just in time, of the soldiers of the Holy Roman Empire.

Berlioz hoped the opera might be staged at the Odéon Theatre, on the Left Bank, but an inexplicable regulation forbade the performance there of works by French composers. He revised the opera twice in the next few years hoping to adapt it to the needs of other theaters, but in each case it was rejected and he eventually gave up all hope of the opera itself while saving the overture for separate performance. He had already removed a march from the first version of the opera and thrust it into the Symphonie fantastique as the Marche au supplice. Most of the rest was destroyed or recycled, leaving six numbers in various degrees of completeness.

Berlioz knew no Beethoven when he composed the overture, although the slow introduc- tion gives strong hints of Beethoven’s style. We know that the heavy unison tune on the lower brass stands for the villain Olmerik, but whether any of the rest of the overture belongs directly to the music of the opera or not we cannot tell. The opening of the Allegro is symphonic in the manner of Beethoven and suggestive of some relentless dramatic impulse, while the contrasting second subject, a beautifully flowing melody first heard in the violins over a thrusting syncopated accompaniment, was salvaged from a youthful quintet, now lost.

The section which most obtrudes in the flow of the piece is a bizarre and protracted pas- sage where the winds seems to be spelling out a melody, perhaps something heard later in the opera, while the strings have a jittery accompaniment. Berlioz’s note here reads: “The orchestra here assumes a dual character: the strings must play in rough and violent style, without covering up the flutes. The flutes and clarinets on the other hand play with a sweet and melancholy expression.”

The music suggests the emotional disturbance of a placid scene, but the working out is symphonic rather than operatic. Once the second subject has broken across this strange episode, the overture gathers the same extraordinary momentum that we find in Berlioz’s other overtures, Benvenuto Cellini, for example. When F major is triumphantly reached, the heaven-storming strains of Olmerik’s trombones break in, answered by the shriek of two piccolos, some bizarre chromatics, and the final affirmation of the tonic key.

The problem with the opera itself was that in the years immediately following its com- pletion Berlioz experienced a series of thunderbolts that changed his outlook, his style, and his life. First Shakespeare, then romantic love in the person of Harriet Smithson, then

week 10 program notes 33

A drawing, attributed to Ingres, of Berlioz in the early 1830s

Beethoven, then Goethe. This would be too much for a man of normal sensibility, but for Berlioz, whose nerves were tuned to a much higher tension than in most of us, it produced a state wildly oscillating between exaltation and despair. Happily these violent impres- sions were eventually transformed by some mysterious alchemy into music, some of the most powerfully Romantic music of its time.

Hugh Macdonald hugh macdonald is Avis Blewitt Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO. His latest book, “Music in 1853: Biography of a Year” (Boydell Press), was published this past spring.

THEFIRSTAMERICANPERFORMANCE of Berlioz’s Overture to “Les Francs-juges” was on March 7, 1846, with Alfred Boucher conducting the Philharmonic Society in New York’s Apollo Rooms.

THEFIRSTBOSTONSYMPHONYPERFORMANCES of the overture were on December 5 and 6, 1902, with Wilhelm Gericke conducting, followed by performances in Philadelphia and Cambridge. Karl Muck led the overture in January 1918 at Symphony Hall, after which the BSO did not play it again until August 1972 at Tanglewood, with Colin Davis conducting, subsequent performances being given by Colin Davis on October 27 and 28, 1972, in Boston (the most recent subscription performances) and on November 1 and 3, 1972, at Philharmonic Hall in New York; then again by Davis in March/April 1981, in Providence, Washington, and Hartford; and by Jeffrey Tate at Tanglewood on August 13, 1989, the BSO’s most recent performance until this week.

week 10 program notes 35

Camille Saint-Saëns Piano Concerto No. 5 in F, Opus 103, “Egyptian”

CAMILLE SAINT-SAËNS was born in Paris, France, on October 9, 1835, and died in Algiers on December 16, 1921. He composed his Piano Concerto No. 5 in Cairo, Egypt, in March and April 1896, and was soloist in the first performance on June 2 that same year in the Salle Pleyel, Paris, with Paul Taffanel conducting the orchestra of the Société des Concerts.

IN ADDITION TO THE SOLO PIANO, the score calls for an orchestra of two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, tam-tam, and strings.

If Saint-Saëns had been just a pianist, he would have been as famous and as acclaimed as Anton Rubinstein, Leschetizky, Paderewski, or any other lion of the age. His piano concertos, all of which he played himself, provide scintillating evidence of his astonishing technique both in weight and nimbleness. Yet playing the piano was only one of many activities, not all of them concerned with music, that consumed him over a very long life. He was an immensely productive composer, of course, producing music “as an apple tree bears apples,” as he described it himself. No genre of music was untouched— operas, symphonies, concertos, chamber music, songs, choral music, all in abundance; even a ﬁlm score, one of the ﬁrst ever composed. For many years he was organist at the Madeleine church in Paris; he conducted frequently; he wrote articles for the press and published half a dozen books; he wrote poetry and plays; he took a close interest in astronomy, archaeology, philosophy, and classical literature; he spoke many languages and traveled all over Europe giving concerts, including a series of all the Mozart piano concertos in London; he went to Scandinavia, Russia, Indochina, and Uruguay; he was involved in the whole spectrum of music-making in France for all of his career, and he was a prime mover in the Société Nationale de Musique. His tastes ranged effortlessly from Wagner to the Baroque, and the composers he most admired were Mozart, Rameau, Gluck, Schumann, Berlioz, and Liszt. He was a modernist and a reactionary at the same time, an atheist who composed a huge quantity of religious music, a deeply serious and

week 10 program notes 37 Program page from the first Boston Symphony performances of Saint-Saëns’s Piano Concerto No. 5 on March 4 and 5, 1904, with soloist Ferruccio Busoni and Wilhelm Gericke conducting (BSO Archives)

38 thoughtful composer whose best-known work is the frivolous Carnival of the Animals.

Such a man is rare in any culture, and now that we can test his achievement solely by his music and his writings, his immense gifts are not so readily appreciated. Much of his music is bound to remain in obscurity, and there are few who would be bold enough to measure his achievement as a composer against Wagner or Verdi or Brahms. His works are appealing, superbly crafted, and full of surprises. Only at rare moments (such as in the second act of his opera Samson et Dalila) does he shake the heavens. He is very French in his desire to impress his hearers with the delicacy and rightness of every movement, to display impeccable taste, and to paint always in sensitive colors. His word-setting is faultless, his fugues are full of ingenious invention. His piano writing bears the signature of a brilliant pianist, and it takes a player of special gifts to throw off those cascades of scales and arpeggios as though they were the easiest thing in the world—as for him they were.

