Boston Symphony Orchestra Concert Programs, Summer, 2006

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Rte. 20, Lenox, MA 1-800-C RANWELL www.cranweli.com James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 125th Season, 2005-2006

Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde, Chairman

John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Diddy Culhnane, Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman Vincent M. O'Reilly, Treasurer

Harlan E. Anderson Eric D. Collins Shari Loessberg, Edward I. Rudman George D. Behrakis Cynthia Curme ex-officio Hannah H. Schneider

Gabriella Beranek William R. Elfers Robert J. Mayer, M.D. Arthur I. Segel Nathan R. Miller Sternberg Mark G. Borden Nancy J. Fitzpatrick Thomas G. Jan Brett Charles K. Gifford Richard P. Morse Stephen R. Weber Samuel B. Bruskin Thelma E. Goldberg Ann M. Philbin, Stephen R. Weiner Paul Buttenwieser George Krupp ex-officio Robert C. Winters James F. Cleary

Life Trustees R. Vernon Alden Julian Cohen Avram J. Goldberg Irving W. Rabb David B. Arnold, Jr. Abram T. Collier Edna S. Kalman Peter C. Read J.P Barger Mrs. Edith L. Dabney George H. Kidder Richard A. Smith Leo L. Beranek Nelson J. Darling, Jr. R.Willis Leith, Jr. Ray Stata Deborah Davis Berman Nina L. Doggett Mrs. August R. Meyer John Hoyt Stookey Jane C. Bradley Mrs. John H. Fitzpatrick Mrs. Robert B. Newman John L. Thorndike Peter A. Brooke Dean W. Freed William J. Poorvu Dr. Nicholas T. Zervas Helene R. Cahners

Other Officers of the Corporation Mark Volpe, Managing Director Thomas D. May, ChiefFinancial Officer Suzanne Page, Clerk ofthe Board

Board of Overseers of the Boston Symphony Orchestra, Inc. Shari Loessberg, Chair

William F. Achtmeyer John P. Eustis II Renee Landers John Reed

Joel B. Alvord Pamela D. Everhart Robert J. Lepofsky Carol Reich

Marjorie Arons-Barron Judith Moss Feingold Christopher J. Lindop Donna M. Riccardi Diane M. Austin Steven S. Fischman John M. Loder Susan Rothenberg Lucille M. Batal John F. Fish Edwin N. London Alan Rottenberg Maureen Scannell Lawrence K. Fish Jay Marks Joseph D. Roxe Bateman Myrna H. Freedman Jeffrey E. Marshall Kenan Sahin George W. Berry Carol Fulp Carmine Martignetti Ross E. Sherbrooke James L. Bildner Dr. Arthur Gelb Joseph B. Martin, M.D. Gilda Slifka Bradley Bloom Stephanie Gertz Thomas McCann Christopher Smallhorn Alan Bressler Robert P. Gittens Joseph C. McNay Charles A. Stakely Michelle Courton Paula Groves Albert Merck Jacquelynne M. Stepanian

Brown Michael Halperson Dr. Martin C. Mihm, Jr. Patricia L. Tambone Gregory E. Bulger Virginia S. Harris Robert Mnookin Wilmer Thomas William Burgin Carol Henderson Paul M. Montrone Samuel Thorne F. Clark Rena Roger Hunt Robert J. Morrissey Diana Osgood Tottenham Carol Feinberg Cohen William W. Hunt Robert T O'Connell Joseph M. Tucci Mrs. James C. Collias Ernest Jacquet Norio Ohga Paul M. Verrochi Charles L. Cooney Everett L. Jassy Joseph Patton Matthew Walker

Ranny Cooper Charles H. Jenkins, Jr. Ann M. Philbin Larry Weber James C. Curvey Paul L. Joskow May H. Pierce Robert S. Weil Tamara P. Davis Stephen R. Karp Claudio Pincus David C. Weinstein Mrs. Miguel de Stephen Kay Joyce L. Plotkin James Westra Braganca Brian Keane Dr. John Thomas Potts, Jr. Mrs. Joan D. Wheeler Disque Deane Cleve L. Killingsworth Dr. Tina Young Poussaint Richard Wurtman, M.D. Paul F. Deninger Douglas A. Kingsley James D. Price Dr. Michael Zinner Alan Dynner Robert Kleinberg Patrick J. Purcell D. Brooks Zug Ursula Ehret-Dichter Peter E. Lacaillade -

Overseers Emeriti

Helaine B. Allen Peter H.B. Frelinghuysen Mrs. Gordon F. Kingsley Mrs. Jerome Caroline Dwight Bain Mrs. Thomas David I. Kosowsky Rosenfeld

Sandra Bakalar Galligan, Jr. Robert K. Kraft Roger A. Saunders Mrs. Levin H. Mrs. James Garivaltis Benjamin H. Lacy Lynda Anne Schubert Campbell Jordan Golding Mrs. William D. Larkin Mrs. Carl Shapiro Earle M. Chiles Mark R. Goldweitz Hart D. Leavitt L. Scott Singleton

Joan P. Curhan John Hamill Frederick H. Lovejoy, Jr. Mrs. Micho Spring

Phyllis Curtin Deborah M. Hauser Diane H. Lupean Mrs. Arthur I. Strang

Betsy P. Demirjian Mrs. Richard D. Hill Mrs. Charles P. Lyman Robert A. Wells JoAnne Walton Marilyn Brachman Mrs. Harry L. Marks Mrs. Thomas H. P. Dickinson Hoffman Barbara Maze Whitney Phyllis Dohanian Lola Jaffe John A. Perkins Margaret Williams Goetz B. Eaton Michael Joyce Daphne Brooks Prout DeCelles Harriett Eckstein Martin S. Kaplan Robert E. Remis Mrs. Donald B.

George Elvin Mrs. S. Charles Kasdon Mrs. Peter van S. Rice Wilson Richard L. Kaye Mrs. John Wilson J. Richard Fennell John Ex Rodgers J.

Officers of the Boston Symphony Association of Volunteers

Ann M. Philbin, President William S. Ballen, Executive Richard Dixon, Executive Vice-President/Tanglewood Vice-President/Administration Sybil Williams, Secretary Howard Cutler, Executive Gerald Dreher, Treasurer Vice-President/Fundraising Leah Weisse, Nominating Chair

Patty Geier, Education and Pat Kavanaugh, Membership Beverly Pieper, Hall Services Outreach Rosemary Noren, Symphony Janis Su, Public Relations Mary Gregorio, Special Projects Shop Staffing

Mark Volpe, Managing Director Eunice andJulian Cohen Managing Directorship, fullyfunded in perpetuity

Anthony Fogg, Artistic Administrator Peter Minichiello, Director ofDevelopment Marion Gardner- S axe, Director ofHuman Resources Kim Noltemy, Director ofSales, Marketing, and Ellen Highstein, Director of Tanglewood Music Center Communications Tanglewood Music Center Directorship, endowed in honor of Caroline Taylor, Senior Advisor to the

Edward H. Linde by Alan S. Bressler and Edward I. Rudman Managing Director

Bernadette M. Horgan, Director ofMedia Relations Ray F. Wellbaum, Orchestra Manager

Thomas D. May, ChiefFinancial Officer

ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain • Karen Leopardi, Artist Assistant •

Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director /Manager of'Board

Administration • Benjamin Schwartz, Assistant to the Artistic Administrator

ADMINISTRATIVE STAFF/PRODUCTION

Christopher W. Ruigomez, Operations Manager

Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coordinator • Jake Moerschel, Stage Technician • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Leslie D. Scott,

Assistant to the Orchestra Manager

BOSTON POPS

Dennis Alves, Director ofArtistic Programming

Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Margo Saulnier, Artistic Coordinator • Jeff Swallom, Administrative Coordinator

BUSINESS OFFICE

Sarah J. Harrington, Director ofPlanning and Budgeting Pam Wells, Controller

Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, StaffAccountant • Wendy Gragg, Budget

Assistant • Michelle Green, Executive Assistant to the ChiefFinancial Officer • Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Teresa Wang, StaffAccountant • Audrey Wood, Senior Investment Accountant DEVELOPMENT

Nancy Baker, Director ofMajor and Planned Giving Alexandra Fuchs, Director ofAnnual Funds Nina Jung, Director ofDevelopment Special Events Bart Reidy, Director ofDevelopment Communications Mia Schultz, Director ofDevelopment Administration

Stephanie Baker, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to the Director ofDevelopment • Martha Bednarz, Corporate Programs Manager • Diane Cataudella, Associate Director of Stewardship • Kara Gavagan, Development Special Events Coordinator • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Amy Hsu, Manager ofFriends Membership • Justin

Kelly, Associate Manager ofDevelopment Operations • Brian Kern, Senior Major Gifts Officer • Nicole Leonard, Assistant Manager ofPlanned Giving • Ryan Losey, Manager ofFoundation Support • Pam Malumphy, Manager,

Tanglewood Business Friends • Pamela McCarthy, Manager ofProspect Research • Cynthia Morgan, Gift Processing and Donor Records Assistant • Cristina Perdoni, Assistant Manager of Gift Processing and Donor Records • Jennifer Raymond, Associate Director, Friends Membership • Katie Schlosser, Coordinator ofAnnual Fund Projects • Yong-

Hee Silver, Manager ofBSO and Pops Societies • Kara L. Stepanian, Senior Major Gifts Officer • Mary E. Thomson, Program Manager, Corporate Programs • Hadley Wright, Foundation and Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS

Myran Parker-Brass, Director ofEducation and Community Programs

Claire Carr, Coordinator ofEducation and Community Programs • Gabriel Cobas, Manager ofEducation Programs • Leslie Wu Foley, Associate Director ofEducation and Community Programs • Shana Golden, Coordinator of Research and Curriculum Development • Darlene White, Manager, Berkshire Education and Community Programs EVENT SERVICES Cheryl Silvia Lopes, Director ofEvent Services

Tony Bennett, Cafe' Supervisor • Lesley Ann Cefalo, Special Events Manager, Symphony Hall • Sean Lewis, Assistant to the Director ofEvent Services • Cesar Lima, Steward • Shana Metzger, Special Events Sales Manager • Kyle Ronayne, Food and Beverage Manager • James Sorrentino, Bar Manager

FACILITIES Robert L. Barnes, Director ofFacilities

Tanglewood David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires

Ronald T. Brouker, Supervisor of Tanglewood Crew • Robert Lahart, Electrician • Peter Socha, Head Carpenter

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber HUMAN RESOURCES Dorothy DeYoung, Benefits Manager Mary Pitino, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director ofInformation Technology

Guy W. Brandenstein, User Support Specialist • Andrew Cordero, Manager of User Support • Timothy James, Applications Support Specialist • John Lindberg, Senior Systems and Network Administrator • Brian Van Sickle,

User Support Specialist

PUBLIC RELATIONS Kathleen Drohan, Associate Director ofMedia Relations • Marni Glovinsky, Media Relations Coordinator • Joseph HeitZ, Media Relations Associate • Stephani Ritenour, Media Relations Associate

PUBLICATIONS

Marc Mandel, Director ofProgram Publications

Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator /Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING

Amy Aldrich, Manager, Subscription Office Leslie Bissaillon, Manager, Glass Houses Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front ofHouse Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Symphony Shop Sarah L. Manoog, Director ofMarketing Programs Michael Miller, SymphonyCharge Manager

Kenneth Agabian, Marketing Coordinator, Print Production • Duane Beller, SymphonyCharge Representative • Rich Bradway, Associate Director ofE-Commerce and New Media • Lenore Camassar, SymphonyCharge Assistant Manager • John Dorgan, Group Sales Coordinator • Paul Ginocchio, Assistant Manager, Symphony Shop • Melinda Hallisey, Manager ofNew Business Development, Corporate Sponsorships • Kerry Ann Hawkins, Senior Graphic Designer • Susan Elisabeth Hopkins, Senior Graphic Designer • Aaron Kakos, Subscription Representative •

Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Senior Subscription Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Michael Moore, E-Commerce Marketing

Analyst • MarcyKate Perkins, SymphonyCharge Representative • Kristen Powich, Sponsor Relations Coordinator •

Doreen Reis, Marketing Coordinatorfor Advertising • Robert Sistare, SymphonyCharge Representative • Megan E. Sullivan, Senior Subscription Associate

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

• • • Box Office Representatives Mary J. Broussard Cary Eyges Mark Linehan Arthur Ryan TANGLEWOOD MUSIC CENTER

Patricia Brown, Associate Director • Michael Nock, Manager of Student Services • Kristen Reinhardt, Administrator • Gary Wallen, Scheduler

TANGLEWOOD SUMMER MANAGEMENT STAFF

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, TMC Concerts Front ofHouse Manager • Randie Harmon, Front ofHouse Manager • Marcia Jones, Manager of Visitor Center VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services

Sabine Chouljian, Project Coordinator TANGLEWOOD

The Tanglewood Festival

In August 1934 a group of music-loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer. The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, drawing a total of nearly 15,000 people. In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered

Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, and on

August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first Tanglewood concert, an all-Beethoven program.

At the all-Wagner concert that opened the 1937 festival's second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour.

At the intermission, Miss Gertrude Robinson Smith, one of the festival's founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money had been raised to begin active planning for a "music pavilion." Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the immediate needs of the festival and, more important, went well beyond the budget of $100,000. His second, simplified plans were still too expensive; he finally wrote that if the Trustees insisted on remaining within their budget, they would have "just a shed,... which any builder could accomplish without the aid of an architect." The Trustees then turned to Stockbridge engineer Joseph Franz to make further simplifications in Saarinen's plans in

order to lower the cost. The building he erected was inaugurated on the

evening of August 4,

1938, when the first

concert of that year's festival was given, and remains, with modifica-

tions, to this day. It has echoed with the music of the Boston Sym- phony Orchestra every After the storm ofAugust 12, 1937, which precipitated afundraising summer since, except drive the construction the Tanglewood for of Shed for the war vears 1942- 45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improvements, produced the Shed's present world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as "The Serge Koussevitzky Music Shed," recognizing the far-reaching vision of the BSO's legendary music director.

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and its reputation for excellence that it attracted nearly 100,000 visitors. With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmod- ed Theatre-Concert Hall (which was used continuously with only minor modifications since 1941, and which with some modification has been used in recent years for the Tangle- wood Music Center's opera productions), and for improved Tanglewood Music Center facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall—designed by the architectural firm William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke- gaard & Associates of Downer's Grove, Illinois, and representing the first new concert facility to be constructed at Tanglewood in more than a half-century—now provides a modern venue for TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein Campus, as described below. Also at Tanglewood each summer, the Boston University Tanglewood Institute sponsors a variety of programs that offer individual and ensemble instruction to talented younger students, mostly of high school age.

Two "Special Focus" Exhibits at the Tanglewood Visitor Center

"Schoenberg on Display": In conjunction with the BSO's two-season Beethoven/Schoenberg project, the Arnold Schoenberg Center in Austria has graciously lent the BSO a selection of dramatic photographs of Arnold Schoenberg (1874-1951). The displayed photographs—including Schoenberg's "Blue Self-Portrait" of 1910 (shown here)—represent a small portion of a much larger traveling exhibition that was curated by the composer's son and daughter, Lawrence A. Schoenberg and Nuria Schoenberg Nono, and was displayed at Sym- phony Hall during the 2005-06 season. The Schoenberg Center images are supplemented with materials from the BSO Archives that document BSO performances of works by Schoenberg.

Mozart's "Idomeneo": In recognition of the 250th anniversary of Mozart's birth, a small exhibit of photographs, programs, and other memorabilia from the BSO Archives docu- ments the American premiere performance of Mozart's early opera Idomeneo given by the Opera Department of the Berkshire Music Center (now the Tanglewood Music Center) on August 4, 1947, under the direction of Boris

Goldovsky. Pictured here in a photo by Howard S.

Babbitt, Jr., are Berkshire Music Center students Dorothy Dawson as Idomeneo's son Idamante, Nancy Trickey as the Trojan princess Ilia, and Joseph Laderoute as Idomeneo,

the king of Crete, in a scene from the opera's final act. Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday-evening Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contempo- rary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the season closes with a weekend-long Jazz Festival. The season offers not only a vast quantity of music but also a

vast range of musical forms and styles, all of it presented with a regard for artistic excellence that makes the festival unique.

The Tanglewood Music Center

Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world's most influential centers for advanced musical study. Serge Kous- sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the Center with the intention of creating a premier music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors,

and composers would sharpen their skills under the tutelage of Boston Symphony Orchestra

musicians and other specially invited artists.

The Music Center opened formally on July 8, 1940, with speeches and music. "If ever

there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding

to the war then raging in Europe. "So long as art and culture exist there is hope for humanity." Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony,

arrived less than an hour before the event began but made such an impression that it continues to be performed at the opening ceremonies each summer. The TMC was Kousse- vitzky 's pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music

Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky 's hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985

to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein was appointed Director of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC's Fellowship Program—advanced musicians who generally have completed all or most of their formal training—participate in an intensive program including chamber and orchestral music, opera, and art song, with a

strong emphasis on music of the twentieth and twenty- first centuries. All participants receive full fellowships that underwrite tuition, room, and board. TMC Orchestra highlights this summer include a concert performance in the Koussevitzky Music Shed of Strauss's Elektra conducted by James Levine with a guest cast of internationally renowned singers, and three TMCO concerts in Seiji Ozawa Hall led by Bernard Haitink (the orchestra's opening concert), Stefan Asbury (with guest artist Dawn Upshaw), and Herbert Blomstedt (making his first appearance with the TMCO in the season's final concert). All TMCO concerts in Ozawa Memories of Tanglewood... You can take them with you!

Visit our Tanglewood Glass House and Music Store

Wide selection of classical music Weekly concert selections

BSO and guest artists • CDs and DVDs • Sheet music, instrumental and vocal • Full scores • Books Exciting designs and colors • Adult and children's clothing • Accessories • Stationery, posters, books • Giftware

MasterCard/VISA/American Express/Diners Club/Discover Card

MAIN GATE: HIGHWOOD GATE: Closed during performances Closed during performances Monday through Friday: 10am to 4pm Friday: 5:30pm to closing of the grounds Friday: 5:30pm to closing of the grounds Saturday: 9am to 4pm Saturday: 9am to 4pm 5:30pm to closing of the grounds 5:30pm to closing of the grounds Sunday: noon to 6pm

Sunday: noon to 6pm Weeknight concerts, Seiji Ozawa Hall: 7pm through intermission Hall also feature performances to be led by the 2006 TMC Conducting Fellows. The 2006 Festival of Contemporary Music—a five-day celebration of the music of our time—will be directed by Stefan Asbury. This year's Festival opens with a triple bill of opera, including the U.S. stage premiere of Elliott Carter's one-act comic opera What Next? conducted by James Levine, along with Hindemith's Hin und Zuriick {There and Back; this was featured in the TMC's opening session in 1940 with Hindemith at the piano) and Stravinsky's Mavra. Following four chamber concerts including classic works and premieres, the Festival will close with Mark-Anthony Turnage's Blood on the Floor, a landmark work for chamber orchestra and jazz quartet. 2006 also sees a second collaboration between the TMC Vocal Program and Keith Lockhart and the Boston Pops Orchestra, this year performing works by Leonard Bernstein in the Shed on July 12. Besides music of Bernstein and contemporary opera, TMC singers also participate in the TMC's ongoing chamber music programs in Ozawa Hall (Sun- day mornings at 10 a.m. and on Saturdays at 6 p.m. prior to BSO concerts). Other projects this summer include the intensive string quartet seminar that regularly opens the TMC season, and two new Composition Program projects: one exploring the possibilities of music written for unusual solo instruments (with performances on July 5); the other, in collaboration with Shakespeare 6c Company, on writing incidental music for the theater (with actors including Tina Packer, that company's director, on stage with TMC musicians in Ozawa

Hall on August 9).

It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Besides Seiji Ozawa, prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, the late Leonard Bernstein, Stephanie Blythe, David Del Tredici, Christoph von Dohnanyi, the late Jacob Druckman, Lukas Foss, John Harbison, Gilbert Kalish (who head- ed the TMC faculty for many years), Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman.

Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Kousse- vitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the

Tanglewood Music Center maintains its commitment to the future as one of the world's most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

4 41 nHMHT' BSO Music DirectorJames Levine, who works with the TMC Fellows in classes on orchestral repertoire, Lieder, and opera, shown here with TMC Vocal Fellows in a July 2005 session devoted to Mozart's "Don Giovanni" I

TO: STOCKBRIDGE

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I BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS TANGLEWOOD ADMINISTRATIVE COMMITTEE 2006 Patricia Krol, BSO Director of Volunteer Services

Chair Friends Office Database/New Members William B alien Marge Lieberman Norma Ruffer Immediate Past Chair Judy Benjamin Ned Dana Ursula Ehret-Dichter Seranak Gardens and Flowers Membership Meetings Secretary Jack Adler Joyce Kates Wilma Michaels Anita Busch Rita Kaye Gloria McMahon Nominating Newsletter Mel Blieberg Tent Club Silvia Stein Carolyn Corby Personnel • Alexandra Warshaw COMMUNITY/ EDUCATION Ready Team AUDIENCE SERVICES Jessica Mormann Gabe Kosakoff, Vice-Chair Bonnie Sexton, Vice Chair Mary Naylor Education and Community The Joys ofTanglewood Cynthia Bilder-Caminiti Outreach (Berkshire Museum Series) Retired Volunteers Club Nancy Cowhig Carol Kosakoff Judith Cook Elena Winter Ellen Plageman Passes/Tickets Tour Guides Talks & Walks Pat Henneberry Ada Hastings Ivan Kates Mary Ellen Tremblay Brochure Distribution Kelly and Jonathan Cade Customer Service TMC Muriel Lazzarini Gittleman, Vice-Chair Ushers and Programmers Bob Bob Rosenblatt Tanglewoodfor Kids TMC Lunch Program Rita Blieberg Visitor Center Howard and Sue Arkans Stephanie Gittleman Michael Geller Transportation Coordinator Youth Activities Gus Leibowitz Brian Rabuse Opening Exercises Andrew Garcia DEVELOPMENT Mary Blah- Margy Steinberg, Vice-Chair • Karen Methven Annual Fund MEMBERSHIP TOP Picnic Mary Jane and Arline Breskin Ken Singer, Vice-Chair Joseph Handler Rosalie Beal Administrative Events Marsha Burniske Roz Mancher

Berkshire Hon IK'S mi James Levine & Van Cliburn at Marlboro

from our August 2005 Cover

online at berkshirehomestyle.com IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS

PLEASE NOTE:TANGLEWOOD IS PLEASED TO OFFER A SMOKE-FREE ENVIRONMENT WE ASK THAT YOU REFRAIN FROM SMOKING ANYWHERE ONTHETANGLEWOOD GROUNDS. DESIGNATED SMOKING AREAS ARE MARKED OUTSIDE THE ENTRANCE GATES.

Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Please do not bring food or beverages into the Music Shed or Ozawa Hall. PLEASE NOTE THAT THE USE OF AUDIO OR VIDEO RECORDING EQUIPMENT DURING CONCERTS AND REHEARSALS IS PROHIBITED, AND THAT VIDEO CAMERAS MAY NOT BE CARRIED INTO THE MUSIC SHED OR OZAWA HALL DURING CONCERTS OR REHEARSALS. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. FOR THE SAFETY OFYOUR FELLOW PATRONS, PLEASE NOTE THAT COOKING, OPEN FLAMES, SPORTS ACTIVITIES, BIKES, SCOOTERS, SKATEBOARDS, AND TENTS OR OTHER STRUCTURES ARE PROHIBITED FROM THE TANGLEWOOD GROUNDS, AND THAT BALL PLAYING IS NOT PERMITTED ON THE SHED LAWN AT ANY TIME WHEN THE GROUNDS ARE OPEN FOR A SHED CONCERT. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. THANKYOU FORYOUR COOPERATION.

TANGLEWOOD INFORMATION

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5165. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666.

BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at www.bso.org.

Please note that there is a service charge for all tickets purchased by phone or on the web.

THE BSO's WEB SITE at www.bso.org provides information on all Boston Symphony and

Boston Pops activities at Symphony Hall and at Tanglewood, and is updated regularly.

FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431.

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your auto- mobile will provide the safest possible shelter during a severe lightning storm. Readmission passes will be provided.

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the intermission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go may be ordered several days in advance at www.bso.org. hlDire* LIME Enjoy innovative cuisine, distinctive, antique-filled rooms, gracious service & modern amenities. Winner of the Wine Spectator Award

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wwuccretailshops.com LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price often. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed.

SPECIAL LAWN POLICY FOR CHILDREN: On the day of the concert, children under the age of twelve will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children's lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children's groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS' CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals and beginning at 12 noon before Sunday-afternoon concerts.

Further information about Kids' Corner is available at the Visitor Center.

OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $17 and available at the Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge to ticket holders, beginning at 9:30 in the Shed.

STUDENT LAWN DISCOUNT: Students twelve and older with a valid student ID receive a 50% discount on lawn tickets for Friday- night BSO concerts. Tickets are available only at the Main Gate box office, and only on the night of the performance. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALK- WAYS are located in the area of the Main Gate and many of the parking areas.

THE LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official.

FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate.

PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events).

THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office.

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the

Glass House is closed during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Tanglewood Visitor Center

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- wood and the Tanglewood Music Center, as well as the early history of the estate. You are cordially invited to visit the Center on the first floor of the Tanglewood Manor House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the concert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until twenty minutes after the concerts on these evenings, as well as during concert intermissions.

In June and September the Visitor Center is open only on Saturdays and Sundays, from 10

a.m. to 4 p.m. There is no admission charge. JAMES LEVINE James Levine became Music Director of the Boston Sym- phony Orchestra in the fall of 2004, having been named

Music Director Designate in October 2001. He is the orches-

tra's fourteenth music director since the BSO's founding in

1881 and the first American-born conductor to hold that position. Highlights of Maestro Levine's 2005-06 subscription season included a season-opening all-French program celebrating the BSO's longstanding tradition of performing the French orchestral repertoire; historic works by Bartok, Debussy, Dutilleux, and Stravinsky given their world or American premieres by the BSO in the course of the past century; BSO 125th-anniversary commissions from Elliott Carter, Jonathan Dawe, and Peter Lieberson; five of eleven programs (divided between 2005-06 and 2006-07) juxtapos- ing works by Beethoven and Schoenberg; and an appearance as conductor and pianist with the Boston Symphony Chamber Players. Highlights of his 2006-07 BSO programs (three of which again go to Carnegie Hall) include an American-themed Opening Night program featuring Renee Fleming in Barber's Knoxville: Summer of1915 and Sir James Galway in Bolcom's Lyric Concerto for flute and orchestra; the conclusion of the two-season Beethoven/Schoenberg proj-

ect, including concert performances of Beethoven's Fidelio and Schoenberg's Moses undAron; Bartok's Bluebeards Castle and Berlioz's La Damnation de Faust; BSO 125th-anniversary commissions from Gunther Schuller and Charles Wuorinen; and music of Haydn, Mozart, Schu- mann, Brahms, and Ravel. Last summer at Tanglewood, Mr. Levine led concerts with the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, and worked with the TMC's Conducting and Vocal Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Highlights of his 2006 Tanglewood season include Beethoven's Ninth Symphony, Schoenberg's Gurrelieder, concert performances of Mozart's Don Giovanni (part of a BSO all-Mozart weekend marking the 250th anniversary of the composer's birth) and Strauss's Elektra (the latter with the Tanglewood Music Center Orchestra), and the American stage premiere (also with TMC forces) of Elliott Carter's opera What Next? Maestro Levine made his BSO debut in April 1972; he has since led the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of Babbitt, Cage, Carter, Harbison, Ligeti, Sessions, and Wuorinen.

James Levine is also Music Director of the Metropolitan Opera, where, in the thirty-five years

since his debut there, he has developed a relationship with that company unparalleled in its history and unique in the musical world today. All told at the Met he has led more than 2,000 performances of 80 different operas. In 2006-07 Maestro Levine will lead new Met productions of Puccini's Madama Butterfly (a special Opening Night performance), Puccini's II trittico, and Gluck's Orfeo ed Euridice; revivals of Mozart's Idomeneo and Die Zauberflote, Verdi's Don Carlo, and Wagner's Die Meistersinger von Niirnberg; and three concerts each at Carnegie Hall with the MET Orchestra and MET Chamber Ensemble. Mr. Levine inaugurated the "Metro- politan Opera Presents" television series for PBS in 1977, founded its Young Artist Development Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house—a former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world.

Outside the United States, Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, especially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its founding in 2000 and, before coming to Boston, was chief conductor of the Munich Philhar- monic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was music director of the Cincinnati May Festival (1973-1978). Besides his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendelssohn's D minor piano concerto. He was a participant at the Marlboro Festival in 1956 (including piano study with Ru- dolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Balti- more Symphony Orchestra and Alfred Wallenstein, Max Rudolf, and Fausto Cleva. As a direct result of his work there, he was invited by George Szell, who was on the jury, to become an assistant conductor (1964-1970) at the Cleveland Orchestra—at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72).

James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and in 1986 was presented with the Smetana Medal by the Czechoslovak government, following performances of the composer's Ma Vlast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documentary in PBS's "American Masters" series. He holds numerous honorary doctorates and other international awards. In recent years Mr. Levine has received the Award for Distin- guished Achievement in the Arts from New York's Third Street Music School Settlement; the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden- Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal Award from the World Economic Forum in Davos, Switzerland; America's National Medal of Arts and Kennedy Center Honors, and the 2005 Award for Distinguished Service to the Arts from the American Academy of Arts and Letters.

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Summer Retail Hours: Mon.-Sat. 10:00 AM-5:30 PM (June 29-August 30) BERKSHIRE RECORD OUTLET Rte. 102, Lee, MA Website: www.berkshirerecordoutlet.com (413)243-4080 "Jennie Shamest Robert Barnes Theodore W. and Evelyn Ronald Wilkison Berenson Family chair Michael Zaretsky "Valeria Vilker Kuchment Stephanie Morris Marryott and Marc Jeanneret

Franklin J. Marryott chair *Mark Ludwig *Tatiana Dimitriades *Rachel Fagerburg Catherine and Paul Buttenwieser *Kazuko Matsusaka chair *Rebecca Gitter *Si-Jing Huang "Marvin Moon TANGLEWOOD Mary B. Saltonstall chair, fullyfunded in perpetuity 2006 Cellos *Nicole Monahan Jules Eskin James Levine Kristin and Roger Servison chair Principal Music Director *Wendy Putnam Philip R. Allen chair, endowed Ray and Maria Stata Donald C and Ruth Brooks in perpetuity in 1969 Music Directorship, Heath chair, fullyfunded in per- Martha Babcock fullyfunded in perpetuity petuity Assistant Principal *Xin Ding Bernard Haitink Vernon and Marion Alden chair, Conductor Emeritus endowed in perpetuity in 1977 Second Violins LaCroix Family Fund, Sato Knudsen fullyfunded in perpetuity Haldan Martinson Mischa Nieland chair, Principal fullyfunded in perpetuity Seiji Ozawa Carl SchoenhofFamily chair, Mihail Jojatu Music Director Laureate fullyfunded in perpetuity Sandra and David Bakalar chair Vyacheslav Uritsky Luis Leguia First Violins Assistant Principal Robert Bradford Newman chair, Charlotte and Irving Rabb Malcolm Lowe W fullyfunded in perpetuity chair, endowed in perpetuity Concertmaster "Jerome Patterson in 1977 Charles Munch chair, Lillian and Nathan R. Miller Ronald Knudsen fullyfunded in perpetuity chair Edgar and Shirley Grossman Tamara Smirnova Jonathan Miller chair Associate Concertmaster Charles andJoAnne Dickinson Helen Horner Mclntyre chair, Joseph McGauley chair Shirley and Richard Fennell endowed in perpetuity in 1976 J. *Owen Young chair, fullyfunded in perpetuity Alexander Velinzon John F Cogan, Jr., and Mary L. Ronan Lefkowitz Assistant Concertmaster Cornille chair, fullyfunded in Edith Howie Robert L. Beal, Enid L., and David H. and C perpetuity chair, fullyfunded in perpetuity Bruce A. Beal chair, endowed in "Andrew Pearce perpetuity in 1980 *Nancy Bracken Stephen and Dorothy Weber chair Elita Kang *Aza Raykhtsaum "Mickey Katz Assistant Concertmaster *Bonnie Bewick Richard C and Ellen E. Paine Edward and Bertha C Rose chair *James Cooke chair, fullyfunded in perpetuity Bo Youp Hwang *Victor Romanul John and Dorothy Wilson chair, Kingsley Bessie Pappas chair Gordon and Mary Ford fullyfunded in perpetuity Family chair Lucia Lin *Catherine French Forrest Foster Collier chair *Kelly Barr Basses Ikuko Mizuno *Polina Sedukh Edwin Barker Dorothy Q. and David B. *Glen Cherry Principal Arnold, Jr., chair, fullyfunded in *Jason Horowitz Harold D. Hodgkinson chair, perpetuity endowed in perpetuity in 1974 § Gerald Elias Amnon Levy Lawrence Wolfe Muriel C Kasdon and Violas Assistant Principal Marjorie C. Paley chair Maria Nistazos Stata chair, Steven Ansell ^Sheila Fiekowsky fullyfunded in perpetuity Principal Ruth and CarlJ. Shapiro chair, Hearne Charles S. Dana chair, Joseph fullyfunded in perpetuity Family chair, endowed in perpetuity in 1970 Leith funded in perpetuity Cathy Basrak fully Assistant Principal Dennis Roy * Participating in a system and Brett Hearne chair Anne Stoneman chair, Joseph Jan rotated seating of fullyfunded in perpetuity John Salkowski On leave Edward Gazouleas Erich and Edith Heymans chair X On sabbatical leave Lois and Harlan Anderson chair, "James Orleans ^Substitute player fullyfunded in perpetuity *Todd Seeber Bassoons Bass Trombone Eleanor L. and Levin H Richard Svoboda Douglas Yeo Campbell chair, fullyfunded Principal John Moors Cabot chair, in perpetuity Edward A. Taft chair, endowed fullyfunded in perpetuity *John Stovall in perpetuity in 1974 *Benjamin Levy Suzanne Nelsen Tuba John D. and Vera M. Mike Roylance Flutes MacDonald chair Margaret and William C. Elizabeth Rowe Richard Ranti Rousseau chair, fullyfunded Principal Associate Principal in perpetuity Walter Piston chair, endowed Diana Osgood Tottenham/ in perpetuity in 1970 Hamilton Osgood chair, Timpani Fenwick Smith fullyfunded in perpetuity Timothy Genis Myra and Robert Kraft chair, Sylvia shippen Wells chair, endowed in perpetuity in 1981 Contrabassoon endowed in perpetuity in 1974 Elizabeth Ostling Gregg Henegar Associate Principal Helen Rand Thayer chair Percussion Marian Gray Lewis chair, Frank Epstein fullyfunded in perpetuity Horns Peter and Anne Brooke chair, James Sommerville fullyfunded in perpetuity Piccolo Principal J. William Hudgins Helen SagojfSlosberg/Edna Peter Andrew Lurie chair, Evelyn and C. Charles Marran S. Kalman chair, endowed fullyfunded in perpetuity chair, endowed in perpetuity in in perpetuity in 1974 1979 Richard Sebring Barbara Lee chair § Linda Toote Associate Principal Margaret Andersen Congleton Assistant Timpanist Oboes chair, fullyfunded in perpetuity Mr. and Mrs. Edward H. Linde John Ferrillo Daniel Katzen chair Principal Elizabeth B. Storer chair, Mildred B. Remis chair, endowed fullyfunded in perpetuity Harp in perpetuity in 1975 Jay Wadenpfuhl Ann Hobson Pilot Mark McEwen fohn P. II and Nancy S. Eustis Principal James and Tina Collias chair chair, fullyfunded in perpetuity Keisuke Wakao Voice and Chorus Assistant Principal Jonathan Menkis John Oliver Elaine andJerome Rosenfeld Jean-Noel and Mona N. Tanglewood Festival Chorus chair Tariot chair Conductor § Kevin Owen Alan and Suzanne W. Dworsky English J. Horn chair, fullyfunded in perpetuity Robert Sheena Trumpets Beranek chair, fullyfunded Charles Schlueter Librarians in perpetuity Principal Marshall Burlingame Roger Louis Voisin chair, Principal Clarinets endowed in perpetuity in 1977 Lia and William Poorvu chair, William R. Hudgins Peter Chapman fullyfunded in perpetuity Principal Ford H. Cooper chair, endowed William Shisler Ann S.M. Banks chair, endowed in perpetuity in 1984 John Perkel in perpetuity in 1977 Thomas Rolfs Scott Andrews Associate Principal Assistant Conductors Thomas Sternberg chair Nina L. and Eugene B. Doggett Jens Georg Bachmann Thomas Martin chair Anna E. Finnerty chair, Associate Principal £sf Benjamin Wright fullyfunded in perpetuity E-flat clarinet Rosemary and Donald Hudson Ludovic Stanton W. and Elisabeth K. chair Morlot Davis chair, fullyfunded in perpetuity Trombones Personnel Managers Lynn G. Larsen Bass Clarinet Ronald Barron Principal Bruce M. Creditor Craig Nordstrom J. P. and Mary B. Barger chair, Farla and Harvey Chet fullyfunded in perpetuity Stage Manager Krentzman chair, fullyfunded Norman Bolter John Demick in perpetuity Arthur and Linda Gelb chair Tennis court, formal gardens, heated pool, garages available M

High ceilings, crown moldings, (f THE €& original trim architectural X GABLED A Multiple fireplaces, ceramic tile 3 kitchens baths, floors ^ & wood ^^jjMy~%y^'*&< Large units from 2,000 to 3,000 square feet, 2 to 3 bedrooms LUXURY Full sprinkling system, central CONDOMINIUMS air conditioning 81 Walker Street, Lenox Massachusetts Former home ofEdith Wharton

To view an onsite model call 413-822-1658 or 413-637-4489. A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

Now in its 125th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the business- man, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for well over a century. The Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, South America, and China;

in addition, it reaches audiences numbering in the millions

through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most important composers; its summer season at Tan-

glewood is regarded as one of the world's most important

music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involving the entire Boston community; and,

during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, Major Henry Lee Higgin- and vocalists. The orchestra's virtuosity is reflected in the son, founder of the Boston concert and recording activities of the Boston Symphony Symphony Orchestra Chamber Players, one of the world's most distinguished chamber ensembles made up of a major symphony orchestra's principal players, and the activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony

Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs at the highest level of excellence. This is accomplished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881. The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in

Thefirst photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882 the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the centennial of Symphony Hall, and the rich history of music performed and introduced to the world at Symphony Hall since it opened over a century ago. Georg Henschel was succeeded by a series of German-born and -trained conductors—Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Prome- nade" concert, offering both music and refreshments, and fulfilling Major Higgin- son's wish to give "concerts of a lighter kind of music." These concerts, soon to be given

in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

In 1915 the orchestra made its first trans- continental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Fran- Rush ticket line at Symphony Hall, cisco. Recording, begun with the Victor probably in the 1 930s Talking Machine Company (the predecessor to RCA Victor) in 1917, continued with increasing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeeded the following year by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty- five years. The BSO's first live concert broadcasts, privately funded, ran from January 1926 through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, regular live Boston Symphony broadcasts being initiated in October 1935. In 1936 Kousse-

vitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Koussevitzky as music director of the Boston Symphony Orchestra in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full-tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammo- phon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the midwest. Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a year as music adviser and three years as an artistic director at Tanglewood. His historic twenty- nine-year tenure, from 1973 to 2002, exceeded that of any previous BSO conductor; in the summer of 2002, at the completion of his tenure, he was named Music Director Laureate. Besides maintaining the orchestra's reputation worldwide, Ozawa reaf- firmed the BSO's commitment to new music through the commission- Symphony Hall in the early 1940s, with the main ing of many new works (including entrance still on Huntington Avenue, before the commissions marking the BSO's intersection ofMassachusetts and Huntington centennial in 1981 and the TMC's avenues was reconstructed so the Green Line could run underground fiftieth anniversary in 1990), played an active role at the Tanglewood Music Center, and further expanded the BSO's recording activities. In 1995 he and the BSO welcomed Bernard Haitink as Principal Guest Conductor. Named Conductor Emeritus in 2004, Mr. Haitink has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, and has also recorded with the orchestra.

In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music director. Maestro Levine began his tenure as the BSO's fourteenth music director—and the first American-born conductor to hold that position—in the fall of 2004. His wide- ranging programs balance great orchestral, operatic, and choral classics with equally significant music of the 20th and 21st centuries, including newly commissioned works from such important American composers as Milton Babbitt, Elliott Carter, John Harbison, Peter Lieberson, Gunther Schuller, and Charles Wuorinen. He also appears as pianist with the Boston Symphony Chamber Players, conducts the Tanglewood Music Center Orchestra, and works with the TMC Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston. The Center for CosMedic Rejuvenation and Wellness

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July 28, 30, August 2, 4, An opera by Robert Schumann The American Symphony Orchestra Conducted by Leon Botstein Directed by Kasper Bech Holten SummerScape 2006 Three operettas by Jacques Offenbach presents an extraordinary Les deux aveugles • L'lle de Tulipatan • Ba-ta-clan season of performing arts from — August 3, 4, 5, 6, 9, 10, 11, 12

opera, music, dance, and theater Conducted by James Bagwell Directed by Ken Roht productions to film, family fare, and

late-night cabaret —drawn together THEATER

by the life and work of Franz Liszt and Camille

the great European Romantic era in July 6, 7, 8, 9, 13, 14, 15, 16 Adapted by Neil Bartlett which he thrived. Come and experience After La Dame aux camellias by Alexandre Dumas///s

SummerScape 's distinctive brand of Directed by Kate Whoriskey cultural discoveries in a venue unlike any DANCE other: the Fisher Center for Richard B. Donna Uchizono Dance Company the Performing Arts, on Bard College's June 29, 30, July 1

stunning Hudson Valley campus. New works, including a commission and a premiere featuring dancers Mikhail Baryshnikov, Hristoula Harkakas, and Jodi Melnick "Every performance at the splendid

new Fisher Center was packed. BARD MUSIC FESTIVAL Seventeenth season Aiex Ross. The New Yorke- 2005 Liszt and His World

August 11-13, 18-20

Two weekends of concerts and other events bring the

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AND HIS WORLD

August 11-13 and August 18-20, 2006

17th season explores the musical v. ,? j of Franz Liszt (1811-86), the greatest piano virtuoso of his time, and a composer whose life, career, and achievements were central to 19th-century Romanticism. Through concerts, panels, and special events in Bard's Frank Gehry-designed Fisher Center and other venues on Bard's scenic Hudson Valley campus, this year's Bard

Music Festival promises to bring Liszt and his world vividly to life.

Franz Liszt Oil painting by Ary Scheffer (1795-1858).