His ﬁrst four piano concertos appeared at steady intervals between 1858 and 1875. The Second, which he composed in seventeen days, has remained his most popular concerto. After the age of forty he spent more and more time vacationing in North Africa, the out- come of which was the Suite algérienne for orchestra in 1880, a colorful work for piano and orchestra simply entitled Africa in 1891, and this Fifth Piano Concerto in 1896. Like the famous Bacchanale at the end of Samson et Dalila these all contain musical allusions to Moorish music in one form or another, although except in the case of Africa he was too much of a classicist ever to allow these elements to be more than glancing evocations of distant places.

In January 1896 Saint-Saëns went to Milan for the Italian premiere of his opera Henry VIII, and from there traveled on to Cairo for his customary winter vacation. He ventured up the Nile into Upper Egypt and then settled into a Cairo hotel to write the Fifth Piano Concerto. As usual the music flowed from his pen, and it took just over three weeks to complete. His first ideas for the work had been noted down on a previous holiday two years before, when he went to the Canary Islands, but the main work was completed in Cairo in time to include the new concerto in a momentous concert in the Salle Pleyel, Paris, marking the fiftieth anniversary of his first appearance there in 1846 at the age of ten. This took place on June 2, 1896, with the great violinist Sarasate, a close friend, sharing the bill. The concerto was published the same year with a dedication to Louis Diémer, a fine pianist who played it many times. Saint-Saëns continued to play it himself even past his eightieth birthday.

There is nothing Egyptian about the concerto except in the second movement. The outer movements are perfectly European and, one might say, classical in their balance of themes and tempos. The opening theme in the first movement has an affinity with plain- chant, like many of Saint-Saëns’s tunes, and the second main tune recalls Brahms in its broad sweep. The finale is a brilliant tour de force that actually exhibits little force. Its magic lies rather in its fleetness and ingenuity, and it keeps the soloist scampering from one end of the keyboard to the other.

week 10 program notes 39

A caricature of Camille Saint-Saëns by his pupil Gabriel Fauré

The most remarkable music is to be found in the middle movement, which is unlike anything else by Saint-Saëns or anyone else. It is not simply that most of the themes have a Middle Eastern character, based on modal intervals; it proceeds strangely from one episode to another without any apparent direction, like an improvisation, although the balance of the movement is cleverly controlled. The one theme that is said to have a Nubian origin in fact sounds more northern, and has no Arabic intervals at all:

Two curious passages stand out. In one the left hand plays a series of notes that are colored by the right hand with soft chords that give it the sound of an organ mixture stop, a device later used by Ravel in his Boléro. The other is a strange chirruping in the distant key of F-sharp major, beneath which a Chinese melody is heard against soft blows on the tam-tam. Was Saint-Saëns recalling other journeys to distant parts, or just being playful?

Hugh Macdonald

THEFIRSTAMERICANPERFORMANCE of Saint-Saëns’s Piano Concerto No. 5 was on March 7, 1898, in Carnegie Hall, New York, with pianist Raoul Pugno and the Chicago Orchestra under the direction of Theodore Thomas. Saint-Saëns himself played the concerto in New York in 1906.

THEFIRSTBOSTONSYMPHONYPERFORMANCES of the concerto featured pianist Ferruccio Busoni with Wilhelm Gericke conducting on March 4 and 5, 1904. Subsequent performances featured Laura Hawkins (with Max Fiedler, in 1909); Martha Baird, Rudolf Ganz, and Alfred Cortot (all with Pierre Monteux, in 1920 and 1921), and Marjorie Church (with Serge Koussevitzky, in March 1936). The only BSO performances since then featured Stephen Hough with Ludovic Morlot conducting (the most recent subscription performances, in April 2005), and Jean-Yves Thibaudet with Lorin Maazel conducting (at Tanglewood this past summer, on August 5, 2012).

week 10 program notes 41

James MacMillan Three Interludes from “The Sacrifice”

JAMES LOY MACMILLAN was born in Kilwinning, North Ayrshire, Scotland, on July 16, 1959, and lives in Glasgow. He wrote his opera “The Sacrifice,” with a libretto by Michael Symmons Roberts, for Welsh National Opera in 2005-06; it was premiered in Cardiff in September 2007. The Three Interludes were first performed as a concert piece on February 22, 2008, by the BBC Philharmonic led by the composer at Bridgewater Hall, Manchester. These are the first performances of the Interludes by the Boston Symphony Orchestra.

THE SCORE OF THREE INTERLUDES FROM “THE SACRIFICE” calls for two flutes (doubling piccolos), two oboes (second doubling English horn), two clarinets (second doubling bass clarinet), bassoon, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (three players: tambourine, snare drum, bass drum, woodblocks, guiro, vibraslap, suspended cym- bal, crotales, glockenspiel, vibraphone, gongs, tam-tam), harp, and strings. Total duration is about fifteen minutes.

Written for the Welsh National Opera, James MacMillan’s three-act The Sacrifice was based on a story from what might be considered the Welsh epic, the Mabinogion, which like many epics is a compilation of stories and myths of disparate origins, both oral and written. The collection, largely compiled in the fourteenth century, includes many overlaps with the Arthurian romances, and are from a similar tradition, with some stories doubtless dating back much further. The universality and familiarity of themes in many of these stories, as in the Arthurian tales, make for excellent, archetypal material from which to make an opera: love stories, chivalry, interclan warfare, monsters, and magic figure throughout. MacMillan’s earlier The Birds of Rhiannon (2001), a “tone poem for orchestra with optional chorus,” is also based on the Mabinogion.

MacMillan himself is Scottish; his interest in Welsh traditions is tied in part to his own cultural heritage. Like many of his generation, as a teenager MacMillan went through a rock and roll and folk music stage, which made its permanent impression, but his grand-

week 10 program notes 43 44 ihe .Lutch J. Michael

James MacMillan, Sir Colin Davis, and baritone soloist Christopher Maltman on stage at Symphony Hall following the American premiere of the composer’s “St. John Passion” in January 2010

father, a coal miner who played euphonium, was a major musical presence in his life. At Edinburgh University he was exposed to a wide range of modern classical music. An almost cinematic vibrancy of instrumentation characterizes his large-scale works, derived in part from his interest in new orchestral textures created by such avant-garde composers as Krzysztof Penderecki and György Ligeti in the 1960s. Dramatic narrative—whether or not made explicit by the presence of a text—is virtually a constant presence in his music. In addition to the full-length operas The Sacrifice and Inés de Castro (composed for the Edin- burgh Festival and premiered there in 1995), he has written a number of other operas and music-theater works.

MacMillan is best known for works rooted in Christian spirituality, including his concert- length St. John Passion, a Boston Symphony co-commission given its American premiere by the BSO under Sir Colin Davis in January 2010 (it was MacMillan’s 80th-birthday gift to the conductor). Much of his instrumental work, too, is inspired by Christian narratives and ideas, such as his popular percussion concerto Veni, Veni, Emmanuel, composed for the Scottish percussionist Evelyn Glennie, and the orchestral triptych Triduum, based on the Holy Week narrative. Understandably, such larger works and high-profile commis- sions have defined his reputation, but he has been very prolific across the board, from large-scale dramatic and orchestral works to chamber music and solo pieces.

In addition to Colin Davis and Evelyn Glennie, proponents of MacMillan’s music have included Vadim Repin, who premiered his Violin Concerto in 2010; the cellist Mstislav Rostropovich, who gave the premiere of his Cello Concerto (part of the Triduum triptych) in 1995, and the London Symphony Orchestra, which commissioned a number of his large-scale pieces. In 2010 the orchestra programmed a series of concerts to celebrate the composer’s 50th-birthday year. In spring 2011 Jean-Yves Thibaudet was soloist with the Minnesota Orchestra under Osmo Vänskä in the premiere of MacMillan’s Piano Concerto No. 3, a five-movement work based on the structure of the Rosary. MacMillan

week 10 program notes 45 has also been a busy conductor, performing a wide range of music including his own. He has been Composer/Conductor with the BBC Philharmonic and principal guest conductor with the Netherlands Radio Chamber Philharmonic and has guest-conducted worldwide.

Excerpting atmospheric orchestra interludes from stage works for concert performance is not unusual; a precedent is Britten’s Four Sea Interludes from Peter Grimes. In keeping with MacMillan’s orchestral catalog, each of the interludes is a miniature tone poem with its own internal drama. The composer’s comments on the pieces, printed below, give an indication of their positions within the plot of the opera. (Note that the names of the characters mentioned in MacMillan’s comments have been simplified and modernized for the opera.) The first, “The Parting,” begins with a tutti orchestral surge, then growing darker and more resigned, sustained and moody. The second, Passacaglia, amplifies expressive orchestral activity over a repeating bass line in lower strings with percussion.

46 Insistently repeating notes increase the already high level of tension, while frenetic woodwinds flit in the higher register. “The Investiture” demonstrates in orchestral terms the coming violence of the story, bearing a strong family resemblance to The Rite of Spring in its incantatory, inexorable procession.

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

THEUNITEDSTATEPREMIERE of Three Interludes from “The Sacrifice” took place on August 15, 2009; Marin Alsop conducted the Cabrillo Music Festival Orchestra, at the Santa Cruz Civic Auditorium in Santa Cruz, California.

The Sacrifice is my second opera, written for WNO and premiered in 2007. It is based on one of the Mabinogian stories, a collection of ancient Welsh myths. It is a tale of love set amidst a civil or clannish strife, and culminates in a supreme act of self-sacrifice which eventually heals the communal hatred and brings peace and renewed hope. In its first production the action was placed in the near future, rather than a mythic past.

There are a number of orchestral interludes which connect the scenes in a seamless flow in each of the three acts. Three are extracted here to make a concert suite.

I. The Parting—After a final secret assignation, the two lovers, Sian and Evan, split apart, before the wedding that will bring the two tribes together. It has been arranged that Sian will marry Mal, the leader of the other side. Both are heartbroken, but are committed to doing their duty to seal the truce.

II. Passacaglia—Guests from the two warring groups gather together for the marriage feast. It will end in violence.

III. The Investiture—Seven years later another attempt is made to bring the two communities together. Gwyn, the young son of Sian and Mal, is to be “crowned” as a symbol of a desired unity. The crowds gather during this music. The scene will end in the murder of the boy, by Evan.

James MacMillan

week 10 program notes 47 48 Albert Roussel “Bacchus et Ariane,” Opus 43, Suite No. 2

ALBERT ROUSSEL was born in Tourcoing, near Lille, France, on April 5, 1869, and died in Royan, France (on the coast of the Bay of Biscay), on August 23, 1937. He composed his ballet “Bacchus et Ariane” between June and December 1930; it was first performed on February 2, 1931, at the Paris Opéra with choreography by Serge Lifar and Philippe Gaubert conducting. The Suite No. 2 was first performed on February 2, 1934, in the Salle Pleyel, Paris, by the Paris Symphony Orchestra under Pierre Monteux.

THE SCORE OF THE SUITE NO. 2 FROM “BACCHUS ET ARIANE” calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, four trumpets, three trombones, tuba, timpani, bass drum, snare drum, cymbals, tambourine, triangle, celesta, two harps, and strings.

Albert Roussel represents many phases of French music over the span of his career in the first decades of the last century. Unlike most French composers he never attended the Paris Conservatoire. He served in the French navy until the age of twenty-five, when he resigned his commission and returned to Paris to study music. He enrolled at the Schola Cantorum, whose founder, Vincent d’Indy, naturally exercised a considerable influence on Roussel at this time. Within a few years Roussel himself became a teacher at the school, where two of his students were Edgard Varèse and Erik Satie (his elder by three years), and he continued to teach there until 1914. Although D’Indy stressed formal control and rigorous technique, Roussel soon displayed his independence from this way of thinking and moved in the direction of Debussy (to d’Indy’s alarm) with a series of works that can certainly be described as Impressionist, as the very title Evocations, an orchestral work of Roussel’s, implies. These works are at pains to disguise the discipline that he had learnt from d’Indy and suggest pictorial images in the Impressionist manner. Both during naval service and later, in 1909, he traveled widely in the east, and out of his travels came an opera, Padmâvati, completed in 1919 and based on a Hindu legend with many suggestions of Indian music and dance in the score.

week 10 program notes 49 Program page from the first Boston Symphony performances of Roussel’s “Bacchus et Ariane,” Suite No. 2, on December 27 and 28, 1946, with Charles Munch (at that time spelled “Münch”) conducting—Munch’s first appearance as a guest conductor with the orchestra (BSO Archives)

50 This was another new direction in his music since the opera combined singing and ballet in an original way, and his writing for dancing always brought out a strong consciousness of rhythmic propulsion in music, as did Stravinsky’s (with rather different effects). His two great ballet scores, The Spider’s Banquet (Le Festin de l’araignée) and Bacchus and Ariadne, are highly suggestive of staging and movement, and they make excellent concert music too.