WEEKEND ONE PROGRAM FIVE PROGRAM NINE VIRTUOSITY TRANSFIGURED: BETWEEN TWO SCHOOLS: AUGUST 11-13, 2006 IN THE SHADOW OF PAGANINI LISZT AND THE CHAMBER MUSIC ART, SPECTACLE, AND Works by Liszt, Schumann, Brahms, TRADITION Paganini Works by Liszt, Raff, Volkmann, THE PUBLIC Cornelius, Franz, Rubinstein PROGRAM SIX GRAND OPERA BEFORE WAGNER PROGRAM TEN FRIDAY, AUGUST 11 Excerpts from operas by Auber, CHRIST AND FAUST PROGRAM ONE Meyerbeer, Bellini, Rossini, Halevy, Works by Liszt and Berlioz LISZT: MIRROR OF THE Donizetti American Symphony Orchestra 19TH CENTURY American Symphony Orchestra Leon Botstein, conductor Works by Liszt Leon Botstein, conductor SUNDAY, AUGUST 20 SATURDAY, AUGUST12 PROGRAM ELEVEN PROGRAM TWO WEEKEND TWO LATE LISZT: SPIRITUALITY AND THE YOUNG LISZT: 18-20, 2006 EXPERIMENTATION FROM VIENNA TO PARIS AUGUST Works by Liszt, Bruckner, Works by Liszt, Beethoven, Schubert, FAITH AND POLITICS Saint-Saens, Franck, Busoni, Hummel, Field, Czerny, Moscheles, Debussy, Wagner Chopin, Wieck, Alkan, Henselt FRIDAY, AUGUST 18 PROGRAM TWELVE SPECIAL EVENT PROGRAM SEVEN LISZT AND WAGNER THE PIANO AND THE LISZT AND NATIONAL Works by Liszt and Wagner 19TH CENTURY ASPIRATIONS American Symphony Orchestra with Performance Commentary Works by Liszt, Schumann, Chopin, Leon Botstein, conductor PROGRAM THREE Smetana, Grieg, Musorgsky, POLITICS, PAINTING, THEATER, MacDowell, Sgambati Tickets are $25 to $55. AND POETRY Panels and symposia are free.

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Prelude Concert of Friday, August 11, at 6 (Ozawa Hall) 2 Members of the Boston Symphony Orchestra; Corey Cerovsek, violin MUSIC OF DVORAK, DOHNANYI, AND MOZART

Boston Symphony concert of Friday, August 11, at 8:30 10 Harry Bicket conducting; Corey Cerovsek, violin; Sarah Connolly, mezzo-soprano

MUSIC OF J.S. BACH AND HANDEL

Boston Pops Orchestra concert of Saturday, August 12, at 8:30 26 John Williams conducting; Yo-Yo Ma, cello; James Earl Jones, narrator; Masakazu Yoshizawa, shakuhachi "FILM NIGHT AT TANGLEWOOD"

Philadelphia Orchestra concert of Sunday, August 13, at 2:30 33 Christoph Eschenbach conducting MUSIC OF BEETHOVEN AND TCHAIKOVSKY

THIS WEEK'S ANNOTATORS

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

Steven Ledbetter, program annotator of the Boston Symphony Orchestra from 1979 to 1998, now writes program notes for orchestras and other ensembles throughout the country, and for such concert venues as Carnegie Hall.

Craig Smith is artistic director of Emmanuel Music and leads the weekly Bach cantata series at Emmanuel Church in Boston. Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Phil- harmonic. Oxford University Press has published three volumes of his program notes.

SATURDAY-MORNING OPEN REHEARSAL SPEAKERS

July 8, 22; August 5, 19 — Marc Mandel, BSO Director of Program Publications July 15, 29; August 12, 26 — Robert Kirzinger, BSO Publications Associate

Koussevitzky Shed lawn video projections are provided by Myriad Productions, Saratoga Springs, NY 2006 Tanglewood fT\ SEIJI OZAWA HALL Prelude Concert

Friday, August 11, at 6 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA WENDY PUTNAM, violin RONAN LEFKOWITZ, violin ROBERT BARNES, viola OWEN YOUNG, cello COREY CEROVSEK, violin

DVORAK Terzetto in C for two violins and viola, Opus 74 Introduction: Allegro ma non troppo Larghetto Scherzo: Vivace—Poco meno mosso—Vivace Finale: Theme and Variations Ms. PUTNAM, Mr. CEROVSEK, and Mr. BARNES

DOHNANYI Serenade in C for violin, viola, and cello, Opus 10 Marcia. Allegro Romanza. Adagio non troppo, quasi andante Scherzo. Vivace Tema con variazioni. Andante con moto Rondo (Finale). Allegro vivace

Messrs. CEROVSEK, BARNES, and YOUNG

MOZART String Quartet No. 19 in C, K.465, Dissonant Adagio—Allegro Andante cantabile Menuetto: Allegretto Molto allegro Ms. PUTNAM, Mr. LEFKOWITZ, Mr. BARNES, and Mr. YOUNG

This summers Friday-evening Prelude Concerts mark the 250th anniversary ofMozart's birth with performances ofhis chamber music throughout the Tanglewood season.

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Antonin Dvorak (1841-1904) composed his Terzetto in C, Opus 74, in just one week of January 1887, for the relatively uncommon combination of two violins and viola. It was intended to be a small and simple work for his private amusement, to be played by a violinist friend whose pupil was to play second violin, while Dvorak took the viola part himself In the writing, the music outgrew this original intention. Though it remained brief it became difficult, so Dvorak wrote another, easier trio for two violins and viola, the Bagatelles, Opus 75a, and turned this one over to the Prague Society of Artists for its first public performance, on March 30.

The Terzetto is a collection of charming miniatures that begins with an Introduction, Allegro ma non troppo, in three parts, the middle one rhythmically more energetic than the others. The lyrical Larghetto that follows without pause is similarly constructed. The third movement is a lively scherzo, Vivace, in the manner of the Czech folk dance called the furiant, with syncopated rhythms and shifting stresses. Its contrasting central Trio section moves at a somewhat relaxed pace. The finale begins Poco adagio, with a theme derived from the first movement, which provides the subject for a series of ten dramatically contrasting variations. The designation "terzetto" was generally reserved, in the Classical and Romantic eras, for music for three voices. Mozart's use of it for piano trios was exceptional. Dvorak almost certainly intended it as nothing but a diminutive of "trio."

Although he grew up in an environment that produced some important nationalist composers (Kodaly and Bartok), Erno Dohnanyi (1877-1960) always stayed much closer to the main German traditions of late Romantic music, especially that of Brahms, whose influence on him was profound. The present serenade was published in 1904, when the composer was twenty-seven years old; he had already established himself with his Opus 1, a piano quintet praised by Brahms himself, and the present Opus 10 was to attract the attention of Donald Francis Tovey, who hailed it, in an extended analysis, as one of the very few great compositions for three stringed instruments since the days of Mozart and

Beethoven. Nonetheless, the serenade, with its five movements and their characteristic titles, is more of a suite than a traditional chamber piece (especially since it lacks a sonata- form first movement). The lively march of the opening includes a Trio suggesting a folk melody, with the steady accompanying drone. This Trio returns briefly in the finale, along with the rhythmic pattern of the march, to round off the work as a whole. The scherzo has a rapid fugal opening; following the Trio, both scherzo theme and Trio recur as part of a double fugue—heavy learning indeed, though worn lightly. The variation movement is the most serious part of the serenade; its quiet unfolding in a rich, romantic way is filled with marvels of invention for the three instruments.

In 1781 Haydn composed six string quartets, published the following year as Opus 33, which he cheerfully asserted were in an entirely new style. The works were instantly popular; they have marked, for some critics, the real beginning of the mature Classical era. Few

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert

Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and other audience members.

Note that the use of audio or video recording equipment during performances in the Music Shed or Ozawa Hall is prohibited.

3 Week 6 Celebrating Moments of Extraordinary Collaboration.

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composers had the genius to challenge Haydn's supremacy in the field of the string quartet. One who did, though, almost certainly learned his craft from the ever-growing series of masterpieces coming from Haydn's pen. Wolfgang Amade Mozart (1756-1791) met Haydn for the first time in December 1781 (though he had, of course, known and loved Haydn's music for years). A close friendship formed immediately, ending only with Mozart's premature death ten years later. Each profoundly admired the other. By the end of 1782, Mozart began to demonstrate his veneration for Haydn in his G major quartet, K.384, which represented a marked advance over his earlier chamber works. The following April, Mozart wrote to the Parisian publisher Joseph Sieber pere, to offer him a set of three piano concertos. He remarked in passing, "Since I wrote those piano concertos, I have been composing six quartets " His remark comes as a surprise, since he had as yet completed just one quartet and would not finish the entire set until January 1785. But his reference to six quartets suggests that he wanted to turn out a full set, just as Haydn had done, in the then-standard grouping of six works to make up a full opus. At some point during composition of the set, Mozart evidendy decided to dedicate them to Haydn, but he wanted to wait until the work was complete before making any of the quartets public. He completed the last two of the six quartets, one in A major (K.464) and one in C major (K.465), just four days apart, on January 10 and 14, 1785. On January 15 he performed the quartets (possibly only the first three of the set) before Haydn and a few friends. On February 12, Mozart's father Leopold was visiting from Salzburg. Haydn came to call at Mozart's lodgings, where he heard once again the last three of the quartets. On that evening Haydn made his famous and generous tribute (proudly recorded by Leopold in a letter to his wife), "I tell you before God, as I am an honest man, that your son is the greatest composer whom I know personally or by name; he has taste, and over and above that the greatest knowledge of the science of composition." The published edition bears Mozart's homage to Haydn, whom he addresses as "O great

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492 Holmes Road Pittsfield, MA 01201 (413)499-1300 www.misshalls.org e-mail: [email protected] man and my dearest friend," offering him "these six children of mine. . . the fruit of long and laborious endeavor." This is a far cry from our normal image of Mozart as the fluent natural genius turning out masterpieces almost as fast as he can write them down, but the manuscripts reveal that he indeed put hard work into these pieces, with many false starts and second thoughts. It took him a long time to absorb the lesson of Haydn's Opus 33—the relaxed conversational air that conceals a remarkably taut structure, and the simultaneous elaboration of four parts, none of which can dominate or drop out for long. The last of the six "Haydn" Quartets has always attracted the most attention because of its daring Adagio introduction, filled with unexpected dissonances and cross-relations. These twenty-two measures have given the entire work its epithet of Dissonant. The Adagio's harmonic mystifications build suspense so that the sunny arrival of C major has a posi- tively cathartic effect. The Allegro does not entirely dispel the mysteries, for all its energy and wit. The echoes of that slow introduction linger in the ear to be revived at once when Mozart brings in for a moment unexpected chromaticism or wide-ranging modulations, as in the remarkable development and even during the recapitulation. The Andante cantabile throbs with tension squeezed out of the obstinate development of a tiny four-note figure echoed persistently between first violin and cello as the outline climbs through nearly two octaves and subsides with ravishing grace in the coda. The Menuetto is a fairly bump- tious dance with chromatic touches of melody; these take on a more expressive significance in the yearning Trio. The finale takes its principal character from the two eighth-note pickups to the main theme; this gesture generates a whole range of cheerful tunes presented with endless contrapuntal resource and harmonic surprise. —Steven Ledbetter ARTISTS

Wendy Putnam joined the Boston Symphony Orchestra's violin section in December 1996. Previously she was concertmaster of the New World Symphony and of the Louisiana Phil- harmonic Orchestra, with which she was soloist in the Tchaikovsky Violin Concerto (named "Best Classical Performance of the Year" by the New Orleans Times-Picayune). With the Boston Pops she gave an acclaimed performance of Vieuxtemps' rarely heard Violin Con- certo No. 5. ATanglewood Music Center Fellow in 1990 and 1991, Ms. Putnam holds a bachelor's degree in violin performance from Louisiana State University, undertook further study at Indiana State University, and received her master's degree from Louisiana State University. Her teachers included Fredell Lack, Sally O'Reilly, and Josef Gingold. Ms. Putnam is the founder and director of the Concord Chamber Music Society in Concord, Massachusetts.

Born in Oxford, England, Ronan Lefkowitz joined the Boston Symphony Orchestra in 1976. Mr. Lefkowitz is a graduate of Brookline High School and Harvard College; among his teachers were Gerald Gelbloom, Max Rostal, Louise Vosgerchian, Joseph Silverstein, and Szymon Goldberg. While in high school, he was concertmaster of and a frequent soloist with the Greater Boston Youth Symphony Orchestra. He was also concertmaster of the International Youth Symphony Orchestra under Leopold Stokowski. In 1972 he won the Gingold- Silverstein Prize at the Tanglewood Music Center, where he now coaches chamber music. In 1984 he helped establish and endow the Gerald Gelbloom Fellowship for a student of violin at the Tanglewood Music Center. Career highlights have included a 1984 "Evening at Pops" telecast as soloist with three of his BSO colleagues in Vivaldi's Concerto for Four Violins, and the American premiere in summer 1986 of Witold Lutostawski's Chain 2 for violin and chamber orchestra as part of that year's Festival of Contemporary Music at Tangle- wood, leading to performances of the piece in its BSO premiere under the composer's direction in October 1990. In recent years Mr. Lefkowitz has been involved with the Terezin Chamber Music Foundation, directed by BSO colleague Mark Ludwig, which seeks to find, perform, and record music written in the early 1940s by composers interned at the Theresienstadt open new worlds

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Tickets and info at Shakespeare.org, or (413) 637-3353 concentration camp. His recordings include two compact discs of chamber music by Arthur Foote and Samuel Coleridge-Taylor for Koch International with Harold Wright, Virginia Eskin, and the Hawthorne String Quartet, of which he is first violinist.

Violist Robert Barnes was born in Lexington, Kentucky, and grew up in Detroit, Michigan. He began studying violin at five and gained extensive chamber music experience from his earliest years, with his musician-parents and as a student of Michael Bistritzky. As a young man he attended the summer program at Interlochen and the Congress of Strings in Puerto Rico. In 1961, while a freshman at Wayne State University, he joined the Detroit Symphony Orchestra as a violinist. In 1966, after performing chamber music as a violist, he decided to take up the viola permanently; he played his last year in the Detroit Symphony as a member of the viola section. Mr. Barnes joined the Boston Symphony Orchestra in 1967 and has continued to be active in chamber music, in ensembles including the Cambridge and Francesco string quartets and Collage New Music. He has also taught extensively throughout his career. Besides maintaining a class of private students, he has coached viola students and chamber groups at the Tanglewood Music Center, Brown University, Wellesley College, and the Boston University Tanglewood Institute.

Cellist Owen Young joined the BSO in August 1991. A frequent collaborator in chamber music concerts and festivals, he has also appeared as concerto soloist with numerous orchestras. Mr. Young has performed frequently with singer/songwriter James Taylor, including the nationally televised recorded concert "James Taylor Live at the Beacon Theatre" in New York City. He is on the faculties of the Boston Conservatory, the New England Conservatory

Extension Division, and the Longy School of Music, and is active in Project STEP (String Training and Education Program for students of color) and the BSO's Boston Music Educa- tion Collaborative. From 1991 to 1996 he was a Harvard-appointed resident tutor and director of concerts in Dunster House at Harvard University. A cum laude graduate of Yale University with both bachelor's and master's degrees from Yale, Mr. Young was a Tanglewood Music Center Fellow in 1986 and 1987. After winning an Orchestra Fellowship in 1987, he played with the Atlanta Symphony in 1988 and with the Boston Symphony in 1988-89. He was a member of the New Haven Symphony in 1986-87 and of the Pittsburgh Symphony from 1989 until he joined the BSO in 1991.

For a biography of Corey Cerovsek, see page 24.

PRELUDE CONCERT SEATING

Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a first-come, first-served basis when the grounds open at 5:30 p.m. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before con-

cert time (5:55 p.m.), as a courtesy to those patrons who are still seeking seats. 2006 Tanglewood BOSTON SYMPHONY ORCHESTRA 125th Season, 2005-2006

Friday, August 11, at 8:30 THE GEORGE W. AND FLORENCE N. ADAMS CONCERT ENDOWED IN PERPETUITY (see page 12)

HARRY BICKET conducting

J.S. BACH Orchestral Suite No. 3 in D, BWV 1068 Ouverture Air

Gavotte I; Gavotte II Bourree Gigue

J.S. BACH Violin Concerto No. 2 in E, BWV 1042 Allegro Adagio Allegro COREY CEROVSEK

INTERMISSION

HANDEL Three arias from the opera Ariodante

Text and "Qui d'amore nelT suo linguaggio" translations "Scherza infida" are on "Dopo notte" page 19. SARAH CONNOLLY, mezzo-soprano

State Street Global Advisors is proud to sponsor the 2006 Tanglewood season.

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10 HANDEL Musicfor the Royal Fireworks Ouverture. Adagio—Allegro Bourree La paix. Largo alia Siciliana La Rejouissance. Allegro

Minuet I; Menuet II

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and other audience members. Note that the use of audio or video recording equipment during performances in the Music Shed or Ozawa Hall is prohibited.

NOTES ON THE PROGRAM

Johann Sebastian Bach (1685-1750) Orchestral Suite No. 3 in D, BWV 1068

First performance: This is one of the four suites for orchestra that Bach was known to have performed with the Collegium Musicum at Gottfried Zimmermann's coffeehouse in Leipzig in the 1730s. Though the extant orchestral parts can be dated to 1731, the piece may have originated in Cothen between 1717 and 1722, when Bach was in service there to Prince Leopold of Anhalt-Cothen. First BSO performance ofthe complete work. December 1887, Wilhelm Gericke cond. (but preceded by performance of the Air and Gavotte under Georg Henschel in March 1883). First Tanglewoodperformance: July 29, 1948, Serge Koussevitzky cond. Most recent Tang/ewoodperformance: August 16, 1997,

Hans Graf cond. The continuo harpsichordistfor the present performance is Mark Kroll.

Sometime in the early 1730s Bach changed his compositional focus from cantata writing for the two major churches in Leipzig to producing works for the Collegium Musicum at the University of Leipzig. This group not only gave regular concerts in Gottfried Zimmerman's coffeehouse, but also produced many occasional works for birthdays, wed- dings, and the like. It seems likely that the general level of technical expertise was higher in this group than among the church musicians. Certainly when one examines the works

performed over the years in this series of concerts, it is seen that expert players were demanded both among the strings and the winds. Brass players were highly prized in Saxony, and the parts to the Orchestral Suite No. 3 show the extraor- Hi dinary demands made upon them.

There are two traditions that contribute to the form of the orchestral suite. First is the very private, intimate form of keyboard suite first brought to prominence in Germany by the 17th-century composer Johann Jacob Froberger. Froberger established a tradition of the dances used in the suite. This form remains the model for most of Bach's solo keyboard suites and contributes to the format of the orchestral suites. In Froberger

11 Week 6 Florence Newsome and George William Adams

Florence and George Adams shared a love of music. ^^^ Mrs. Adams grew up in Jamaica Plain and attended Boston C jfli ^ Symphony and Pops concerts frequently with her mother during the Koussevitzky- Fiedler era. The same devotion led them to travel to Lenox by train in the 1930s—a more ardu- ous journey than it is today—to hear the first concerts presented by the Berkshire Symphonic Festival in a tent. In 1937, after Lenox became the summer home of the Boston Symphony, Mrs. Adams attended the famous "thunder- storm concert" that led Gertrude Robinson Smith to begin fundraising to build a permanent music shed. A graduate of Simmons College and Boston University, Mrs. Adams began her career as a reference librarian with the Boston Public Library. She met and married her husband George, also a librarian, while both were working at the Newark Pub- lic Library in New Jersey. Upon the birth of their daughter the family relocated and Mrs. Adams began her association with the Hartford Public Library, where she served as a branch librarian for thirty-six years. An expert on Connecticut legislative history, Mr. Adams was consulted by many state lawmakers and authored numerous articles in his post as legislative reference chief of the Connecticut State Library. Having found many years of enjoyment in the music of the Boston Symphony Orchestra, especially in its tranquil Berkshire setting, Mrs. Adams decided to endow a concert there to maintain that tradition—the first such memorial concert to be endowed at Tanglewood. She died just weeks before the first George W. and

Florence N. Adams Concert took place on August 1, 1987, a program featuring works of George Perle and Felix Mendelssohn conducted by Seiji Ozawa.

12 suites, certain dances like the Allemande, Sarabande, and Gigue are constants. Other dance forms like the Bourree, Gavotte, and Menuet appear occasionally. Around the middle of the seventeenth century, the French composer Jean-Baptiste Lully incorporated certain elements of the suite form into his opera overtures for performances at Louis XIV's court at Versailles. In these works the dances were preceded by a grand overture, beginning with pompous slow dotted rhythms depicting the entrance of the king, followed by a fast imitative section. In some cases the slow dotted music returns to round out the movement. All of Bach's orchestral suites and some of the keyboard suites incorporate this so-called "French overture" into the form. One of the unmistakable characteristics of Bach's music, particularly in the last two decades of his life, is the rich amalgam of national styles that contribute to his own unique voice. One finds in almost equal weight the contribution of Froberger's dances, Lully 's grand French style, and the strong, singing influence of Italian concerto composers in this music.

But it is not enough in any serious discussion of Bach to itemize stylistic influences.

There is a profound richness in the conception of all of Bach's mature works that is un- known in any of his contemporaries. In the French overtures that open all of the orchestral suites, for instance, there is a far-ranging structural plan and harmonic ambition that does not exist in other overtures of the period. It is not clear why Bach hears music with so much more density and harmonic complexity than other composers of his time. Certainly there were other figures as steeped in both North German counterpoint and the chorale as Bach; yet no one ever went so far in structuring his music to the level of intellectual and musical complexity as Bach. Modern audiences and particularly modern musicians have come to expect the kind of musical profundity that Bach always brings to his music. It was not always the case. Certainly the complexity and thorniness of much of his church music as well as chamber

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13 music was perplexing to many of his contemporaries. Even as recently as one hundred years ago a musician of the level of Mahler felt it necessary to combine the Second and Third suites because he felt that an audience couldn't take as much unrelieved D major and B minor as those suites each offered. But centuries of musicians, from Beethoven's playing of the complete Well-tempered Clavier to the generation of Schumann and

Mendelssohn immersing itself in the music of Bach as it became available, have made it a bedrock upon which all subsequent Western music is built. An analogous situation is Shakespeare's standing in the world of English literature. There is a sense that Shake- speare invented the English language. It is almost as if Bach invented modern musical language. Of the four orchestral suites, two—No. 1 in C and No. 4 in D—probably originate from Bach's time as court composer at Cothen. The Third and Second suites (the latter with flute) may have begun life in Cothen, but the extant performance materials come from the 1730s in Leipzig. The Suite No. 3 is the most Italianate of the four. Even the

"French overture" has, in its opening section, a breadth and suavity of line showing influences of Vivaldi and other Italian composers known to Bach. The quick middle section, while beginning in characteristic imitative fashion, soon becomes concerto-like in its elaborate first-violin writing. There exist fragments of a version of this suite in which the violin parts in this section as well as the Aria are taken by a soloist. It is in- teresting that even a composer of the ilk of Handel follows the Lully model very closely. Certainly nothing in Bach's great contemporary or the French composers of the period matches Bach's far-reaching and imaginative transformation of this form. All of Bach's orchestral suites and many of his keyboard suites include one or two movements that are neither dances nor French overture but character pieces. In No. 3 an Italianate "Aria" is inserted after the French overture. This movement has one of Bach's

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14 great singing melodies, and became famous in the nineteenth century in a violin-piano arrangement known as the "Air on the G-string." What is important about this movement is that its gorgeous melody is set in a context rich in counterpoint and harmonic daring. As beautiful as the melody is, its setting in the voluptuous string texture is just as important. The three dances that follow, a Gavotte, Bourree, and Gigue, are so delightful and natural in tone that their incredible art is easy to miss. Notice how the motive that begins the second strain of the gavotte is an upside down version of the first motive.

Throughout all of these dances, virtuosic trumpet writing is the norm. It is clear that there were great trumpet players in Leipzig. The art of high trumpet playing has been revived in modern times almost exclusively because of this literature. The Orchestral Suite No. 3 has always been a favorite of audiences, partially because of the familiarity of the Aria. But there is no doubt that the work embodies the most wonderful qualities of brilliance and substance that make it immortal. —Craig Smith

Johann Sebastian Bach Violin Concerto No. 2 in E, BWV 1042

First performance: Undocumented; the concerto was written around 1720, and Bach may have been the first soloist. First BSO performance: December 1904, Wilhelm Gericke cond., Eugene Ysaye, soloist. First Tang/ewoodperformance: July 16, 1950, Serge Kousse- vitzky cond., Ruth Posselt, soloist. Most recent Tang/ewoodperformance: August 3, 1996, Trevor Pinnock cond., Malcolm Lowe, soloist. The continuo harpsichordistfor the present performance is Mark Kroll.

When Bach moved to Cothen at the end of 1717 to assume the post of Kapellmeister to His Most Serene Highness, Leopold, Prince of Anhalt-Cothen, it was the first time since the summer of 1703 that he was not employed as an organist. Cothen was Calvinist, and music in church was restricted to unaccompanied hymns. Bach's new patron, then just twenty-three, loved music and performed with skill on the violin, the viola da gamba, and on keyboard instruments. Later, Bach said that he had gone to Cothen hoping to spend the rest of his life there; however, in December 1721 his Serenissimus had married,

TANGLEWOOD 2006 TALKS & WALKS

A series of informed conversations presented by guest artists and members of the Tangle- wood family in the Tent Club near the Shed on Thursday afternoons at 1 p.m. Doors open at noon. The talks begin at 1 p.m. and are followed by walking tours of the Tanglewood grounds. Subject to availability, individual tickets are sold between 12:30 and 1 p.m. on the day of the talk for $12 at the Tent Club ($10 for Friends of Tanglewood). Bring a picnic lunch or pre-order a boxed lunch by calling (413) 637-5240. Beverages and

desserts are available for purchase. Talks &c Walks is a project of the Tanglewood Association of the Boston Symphony Association of Volunteers.

July 13 Sir Andrew Davis, Conductor July 21 Susan Graham, Mezzo-Soprano July 27 Hans Graf, Conductor August 3 Osvaldo Golijov, Composer August 10 Norman Fischer, Cellist August 17 Hilary Hahn, Violinist August 24 Emanuel Ax, Pianist

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16 whereupon "the musical interests of the said Prince had become somewhat lukewarm, especially as the new Princess seemed to be alien to the muses." The amusa, as Bach called her, in fact soon died, and Leopold's second wife was a sympathetic and sensitive patroness, but by then Bach was restless and determined to leave. Early in 1723 he went to Leipzig, taking charge of the music at the churches of St. Thomas and St. Nicholas, becoming involved as well with the musical life at the university, and there he remained until his death. At Cothen, Bach's chief task was to compose instrumental music and to see to its performance. Not only was there music to be written for the court; the Bach household, too, with its growing children and a young wife who wanted instruction, made its own demands. In response to all this, and in spite of whatever discontents he may have felt at Cothen, Bach was staggeringly productive: in five years he wrote about a dozen concertos including the six Brandenburgs, the first book of the Well-tempered Clavier, the two-part Inventions and three part Sinfonie, the six English and six French suites for harpsichord, the six suites for solo cello, the three sonatas for viola da gamba with harpsichord, three partitas and three sonatas for violin unaccompanied, six sonatas for violin with harpsichord, at least the first two of his four orchestral suites, and the various sonatas for flute, unaccompanied, with figured bass, and with obbligato harpsichord. Two concertos for solo violin survive, this one in E major and a companion piece in

A minor. Probably there were more which are now lost, and it is likely that Bach's solo harpsichord concertos are transcriptions of vanished violin concertos. (The present work exists in a version in D major for solo harpsichord and strings.) The two Allegros are lighter than most of Bach's, especially the all-but-waltzing final rondo. Between them comes a deeply serious Adagio over one of Bach's characteristic roaming ostinato basses, music that reaches extraordinary heights of pathos in the rhetorical declamation of the violin part. —Michael Steinberg

George Frideric Handel (1685-1759) Arias from the opera Ariodante

First performance ofthe opera: January 8, 1735, London, with the castrato Giovanni Carestini in the title role. This is thefirst Boston Symphony performance ofany musicfrom "Ariodante, " though Lorraine Hunt (later Lorraine Hunt Lieberson) sang two ariasfrom the opera ("Cieca notte" and "Dopo notte") at Tanglewood on August 27, 1997, with the Handel & Haydn Society Orchestra led by violinist/conductor Stanley Ritchie. The continuo harpsichordistfor the present performance is Mark Kroll.

Despite his German birth and his eventual adoption of English citizenship, the musical style of George Frideric Handel is at heart Italian. The extended visit that he made

to Italy between 1706 and 1710 left its mark permanently on his music—especially the vocal music, that genre for which

the Italians have always had such a predilection. And it is only in the last several decades that we have begun to have fairly

easy access (via recordings and, better still, an increasing number and frequency of staged performances) to the full range of Handel's dramatic genius.

Ariodante comes near the end of Handel's operatic career, having been composed for a performance in London, at Covent Garden (not, of course, the Royal Opera House of today!), on

January 8, 1735. It is one of Handel's most appealing operas,

17 Week 6 *&3p£$£m£. '%-^l mm WW \W

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FRIENDS OF Tanglewood

When you give, the legacy continues

When you make a contribution to the Friends of Tanglewood,

you not only support new Music Director James Levine's

extraordinary vision and commitment to artistic excellence,

but the upkeep of Tanglewood 's magnificent grounds as

well. Earned income from ticket sales covers less than fifty

percent of the cost of maintaining the beautiful campus

and your support helps make the magic of Tanglewood

and the fusion of music and nature more meaningful and

accessible to all.

Tanglewood is also home to one of the world's leading

centers for advanced musical study, the Tanglewood Music

Center, where the leading artists of today mentor the master

musicians of tomorrow. Friends of Tanglewood Music Center

support these gifted musicians from around the world To make a gift, who study, free of charge. please call the

Friends Office at Become a Friend of Tanglewood or a Friend of the

(413) 637-5261 Tanglewood Music Center today with a generous or visit us online contribution. When you give, the cherished legacy of at www.bso.org. America's premier summer music festival continues. with a plot derived ultimately from Canto 4-6 of Ariosto's Orlandofurioso (more familiar to English speakers in the version used by Shakespeare for the plot line of the falsely accused Hero in Much Ado About Nothing). Handel wrote the role of Ariodante for a

castrato, Giovanni Carestini; in modern performances, the part is sung by a mezzo- soprano dressed as a man. The story involves the attempt of Polinesso, an evil duke, to thwart the happiness of Ariodante on the eve of his marriage by denouncing as unfaith-

ful Ariodante s fiancee Ginevra. In the aria Scherza infida, Ariodante, believing the worst

of Ginevra, is ready to die, but also threatens Ginevra that he will return as a ghost to

haunt her. By the time we reach Dopo notte all has been set right: the villain confesses y that he has falsely besmirched Ginevra's reputation, and Ariodante sings an ecstatic aria of rediscovered joy. —Steven Ledbetter

ARIODANTE

Arioso (Act I, scene 5)

Qui d'amor nel suo linguaggio, Here, each in its own language,

parla il rio, the brook, l'erbetta, e'l faggio al mio core the delicate foliage, and the beech tree innamorato. speak of love to my enamored heart.

ARIODANTE

Recitative and Aria (Act II, scene 3) Recitative

E vivo ancora? E senza il ferro? oh Dei! Do I still live? And without my sword? Oh god! Che faro? che mi dite, o affanni miei? What shall I do in my trepidation?

Aria

Scherza infida in grembo al drudo. Be merry, faithless one, in your lover s embrace.

Io tradito a morte in braccio Because of your betrayal I now go forth per tua colpa ora men vo. into the arms of death.

Ma a spezzar l'indegno laccio, But to break this undeserved bondage,

ombra mesta, e spirto ignudo, as a mournful shadow, a manifest spirit, per tua pena io tornero. I will return to haunt you.

ARIODANTE

Aria (Act III, scene 8)

Dopo notte, atra e funesta, After night, dark and funereal, splende in ciel piu vago il sole, the sun shines more radiantly in the sky e di gioia empie la terra. and fills the earth with joy.

Mentre in orrida tempesta Whereas in the dreadful tempest il mio legno e quasi assorto, my ship was almost engulfed,

giunge in porto, now it has reached the harbor e 1 lido afferra. and obtained the shore.

19 Week 6 George Frideric Handel Musicfor the Royal Fireworks

First performance: April 27, 1749. Originally written with parts for three oboes, two bassoons, contrabassoon, three horns, three trumpets, and three timpani, the first performance included many instruments on each part. Handel later reworked the score to include strings as well. First BSO performance (in an orchestral transcription by Sir Hamilton Harty): October 1950, Charles Munch cond. First Tanglewoodperformance

(also using Harty's transcription): August 9, 1963, Eugene Ormandy cond. First BSO and Tanglewoodperformance using a modern edition: July 15, 1984, Kurt Masur cond.

Most recent Tanglewoodperformance: August 3, 1996, Trevor Pinnock cond. The continuo harpsichordistfor the present performance is Mark Kroll.

The autumn of 1748 finally saw the end of the long and grinding European war known as the "War of the Austrian Succession," which had started in 1740 when Charles VI, the head of the house of Hapsburg and also the Holy Roman Emperor, died without leaving a son. Though Charles had made a provision according to which his estates (a few modest parcels of land including Austria, Hungary, and Bohemia, plus various provinces in the southern Netherlands and northern Italy) would fall to his daughter Maria Theresa, he had not dealt with the problem of succession to the elective tide of Holy Roman Emperor, which had been in the Hapsburg family for three hundred years. Well before Charles's death other European rulers felt some interest in seeing that the

Imperial title did not fall to Maria Theresa's husband Francis, who was a minor enough noble to be considered unsuitable for such an honor. But if anyone else were to be elected, the successful candidate would also have to be endowed with some of the Hapsburg inheritance.

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It was Frederick II of Prussia (later known as Frederick the Great) who actually started the war by an aggressive move into Silesia, part of the Bohemian lands and one of the richest Hapsburg territories. But hostilities soon expanded to encompass all of Europe, including England and France, for whom the War of the Austrian Succession was just one more skirmish in a long duel between the two countries lasting from 1689 to the defeat of Napoleon in 1815. The signing of the peace treaty in Aix-la-Chapelle on October 18, 1748, after so many years of hardship and bloodshed, was therefore hailed as an achievement worthy of the most splendid celebration. (Few were perhaps aware at the time that the "peace" was essentially a politicians' convenience; though much had been settled in central Europe, the dispute between France and England was scarcely addressed in the treaty, and war was to break out again between those two powers only a few years later, on the North American continent.) In any case, the peace was to be celebrated with a grand public display of fireworks in London's Green Park in April 1749. The King agreed that music should accompany the festivities, but with the stipulation that it should be a music of "warlike instruments" that is wind and percussion, the types of instruments that might be part of a military band. Handel was commissioned to write the music, but at the last moment he demanded also to be allowed to include strings in the ensemble (no doubt he was worried about the problems of intonation with so many wind instruments—which were far more unre- liable in their 18th-century versions than they are today). The Duke of Montague, Master of the Ordnance, wrote to the Comptroller of his Majesty's Fireworks to describe Handel's view of the matter:

Now Hendel proposes to lessen the nomber of trompets, 6cc and to have violeens.

I don't at all doubt but when the King hears it he will be very much displeased

I am shure it behoves Hendel to have as many trumpets, and other martial instru-

ments, as possible, tho he dont retrench the violins, which I think he shoud, tho

I beleeve he will never be persuaded to do it.

Then there was a proposal by Handel's friend and admirer Jonathon Tyers, the owner of Vauxhall Gardens, one of the leading pleasure gardens of the day, and the site of much concert-giving, for a public rehearsal to be held there. Handel was opposed to holding the rehearsal there, but he seems to have been overruled, for one took place on April 21. An audience estimated at 12,000 converged on the Gardens and created such a traffic jam on London Bridge that carriages were reported delayed for three hours. The actual performance of the music with the fireworks took place on April 27. The event seems to have been only a mixed success. Many of the rockets failed to go off (perhaps because of the wet weather), and those that did go offset fire to the building especially erected for the event, setting off a general panic among the crowd and a stam- pede in which many people were injured. The music, however, was immediately popular so much so that Handel repeated it just a month later as part of a benefit concert for his favorite charity, the Foundling Hospital.

It is still not entirely clear whether the first performance took place with wind instruments only, as the king desired, or with added strings, as Handel preferred. Certainly the first movement was composed originally for wind ensemble, though string parts were added in the autograph (and in the eventual published form of the music). The other movements were composed for winds with strings, but the string parts were can- celed in the autograph—perhaps the best evidence that the first performance was for winds alone. Still the numbers of instruments called for by Handel in the autograph twenty-four oboes, twelve bassoons, one contrabassoon, nine each of horns and trumpets, and timpani—fall far short of the "band of 100 musicians" that two different sources claim took part in the premiere. Handel could have added a good forty strings to that

21 Week 6 wind ensemble to make up the hundred players. Or, possibly, he simply doubled all the other numbers! In any case, that first performance must have made a grand and glorious noise.

What is certain, in any case, is the fact that Handel preferred to have strings in his ensemble, if only because it allowed him a greater variety of instrumental colors—and the whole score is designed to show off opposing choirs of instruments with their different timbres. Certainly within a month, if not by the first performance, he had created what he considered the definitive version of the suite, which included the strings.

The overture is far and away the biggest movement of the score. Conceived in the mold of the French overture—with a slow introduction in crisp dotted rhythms, followed by a faster, lightly fiigal main section—it is superbly conceived for outdoor performance. Handel seems to have modeled the opening fanfare on an earlier composition, for which sketches survive. The early version presented the opening fanfare in unison. For the final version Handel decided to harmonize the first statement; this allowed him to attain still further variety when the theme came back on later occasions in two different harmonizations. The faster section of the overture does not come from the early sketches but seems to have been conceived specifically for this piece. Handel carefully

no**

• »

FALL 2006 Sep 13-Nov19 SPRING 2007 Mor 3 An,

- SEMELE Handel • THE PIRATES OF PENZANCE Gilbert & Sullivan CARMEN Bizet MADAMA BUTTERFLY Puccini LA BOHEME Puccini • LA DONNA DEL LAGO Rossini DIE TOTE STADT Komgold FLAVIO Handel . THE ELIXIR OF LOVE Donizetti LA TRAVIATA Verdi • COSI FAN TUTTE Mozart

HANSEL AND GRETEL Humperdinck • New Production CITY OPERA WEEKENDS Great minds, fine food, and the best seats in the house!

METAMORPHOSES Sep 29 - Oct 1 Featuring Handel's Semeie and Korngoid's Die tote Siadt

BARDS, BRAVEHEART, AND BEL CANTO Mar 23 - 25 Featuring Rossini's La donna del

logo and Gilbert & Sullivan's The Pirates of Penzance.

Cal] 212-496-0600 or visit us New York City Opera - Altria online at www.nycopera.com. is sponsored by designed the thematic material to be played by the brass instruments, which, in his day, could play chromatic notes only with great difficulty and in poor tune. The layout of the themes, with plenty of opportunity for triple antiphonal echoes between the different instrumental choirs, also suggests that they were conceived for this unusual ensemble. The remaining movements consist of various types of dances, none of them aimed at matching or excelling the size or energy of the overture. To modern ears they may come as a sort of anticlimax, but nothing was more typical of the Baroque suite, in which the heavy artillery, so to speak, came first, followed up by a display of lighter arms. The various dances were intended to provide a variety of mood and rhythm, if rarely of key. Handel gave two of the later movements titles that certainly were intended to reflect the purpose of the work as a whole: "La Rejouissance" ("The Rejoicing") and "Lapaix" ("The Peace"). —Steven Ledbetter

GUEST ARTISTS

Harry Bicket Making his Boston Symphony and Tanglewood debuts with this concert,

the eminent British conductor Harry Bicket is noted for his expertise with Baroque and Classical repertory, which he conducts with modern-instru-

ment as well as period ensembles. He is especially identified with the works &. of Handel. Originally a keyboard player, Mr. Bicket interrupted his studies ^J at the Royal College of Music in London to pursue a music degree at Oxford. Later, as assistant to Simon Preston (then organist at Westminster 1 Abbey), he played organ and harpsichord with London-based period ensembles. In 1989 Mr. Bicket became repetiteur and chorus master at English National

Opera, had his first experience conducting, and realized that the podium was his true musical calling. His Metropolitan Opera debut in December 2004, Rodelinda with Renee Fleming and David Daniels, resulted in immediate reengagement. That same year, he made his first appearance at Santa Fe Opera, with Agrippina. 2003 saw debuts with Lyric Opera of Chicago (Partenope) and with the Royal Opera House, Covent Garden (Handel's Orlando). Mr. Bicket made his United States debut in 1997 with Florida Grand Opera and has since appeared at New York City Opera, Glimmerglass, and Los Angeles Opera. He made his Glyndebourne Festival debut in 1996, as a last-minute substitute, conducting Peter Sellars's landmark production of Theodora with Dawn Upshaw, Lorraine Hunt Lieberson, and David Daniels. His debut with the Bayerische Staatsoper (Munich) in 2000, conducting a new production of Rinaldo with David Daniels, has resulted in return engagements every year through 2007. In 2005 Mr. Bicket made debuts at the Aldeburgh Festival with PurcelTs Faerie Queen and at the Canadian Opera Company with Rodelinda. His 2006 schedule includes his New York Philhar- monic debut conducting Messiah, as well as productions of Rinaldo and Xerxes at the Bavarian

State Opera and Ariodante at the Teatre del Liceu in Barcelona. He is a regular visitor at the Aspen Music Festival, Los Angeles Opera, Lyric Opera of Chicago, English National Opera, and the Teatro de Gran Liceu, Barcelona, and performs regularly with many United States orchestras. Debuts in 2006 include the Bayerische Rundfiink, Israel Philharmonic, the Boston

Symphony Orchestra at Tanglewood, and the New York Philharmonic. Mr. Bicket 's symphonic programs often showcase his gift for choral repertoire, from the great passions, Masses, and oratorios of the Baroque and Classical eras to works of Faure, Elgar, andTippett. His discography includes two notable Handel recordings: a collection of opera arias with Renee Fleming (Decca), and selections from Handel's Theodora and Serse plus the cantata La Lucrezia with Lorraine Hunt Lieberson (Avie), which was nominated for a Grammy Award. As music director of western Scotland's Crear Studio, Harry Bicket selects exceptional international artists for performance opportunities and recordings on the new Crear Classics CD series, produced in conjunction with the Avie label.

23 Corey Cerovsek Making his Boston Symphony and Tanglewood debuts in this concert, violinist Corey Cerovsek has gained a loyal international following over the last fifteen years, also attracting the attention of such conductors as Mehta, Dutoit, Tilson Thomas, Jarvi, Litton, Levi, Pinnock, Comissiona, Davis, Comet, Lopez-Cobos, Leppard, Venzago, and Alsop. In the United States he has performed with the orchestras of Philadelphia, San Francisco, Detroit, Cincinnati, St. Louis, Milwaukee, Atlanta, Indianapolis, Buffalo, Baltimore, Colorado, Phoenix, San Diego, Denver, Kansas City, and Utah, as well as with the New World Symphony. Internationally he has appeared with the Israel Philharmonic, Iceland Symphony, Prague Symphony, National Symphony (Ireland), Hong Kong Philharmonic, the Residentie Orkest of the Hague, the Berlin Symphony, the Sydney and Melbourne symphonies in Australia, the Montreal, Vancouver, and Toronto symphonies, Canada's National Arts Centre Orchestra, the Bournemouth Symphony, Sjaellands Symfonior- kester (Denmark), Vienna Chamber Orchestra, and the Montpellier Festival Orchestra (France). Recital appearances take him regularly to the Kennedy Center in Washington, D.C., Boston's Isabella Stewart Gardner Museum, and Italy's Spoleto Festival. Other recital credits include Lincoln Center's Walter Reade Theatre and the Frick Collection in New York, SUNY Purchase, the Place des Artes in Montreal, the San Francisco Symphony's "Debut Series," Wigmore Hall in London, the Cemal Resit Rey Concert Hall in Istanbul, the Kuhmo Festival in Finland, and the Spoleto Festival in Charleston. Mr. Cerovsek has toured Australia, Canada, Denmark, Japan, China, Austria, the Netherlands, and Spain. The 2005-06 season has included returns to the orchestras of Vancouver, Salt Lake, Buffalo, Boulder, Little Rock, Kitchener- Waterloo, and Charleston (West Virginia), as well as recitals in New York, Boston, Carmel, Lancaster (Pennsylvania), and Rockford (Illinois). In Europe he returned to the Verbier Festival and performed in Lubeck, Germany, and Geneva, Switzerland. On television, he has been featured on NBC's Tonight Show, the David Frost Show in England, the PBS special Morning. His recordings include "Corey Cerovsek Musical Encounters y and CBS's Sunday Plays Wieniawski" with pianist Katja Cerovsek, and, with the Moscow Chamber Orchestra, "Mozart Adagios" and "Russian Soul." Born in 1972 in Vancouver, Canada, Corey Cerovsek began his violin studies at five. He won the grand prize in the Canadian Music Competition at nine and graduated from the University of Toronto's Royal Conservatory of Music at age twelve. That same year he was accepted as a student by Josef Gingold and enrolled at Indiana University, where by age eighteen he had received bachelor's and master's degrees in both mathematics and music and completed his doctoral coursework in both. He performs on the

(S/Tzer&ari/

In residence at Stony Brook University

Emerson String Quartet The quartet joins an Eugene Drucker, Violin • Philip Setzer, Violin internationally recog- Lawrence Dutton, Viola • David Finckel, Cello nized faculty, plays a Chamber Music Faculty includes central role in the Stony Elaine Bonazzi • Colin Carr • Joseph Carver • Kevin Cobb • Christina Brook Chamber Music Dahl • Pamela Frank • Daniel Gilbert • Gilbert Kalish • Ani Kavafian • • • Program, and directs Eduardo Leandro Timothy Long Frank Morelli Katherine Murdock Michael Powell • William Purvis • Stephen Taylor r the Emerson Quartet O PJfc'\TV Chris Pedro Trakas • Carol Wincenc O 1 wlN I International Chamber For more information, visit our Web site www. Music Workshop. OIyV^WIY stonybrook, edu/music or call (63 1 ) 632-7330. am»e state un1Versity of new york

24 "Milanollo" Stradivarius of 1728, an instrument played, among others, by Christian Ferras, Giovanni Battista Viotti, and Nicolo Paganini.