During World War I service in the ambulance corps led Roussel to a compulsive rethink- ing of artistic values, experienced by many composers and writers of his generation, and he moved into the 1920s with a wiry, spare style that discarded the vaporous effusions of Impressionism. He now adopted a dissonant language that owed nothing to systematic atonal theory but retained a traditional diatonic base. He was barely touched by the language of European folk song, so that his music sounds closer to Hindemith and Prokofiev than to Bartók. There is a kinship too with Martin˚u, who studied with Roussel in Paris in the 1930s. Roussel’s music is neoclassical in its paucity of romantic expression, with hints of the machine-like music widely cultivated in the 1920s, yet it never adopted the austere detachment of Stravinsky. His music moved, in effect, in a more abstract direction, taking on a certain acidity and a more highly articulated rhythmic sense. It is highly dissonant without offending the ear.

The Suite No. 2 from Bacchus et Ariane is made up of the whole second (final) act of the ballet, which was composed for the Paris Opéra in 1930 and staged there with Serge

week 10 program notes 51

Serge Lifar as Bacchus and Olga Spessivtseva as Ariadne in the first production of Roussel’s “Bacchus et Ariane”

Lifar, the choreographer, also dancing the role of Bacchus. Olga Spessivtseva was Ariadne. According to René Dumesnil, one of Paris’s leading music critics at the time, the work was a “victim” of décor by Georges de Chirico and of Lifar’s choreography, which kept it from ever being revived. His previous work, the Third Symphony, written in 1930 for the Boston Symphony Orchestra’s fiftieth-anniversary celebrations, shows this new direction clearly. On the subject of rhythm in ballet, Roussel wrote in 1931: That rhythm is an essential factor in the composition of ballet music is a universally acknowledged truism. But it is quite another matter to think that the pursuit of the most complex rhythms, the more or less subtle compounding of different rhythmic formulae, serve any useful purpose or favor the cause of the dance. An ingeniously contrived rhythmic figure which would delight a concert audience may only produce an imperfect and mediocre realization on stage if the composer has not worked out its implications in choreographic terms. If the directness of the rhythm is a trump card in the hand of the ballet master, the clarity of the mlelodic line is no less valuable.

The music of the suite is continuous, not really a suite at all in fact, and supports the action of the scenario, drawn from Greek mythology, in the clearest manner. The story of Ariadne’s abandonment by Theseus and of her rescue by the god Bacchus had been treated as an opera by both Massenet and Strauss, not to mention countless operas from the Baroque period. Theseus’ departure is the subject of Act I of Roussel’s ballet, while in Act II the rest of the story is very simply told: Ariadne, abandoned on the island of Naxos by Theseus, is asleep as the curtain rises (solo viola and violin), but wakes to some brief flutters in the clarinet and goes in desperate search of Theseus and her companions, realizing all too soon that she is alone. She falls into the arms of Bacchus, who has sud- denly appeared, and they resume a scherzo-like “dream dance” from Act I. Bacchus’ solo dance is a brisk, jumpy 6/8 concluding with a series of brilliant runs in the woodwinds. Their lips meet, whereupon a scene of Dionysiac enchantment envelops the island.

week 10 program notes 53

A series of rough chords brings on a faun and a maenad who offer Ariadne a gold cup into which they squeeze the juice of a grape. In her intoxication she dances alone (solo violin); then oboe, then flute, then clarinet take turns, and a climax builds. Bacchus and Ariadne dance together with mounting frenzy to a heavy ten-beat pulse, and the whole stage joins in a wild Bacchanale. Ariadne is led to the highest rock and crowned with a diadem of stars.

It is strange to reflect that one of Roussel’s next works after Bacchus et Ariane was an operetta, Aunt Caroline's Will. He was always a composer of high seriousness, so it is little surprise that this work never experienced the success of Offenbach or Chabrier. He will always be best-known for his symphonies, especially the Third and Fourth, and for his two great ballets; yet among his earlier, Impressionistic works are some that would appeal strongly to lovers of the richer orchestral repertoire. Le Poème de la forêt from 1904-06, for example, makes a striking parallel with Debussy's La Mer, composed at the same time, and Pour une Fête de printemps, composed in 1920, is a symphonic poem of great beauty and invention. His chamber music mostly adopts the severe manner of Hindemith or Bartók, so it can readily be said that Roussel is a composer for all tastes.

Hugh Macdonald

THEFIRSTBOSTONSYMPHONYPERFORMANCES of the Second Suite from Roussel’s “Bacchus et Ariane” were given by Charles Münch (as he then spelled his name; see page 50) on December 27, 28, and 29, 1946, in the program marking his first appearance as a guest conductor with the orchestra. As the BSO’s music director Munch conducted the suite frequently with the orchestra between October 1950 and February 1962 in Boston, in numerous other American cities, and on tour in Europe, the Far East, and Australia. He led the work at Tanglewood only in July 1965, when he returned there as a guest conductor. Other BSO performances were conducted by Richard Burgin (in November 1950 in New Haven, when Munch was ill), Eugene Ormandy, Alain Lombard, Seiji Ozawa, John Nelson (the most recent Tanglewood performance, on August 8, 1981), Pascal Verrot, and James Conlon (the most recent subscription performances, in November 1993).

week 10 program notes 55

To Read and Hear More...

Information about James MacMillan may be found online at the website of his publisher, Boosey & Hawkes (www.boosey.com/cr/composer/James+MacMillan), which includes a biography, works list, essays, reviews, and links to multimedia content including interviews with the composer about his St. John Passion. Somewhat outdated but still useful is the short MacMillan article by Stephen Johnson in the New Grove II.

The Three Interludes from The Sacrifice were recorded by the BBC Philharmonic Orchestra under the composer’s direction (Chandos). A performance of the complete opera with the Welsh National Opera Chorus and Orchestra led by Anthony Negus is also available (Chandos). Among other recordings of MacMillan’s music, the St. John Passion is available on CD with Sir Colin Davis conducting the London Symphony Orchestra and Chorus and baritone soloist Christopher Maltman (LSO Live). Sir Colin and the LSO have also recorded MacMillan’s The World’s Ransoming and The Confession of Isobel Gowdie (LSO Live). There are several different performances of his most popular work, the percussion concerto Veni, Veni, Emmanuel, and a few of The Seven Last Words from the Cross. Harry Christophers and The Sixteen recorded his Miserere, Tenebrae Responsories, and The Strathclyde Motets for a disc released last year (The Sixteen Edition).