Sarah Connolly Born in County Durham, England, mezzo-soprano Sarah Connolly studied piano and singing at the Royal College of Music and continues her studies with Gerald Martin Moore. Her concert engagements have included appearances with the Salzburg Festival, Vienna Konzerthaus, Berlin Philharmonic, and Amsterdam Concertgebouw, with such conductors as Sir Simon Rattle, Sir Colin Davis, Sir Roger Norrington, Edo de Waart, Philippe Herreweghe, and Daniel Harding. A regular guest at the BBC Promenade Concerts at Royal Albert Hall, she also participated in the opening of Zankel Hall at New York's Carnegie Hall. She has given world premiere performances of Mark-Anthony Turnage's Twice through the heart with the Schoenberg Ensemble conducted by Oliver Knussen, Jonathan Harvey's Songs ofLi Po at the Aldeburgh Festival, and, most recently, Sir John Tavener's Tribute to Cavafy at Birmingham's Symphony Hall. She made her acclaimed United States debut in the title role of Ariodante with New York City Opera in the 1999-2000 season and her San Francisco Opera debut the following season as both Ino and Juno in Semele. She has since returned to New York City Opera as Romeo

in / Capuleti ed i Montecchi and in the title role of Xerxes. In 2005 she made an acclaimed Metropolitan Opera debut as Annio in La clemenza di Tito and her Carnegie Hall recital debut in Weill Hall. European engagements include Nerone in L'incoronazione di Poppea at the Maggio Musicale in Florence and debuts at the Paris Opera as Sesto in Giulio Cesare, at the Theatre des Champs-Elysees as Juno, and at the Munich Festival as Lucretia in Britten's The Rape ofLucretia. At English National Opera her roles include Handel's Xerxes and Ariodante, Ruggiero {Alcind), Susie {The Silver Tassie), Ottavia {L'incoronazione di Poppea), Sesto (Olivier Award nomination), Dido {Dido and Aeneas and The Trojans), Romeo, and Lucretia, The Rape ofLucretia also being televised for the BBC. She sang the title role in Giulio Cesare at the Glyndebourne Festival last summer, and she recently made her La Scala debut as Purcell's Dido. Future engagements include her first Octavian in Der Rosenkavalier at Scottish Opera as well as Handel's Agrippina and Dejanira {Hercules). Her concert work includes Mozart's C minor Mass and Requiem; Mahler's Das Lied von der Erde, Des Knaben Wunderhorn, and Riickert Lieder, and Bach's St. Matthew Passion. In addition to a recent acclaimed recording of Handel arias, she has recorded Des Knaben Wunderhorn, Mozart's Mass in C Minor, Haydn's Scena di Berenice, a recital disc entitled "The Exquisite Hour," Rameau's Les Fetes d'Hebe (winner of the 1998 Gramophone Early Opera Award and also nominated for a Grammy), Bach cantatas, Vivaldi's Juditha Triumphans, Vaughan Williams SirJohn in Love, and a recital disc of Schoenberg songs. Sarah Connolly makes her Boston Symphony Orchestra and Tanglewood debuts with tonight's concert.

25 2006 Tanglewood

Saturday, August 12, at 8:30 THE GEORGE AND ROBERTA BERRY SUPPORTING ORGANIZATION CONCERT BOSTON POPS ORCHESTRA JOHN WILLIAMS conducting YO-YO MA, cello JAMES EARL JONES, special guest narrator MASAKAZU YOSHIZAWA, shakuhachi

FILM NIGHT AT TANGLEWOOD ALL-WILLIAMS PROGRAM

Sound the Bells! (composed to celebrate the wedding ofJapan's Crown Prince Naruhito and Crown Princess Masaka Owada in June 1993)

"Escape from the City" from War ofthe Worlds

Excerpts from Close Encounters ofthe Third Kind

Suite from Memoirs ofa Geisha Sayuri's Theme Going to School The Chairman's Waltz Brush on Silk Chiyo's Prayer Becoming a Geisha

YO-YO MA, cello MASAKAZU YOSHIZAWA, shakuhachi

INTERMISSION

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Steinway and Sons Pianos, selected exclusively for Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

26 Grand Suite from Star Wars 20th Century Fox Logo Main Title Duel of the Fates Across the Stars Imperial March Princess Leia's Theme The Asteroid Field Yoda's Theme Parade of the Ewoks Throne Room and Finale

JAMES EARL JONES, narrator

ARTISTS

John Williams In January 1980 John Williams was named nineteenth Conductor of the Boston Pops Orchestra since its founding in 1885. He assumed the title of Boston Pops Laureate Conductor following his retirement in December

1993 and also holds the title of Artist-in- Residence at Tanglewood. Born tl in New York, Mr. Williams attended UCLA, studied composition privately with Mario Castelnuovo-Tedesco, and attended the Juilliard School, where he studied piano with Madame Rosina Lhevinne. He worked as a jazz

I pianist before beginning his career in the film studios, where he worked with such composers as Bernard Herrmann, Alfred Newman, and Franz Waxman. He went on to write music for many television programs in the 1960s, winning two Emmy awards for his work. John Williams has composed the music and served as music director for more than 100 films, including Munich, Memoirs ofa Geisha, War ofthe Worlds, Star Wars Episode III: Revenge ofthe Sith, Harry Potter and the Prisoner ofAzkaban, The Terminal, Harry Potter and the Chamber of Secrets, Catch Me IfYou Can, Minority Report, Star Wars Episode II: Attack of the Clones, Harry Potter and the Sorcerers Stone, A.I. Artificial Intelligence, The Patriot, Angelas Ashes, Star Wars Episode I: The Phantom Menace, Stepmom, Saving Private Ryan, Amistad, The Lost World, Rosewood, Sleepers, Nixon, Sabrina, Schindler's List, Jurassic Park, Home Alone 2, Far

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800.558.5466 or 617.779.1919 • commonwealthlimo.com and Away, JFK, Hook, Home Alone, Presumed Innocent, Born on the Fourth ofJuly, the three Indiana Jones films, The Accidental Tourist, Empire ofthe Sun, The Witches ofEastwick, E.T (the Extra-Terrestrial), Superman, Close Encounters of the Third Kind, the Star Wars trilogy, Jaws, and Goodbye, Mr. Chips. Mr. Williams has received forty-three Academy Award nominations and has been awarded five Oscars, seven British Academy Awards, eighteen Grammys, four Emmys, and four Golden Globes, as well as several gold and platinum records. He served as Grand Marshal of the 2004 Tournament of Roses parade and was a 2004 recipient of the Kennedy Center Honors. In addition to his film music, Mr. Williams has written many concert pieces, including two symphonies and concertos for bassoon, cello, flute, violin, clarinet, tuba, and trumpet. His Soundings was commissioned by the Los Angeles Philharmonic for the opening of Disney Hall in October 2003, and his Horn Concerto was premiered in November 2003 by the Chicago Symphony and its principal horn Dale Clevenger. He composed Call ofthe Champions for the 2002 Olympic Games in Salt Lake City, the NBC News theme "The Mission," "Liberty Fanfare" (composed for the rededication of the Statue of Liberty), "We're Lookin' Good!" (composed for the Special Olympics in celebration of the 1987 International Summer Games), the themes for the 1984, 1988, and 1996 Summer Olympic games, and^or

Seijif, honoring Seiji Ozawa's twenty- fifth anniversary as BSO music director. Many of Mr. Williams's film scores have been released as recordings; the soundtrack album to Star Wars has sold more than four million copies. He has also led a highly acclaimed series of albums with the Boston Pops Orchestra on Philips and Sony Classical. Mr. Williams has led both the Boston Pops Orchestra and the Boston Pops Esplanade Orchestra on tour. He has conducted the Boston Symphony Orchestra both at Symphony Hall and at Tanglewood and has appeared as guest conductor with many orchestras. With the BSO and violinist Gil Shaham, Mr. Williams recorded his Violin Concerto, TreeSong, and Three Pieces from Schindler's List for Deutsche Grammophon.

Yo-Yo Ma

The many-faceted career of cellist Yo-Yo Ma is testament to his continual search for new ways to communicate with audiences and to find connec- tions that stimulate the imagination. Yo-Yo Ma maintains a balance between his engagements as soloist with orchestras throughout the world and his recital and chamber music activities. Among his wide circle of col- laborators are Emanuel Ax, Daniel Barenboim, Christoph Eschenbach, Kayhan Kalhor, Ton Koopman, Bobby McFerrin, Edgar Meyer, Mark Morris, Mark O'Connor, Kathryn Stott, Wu Man, Wu Tong, and David Zinman. He has also immersed himself in the study of other musical cultures, such as native Chinese music and the music of the Kalahari bush people in Africa. Expanding upon this

interest, Mr. Ma established the Silk Road Project to promote the study of the cultural, artistic, and intellectual traditions along the ancient trade route that stretched from the Mediterranean

Sea to the Pacific Ocean. The Project is currently co-producing a series of performance, exhibition, and educational events focusing on great works of art from leading museums in Asia, Europe, and North America. The first of these residencies took place in January 2004 at the Peabody Essex Museum in Salem, Massachusetts. The Project's performance-based initiatives include professional workshops co-produced with the Tanglewood Music Center, the Boston Symphony Orchestra, and Carnegie Hall. In 2004 the "Mentoring, Creating and Communi- cating" workshop, conducted with the Silk Road Ensemble, highlighted performance practices of music from Azerbaijan, China, India, and Iran. A September 2006 workshop will focus on Silk Road commissions. Through the Silk Road Project, as throughout his career, Yo-Yo Ma seeks to expand the cello repertoire, frequently performing lesser known 20th-century music

and commissions of new concertos and recital pieces. An exclusive Sony Classical artist, he has a wide-ranging discography of more than seventy-five albums, including fifteen Grammy winners and recordings that defy categorization, such as "Hush" with Bobby McFerrin, "Appa- lachia Waltz" and "Appalachian Journey" with Mark O'Connor and Edgar Meyer, "Obrigado

29 SONYBMG Masterworks Salutes JOHN WILLIAMS & YO-YO MA on their Tanglewood performance of music from the award-winning score MEMOIRS OF A GEISHA ORIGINAL MOTION PICTURE SOUNDTRACK

Music composed & conducted by JOHN WILLIAMS

featuring cello solos by YO-YO MA

violin solos ITZHAK PERLMAN GOLDEN GLOBE WINNER!

geishamusic.com yo-yoma.com sonybmgmasterworks.com www'SonyBMGmasterworks:com f soNv l • I ^^ ind MM ( LASSICAT Reg I BORDERS fa. Off Mara Rcgistrada '© W06 SONY BMG

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30 —

Brazil," and "Obrigado Brazil—Live in Concert." Mr. Ma's most recent recordings include "Paris: La Belle Epoque," with pianist Kathryn Stott, "Silk Road Journeys: Beyond the Horizon," and John Williams's soundtrack to the film Memoirs ofa Geisha. Strongly committed to educational programs, he takes time whenever possible to conduct master classes as well as more informal programs. Born in 1955 to Chinese parents living in Paris, Yo-Yo Ma began to study the cello with his father at age four and came with his family to New York, where he spent most of his formative years. Later, his principal teacher was Leonard Rose at the Juilliard School. He sought out a traditional liberal arts education to expand upon his conservatory training, graduating from Harvard University in 1976. He has received numerous awards, including the Avery Fisher Prize, the Glenn Gould Prize, the National Medal of the Arts, and the Sonning Prize. Mr. Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius.

Masakazu Yoshizawa

Masakazu Yoshizawa is a Los Angeles-based woodwind player and a composer specializing in music for Japanese flute and kabuki percussion. Born in Gifu, Japan, in 1950, he began playing accordion and piano at the age of nine, later taking up clarinet, saxophone, flute, and shakuhachi. At nine- ^ V teen he started working as a studio musician and performing with orchestras in Tokyo, including the New Japan Philharmonic, Tokyo Symphony, and Kosei Wind Orchestra. In 1975 he participated in the Japan tour of Henry Mancini's orchestra. The following year Masakazu Yoshizawa came to the United States to attend the Tanglewood Music Center. Following a move to Los Angeles, he joined Osamu Kitajima's band in 1980; they released twelve albums and performed in Japan and the United States. In 1988 Mr. Yoshizawa released a shakuhachi solo album entitled "Kyori Innervisions" in Germany and the U.S., and in 1993 he formed his own group, Kokin gumi, which has released four albums. Since 1980 he has performed on television and as a studio musician for recordings and for such movie soundtracks as Jurassic Club, Park y The Joy Luck and, most recently, Memoirs ofa Geisha.

James Earl Jones

James Earl Jones's voice is known by people of all ages and walks of life Star Wars fans who know him as the voice of Darth Vader, children who know him as Mufasa from Disney's The Lion King, and the countless people who use Verizon phone services, for which he has been the exclusive spokesperson for many years. Listening, one would never guess that he spent his childhood as a virtual mute due to a severe stuttering problem. With the help of an extraordinary high school teacher, Mr. Jones over- came his stutter and transformed his weakness into his greatest strength. Born in Mississippi and raised in Michigan, James Earl Jones moved to New York City in 1955 after graduating from the University of Michigan and serving in the military. In 1960 renowned Broadway producer Joseph Papp gave Jones one of his first major breakthroughs, casting him in Shakespeare's Henry V. This marked the beginning ofJones's long affiliation with the New York Shakespeare Festival, with the title roles of Othello, Macbeth, and King Lear among his many performances for the company. In the 1960s Mr. Jones was one of the first African-American actors to appear regularly in daytime soap operas; he made his film debut in 1964 in Stanley Kubrick's Dr. Strangelove. Among his many screen credits are leading roles in John Sayles's Matewan (1987), Field ofDreams (1989), and the film version of the Alan Paton classic Cry, the Beloved Country (1995). He won Emmys for his portrayal of Junius Johnson in Heat Wave, the 1990 television drama about the 1965 riots in Watts, and for the role of Gabriel Bird, a disgraced cop turned private investigator, in the 1990-92 series Gabriel's Fire. Throughout his varied career, however, James Earl Jones has always made his biggest impression on stage. In 1969 he won a Tony Award for his performance as boxer Jack Johnson in the Broadway hit The Great White Hope (which also garnered him an Oscar nomi-

31 nation for the 1970 film adaptation). He won a second Tony Award in 1987 for August Wilson's Fences. In addition to continuing his celebrated Shakespearean work, he has also enjoyed a long-standing collaboration with South African playwright Athol Fugard, acting in

The Blood Knot, Boseman and Lena, and the critically acclaimed Master Harold. . . and the Boys, among others. The recipient of two Tonys, four Emmys, a Golden Globe, and a Grammy, James Earl Jones was also honored with the National Medal of Arts in 1992 and the John F. Kennedy Center Honor in December 2002. He recently starred on Broadway in On Golden Pond, for which he received a Tony nomination. He also starred as Supreme Court Justice Thurgood Marshall in the production of Thurgood at the Westport Country Playhouse. His autobiography, Voices and Silences, is available through bookstores and online retailers. James Earl Jones made his Tanglewood debut in July 1997, in a performance of Copland's Lincoln Portrait celebrating the seventy-fifth anniversary of the Lincoln Memorial, with Seiji Ozawa conducting the Boston Symphony Orchestra.

32 2006 Tanglewood

Sunday, August 13, at 2:30

The Boston Symphony Orchestra is pleased to present THE PHILADELPHIA ORCHESTRA CHRISTOPH ESCHENBACH, Music Director

CHRISTOPH ESCHENBACH conducting

BEETHOVEN Overture to The Creatures ofPrometheus, Opus 43

BEETHOVEN Symphony No. 8 in F, Opus 93

Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace

INTERMISSION

TCHAIKOVSKY Symphony No. 5 in E minor, Opus 64 Andante—Allegro con anima Andante cantabile, con alcuna licenza Valse: Allegro moderato Finale: Andante maestoso—Alegro vivace- Moderato assai e molto maestoso

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Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should he switched off during the concert

Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and other audience members.

Note that the use of audio or video recording equipment during performances in the Music Shed or Ozawa Hall is prohibited.

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34 NOTES ON THE PROGRAM

Ludwig van Beethoven ( 1 770- 1 827) Overture to The Creatures ofPrometheus, Opus 43

First performance: March 28, 1801, Burgtheater, Vienna (as part of premiere of the ballet for which Beethoven wrote the music). First Tanglewoodperformance: August 9, 1958, Boston Symphony Orchestra, Pierre Monteux cond. Most recent BSO performance at Tanglewood: August 16, 1996, Christoph Eschenbach cond. Most recent Tanglewoodper- formance: August 6, 2003, Camerata Salzburg, Sir Roger Norrington cond. (as part of a performance of Beethoven's complete music for the ballet)

Except for a youthful attempt ten years earlier in Bonn, Beethoven's music for The Creatures ofPrometheus was the first theatrical score he composed. It is not entirely clear why the Milanese dancer and ballet designer Salvatore Vigano asked Beethoven to provide the music for his new ballet, which was planned as a tribute to Maria Theresa, second wife to the Emperor Franz of Austria. But the fact that Beethoven's instantly popular Septet in E-flat, Opus 20—introduced at a concert Beethoven gave for his own benefit at the Vienna Burgtheater on April 2, 1800—was dedicated to the Empress may provide the connection. By this time the thirty-year-old Beethoven had made himself a name as a composer of piano and chamber music, but his only significant orchestral scores were the First Symphony and two piano concertos; the symphony and one of the concertos (we don't know which) were introduced to the Viennese public on the same concert as the Septet. The chance to compose for the theater marked a singular opportunity for the young composer, and he gave the commission a high pri- ority, providing an overture, an introduction, and sixteen musical numbers.

Although the ballet's popularity was such that it was performed sixteen times in 1801

and thirteen times the following season, all that has come down to us besides Beethoven's

music is a description of the story line, as given in a biography of Vigano by Carlo Ritorni and also in Thayer's classic biography of the composer:

The foundation of this allegorical ballet is the fable of Prometheus. The philosophers of Greece allude to Prometheus as a lofty soul who drove the people of his time from

You are invited to take 2006, Tanglewood Guided Tours of Tanglewood &=^-i

Sponsored by the Tanglewood Association of the Boston Symphony Association of Volunteers

Free to the public Wednesdays at 10:30 a.m. and Saturdays at 1:30 p.m. Free to Sunday ticket-holders: Sundays at 12:30 p.m.

Tours continue through Sunday, August 27.

All tours last one hour, beginning at the Tanglewood Visitor Center. Please arrive at the Visitor Center five minutes before the starting time of each tour.

Croup tours may be scheduled at other times by calling the Tanglewood Volunteer Office at (4!3) 637-5393. A contribution of $6 per person is requestedfor scheduled commercial tour groups (minimum $60 per tour).

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36 ignorance, refined them by means of science and the arts, and gave them manners, customs, and morals. As a result of that conception, two statues that have been brought

to life are introduced in this ballet; and these, through the might of harmony, are

made sensitive to all the passions of human life. Prometheus leads them to Parnassus, in order that Apollo, the god of the fine arts, may enlighten them. Apollo gives them as teachers Amphion, Arion, and Orpheus to instruct them in music, Melpomene to teach them tragedy, Thalia for comedy, Terpsichore and Pan for the shepherd's dance, and Bacchus for the heroic dance, of which he was the originator.

Beethoven's overture is comparatively lightweight, given the nature of the subject matter and especially judging by the standards of his later, more frequently played overtures to Coriolan and Egmont. But the opening measures, with their swift strokes beginning as

it were in medias res harmonically and so immediately commanding the attention, are a perfect foil to the woodwind melody that follows. Those opening chords may also be heard to anticipate the chordal—though not harmonic—framework for the perpetual- motion Allegro theme to follow, and the initial woodwind melody likewise prepares the

second theme of the Allegro. All in all, the five-minute overture makes a perfect curtain- raiser for an evening's entertainment, even providing a touch of drama when the main

theme's return is clouded by C minor before reverting to the predominant major- mode brightness of the whole. —Marc Mandel

Ludwig van Beethoven Symphony No. 8 in F, Opus 93

First performance: February 27, 1814, Vienna, Beethoven cond. First Tanglewoodper- formance: August 5, 1947, Boston Symphony Orchestra, Serge Koussevitzky cond. Most recent Tanglewoodperformance: July 17, 2004, Boston Symphony Orchestra, Rafael Friihbeck de Burgos cond.