Robert Kirzinger

A comprehensive modern Berlioz biography in two volumes—Berlioz, Volume I: The Making of an Artist, 1803-1832 and Berlioz, Volume II: Servitude and Greatness, 1832-1869— by Berlioz authority David Cairns appeared in 1999 (University of California paperback). Other useful biographies include D. Kern Holoman’s Berlioz, subtitled “A musical biography of the creative genius of the Romantic era” (Harvard University Press); Hugh Macdonald’s Berlioz, in the “Master Musicians” series (Oxford paperback), and Peter Bloom’s The life of Berlioz, in the series “Musical lives” (Cambridge University paperback). Bloom also was editor for The Cambridge Companion to Berlioz (Cambridge University paperback) and Berlioz: Past, Present, Future (Eastman Studies in Music/University of Rochester Press) and has more recently produced Berlioz: Scenes from the Life and Work (also Eastman Studies in Music). Macdonald’s Berlioz article from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Early Romantic Masters 2 (Norton paperback, also including the 1980 Grove articles on Weber and Mendelssohn); that article was retained, with revisions to the discussion of Berlioz’s musical style, in the 2001 edition of Grove. Macdonald has also served as editor for Selected Letters of Berlioz,

week 10 read and hear more 57 58 an engrossing volume of the composer’s letters as translated by Roger Nichols (Norton). The best English translation of Berlioz’s Memoirs is David Cairns’s (Everyman’s Library); the much older translation by Ernest Newman also remains available (Dover paperback).

Recordings of Berlioz’s Overture to Les Francs-juges include Colin Davis’s with the London Symphony Orchestra (Philips), Charles Dutoit’s with the Montreal Symphony Orchestra (Deccas), Sir Alexander Gibson’s with the Royal Philharmonic (Royal Philharmonic Master- works), Alain Lombard’s with the Strasbourg Philharmonic (Apex), André Previn’s with the London Symphony Orchestra (EMI), and Arturo Toscanini’s with the NBC Symphony Orchestra (an exciting 1941 broadcast that collectors will want to know, available on Music & Arts, and also previously issued by EMI/ICA Classics in the Toscanini volume of the short-lived series “Great Conductors of the 20th Century”).

The easiest place to read about Saint-Saëns in English is The New Grove Dictionary of Music and Musicians; the entry in the 2001 revised Grove is an expansion by Sabina Teller Ratner of the material by James Harding and Daniel M. Fallon that appeared originally in the 1980 Grove. A 2004 French-language biography of the composer, Jean Gallois’s Charles-Camille Saint-Saëns, has not yet been translated into English (Mardaga). Worth seeking out are Saint-Saëns and his Circle by James Harding (Humanities) and French Piano Music by the great French pianist Alfred Cortot (1877-1962), whose observa- tions on Saint-Saëns’s music retain their interest (Da Capo).

Jean-Yves Thibaudet recorded Saint-Saëns’s Piano Concerto No. 5 with Charles Dutoit and the Orchestre de la Suisse Romande (Decca, paired with the composer’s Piano Concerto No. 2). The complete cycle of Saint-Saëns’s five piano concertos has been recorded by Stephen Hough with Sakari Oramo and the City of Birmingham Symphony Orchestra (Hyperion), Pascal Rogé with Charles Dutoit and the Royal Philharmonic Orchestra (London/Decca), and Jean-Phillipe Collard with André Previn and (again) the Royal Philharmonic Orchestra (EMI).

There’s little available to read about Roussel in English. The article in the 2001 edition of The New Grove Dictionary of Music and Musicians is by Nicole Labelle; the one in the 1980 edition of Grove was by Basil Deane, the author of a 1961 book about the composer. A still older English-language study (from 1947) was written by Norman Demuth.

Stéphane Denève has recorded suites 1 and 2 (which constitute the entire score) of Roussel’s Bacchus et Ariane with the Royal Scottish National Orchestra as part of his complete cycle of Roussel’s orchestral music, including all four of the composer’s symphonies plus other works (Naxos). Other recordings of Bacchus et Ariane include Charles Dutoit’s with the Orchestre de Paris (Erato), Jean Martinon’s with the ORTF National Orchestra (Erato), Georges Prêtre’s also with the ORTF National Orchestra (EMI), and Yan Pascal Tortelier’s with the BBC Philharmonic (Chandos).

Marc Mandel

week 10 read and hear more 59

Guest Artists

Stéphane Denève

Stéphane Denève is chief conductor of the Stuttgart Radio Symphony Orchestra (SWR) and the former music director of the Royal Scottish National Orchestra. Recognized internationally for the exceptional quality of his performances and programming, he appears regularly at major concert venues with the world’s leading orchestras and soloists. Recent engagements include his Carnegie Hall and Tanglewood debuts with the Boston Symphony Orchestra, and appearances with the Chicago Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, Munich Philharmonic, Bavarian Radio Symphony, Orchestra Sinfonica dell’Accademia Nazion- ale di Santa Cecilia, Deutsches Symphonie-Orchester Berlin, London Symphony Orchestra, the Philharmonia Orchestra, NDR Symphony Hamburg, and Swedish Radio Symphony. With the Royal Scottish National Orchestra he performed at Europe’s most prestigious festivals and venues, including the BBC Proms, Edinburgh International Festival, Festival Présences, the Konzerthaus in Vienna, the Amsterdam Concertgebouw, and the Théatre des Champs- Élysées. Upcoming highlights include the opening of his second season with the Stuttgart Radio Symphony Orchestra (SWR) and major tours to Europe and Asia; his debut with the Royal Concertgebouw Orchestra; Les Contes d’Hoffmann for the Gran Teatre del Liceu, and return visits to the Boston Symphony, Philadelphia Orchestra, New World Symphony, Toronto Symphony, São Paulo Symphony, and BBC Symphony. Mr. Denève has won critical acclaim for his recordings of works by Debussy (Chandos), Roussel (Naxos), Franck (Naïve), and Guillaume Connesson (Chandos), all with the Royal Scottish National Orchestra. The first disc in their survey of works of Albert Roussel was awarded a prestigious Diapason d’Or de l’année, and in 2012 he was shortlisted for Gramophone’s Artist of the Year award. A graduate of and

week 10 guest artists 61 62 prizewinner at the Paris Conservatoire, Stéphane Denève began his career as Sir Georg Solti’s assistant with the Orchestre de Paris and Paris National Opera; he also assisted Georges Prêtre and Seiji Ozawa during that time. At home in a broad range of repertoire, and a cham- pion of new music, he has a special affinity for the music of his native France. He enjoys close relationships with many of the world’s leading solo artists and has has performed with, among others, Jean-Yves Thibaudet, Leif Ove Andsnes, Piotr Anderszewski, Emanuel Ax, Lars Vogt, Nikolai Lugansky, Paul Lewis, Yo-Yo Ma, Frank Peter Zimmermann, Nikolaj Znaider, Pinchas Zukerman, Joshua Bell, Leonidas Kavakos, Hilary Hahn, Vadim Repin, Gil Shaham, Natalie Dessay, and Nina Stemme. In the field of opera, he has conducted productions at the Royal Opera House, Glyndebourne Festival, La Scala, Gran Teatro de Liceu, Netherlands Opera, La Monnaie, Opéra National de Paris, the Teatro Comunale Bologna, and Cincinnati Opera. Visit www.stephanedeneve.com for further information. Stéphane Denève made his Boston Symphony Orchestra debut in April 2011 (substituting for Sir Colin Davis) with a program of Beethoven, Roussel, and Ravel, subsequently returning for a program of Ravel, Stravinsky, and Shostakovich in February 2012, the latter program being repeated in Carnegie Hall. This past August at Tanglewood he led Stravinsky’s Firebird Suite with the BSO as part of Tanglewood on Parade, and a Boston Symphony concert including music of Previn (the world premiere of Music for Boston), Elgar (with soloist Yo-Yo Ma), and Shostakovich.

Jean-Yves Thibaudet

One of today’s most sought-after soloists, Jean-Yves Thibaudet has enjoyed a career with global impact, including thirty years of performing around the world and over forty recorded albums. Recent performances have included a European tour with Charles Dutoit and the Philadelphia Orchestra; performances during 2011-12 focusing on music of Liszt, Ravel, and Saint-Saëns; a program of Liszt and Brahms Lieder with mezzo-soprano Angelika Kirch- schlager; tours of Europe with the Royal Concertgebouw Orchestra and of the United States with the Royal Philharmonic; a New Year’s Eve Gala with the New York Philharmonic, televised by PBS; and Debussy recitals in Germany and France celebrating the 150th anniversary of the composer’s birth. Mr. Thibaudet has released over forty albums with Decca, earning the

week 10 guest artists 63 NICE PEOPLE ~ FINE MERCHANDISE ~ OLD-FASHIONED SERVICE ~ AND THE 2 BEST-LOOKING GOLDEN RETRIEVERS YOU’VE EVER SEEN

ONE LIBERTY SQUARE BOSTON, MA 02109 617-350-6070 New England’s Largest Oxxford Dealer Visit us at ZarehBoston.com Schallplattenpreis, the Diapason d’Or, Choc du Monde de la Musique, a Gramophone Award, two Echo awards, and the Edison Prize. Recent CDs include “Gershwin,” featuring “big jazz band orchestrations” of Rhapsody in Blue, Variations on ‘I Got Rhythm,’ and the Concerto in F live with the Baltimore Symphony and music director Marin Alsop; his Grammy-nominated recording of Saint-Saëns’s piano concertos 2 and 5 with Charles Dutoit and the Orchestre de la Suisse Romande; and the album “Aria—Opera Without Words,” featuring transcriptions (some of them his own) of arias by Saint-Saëns, Strauss, Gluck, Korngold, Bellini, Johann Strauss II, Grainger, and Puccini. He was the soloist on the Oscar- and Golden Globe-award- winning soundtrack of Universal Pictures’ Atonement and the Oscar-nominated Pride and Prejudice. Other recordings include “Satie: The Complete Solo Piano Music,” and the jazz albums “Reflections on Duke: Jean-Yves Thibaudet Plays the Music of Duke Ellington” and “Conversations with Bill Evans,” his tributes to two of jazz history’s greats. Jean-Yves Thibaudet was born in Lyon, France, where he began his piano studies at age five and made his first public appearance at seven. At twelve, he entered the Paris Conservatory to study with Aldo Ciccolini and Lucette Descaves, a friend and collaborator of Ravel. He won the Premier Prix du Conservatoire at fifteen and, three years later, the Young Concert Artists Auditions in New York City. In 2001 the Republic of France awarded him the prestigious Chevalier dans l’Ordre des Arts et des Lettres. In 2002 he was awarded the Premio Pegasus from the Spoleto Festival in Italy for his artistic achievements and his longstanding involvement with the festival. In 2007 he was awarded the Victoire d’Honneur, a lifetime career achievement award and the highest honor given by France’s Victoires de la Musique. In 2010 he was inducted into the Hollywood Bowl Hall of Fame. Jean-Yves Thibaudet made his Boston Symphony Orchestra debut in August 1992 at Tanglewood. His most recent subscription appearances were in February 2009; his most recent Tanglewood appearance was in August 2012, as soloist in Saint-Saëns’s Piano Concerto No. 5 with Lorin Maazel conducting. With the BSO he has also performed music of D’Indy, Franck, Gershwin, Grieg, Khachaturian, Liszt, Rachmaninoff, and Ravel. At Tanglewood in 2011 he made three appearances—two Ozawa Hall recitals, and a performance with the BSO—in which he played the complete piano works of Ravel.

week 10 guest artists 65 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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

two and one half million

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

66 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/ Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • 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 • 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 (10)

‡ Deceased

week 10 the great benefactors 67 The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestraís founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by November 10, 2012. For more information about joining the Higginson Society, contact Allison Cooley Goossens, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor.

chairman’s $100,000 and above Peter and Anne Brooke • Ted and Debbie Kelly

1881 founders society $50,000 to $99,999 Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Susan and Dan Rothenberg • Stephen and Dorothy Weber • Anonymous

encore $25,000 to $49,999 Mr. and Mrs. George D. Behrakis • Joan and John Bok • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Alan R. Dynner • William and Deborah Elfers • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde • Elizabeth W. and John M. Loder • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Nancy and Richard Lubin • Mr. and Mrs. Jeffrey E. Marshall • Kate and Al Merck • Henrietta N. Meyer • Megan and Robert O'Block • Drs. Joseph and Deborah Plaud • William and Lia Poorvu • Louise C. Riemer • Richard A. and Susan F. Smith • Kitte ‡ and Michael Sporn • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous (2)

maestro $15,000 to $24,999 Alli and Bill Achtmeyer • Lois and Harlan Anderson • Mr. and Mrs. John M. Bradley • Lorraine D. and Alan S. ‡ Bressler • William David Brohn • Samuel B. and Deborah D. Bruskin • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Diddy and John Cullinane • Mr. and Mrs. Miguel de Bragança • Happy and Bob Doran •