In the summer of 1812, Beethoven was seeking relief from chronic digestive problems: at doctor's orders, he traveled from Teplitz to Karlsbad, then, after a brief stay at

^^^^^ I Franzensbad, back to Teplitz, where he had a passing affair ;:::> with Amalie Sebald. From there he journeyed to Linz, where he lodged with his brother Johann and where one of his principal concerns was to break up Johann's relationship with Therese Obermeyer, the sister-in-law of a doctor renting space in Johann's house. Therese had been employed by Johann as a housekeeper but the relationship became much more personal. She already had an illegitimate daughter and supposedly had had a number of lovers. But Johann's reaction to his brother's meddling was, of course, to marry the woman, and when things became difficult for the couple in later years, he did not hesi- tate to blame brother Ludwig for the unhappy circumstances.

But Beethoven was occupied with composing, too, and it was at Linz, while staying at Johann's house, that he completed his Eighth Symphony; the autograph bears the inscription "Linz, October 1812." Just as Beethoven's Fifth and Sixth symphonies are paired with respect to genesis and early performance history—they were premiered at a single concert, on December 22, 1808—likewise were the composer's Seventh and Eighth symphonies linked together. The Seventh was completed just four months be-

fore the Eighth and was first played on December 8, 1813. The Eighth was introduced on February 27, 1814, at a Sunday concert in Vienna that also included the Seventh Symphony, Beethoven's Battle Symphony {Wellingtons Victory), and a vocal trio reworked

37 Week 6 by Beethoven from a piece he had actually composed ten years earlier (even though he had promised a new trio as well as a new symphony for the occasion). Needless to say, the new Eighth Symphony was somewhat overshadowed by the larger Seventh, which opened the concert, but the real hit of the event was Wellington's Victory, whose "battle" section was encored. Regarding the Eighth's relatively cool reception, the reviewer for

Vienna's Allgemeine Musik-Zeitung observed that "the cause of this was not in its weaker or lesser artistic workmanship. . . but partly in the mistake of allowing the symphony to follow the one in A major [the Seventh], and partly in the satiety that followed the enjoyment of so much that was beautiful and excellent, whereby natural apathy was the result." As reported by his biographer Thayer, Beethoven's rather peeved explanation for the Eighth's lack of immediate success was "because it is so much better than the other

[the Seventh]," but it would seem that the Eighth has still not attained the recognition it deserves: it is perhaps the least performed of all the composer's symphonies except, perhaps, for the Second. Toward the end of the nineteenth century, George Grove articulated the reason for this situation, citing, in the main, "the overflowing fun and realism of the music Not only is every movement pervaded by humour, but each has some special stroke of bois- terous merriment, which to those whose minds were full of the more dignified movements

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38 of the Eroica, the C minor, or the Number Seven, may have made it difficult to believe that the composer was in earnest and that his composition was to be taken seriously." Likewise, Philip Hale points to the Eighth as the product of a composer "in reckless mood, delighting in abrupt contrasts. . . characterized by mad jollity, and a playfulness that at times approaches buffoonery." Beethoven's own word for this was "aufgeknopft,"

"unbuttoned," and this is the term commentators have seized upon to characterize this symphonic product of his cheerful nature.

The first movement, Allegro vivace e con brio, contrasts a bright but forceful idea with a waltzlike second theme of comic bent. There is constant alternation of bright and dark, and a preponderance of the sforzato accents and rhythmic drive so typical of Bee- thoven; the end of the development virtually barrels into the recapitulation. The second movement, marked Allegretto scherzando, suggests in its sixteenth-note staccato accompaniment the ticking of a metronome; the main tune may have been based upon, or given rise to, a canon Beethoven contrived in honor ofJohann Nepomuk Maelzel, Vienna's "Court Mechanician" and inventor of the "musical chronometer." The playful character of this brief movement resides in its overlaying of trills, accents, and sudden fortissimo tremolos.

The third movement is marked "Tempo di Menuetto" but actually parodies the courtly minuet of Mozart and Haydn. The original trumpet-and-drums reinforcement of the downbeat—and note that the opening two notes of the movement constitute an upbeat—is displaced during the course of the minuet, and the dolce ("sweet") horn melody of the Trio is offset by a scampering cello accompaniment that suggests a quite different sort of character. The Allegro vivace finale moves like the wind: the triplets that form the upbeat to the main idea and pervade the accompaniment are barely distinguishable to the ear. As in the first movement, there are fits and starts, juxtapositions of pianissimo and fortissimo, with bouncing octaves in bassoon and timpani contributing to the fun.

So much energy is accumulated along the way that, to wind things up, Beethoven writes a coda as long as the entire main part of the movement, and, at the end, we can almost imagine him grabbing us by the shoulders, shaking us hard, and laughing. —Marc Mandel

Pyotrllyich Tchaikovsky (1840-1893) Symphony No. 5 in E minor, Opus 64

First performance: November 17, 1888, St. Petersburg, Tchaikovsky cond. First Berkshire Festivalperformance: August 16, 1936, Boston Symphony Orchestra, Serge Koussevitzky cond. First Tang/ewoodperformance: August 11, 1940, Boston Symphony Orchestra, Koussevitzky cond. Most recent Tanglewoodperformance: August 20, 2005, Boston Sym- phony Orchestra, Marin Alsop cond.

Since the premiere of his Fourth Symphony in 1878, ten years had gone by, years in which Tchaikovsky's international reputation was consolidated, in which he had come to feel the need to give up his teaching at the Moscow Conservatory so as to have more time for composing, in which he began to be active as a conductor, in which he finished Eugene Onegin and three unsuccessful but not uninteresting operas (The Maid of Orleans, Mazeppa, and The Sorceress), in which he composed the Violin Concerto and the Second Piano Concerto, the three orchestral suites and Mozartiana, the Italian Capriccio, the Serenade for Strings, the 1812 Overture, the Vespers Service, the A minor trio, the Manfred Symphony, and some of his most appealing songs. Tchaikovsky himself led the premiere of his Fifth Symphony on November 26, 1888, in St. Petersburg. The Fourth had been the symphony of triumph over fate and was in that sense, and

39 Week 6 admittedly, an imitation of Beethoven's Fifth. For Tchaikovsky's own Fifth, we have nothing as explicitly revealing as the correspondence in which he set out the program of the Fourth for his patroness, Nadezhda von Meek. There is, however, a notebook page outlining a scenario for the first movement: "Introduction. Complete resignation before

Fate, or, which is the same, before the inscrutable predestination of Providence. Allegro.

(I) Murmurs, doubts, plaints, reproaches against XXX. (II) Shall I throw myself in the embraces of faith???"

XXX is less likely to be a particular person than what he usually refers to in his diary as Z or THAT—his homosexual- ity, which caused him deep pain and which, in addition, terri- fied him as a potential cause of scandal. To pursue Tchaikov- sky's verbal plan through the first movement as he finally

composed it is fruitless. (He also disliked attempts to inter- pret musical processes in too literal—and literary—a manner.) Clearly, though, the theme with which the clarinets in their lowest register begin the symphony has a function other

than its musical one: it will recur as a catastrophic interrup- tion of the second movement's love song, as an enervated ghost that approaches the languid dancers of the waltz, and—in a metamorphosis that is perhaps the symphony's least convincing musical and expressive gesture—in majestic and blazing E major triumph.

Tchaikovsky's wonderful gift of melody, his delight in "strong effects" and his skill at bringing them off, his fire and sentiment—these need neither introduction nor advocacy. As to the orchestra, Tchaikovsky produces remarkable effect with remarkable economy.

His orchestra is anything other than extravagant, but the power and vividness of its for-

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heart to the Shakers' commitment to peace.

40 tissimo is amazing. And what delight there is in his delicate passages—the color of the low strings in the introduction (with those few superbly calculated interventions of the second violins); the beautifully placed octaves of clarinet and bassoon when the Allegro begins its melancholy and graceful song; the growls into which that movement subsides (with the timpani roll as the top note in a chord of cellos, basses, and bassoon); the low strings again in the measures that introduce the second movement's famous horn solo; those great, swinging pizzicato chords that break the silence after the catastrophe; those faintly buzzing notes for stopped horns in the waltz; the enchantingly inventive filigree throughout the middle part of that movement; those propulsive chuggings of cellos, basses, drums, and bassoons in the finale; the tough brilliance of the woodwind lines and the firmness of their basses. The composer's own feelings about his Fifth Symphony blew hot and cold, not only about the music itself, but even as to whether he might have been "played out" as a composer. Of course Tchaikovsky had not written himself out. As soon as he returned from a journey to Prague, where the experience of conducting the Fifth produced the most depressed of all his reports on that work (the composer's own feelings about the Fifth blew hot and cold), he began work on The Sleeping Beauty. Within another year his finest operatic score, The Queen ofSpades, was on its way, with The Nutcracker and Pathetique Symphony yet to come.

Tchaikovsky begins the Fifth with a portentous introduction. The tempo is fairly slow, the colors (low clarinets and low strings) are dark. The theme, suggestive here of a funeral march, sticks easily in the memory. Let us call it the Fate theme. Its rhythm is distinctive enough to be recognizable by itself, and that will prove to be useful. The introduction gradually subsides, coming to a suspenseful halt. When the main part of the first movement begins, the tempo is quicker and the main theme is new; nonetheless, we hear a connection because the alternating chords of E minor and A minor in the first twelve measures are the very ones with which the Fate theme was harmonized. Tchaikovsky boils this up to a fortississimo climax, then goes without break into a new, anguished theme for strings with characteristic little punctuation marks for the wood- winds. With these materials he builds a strong, highly energized movement, which, however, vanishes in utter darkness. In 1939, Mack David, Mack Davis, and Andre Kostelanetz came out with a song called "Moon Love." It had a great tune—by Tchaikovsky. It is the one you now hear the horn play, better harmonized and with a better continuation. Before it begins, dense, dark chords set mood, key, and pace. Unlike the cobblers of "Moon Love," Tchaikovsky is under no obligation to round off the tune and finish it. With a slight speeding up, it devolves into a brief duet with oboe, before the cellos take up the melody, the violins expanding on what the oboe sang before. Flexibility is of the essence here: Tchaikovsky indicates "some freedom" {"a/cuna licenza") as part of his general direction for this movement, instructs the horn soloist to play "dolce con molto espressione" and in addition con- stantly modifies the tempo with "animando" "ritenuto" "sostenuto" "con moto>" and the like.

When he has built some grand paragraphs out of the horn melody and its various continuations, Tchaikovsky speeds up the music still more, at which point the clarinet introduces an entirely new and wistful phrase. The spinning out of this idea is brutally interrupted by the Fate theme. The music stops in shocked silence. The great pizzicato chords I mentioned earlier restore order, the violins take up the horn melody, which other instruments decorate richly. Once again there is a great cresting, and once again the

Fate theme intervenes, but this time there is no real recovery. "Resignation before Fate?" In place of a scherzo, Tchaikovsky gives us a graceful, somewhat melancholic

41 Week 6 Picnics on the lawn, Tanglewood Music Center recitals in Ozawa Hall, lounging in the Tent Club, wandering the grounds, and of course, listening to the Boston Symphony Orchestra and Boston Pops in the Shed.

If Tanglewood has become one of your summertime traditions, why not make us a part of your family? By including Tanglewood in your estate plans, you can help ensure that the tradition continues for generations to come.

For more information on how to include Tanglewood in your estate plans or for sample bequest language, Tanglewood contact Nicole Leonard, Assistant Manager of The Walter Piston Society Planned Giving, at (617) 638-9262, (888) 244-4694 or [email protected].

42 waltz. Varied and inventive interludes separate the returns of the initial melody, and just before the end, the Fate theme ghosts softly over the stage. The finale begins with the Fate theme, but heard now in a quietly sonorous E major. This opening corresponds to the introduction of the first movement. This time, though, the increase in tempo is greater, and the new theme is possessed by an almost violent energy. A highly charged sonata form movement unfolds. Toward the end of the recapitulation, Fate reappears, this time just as a rhythm. This leads to an exciting and suspenseful buildup, whose tensions are resolved when the Fate theme marches forward in its most triumphant form: in major, fortissimo, broad, majestic. The moment of suspense just before this grand arrival has turned out to be a famous audience trap. The grand B major chords and the pause that follows them represent a colon, not a period, and people who haven't really been listening but have noticed that the music has stopped are liable to a premature ejaculation of applause at this point. After the Fate theme has made its splendid entrance, the music moves forward into a headlong presto, broadening again for the rousing final pages. —Michael Steinberg

GUEST ARTISTS

Christoph Eschenbach

One of today's leading international conductors, Christoph Eschenbach is now in his third season as music director of The Philadelphia Orchestra. The orchestra's 2005-06 season featured all nine Beethoven symphonies conducted by Mr. Eschenbach and paired with music of our time, including a number of world premieres; a continuation of the orchestra's five-year Mahler cycle, with performances of Mahler's Symphony No. 6 and Das Lied von der Erde; four concerts in Carnegie Hall; a performance at the Kennedy Center in Washington, D.C.; a March 2006 tour of Florida and Puerto Rico; and a series of concerts in May 2006 as part of the inauguration of the new mechanical pipe organ in the orchestra's home, Verizon Hall at the Kimmel Center for the Performing Arts. In addition, Mr. Eschenbach was featured as pianist in a November chamber music concert with members of the orchestra. In addition to his work with The Philadelphia Orchestra during 2005-06, Mr. Eschenbach led the Vienna Philharmonic at the BBC Proms in London, at the Lucerne Festival in Switzerland, and at the Musikverein in Vienna. High- lights of his season with the Orchestre de Paris, where he has been music director since September 2000, included an opening night performance with pianist Lang Lang and a complete cycle of Wagner's Der Ring des Nibelungen over the course of the season, staged by Robert Wilson. Last month he led the Orchestre de Paris in a concert version of Wagner's Siegfried at the BBC Proms. Also in 2005-06 Mr. Eschenbach conducted four concerts with the Hamburg NDR Symphony (in Hamburg, Liibeck, and Bremen). A prolific recording artist, Mr. Eschenbach has made numerous recordings as conductor, pianist, or both. His artistry has been featured in compact discs on the Ariola, BMG, CBS/Sony, Claves, Decca, DGG, EMI, Koch International Classics, Ondine, Pickwick International, RCA Red Seal,

Telarc, Teldec, and Virgin Classics labels. His recordings include works of J.S. Bach, Berlioz, Brahms, Bruckner, Grieg, Mahler, Mendelssohn, Messiaen, Ravel, Saint-Saens, Schumann, Strauss, and Tchaikovsky, among others. A champion of 20th-century music, he has also recorded works by such composers as Adams, Berg, Berio, Glass, Lourie, Picker, Pintscher, Rouse, Schnittke, Schoenberg, and Webern. In May 2005, Mr. Eschenbach and The Phila- delphia Orchestra announced a three-year recording partnership with Ondine Records, the orchestra's first recording contract in nearly ten years. Before turning to conducting, Mr. Eschenbach had already earned a distinguished international reputation as a concert pianist. He began winning major competitions at age eleven and by 1965 was established as the foremost pianist to emerge from post-war Germany, mak-

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44 ing his United States concert debut in 1969 with George Szell and the Cleveland Orchestra. In testimony to his prowess at the piano, Philips chose him as one of 100 pianists featured in their series "Great Pianists of the Twentieth Century." Christoph Eschenbach learned the art of conducting under, among others, George Szell, who personally took him as his protege, and with whom he worked for over three years. In addition, Herbert von Karajan was his mentor for nearly twenty-five years. Mr. Eschenbach made his conducting debut in Hamburg in 1972, followed by his United States conducting debut with the San Francisco Symphony in 1975, and his opera conducting debut with a 1978 production of Verdi's La traviata. In 1981 he was named principal guest conductor of the Tonhalle Orchestra of Zurich, becoming chief conductor from 1982 to 1986. He has also been music director of the Houston Symphony (1988-1999), chief conductor of the Hamburg NDR Symphony Orchestra (1998-2004), music director of the Schleswig-Holstein Music Festival (1999-2002), and music director of the Ravinia Festival, summer home of the Chicago Symphony Orchestra (1994-2003). Among Mr. Eschenbach's most recent awards are the Legion d'Honneur of France presented by President Jacques Chirac (October 2002) and the Officer's Cross with Star and Ribbon of the German Order of Merit (August 2002), as well as the Commander's Cross of the German Order of Merit in 1993 for outstanding achievements as pianist and conductor, and the 1993 Leonard Bernstein Award, presented to him by the Pacific Music Festival, where he served as co-artistic director from 1992 to 1998.

The Philadelphia Orchestra Founded in 1900, The Philadelphia Orchestra has distinguished itself as one of the leading orchestras in the world through a century of acclaimed performances, historic international tours, best-

selling recordings, and its unprecedented record of innovation in recording technologies and outreach. With only six

music directors through its first century, the ensemble has maintained an unparal-

leled cohesiveness and unity in artistic leadership. Christoph Eschenbach became the orchestra's seventh music director in September 2003. His acclaimed first season in Phila- delphia saw the launch of the orchestra's first-ever multi-year cycle of Mahler's complete symphonies and ended with a tour of the music capitals of Europe. The 2004-05 season included a four-week festival featuring late works by Mozart, Strauss, Mahler, Tchaikovsky, Wagner, and Berio. The 2005-06 season featured all nine Beethoven symphonies, conducted by Mr. Eschenbach and paired with music of our time, including several world premieres. In August and September 2006, Mr. Eschenbach leads the orchestra on a tour of European festivals. In May 2005, Mr. Eschenbach and the orchestra announced a three-year recording partnership with Ondine Records; their first recording, taken from live concerts, was released in fall 2005 and the second in April 2006. The Philadelphia Orchestra's 2002-03 season celebrated Wolf- gang Sawallisch's ten highly acclaimed years at the orchestra's helm and paid tribute to his artistic achievements with the release of a Grammy-nominated three-disc set of Schumann recordings, the first recordings made in Verizon Hall at the Kimmel Center for the Performing Arts, which became the orchestra's new home in 2001. The Philadelphia Orchestra annually touches the lives of more than one million music lovers worldwide through its performances (more than 300 concerts and other presentations each year), publications, recordings, and broadcasts. A major winter subscription season is presented in Philadelphia each year, in addition to education and community partnership programs, and annual concerts at New York's Carnegie Hall. Its summer schedule includes a month-long outdoor season in Phila- delphia at the Mann Center, free neighborhood concerts, and a three-week residency at the Saratoga Performing Arts Center in upstate New York. The orchestra recently announced a

45 three-year agreement for an annual week-long summer residency at the Bravo! Vail Valley Music Festival beginning in July 2007. The Kimmel Center for the Performing Arts hosts the orchestra's home subscription concerts and includes two performance spaces, the 2500- seat Verizon Hall, designed and built especially for the orchestra, and the 650-seat Perelman Theater for chamber music concerts. The Kimmel Center for the Performing Arts and the historic Academy of Music (where the orchestra performed for 101 seasons) are operated together as a single cultural facility by Kimmel Center, Inc.

Richard Amoroso Cellos Robert and Lynne Pollack Chair Efe Baltacigil, Acting 'HILADELPHIA Yayoi Numazawa Principal ORCHESTRA Jason De Pue Albert and Mildred Svoitky CHRISTOPH ESCHENBACH Lisa-Beth Lambert Chair Music Director Miyo Curnow Yumi Kendall, Acting THE PHILADELPHIA Elina Kalendareva Associate Principal ORCHESTRA Zachary De Pue Richard Harlow, Acting Lorraine and David Popowich Assistant Principal 2005-06 Season Chair Gloria de Pasquale Christoph Eschenbach Orton P. and Noel S.Jackson Second Violins Music Director Chair Walter and Leonore Annenberg Kimberly Fisher, Principal Kathryn Picht Read Chair Peter A. Benoliel Chair Winifred and Samuel Mayes Paul Roby, Associate Chair Wolfgang Sawallisch Robert Cafaro Conductor Laureate Principal Sandra and David Marshall Volunteer Committees Chair Rossen Milanov Chair Ohad Bar-David Associate Conductor Joseph Lanzat, Assistant Catherine R. andAnthony A. Chair Shizuo Kuwahara Principal Clifton Koen Conducting Fellow Philip Kates John Mollie and Frank Slattery Virginia Halfmann Chair Louis Lanza John Haines-Eitzen* First Violins Stephane Dalschaert Derek Barnes David Kim, Concertmaster Booker Rowe Alex Veltman Dr. Benjamin Rush Chair Davyd Booth Kang, First Juliette Paul Arnold Basses Associate Concertmaster Yumi Ninomiya Scott Harold Robinson, Principal Joseph and Marie Field Chair Dmitri Levin Anonymous Chair Michael Ludwig,* Associate Boris Baiter Michael Shahan, Associate Concertmaster Jerome Wigler Principal Nancy Bean, Acting Neil Courtney, Assistant Associate Concertmaster Violas Principal Haas, Acting Jennifer Choong-Jin Chang, John Hood Concertmaster Assistant Principal Emilio Gravagno Herbert Light Ruth and A. Morris Williams Henry G. Scott Larry A. Grika Chair Chair David Fay Barbara Govatos Carrie Dennis, Acting Duane Rosengard Wilson H. and Barbara B. Associate Principal Taylor Chair Robert Kesselman Judy Geist, Acting Herold Klein Assistant Principal Flutes Vladimir Shapiro* Renard Edwards Jeffrey Khaner, Principal Jonathan Beiler Albert Filosa Paul and Barbara Henkels Chair Hirono Oka Anna Marie Ahn Petersen David Cramer, Associate Stephen Wyrczynski Principal Some members ofthe string David Nicastro Loren N. Lind sections voluntarily rotate Burchard Tang Kazuo Tokito, Piccolo seating on a periodic basis. Che-Hung Chen *On leave Rachel Ku ^Deceased

46 Oboes Trombones Emeritus Players Richard Woodhams, Nitzan Haroz, Principal Alan Abel, percussion Principal Neubauer Family Foundation Leonard Bogdanoff, viola Chair Samuel S. Fels Chair Donald Clauser, viola Peter Smith, Associate Matthew Vaughn, Associate Sidney Curtiss, viola Principal Principal Robert de Pasquale, violin Jonathan Blumenfeld Eric Carlson William de Pasquale, violin Elizabeth Starr Masoudnia, Blair Bollinger, Bass Larry Grika, violin English Horn Trombone Arnold Grossi, violin Paul Krzywicki, tuba Clarinets Tuba Nolan Miller, horn Principal Carol Jantsch, Principal Ricardo Morales, Donald Montanaro, clarinet Samuel Caviezel, Associate Timpani Bert Phillips, cello Principal Don S. Liuzzi, Principal Ronald Reuben, clarinet Sarah and Frank Coulson Chair Divight V. Dowley Chair and bass clarinet Raoul Querze Angela Zator Nelson, Frank Saam, violin Paul R. Demers, Bass Associate Principal Lloyd Smith, cello Clarinet Patrick and Evelyn Gage Chair William Stokking, cello Bassoons Percussion Daniel Matsukawa, Christopher Deviney, Principal Principal Richard M. Klein Chair Mrs. Francis W. DeSerio Chair Mark Gigliotti, Co- Anthony Orlando, Principal Associate Principal Angela Anderson Ann R. and Harold A. Sorgenti Holly Blake, Contrabassoon Chair Angela Zator Nelson Horns Jeffrey Lang, Acting Piano and Celesta Principal Kiyoko Takeuti David Wetherill,* Co- Principal Harps Jeffry Kirschen, Acting Elizabeth Hainen, Principal Associate Principal Margarita Csonka Daniel Williams Montanaro, Co-Principal Adam Unsworth Librarians Shelley Showers Robert M. Grossman, Trumpets Principal David Bilger, Principal Nancy M. Bradburd Marguerite and Gerry Lenfest Steven K. Glanzmann Chair Jeffrey Curnow, Associate Stage Personnel Principal Edward Barnes, Manager

Gary and Ruthanne Schlarbaum James J. Sweeney, Jr. Chair James P. Barnes Robert W. Earley Roger Blackburn

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Tanglewood BOSTON THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's official home page (http://www.bso.org). The BSO web site not only provides up-to-the- minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musicians and guest artists, current press releases, historical facts and figures, helpful telephone numbers, and information on auditions and job openings. Since the BSO web site is updated on a regular basis, we invite you to check in frequently.