68 Julie and Ronald M. Druker • Thomas and Winifred Faust • Thelma and Ray Goldberg • Mrs. Francis W. Hatch, Jr. • Mr. and Mrs. Brent L. Henry • John Hitchcock • Lizbeth and George Krupp • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce • Maureen and Joe Roxe/The Roxe Foundation • Benjamin Schore • Kristin and Roger Servison • Joan D. Wheeler • Robert and Roberta Winters patron $10,000 to $14,999 Amy and David Abrams • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Eleanor L. and Levin H. Campbell • Katherine Chapman and Thomas Stemberg • Joseph M. Cohen • Dr. Lawrence H. and Roberta Cohn • Mrs. William H. Congleton ‡ • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Philip J. Edmundson • Laurel E. Friedman • David Endicott Gannett • Jody and Tom Gill • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Farla Krentzman • Mr. and Mrs. Peter E. Lacaillade • Anne R. Lovett and Stephen G. Woodsum • John Magee • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Maureen Miskovic • Richard P. and Claire W. Morse • Jerry and Mary Nelson • Mary S. Newman • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Susanne and John Potts • William and Helen Pounds • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Mr. and Mrs. Stephen G. Traynor • Mr. and Mrs. David Weinstein • Elizabeth and James Westra • Rhonda and Michael J. Zinner, M.D. • Anonymous (4) sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Vernon R. Alden • Helaine B. Allen • Joel and Lisa Alvord • Mr. and Mrs. Walter Amory • Dr. Ronald Arky • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Lloyd Axelrod, M.D. • Judith and Harry Barr • Roz and Wally Bernheimer • Brad and Terrie Bloom • Mark G. and Linda Borden • John and Gail Brooks • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • The Cavanagh Family • Ronald and Judy Clark • Mrs. Abram Collier • Eric Collins and Michael Prokopow • Sarah Chapin Columbia and Stephen Columbia • Donna and Don Comstock • Albert and Hilary Creighton • Mrs. Bigelow Crocker • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Gene and Lloyd Dahmen • Jonathan and Margot Davis • Tamara P. and Charles H. Davis II • Lori and Paul Deninger • Charles and JoAnne Dickinson • Michelle Dipp • Mrs. Richard S. Emmett • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold • Shirley and Richard Fennell • Larry and Atsuko Fish • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway • Jane and Jim Garrett • Mr. and Mrs. Mark Goldweitz • Raymond and Joan Green • Vivian and Sherwin Greenblatt • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Patricia and Galen Ho •

week 10 the higginson society 69 Albert A. Holman III and Susan P. Stickells • Mr. and Mrs. Charles Hood • Timothy P. Horne • Judith S. Howe • Mr. and Mrs. Roger Hunt • Yuko and Bill Hunt • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Seth A. and Beth S. Klarman • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • The Krapels Family • Barbara N. Kravitz • Mr. and Mrs. David S. Lee • Cynthia and Robert J. Lepofsky • Rosemarie and Alexander Levine • Christopher and Laura Lindop • Nancy Lurie Marks Family Foundation • Linda A. Mason and Roger H. Brown • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Sandra Moose and Eric Birch • Kristin A. Mortimer • Mr. and Mrs. Rodger P. Nordblom • William A. Oates • Mr. and Mrs. Joseph O’Donnell • Mr. and Mrs. Peter Palandjian • Mr. Donald R. Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Jonathan and Amy Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Mrs. George R. Rowland ‡ • Sean Rush and Carol C. McMullen • Norma and Roger A. Saunders • Cynthia and Grant Schaumburg • Arthur and Linda Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Anne and Douglas H. Sears • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare • Patricia L. Tambone • Mr. and Mrs. Theodore H. Teplow • Mr. and Mrs. Mark D. Thompson • Marian and Dick Thornton • Blair Trippe • Robert A. Vogt • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and JoÎlle Wartosky • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Drs. Christoph and Sylvia Westphal • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (6)

member $3,000 to $4,999 Mrs. Herbert Abrams • Mariann and Mortimer Appley • Mr. and Mrs. Laurence Asquith • Carol and Sherwood Bain • Sandy and David Bakalar • Mrs. Hope Lincoln Baker • Naomi and Peter Banks • Mr. Kirk Bansak • Donald P. Barker, M.D. • John and Molly Beard • Deborah Davis Berman and William H. Berman • Leonard and Jane Bernstein • Bob and Karen Bettacchi • Mr. and Mrs. Philip W. Bianchi • Annabelle and Benjamin Bierbaum • Jim and Nancy Bildner • Mrs. Stanton L. Black • Mr. and Mrs. Partha P. Bose • Mr. and Mrs. Stephen P. Bradley • Mrs. Catherine Brigham • Elise R. Browne • Matthew Budd and Rosalind Gorin • Mr. and Mrs. William T. Burgin • Mrs. Winifred B. Bush • Julie and Kevin Callaghan • Dr. and Mrs. Hubert I. Caplan • Jane Carr and Andy Hertig • James Catterton and Lois Wasoff • Mr. and Mrs. Dan Ciampa • Mr. and Mrs. Frederic M. Clifford • Ms. Carol Feinberg Cohen • Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I. W. Colburn • Marvin and Ann Collier • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Mrs. John L. Cooper • Mr. Mark Costanzo and Ms. Alice Libby • Ernest Cravalho and Ruth Tuomala • Joanna Inches Cunningham • Robert and Sara Danziger • Drs. Anna L. and Peter B. Davol • Ms. Ashley W. Denton • Pat and John Deutch • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Phyllis Dohanian • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. Harriett M. Eckstein • Mrs. William V. Ellis •

70 Priscilla Endicott • Mr. and Mrs. Frederic A. Eustis II • Mr. Romeyn Everdell • Ziggy Ezekiel and Suzanne Courtright Ezekiel • Mr. and Mrs. Andrew J. Ferrara • Mary and Melvin Field • Barbie and Reg Foster • Velma Frank • Myrna H. and Eugene M. Freedman • Martin Gantshar • Rose and Spyros Gavris • Arthur and Linda Gelb • Mr. and Mrs. Paul B. Gilbert • Stephen A. Goldberger • Jordan and Sandy Golding • Roberta Goldman • Adele C. Goldstein • Mr. Jack Gorman • Phyllis and Robert Green • Harriet and George Greenfield • Madeline L. Gregory • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • The Grossman Family Charitable Foundation • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Janice Harrington and John Matthews • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Mr. and Mrs. Paul Hogan • G. Lee and Diana Y. Humphrey • Joanie V. Ingraham • Mr. and Mrs. R. Blake Ireland • Cerise Lim Jacobs, for Charles • Barbara and Leo Karas • Ms. Joan B. Kennedy • Mrs. Thomas P. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Drs. Jonathan and Sharon Kleefield • Marcia Marcus Klein and J. Richard Klein • Susan G. Kohn • Mr. Andrew Kotsatos and Ms. Heather Parsons • Melvin Kutchin • Mr. and Mrs. ‡ Benjamin H. Lacy • Mr. and Mrs. Robert A. Lawrence • Brenda G. Levy • Emily Lewis • Mrs. Satoru Masamune • Michael and Rosemary McElroy • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse • Anne J. Neilson • Avi Nelson • Cornelia G. Nichols • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Mr. and Mrs. Robert T. O’Connell • Mr. and Mrs. Gerald F. O’Neil • Drs. Stuart and Roslyn Orkin • Mr. Saul J. Pannell and Mrs. Sally W. Currier • Jon and Deborah Papps • Mr. and Mrs. Michael Payne • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Josephine A. Pomeroy • Elizabeth F. Potter and Joseph Bower • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Rita and Norton Reamer • John S. Reidy • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Arnold Roy • Arlene and David T. Rubin • Jordan S. Ruboy, M.D. • Mr. and Mrs. Walter J. Salmon • Stephen and Eileen Samuels • Betty and Pieter Schiller • Mr. and Mrs. Marvin G. Schorr • David and Marie Louise Scudder • Robert E. Scully, M.D. • Eleanor and Richard Seamans • Ms. Carol P. Searle and Mr. Andrew J. Ley • The Shane Foundation • Mr. and Mrs. Ross E. Sherbrooke • Maggie and Jack Skenyon • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Mr. and Mrs. David Steadman • Maximilian and Nancy Steinmann • Mr. and Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Mr. and Mrs. David Stokkink • Galen and Anne Stone • Henry S. Stone • Louise and Joseph Swiniarski • Cynthia Taft and Richard Egdahl • Jeanne and John Talbourdet • Richard S. Taylor • John Lowell Thorndike • Nick and Joan Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Dr. Magdalena Tosteson • Diana O. Tottenham • Marc and Nadia Ullman • Martha Voisin • Mr. and Mrs. Mark Volpe • Matthew and Susan Weatherbie • Mrs. Mary Wilkinson-Greenberg • Mrs. Elizabeth H. Wilson • J. David Wimberly • Jay A. Winsten and Penelope J. Greene • Chip and Jean Wood • Jane S. Young • Anonymous (11)

week 10 the higginson society 71

Administration

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

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

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • 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

week 10 administration 73 74 development

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

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, 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, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • 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, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

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

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

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

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

week 10 administration 75 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

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

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

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

Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator • 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 • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, Subscriptions Representative • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box ofﬁce David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager box ofﬁce representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

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

week 10 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Pattie Geier Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Instrument Playground, Beverly Pieper • Mailings, Rosemary Noren • Membership Table/Hall Greeters, Elle Driska • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 10 administration 79 Next Program…

Thursday, January 10, 8pm Friday, January 11, 1:30pm Saturday, January 12, 8pm Tuesday, January 15, 8pm

alan gilbert conducting

dutileux “métaboles” Incantatoire (Largamente)— Linéaire (Lento Moderato)— Obsessionnel (Scherzando)— Torpide (Andantino)— Flamboyant (Presto)

tchaikovsky violin concerto in d, opus 35 Allegro moderato—Moderato assai Canzonetta: Andante Finale: Allegro vivacissimo lisa batiashvili

{intermission}

stravinsky symphony in three movements Allegro Andante Con moto

ravel “la valse,” choreographic poem

FRIDAY PREVIEW TALK (JANUARY 11) BY BSO ASSISTANT DIRECTOR OFPROGRAM PUBLICATIONSROBERTKIRZINGER

The young violinist Lisa Batiashvili is featured in Tchaikovsky’s ultra-Romantic Violin Concerto at the heart of a program conducted by New York Philharmonic music director Alan Gilbert, who also leads the BSO in three 20th-century works: Dutilleux’s Métaboles for Orchestra, in which the composer endeavors to “present one or several ideas in a different order and from different angles, until, by successive stages, they are made to change character completely”; Stravinsky’s bracing Symphony in Three Movements, the first major work the composer wrote after moving to the United States in 1939, and Ravel’s remarkable musical deconstruction of dance, La Valse.

80 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Thursday ‘A’ January 10, 8-10:10 Thursday ‘B January 17, 8-9:35 Friday ‘A’ January 11, 1:30-3:40 Underscore Friday January 18, 8-9:45 Saturday ‘A’ January 12, 8-10:10 (includes comments from the stage) Tuesday ‘C’ January 15, 8-10:10 Saturday ‘B’ January 19, 8-9:35 ALANGILBERT, conductor DANIELE GATTI, conductor LISA BATIASHVILI, violin FIORENZACEDOLINS, soprano EKATERINA GUBANOVA, mezzo-soprano DUTILLEUX Métaboles FABIOSARTORI, tenor TCHAIKOVSKY Violin Concerto CARLOCOLOMBARA, bass STRAVINSKY Symphony in Three Movements TANGLEWOOD FESTIVAL CHORUS, RAVEL La Valse JOHNOLIVER, conductor VERDI Requiem Sunday, January 13, 3pm Jordan Hall, New England Conservatory Thursday ‘C’ January 24, 8-9:55 BOSTONSYMPHONYCHAMBERPLAYERS Friday ‘B’ January 25, 1:30-3:25 LUTOSŁAWSKI Dance Preludes for flute, oboe, Saturday ‘A’ January 26, 8-9:55 clarinet, bassoon, horn, violin, CHARLESDUTOIT, conductor viola, cello, and double bass (1959) STEPHENHOUGH, piano FRANK Sueños de Chambi for flute and HINDEMITH Symphonic Metamorphoses on piano (2008) Themes of Weber COPLAND Appalachian Spring (original LISZT Piano Concerto No. 1 chamber version) PROKOFIEV Suite from Romeo and Juliet

Thursday ‘A’ January 31, 8-9:55 Friday ‘B’ February 1, 1:30-3:25 Saturday ‘B’ February 2, 8-9:55 Tuesday ‘B’ February 5, 8-9:55 Programs and artists subject to change. ANDRISNELSONS, conductor BAIBASKRIDE, violin SHOSTAKOVICH Violin Concerto No. 1 TCHAIKOVSKY Symphony No. 5

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

week 10 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426

week 10 symphony hall information 83 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.