48 THE KOUSSEVITZKY SOCIETY

The Koussevitzky Society recognizes gifts made since September 1, 2005, to the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, Tanglewood Music Center Annual Fund, and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals, foundations, and businesses for their annual support of $3,000 or more during the 2005-2006 season. For further information, please contact Barbara Hanson, Manager of the Koussevitzky Society, at (413) 637-5278.

VIRTUOSO $50,000 to $99,999

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MAESTRO $15,000 to $24,999

BSO Members' Association The Frelinghuysen Foundation Mrs. August R. Meyer Canyon Ranch in the Berkshires Dr. and Mrs. Allen Hyman Mrs. Clarice Neumann

Mr. and Mrs. Joseph L. Cohen • Leslie and Stephen Jerome The Red Lion Inn

Cynthia and Oliver Curme Mr. and Mrs. John M. Loder Carole and Edward I. Rudman Ann and Linda Dulye The James A. Macdonald Dr. Raymond and Hannah H. The Fassino Foundation Foundation Schneider Daniel Freed, in memory of Jay and Shirley Marks Dr. and Mrs. Michael Sporn Shirlee Cohen Freed

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Berkshires The Capital Investors Nancy J. Fitzpatrick and Lincoln Robert and Luise Kleinberg Blantyre Russell Drs. Eduardo and Lina Plantilla

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Ms. Sandra L. Brown Mr. and Mrs. Michael P. Kahn Mr. and Mrs. John S. Reed Catherine and Paul Buttenwieser In memory of Florence and Leonard Mr. and Mrs. Ira Sarinsky

Erskine Park LLC S. Kandell Evelyn and Ronald Shapiro Hon. and Mrs. John H. Fitzpatrick Stephen B. Kay and Lisbeth Tarlow The Studley Press, Inc.

SPONSORS $5,000 to $9,999

Robert and Elana Baum Crane Sc Company, Inc. Dr. Lynne B. Harrison

Berkshire Bank Mr. and Mrs. William F. Cruger Mr. and Mrs. Francis W. Hatch, Jr. Ann and Alan Bernstein H. Mr. and Mrs. Clive S. Cummis Mrs. Paul J. Henegan Mr. and Mrs. Lee N. Blatt Ursula Ehret-Dichter and Mr. and Mrs. Stuart Hirshfield Broadway Manufacturing Supply Channing Dichter Dr. and Mrs. Edwin H. Hopton

LLC Mr. and Mrs. Dale E. Fowler Mr. and Mrs. Lawrence S. Horn Ann Fitzpatrick Brown Herb and Barbara Franklin Inland Management Corporation

Mr. John F. Cogan, Jr., and The Hon. Peter H.B. Frelinghuysen Stephen and Michele Jackman Ms. Mary L. Cornille Cora and Ted Ginsberg Prof, and Mrs. Paul Joskow James and Tina Collias Roberta and Macey Goldman Mr. and Mrs. Louis Kaitz Dr. Charles L. Cooney and Mr. and Mrs. Robert A. Goodman Martin and Wendy Kaplan Ms. Peggy Reiser Corinne and Jerry Gorelick Natalie Katz in memory of

Ranny Cooper and David Smith John and Chara Haas Murray S. Katz Mr. and Mrs. Herbert J. Coyne Joseph K. and Mary Jane Handler Mr. and Mrs. Michael Kittredge

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Mr. and Mrs. Jacques Kohn Claudio and Penny Pincus Margery and Lewis Steinberg Koppers Chocolate Irene and Abe Pollin Jerry and Nancy Straus Liz and George Krupp The Charles L. Read Foundation Marjorie and Sherwood Sumner

William and Marilyn Larkin Robert and Ruth Remis Mr. and Mrs. George A. Suter, Jr. Legacy Banks Barbara and Michael Rosenbaum Mr. Aso Tavitian Foundation, Maureen Banknorth Mr. and Mrs. Jesse J. Lehman The Roxe TD Mr. Cynthia and Robert J. Lepofsky and Joe Roxe and Mrs. Wilmer J. Thomas, Jr. Mrs. Vincent Lesunaitis David and Sue Rudd Jacqueline and Albert Togut Buddy and Nannette Lewis Mr. Alan Sagner Loet and Edith Velmans

Mr. and Mrs. Murray Liebowitz Mrs. Dan Schusterman Mrs. Charles H. Watts II Mr. and Mrs. Edwin N. London Ms. Sarah Seline Karen and Jerry Waxberg Dr. Robert and Jane B. Mayer Arlene and Donald Shapiro Mrs. Anne Westcott Carol and Thomas McCann Hannah and Walter Shmerler Wheatleigh Hotel & Restaurant Mr. and Mrs. Thomas T. McCain Marion and Leonard Simon Robert C. Winters Mrs. Alice D. Netter Mr. and Mrs. Irving Smokier Mr. and Mrs. Ira Yohalem

Polly and Dan Pierce Mr. and Mrs. Charles A. Stakely Anonymous (4)

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Abbott's Limousine & Livery Iris and Mel Chasen Stephen A. Gilbert and Geraldine R. Service, Inc. Barbara Cohen-Hobbs Staadecker

Alii and Bill Achtmeyer Judith and Stewart Colton David H. Glaser and Deborah F. Mr. and Mrs. Alan Ades Linda Benedict Colvin Stone Mr. and Mrs. Ronald Altman Cranwell Resort & Spa Sy and Jane Glaser

Bonnie and Louis Altshuler Mr. Abbott R. Davidson Mr. and Mrs. J. Arthur Goldberg Arthur Appelstein and Lorraine In memory of D.M. Delinferni Mr. and Mrs. Andrew Goldfarb

Becker Paul F. and Lori A. Deninger Mr. and Mrs. Seymour L. Goldman Apple Tree Inn & Restaurant Dr. and Mrs. Harold L. Deutsch Mrs. Judi Goldsmith Gideon Argov and Alexandra Fuchs Chester and Joy Douglass Mrs. Roslyn Goldstein Lucille Batal Dresser-Hull Company Estates of Mr. and Mrs. Haskell R. Helene and Ady Berger Ms. Judith R. Drucker Gordon Jerome and Henrietta Berko Terry and Mel Drucker Goshen Wine & Spirits, Inc. Berkshire Life Insurance Company John and Alix Dunn Mr. and Mrs. Richard Grausman of America Mr. and Mrs. Leonard Edelson Mr. Harold Grinspoon and

Ms. Joyce S. Bernstein and Mr. and Mrs. Monroe B. England Ms. Diane Troderman Mr. Lawrence M. Rosenthal Eitan and Malka Evan Carol and Charles Grossman Mr. and Mrs. Paul Berz Ms. Marie V. Feder Mr. and Mrs. Scott M. Hand Linda and Tom Bielecki Mr. Michael A. Feder Felda and Dena Hardymon Hildi and Walter Black Mr. and Mrs. Philip Fidler William Harris and Jeananne Brad and Terrie Bloom Mr. and Mrs. John C. Fontaine Hauswald Birgit and Charles Blyth Mr. and Mrs. David Forer Mr. and Mrs. Richard Harte Mr. and Mrs. Nat Bohrer Marjorie and Albert Fortinsky Mr. Gardener C. Hendrie and Mr. and Mrs. Nicholas Boraski Rabbi Daniel Freelander and Ms. Karen Johansen

Marlene and Dr. Stuart H. Brager Rabbi Elyse Frishman Mr. and Mrs. Robert I. Hiller

Mr. and Mrs. James H. Brandi Mr. Michael Fried Mr. Arnold J. and Helen G. Jane and Jay Braus Carolyn and Roger Friedlander Hoffman Marilyn and Arthur Brimberg Myra and Raymond Friedman Enid and Charles Hoffman Judy and Simeon Brinberg Audrey and Ralph Friedner Lila and Richard Holland Mr. and Mrs. Richard Brown David Friedson and Susan Kaplan Mrs. Ruth W Houghton Samuel B. and Deborah D. Bruskin Mr. and Mrs. Robert L. Gable Housatonic Curtain Company, Inc.

Gregory E. Bulger Foundation Agostino Galluzzo and Susan Hoag Mr. Walter B. Jr. and Mrs. Nancy Cain, Hibbard, Myers & Cook Mr. and Mrs. Leslie J. Garfield Howell Mr. Roland A. Capuano Drs. Ellen Gendler and James Salik Initially Yours, Monogramming & Phyllis H. Carey in memory of Dr. Paul Gendler Engraving David and Maria Carls Mr. and Mrs. Melvin Y. Gershman Lola and Edwin Jaffe

Mary Carswell Dr. Donald and Phoebe Giddon Mr. and Mrs. Werner Janssen, Jr. Casablanca Mr. and Mrs. Daniel R. Johnson

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Adrienne and Alan Kane Bobbie and Arthur Newman Hon. George P. Shultz Mr. and Mrs. Arnold Y. Kapiloff Northern Trust The Silman Family Leonard Kaplan and Marcia Simon Mr. Richard Novik Richard B. Silverman Kaplan Mr. and Mrs. Chet Opalka Mr. and Mrs. Robert L. Singleton

Mr. and Mrs. Eric Katzman Dr. and Mrs. Martin S. Oppenheim Mr. and Mrs. Arthur M. Siskind Dr. Shulamit and Mr. Chaim Mr. and Mrs. Michael Orlove Jack and Maggie Skenyon

Katzman Dr. and Mrs. Simon Parisier Mrs. William F. Sondericker Mr. and Mrs. Bruce Kelly Parnassus Foundation, courtesy of Harvey and Gabriella Sperry Leo A. Kelty Jane and Raphael Bernstein Emily and Jerry Spiegel Mr. and Mrs. George H. Kidder Plastics Technology Laboratories, Mr. Peter Spiegelman and Ms. Alice

Mr. and Mrs. Carleton F. Kilmer Inc. Wang Dr. and Mrs. Lester Klein Mr. and Mrs. Kenneth Poovey Mr. and Mrs. Lewis Stein

Mr. Robert E. Koch Mr. and Mrs. Walter Pressey Mr. and Mrs. Daniel S. Sterling Dr. and Mrs. David Kosowsky Quality Printing Company, Inc. Mr. Ronald Stillman Mr. and Mrs. Ely Krellenstein Mr. and Mrs. Bruno Quinson Stonover Farm Bed & Breakfast Kripalu Center for Yoga and Health Mr. and Mrs. Mickey Rabina Mrs. Pat Strawgate Mr. and Mrs. Irving Kronenberg Lila and Gerald Rauch Mr. and Mrs. Charles Stuzin Mr. and Mrs. Richard Kronenberg Dr. Douglas Reeves and Michael and Elsa Daspin Suisman Naomi Kruvant Mrs. Shelley Sackett Lois and David Swawite Norma and Sol D. Kugler Mr. and Mrs. Nathan Reiber Mr. and Mrs. Richard Taylor Carole and Irwin Lainoff Bruce Reopolos Mr. and Mrs. John L. Thorndike Mr. and Mrs. William Lehman Mr. and Mrs. Stanley Riemer Mr. and Mrs. Roger Tilles

Mr. and Mrs. Marvin Lender Mary and Lee Rivollier Mr. and Mrs. Eugene Trainor III The Lenox Athenaeum Mr. and Mrs. Bernard L. Roberts True North Insurance Agency, Inc. David and Lois Lerner Family Mr. and Mrs. Fred Robins Myra and Michael Tweedy

Foundation Mr. and Mrs. Stanley Ross Mr. and Mrs. Howard J. Tytel

Mr. Arthur J. Levey and Ms. Rocio Mrs. George R. Rowland June Ugelow

Gell Suzanne and Burton Rubin Laughran S. Vaber Marjorie T. Lieberman Mr. and Mrs. Milton B. Rubin Mr. Gordon Van Huizen and Geri and Roy Liemer Mr. and Mrs. Michael Salke Ms. Diana Gaston Dr. David Lippman and Ms. Honey Malcolm and BJ Salter Viking Fuel Oil Company Sharp Samuel and Susan Samelson Mr. and Mrs. Harvey Waller

Mr. S. and Mrs. Roger Loeb Mr. Robert M. Sanders Mr. J. Craig Weakley and Ms. Terri Phyllis and Walter F. Loeb Roger and Norma Saunders Poli

Gerry and Sheri Lublin Dr. and Mrs. Wynn A. Sayman Mr. and Mrs. Edwin A. Weiller III

Diane H. Lupean Mr. Gary S. Schieneman and Mr. and Mrs. Barry Weiss Gloria and Leonard Luria Ms. Susan B. Fisher Dr. and Mrs. Jerry Weiss Mrs. Edward Lustbader Marcia and Albert Schmier Mr. and Mrs. Robert A. Wells Mr. and Mrs. Darryl Mallah Mr. and Mrs. Ernest Schnesel Carole White Rev. Cabell B. Marbury Pearl and Alvin Schottenfeld Peter D. Whitehead, Builder Peg and Bob Marcus Lois and Alan Schottenstein Mr. Robert G. Wilmers Suzanne and Mort Marvin Mr. Daniel Schulman and Mr. Jan Winkler and Ms. Hermine Mr. Daniel Mathieu and Mr. Tom Ms. Jennie Kassanoff Drezner Potter Carol and Marvin Schwartzbard Richard M. Ziter, M.D. Mary and James Maxymillian Betsey and Mark Selkowitz Lyonel E. Zunz The Messinger Family Carol and Richard Seltzer Anonymous (10) Mr. and Mrs. Michael Monts Mr. and Mrs. Daniel Shapiro

Names as ofJuly 19, 2006 Throughout its long and illustrious history, the Boston Symphony Orchestra has been a leader among orchestras. Now, under the direction of James Levine, the BSO has entered an energizing and unprecedented phase of artistic growth and is poised to become the pre-eminent symphonic institution in the world.

THE ARTISTIC INITIATIVE Inspired by the vision of Maestro Levine, the

BSO is engaging in new initiatives to further the artistic excellence of the orchestra and simultaneously enhance the concert experience for local, national, and international audiences. These activities include the presentation of rarely-performed large-scale works, engagement of the world's finest visiting artists, and institution of a new approach to music preparation. Unique among orchestral organizations, these advances require expanded rehearsal time and supplemental players to produce inspiring performances of some of the great works in the repertoire.

To support these new approaches, the Trustees of the Boston Symphony Orchestra have established The Artistic Initiative, an effort to raise new endowment funds to create a revenue stream that will support these activities for years to come. More immediately, the Initiative also seeks directed grants to provide immediate revenue for artistic expenses while endowment funds are being raised. THE ARTISTIC INITIATIVE (continued) Donors to The Artistic Initiative at the $250,000 level and higher are recognized as members of The James Levine Circle. The BSO gratefully acknowledges each of the following donors for their generous leadership level support. This list reflects gifts received as of June 7, 2006. THE JAMES LEVINE CIRCLE $2.000.000 and up

Mr. John F. Cogan, Jr. and Joyce and Edward Linde Ms. Mary L. Cornille

$1.000.000 - $1.999.999

Mr. and Mrs. George D. Behrakis Liberty Mutual Foundation, Inc. Peter and Anne Brooke William and Lia Poorvu Catherine and Paul Buttenwieser Stephen and Dorothy Weber John and Diddy Cullinane

$500.000 - $999.999

Advent International Corporation Carole and Edward I. Rudman

Alan S. and Lorraine D. Bressler Kristin and Roger Servison

Lizbeth and George Krupp Mr. and Mrs. Wilmer J. Thomas, Jr. Mr. and Mrs. C. Kevin Landry Roberta and Stephen R. Weiner

The Richard P. and Claire W Morse Foundation

$250.000 - $499.999

George and Roberta Berry Cynthia and Robert J. Lepofsky Calderwood Charitable Foundation Anne R. Lovett and The Cosette Charitable Fund Stephen G. Woodsum

Cynthia and Oliver Curme/ P. Andrews and Linda H. McLane The Lost and Foundation, Inc. Megan and Robert O' Block Bill and Jacalyn Egan/ Michael and Elizabeth Ruane Duniry Foundation Sternberg Family Charitable Trust Stephen B. Kay and Lisbeth Tarlow

For more information about supporting The Artistic Initiative, please contact Nancy Baker, Director of Major and Planned Giving, at (617) 638-9269 or [email protected].

55 Artem g 2006 Season Davsw^ %rl W mm in thw p^0 m m v a^-

Through the Boston Symphony Orchestra's Days in the Arts (DARTS) program, students spend a week immersed in th<5 arts. Each day, students participate in hands-on workshops and attend programs at Berkshire cultural institutions such as Tanglewood and Jacob's Pillow.

Financial support is essential to the continued success of DARTS. Please con- sider making a generous contribution to DARTS this summer and help more than 400 children explore how the arts can enrich their lives. For more information, contact Barbara Hanson, Mana ger of the Koussevitzky Society, at (413) 637-5278 or [email protected].

The BSO gratefully acknowledges the following City Lights Electrical Company, Inc. donors*: Jim and Barbara Cleary Collins Nickas and Company, LLC $50,000 and above Component Assembly Systems, Inc. Carol and Joseph Reich in memory of Nan Kay Country Curtains, The Red Lion Inn, Blantyre, and The Fitzpatrick Family $25,000 - $49,999 Joe and Susan Fallon

The William E. and Bertha E. Schrafft Fidelity Investments Charitable Trust Fisher Scientific International Inc. Suffolk Construction Company, Inc. Granite Telecommunications The Hanover Insurance Group Foundation, Inc. $10,000 - $24,999 Helen G. Hauben Foundation Associated Grantmakers of Massachusetts John Hancock Financial Services Summer Fund Leonard Kaplan and Marcia Simon Kaplan Boulder Capital The Kingsbury Road Charitable Foundation Citizens Bank of Massachusetts and The Krentzman Family Citizens Financial Group Liberty Mutual Group Dick and Ann Marie Connolly The Lynch Foundation Daniel Freed, in memory of Shirlee Cohen Freed The McGrath Family Stephen B. Kay and Lisbeth Tarlow Mellon Financial Corporation The Roger and Myrna Landay NSTAR Charitable Foundation Mr. and Mrs. Kevin C. Phelan Thomas A. Pappas Charitable Foundation Premier Capital Red Sox Foundation

$5,000 - $9,999 The Mabel Louise Riley Foundation Sydelle and Lee Blatt S & F Concrete Contractors, Inc.

Irene E. and George A. Davis Foundation The Richard and Susan Smith Family Foundation Intercontinental Real Estate Corporation Sullivan & McLaughlin Companies, Inc. Abraham Perlman Foundation Edward A. Taft Trust Anonymous Roberta and Stephen R. Weiner Williams Scotsman Inc.

$2,000 - $4,999 Anonymous Analog Devices, Inc. Anglo Irish Bank Group DARTS Endowment Funds Aon Elizabeth A. Baldwin DARTS Fund Arbella Insurance Group George and Kathleen Clear DARTS CRT Bank of America Paul D. and Lori A. Deninger Blue Cross Blue Shield of Massachusetts DARTS Scholarship Fund The Boston Foundation Gordon/Rousmaniere/Roberts Fund Boston Properties, Inc. Renee Rapaporte DARTS Scholarship Fund Brooke Private Equity Advisors Jerome Zipkin DARTS Fund Capone Iron Corporation Charles George Trucking Co., Inc. *asofJulyl5,2006

56 NORTHERN TRUST IS PROUD TO SUPPORT THE BOSTON SYMPHONY.

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Pittsfield, Massachusetts

88th Season of Chamber Music

icerts Sundays at 3 P.M. ^oadcV^ WFCR,.org September 3 NPR News & Music for Western New England String Quartet September 10 Award-winning NPR and String Quartets regional news, classical music, September 17 jazz, folk, and world music String Quartet 88.5FM/WFCR, Amherst September 24 1430AM/WPNI, Amherst WFCRHD2at88.5FM String Quartet Coming Soon to Berkshire County! October 8 88.5FM retransmitted on eaux Arts Trio 98.7FM/Great Barrington, i 98.3FM/Lee, For Brochure and Ticket Information Write lOl.lFM/North Adams (NOW ON!), South Mountain Concerts, Box 23 93.9FM/Pittsfield, Pittsfield, MA 01 202 Phone 41 3 442-2106 96.3FM/Williamstown. www.southmountainconcerts.com For details: www.wfcr.org

ToursExhibitsLecturesPerformancesTeas BallroomDancesKid'sProgramsPrivate RentalsSummerPlayGi ft Shop Year- Round SYMPHONY and more... CHAMBER PLAYERS

ihjyjj Dull

^fouTheref Ventfort Hall Mansion and Gilded Age Museum

104 Walker Street, Lenox. Massachusetts 111 SOUTH STREET PITTSFIELD, MA 01201 413-637-3206 www.gildedage.org TICKET OFFICE: (413) 997-4444 www.tkecolonialtheatre.org AUGUST AT TANGLEWOOD

Wednesday, August 2, at 8:30 Friday, August 11, at 6 (Prelude) KREMERATA BALTICA MEMBERS OF THE BSO GIDON KREMER, artistic director and COREY CEROVSEK, violin violin soloist Music of DVORAK, DOHNANYI, and MOZART The Complete Violin Concertos, MOZART Program 1, plus music of SCHNITTKE and NYMAN Friday, August 11, at 8:30 Celebrating the 250th anniversary of BSO—HARRY BICKET, conductor Mozart's birth COREY CEROVSEK, violin SARAH CONNOLLY, mezzo-soprano Thursday, August 3, at 8:30 BACH Orchestral Suite No. 3 KREMERATA BALTICA J.S. J.S. BACH Violin Concerto No. 2 in E, GIDON KREMER, artistic director and BWV 1042 violin soloist HANDEL "Scherza infida," "Qui d'amor MOZART The Complete Violin Concertos, nelT suo linguaggio," and "Dopo notte" Program 2, plus music of SHOSTAKOVICH from Ariodante and RASKATOV HANDEL Royal Fireworks Music Celebrating the 250th anniversary of Mozart's birth Saturday, August 12, at 10:30 a.m.

Open Rehearsal (Pre- Rehearsal Talk at 9:30) Friday, August 4, at 6 (Prelude) Boston Pops program of Saturday, August 12 MEMBERS OF THE BSO LARS VOGT, piano Saturday, August 12, at 8:30 p.m. Music of MICHAEL HAYDN, MOZART, Film Night at Tanglewood and DVORAK BOSTON POPS—JOHN WILLIAMS, conductor Friday, August 4, at 8:30 YO-YO MA, cello BSO—DONALD RUNNICLES, conductor JAMES EARL JONES, special guest narrator YO-YO MA, cello MASAKAZU YOSHIZAWA, shakuhachi

JANACEK Idyll, for strings ALL-WILLIAMS PROGRAM GOLIJOV Cello Concerto (world premiere; Sunday, August at 2:30 BSO 125th anniversary commission) 13, ELGAR Enigma Variations THE PHILADELPHIA ORCHESTRA CHRISTOPH ESCHENBACH, Saturday, August 5, at 10:30 a.m. music director and conductor

Open Rehearsal (Pre- Rehearsal Talk at 9:30) BEETHOVEN Overture to The Creatures Prometheus BSO program of Saturday, August 5 of BEETHOVEN Symphony No. 8 Saturday, August 5, at 8:30 TCHAIKOVSKY Symphony No. 5

BSO—SEIJI OZAWA, conductor Tuesday, August 15, at 8:30 HEIDI GRANT MURPHY, soprano NATHALIE STUTZMANN, contralto BOSTON SYMPHONY CHAMBER TANGLEWOOD FESTIVAL CHORUS, PLAYERS JOHN OLIVER, conductor MOZART Divertimento No. 14 in B-flat for winds, K.270 MAHLER Symphony No. 2, Resurrection GANDOLFI Plain Song, Fantastic Dances String in Sunday, August 6, at 2:30 SCHUBERT Quintet C, D.956 BSO—DONALD RUNNICLES, conductor Thursday, August 17, at 8:30 LARS VOGT, piano THETALLIS SCHOLARS MOZART Symphony No. 38, Prague "From Dresden to Innsbruck" STRAUSS Suite from Der Rosenkavalier To include music by Isaac, Schiitz, and Hassler, BEETHOVEN Piano Concerto No. 5, Emperor plus the Miserere by Allegri Concert Association of Florida

Robert F. Hudson, Jr., Chairman of the Board * Judy Drucker, President & Founding Artistic Director

celebrates its 40th Anniversary Season at the new Miami Performing Arts Center m

2006-2007 Sanford L. Ziff Prestige Series

I Friday, November 10, 2006 at 8 PM IV Thursday, February 8, 2007 at 8 PM VIII Monday, March 12, 2007 at 8 PM 0RQUESTRADE SAO PAULO BOSTON POPS ESPLANADE ORCHESTRA ITZHAK PERLMAN, Violin Rohan De Silva, Piano John Neschling, Conductor * Soloist TBA Keith Lockhart, Conductor

An All-Latin Program Michael Chertock, Piano IX Saturday, April 7, 2007 at 8 PM A Gershwin Celebration NATIONAL PHILHARMONIC OF RUSSIA II Tuesday, November 28, 2006 at 7 PM ROLANDO VULAZON Sponsored by Fidelity Investments Vladimir Spivakov, Conductor Metropolitan Opera Tenor Olga Kern, Piano V Tuesday, February 13, 2007 at 8 PM Special Gala Performance with Festival Symphony CHICAGO SYMPHONY ORCHESTRA X Monday, May 7, 2007 at 8 PM Orchestra * Ion Marin, Conductor KISSIN, Piano David Zinman, Conductor * Gil Shaham, Violin EVGENY

III Saturday, December 9, 2006 at 8 PM VI Friday, February 16, 2007 at 8 PM Thursday, February 22, 2007 at 8 PM ILTR0VAT0RE Special Dance Event by Verdi in a concert version with Festival ACADEMY OF ST. MARTIN IN THE FIELDS * SAVION GLOVER Symphony Orchestra Daniel Oren, Conductor Sir Neville Marriner, Conductor with orchestra Maria Guleghina, Soprano Jonathan Biss, Piano Marianne Cornetti, Mezzo-Soprano Friday, March 23, 2007 at 8 PM Salvatore Licitra, Tenor VII Monday, February 26, 2007 at 8 PM Special Gala Event Lado Ataneli, Baritone ATLANTA SYMPHONY ORCHESTRA Sponsored by Fidelity Investments Burak Bilgili, Bass Robert Spano, Conductor * Emanuel Ax, Piano ANGELA GHEORGHIU, Sopr.™ Master Chorale of South Florida with Festival Symphony Orchestra Jo-Michael Scheibe, Director Eugene Kohn, Conductor

Special Dance Event * 5 Performances Thursday March 8 through Sunday, March 11, 2007

AMERICAN BALLET THEATRE >» . full production of SWAN LAKE

FOR A FREE BROCHURE OR TICKETS, CALL 305-808-7446 (ext 301)

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These concerts are sponsored by the Concert Association of Florida. Inc., with the support of the Florida Dept. of State. Division of Cultural Affairs and the Florida Arts Council: and the Miami-Dade County Board of County Commissioners, the City of Miami Beach and the Miami Beach Cultural Arts Council. A COPY OF THE REG- ISTRATION AND FINANCIAL INFORMATION MAY BE OBTAINED FROM THE DIVISION OF CONSUMER SERVICES BY CALLING TOLL FREE 1-800-435-7352 WITHIN THE STATE. REGISTRATION DOES NOT IMPLY ENDORSEMENT. APPROVAL OR RECOMMENDATION BY THE STATE. All performances, artists, dates, venues and programs are subject to change. No refunds or exchanges. Latecomers will not be seated until the first suitable break in the performance. Friday, August 18, at 6 (Prelude) Wednesday, August 23, at 3:30 MEMBERS OF THE BSO EMANUEL AX, piano HILARY HAHN, violin YO-YO MA, cello RANDALL HODGKINSON, piano ALL-BEETHOVEN PROGRAM Music of MOZART and BRAHMS Friday, August 25, at 6 (Prelude) Friday, August 18, at 8:30 MEMBERS OF THE BSO BSO—RAFAEL FRUHBECK DE BURGOS, YEFIM BRONFMAN, piano conductor Music of SHOSTAKOVICH and MOZART ANN HOBSON PILOT, harp piano JOSEP COLOM, Friday, August 25, at 8:30 (orch. Friihbeck de Burgos) Theme TURINA BSO—GUSTAVO DUDAMEL, conductor and Variations, for harp and strings IMOGEN COOPER, piano FALLA Nights in the Gardens of Spain, ISABEL LEONARD, mezzo-soprano for piano and orchestra DEBUSSY LaMer BERNSTEIN Overture to Candide Piano Concerto No. 1 RAVEL Bolero BEETHOVEN FALLA The Three-cornered Hat (complete)

Saturday, August 19, at 10:30 a.m. Saturday, August 26, at 10:30 a.m. Open Rehearsal (Pre-Rehearsal Talk at 9:30) BSO program of Sunday, August 20 Open Rehearsal (Pre-Rehearsal Talk at 9:30) BSO program of Sunday, August 27

Saturday, August 19, at 8:30 Saturday, August 26, at 8:30 BSO—HERBERT BLOMSTEDT, conductor conductor HILARY HAHN, violin BSO—HERBERT BLOMSTEDT, EMANUEL AX, piano

DVORAK Violin Concerto . BEETHOVEN Piano Concerto No. 2 BEETHOVEN Symphony No. 3, Eroica BRUCKNER Symphony No. 7 Sunday, August 20, at 2:30 Sunday, August at 2:30 BSO—RAFAEL FRUHBECK DE BURGOS, 27, conductor BSO—RAFAEL FRUHBECK DE BURGOS, PETER SERKIN, piano conductor YEFIM BRONFMAN, piano ALL-BRAHMS PROGRAM Piano Concerto No. 2 ALL-BEETHOVEN PROGRAM Symphony No. 2 Piano Concerto No. 4 Symphony No. 7 Sunday, August 20, at 8:30 BOSTON POPS ESPLANADE Programs and artists subject to change. ORCHESTRA KEITH LOCKHART, conductor ROCKAPELLA

"Our '70s Show" An evening of musical hits from the '70s; massculturalcouncil.org fireworks to follow the concert EDUCATIONAL DIRECTORY

Understanding the l Responsibilities of Global Citizenship

Our Center for Entrepreneurial Learning— not just & Global Studies teaches students to understand global economic and for school, but for life. financial issues, and to appreciate the need for sustainable development Founded in 1907, Berkshire School is set at the and shared global prosperity. base of Mt. Everett in the Berkshires. We offer a Please inquire. world-class education to 372 boys and girls from 25 U.S. states and 20 countries, with:

WILBRAHAM • A rigorous academic program designed to prepare &MONSON students for leading colleges and universities. ACADEMY • A wide variety of athletic and artistic opportunities. • A unique emphasis on leadership and character 800.616.3659 WMAcademy.org development. Wilbraham, MA 01095

Preparing boarding and day students for college since 1804. 413.229.851 1 www.berkshireschooI.org

FRIENDS OF Tanglewood Music Center

Each summer, the Tanglewood Music Center-one of the most influential centers for advanced musical study-offers tuition- free fellowships to approximately 150 of the most talented young musicians in the world.

The TMC relies on support from individuals and businesses to fund these fellowships. A gift of $7,500 or $15,000 funds a half- or full-fellowship.

Become a Fellowship Sponsor today. For more information, call Barbara Hanson at (413) 637-5278 or [email protected]. 2006TANGLEWOOD MUSIC CENTER PERFORMANCE SCHEDULE Unless otherwise noted, all events take place in the Florence Gould Auditorium of Seiji Ozawa Hall. Other venues are the Shed, Chamber Music Hall (CMH), and Theatre (TH).

J1 indicates free admission to ticket holders for that afternoon's 2:30 p.m. concert or that evening's 8:30 p.m. concert. * indicates that tickets are available through the Tanglewood Box Office or SymphonyCharge.

Friday, June 23, at 8:30 p.m. Sunday, July 16, at 10 a.m. Chamber Music Concert Chamber Music Concert TMC CONDUCTORS SHOWCASE Saturday, June 24, at 10 a.m., 1 p.m., and 4 p.m. Music of WAGNER, CARTER, String Quartet Marathon: Three 2-hour and performances SCHOENBERG, BRAHMS

Saturday, July 22, at 6 p.m. 1 Sunday, June 25, at 10 a.m. J Prelude Concert Chamber Music Concert Sunday, July 23, at 10 a.m. Sunday, June 25, at 2:30 p.m. Chamber Music Concert Chamber Music Concert * Tuesday, July 25, at 2 p.m. Tuesday, June 27, at 8:30 p.m. PARADE Vocal Recital TANGLEWOOD ON To benefit the Tanglewood Music Center Sunday, July 2, at 10 a.m. Afternoon events: TMC Vocal Recital at Chamber Music Concert 2:30 p.m.; TMC Chamber Music at 5 p.m. Monday, July 3, at 2:30 p.m. (STRAVINSKY LHistoire du soldat with Opening Exercises narrators JOHN HARBISON, MILTON (free admission; open to the public) BABBITT, and ELLIOTT CARTER) * Brass Fanfares at 8 p.m. (Shed) Monday, July 3, at 8:30 p.m. TMC The Phyllis and Lee Coffey Memorial Concert Gala concert at 8:30 p.m. (Shed): TMC ORCHESTRA TMC ORCHESTRA, BSO, and BERNARD HAITINK, TOMASZ GOLKA BOSTON POPS ORCHESTRA (TMC Fellow), and EVA OLLIKAINEN JAMES LEVINE, JOHN WILLIAMS, (TMC Fellow), conductors KEITH LOCKHART, and STEFAN conductors MOZART Symphony No. 35, Haffner ASBURY, STRAUSS Death and Transfiguration Program to include SHOSTAKOVICH Symphony No. 10 GERSHWIN Cuban Overture BERNSTEIN Suite from On the Waterfront Wednesday, 5, at 8:30 p.m. (CMH) July ELLINGTON Harlem Music for solo instruments by TCHAIKOVSKY 1812 Overture TMC Composition Fellows Thursday, July 27 - Monday, July 31 Saturday, July 8, at 6 p.m. J> 2006 FESTIVAL Prelude Concert OF CONTEMPORARY MUSIC Sunday, at 10 July 9, a.m. Stefan Asbury, director Chamber Music Concert John Harbison, festival advisor * Wednesday, July 12, at 8:30 p.m. (Shed) To include the American stage premiere of

BOSTON POPS ORCHESTRA Elliott Carter's opera What Next J> KEITH LOCKHART, conductor Made possible by the generous support ofDr. with TMC VOCAL FELLOWS Raymond and Hannah H. Schneider, with "Bernstein on Broadway" additional support through grantsfrom The Aaron Copland Fundfor Music, the Fromm Saturday, July 15, at 6 p.m. J> Music Foundation, The Geoffrey Hughes Prelude Concert-Vocal Recital Foundation, The Helen F Whitaker Fund, Saturday, * July 15, 8:30pm (Shed) and Patricia Plum Wylde The Leonard Bernstein Memorial Concert Detailed program information available at the To benefit the Tanglewood Music Center Main Gate Supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. Saturday, August 5, at 6 p.m. J> Schneider, and Diane H. Lupean. Prelude Concert

TMC ORCHESTRA Sunday, August 6, at 10 a.m. JAMES LEVINE, conductor Chamber Music Concert VOCAL SOLOISTS Sunday, August 6, at 6 p.m. «h STRAUSS Elektra Prelude Concert THE IGITA Digital television means that WGBY can WGBY(or BE MORE to viewers like you. WEEKDAYS, 6AM - 8PM Investigative reporting, trustworthy voices, and thought- provoking stories about history, science and natural wonders.

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PARTNERS HEALTHCARE

McLean Hospital is a psychiatric affiliate of Harvard Medical School, an affiliate of Massachusetts General Hospital and a member of Partners HealthCare. * Sunday, August 6, at 8:30 p.m. Except for concerts requiring a Tanglewood Box Office ticket (indicated by an asterisk * The Margaret Lee Crofts Concert or music note J>), ORCHESTRA tickets for TMC events are only available one hour TMC before concert time. conductor STEFAN ASBURY, TMC Orchestra concerts are cash/charge; all other TMC DAWN UPSHAW, soprano concerts are cash only. DVORAK Carnival Overture TMC Orchestra Hall tickets $26 FAURE Pelleas et Melisande Suite TMC Orchestra Lawn tickets $11 BABBITT From the Psalter Other TMC concerts $11 SIBELIUS Luonnotar General Public and Tanglewood Donors up to $150: For TMC concerts, tickets are available one hour RAVEL Daphnis and Chloe, Suite No. 2 prior to concert start time at the Ozawa Hall Box Tuesday, August 8, at 8:30 p.m. Office only (except July 27 and July 28). Please note Vocal Recital that availabilityfor seats inside Ozawa Hall is limited and concerts may sell out. Wednesday, August 9, at 8:30 p.m. Friends ofTanglewood $150+: Order your tickets PLAYERS FELLOWS for NEW FROMM &TMC TMC Orchestra concerts (July 3; August 6 & 14) TINA PACKER and SHAKESPEARE & in advance by calling SymphonyCharge at 888-266- COMPANY actors 1200 or (617) 266-1200. For other TMC concerts, present your Friends ofTanglewood membership Music for the theatre by TMC Composition card at the Ozawa Hall Gate for admittance up Fellows to one hour prior to concert start time. Additional Thursday, August 10, at 8:30 p.m. tickets and tickets for non-Friends: $11. For informa- Vocal Recital tion on becoming a Friend ofTanglewood, call (413) 637-5261, or visit www.bso.org Saturday, August 12, 2:30 p.m. (TH) Back this season! Chamber Music Concert Festival of Contemporary Music Pass $50 Purchase a pass to the 2006 FCM, valid for five TMC Saturday, August 12, 6 p.m. J> performances on July 29, 30, and 31, as well as the Prelude Concert ability to purchase a discounted $30 ticket for the Sunday, August 13, at 10 a.m. Operas in the Theatre on July 27 and 28. (To obtain Chamber Music Concert the opera ticket, based on availability, please go to the Box Office and show the FCM pass.) Monday, August 14, at 6 p.m. J) Further information about TMC events is available Prelude Concert at the Tanglewood Main Gate, by calling (413)

* 637-5230, or at www.bso.org. All programs are Monday, August 14, at 8:30pm subject to change. The Daniel and Shirlee Cohen Freed Concert TMC ORCHESTRA HERBERT BLOMSTEDT and TMC CONDUCTING FELLOWS conducting BEETHOVEN Symphony No. 4 LIDHOLM Kontakion, Hymn for Orchestra HINDEMITH Mathis derMaler

2006 BOSTON UNIVERSITY TANGLEWOOD INSTITUTE Concert Schedule (all events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 15, 2:30 p.m. Federico Cortese conducts music of Verdi, Britten, and Brahms; Saturday, July 29, 2:30 p.m.-40th Anniversary Gala Concert. James Gaffigan and Ann Howard Jones conduct Poulenc, Strauss, Rossini, Dvorak, and a new work by Nico Muhly; Saturday, August 12, 2:30 p.m. David Hoose conducts Bach/Elgar and Shostakovich.

WIND ENSEMBLE PROGRAMS: Friday, July 12, 8:30 p.m. David Martins conducts Bern- stein, Camphouse, Alfred Reed, Hindemith, Whitacre, and H. Owen Reed; Friday, July 28, 8:30 p.m. H. Robert Reynolds conducts Shostakovich, Wagner, Hindemith, Warren Benson, John Mackey, and a new work by TMC Fellow Tim Andres.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6:00 p.m.: Tuesday, July 18; Wednesday, July 19; Thursday, July 20; Tuesday, August 8; Wednesday, August 9; Thursday, August 10.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1430. In the BerkshireSy Nature Sets The

Berkshire Cultural Calendar Berkshire South Regional August 1-31, 2006 Community Center Great Barrington, 413-528-2810 "Animagic" Museum ofAnimation, www.berkshiresouth.org Special Effects and Art Feng ShuiTea 8/13 3:00-4:30pm; Lee, 413-841-6679 Bridge Social 8/13 l:00-3:00pm. www.mambor.com/animagic Make your own Animation movie Berkshire Theatre Festival in 2 hr workshop. Guided tours. Stockbridge, 413-298-5576 Every day by reservation. www.berkshiretheatre.org Wendy Wasserstein's The Heidi Chronicles Becket Arts Center of Hilltowns The with Kate Jennings Grant, Becket, 413-623-6635 August 15-September 2. www.becketartscenter.org Lectures, exhibits, arts, astronomy, craft The Bidwell House Museum workshops, children theatre camps, road Monterey, 413-528-6888 show 8c more. 8/5 Sing-along l:00-2:00pm; Wild Edible Plants 2:30-4:00pm. 9/2 Robert Berkshire Botanical Garden Thorson, Stone by Stone 10:00am. Stockbridge, 413-298-3926 www.berkshirebotanical.org The Colonial Beautiful display gardens open daily 10-5. Pittsfield, 413-997-4444 Flower Show 8/5-6, Fete des Fleurs 8/19. www.thecolonialtheatre.org Broadway's smash hit musical Rent Berkshire Choral Festival is coming to Pittsfield 8/29-9/3. Sheffield, 413-229-1999 Call for tickets! www.choralfest.org Choral masterpieces-225 voices, Frelinghuysen Morris House & Studio Springfield Symphony. August 5, 12. Lenox, 413-637-0166

Concerts at 8pm. www.frelinghuysen . org Modernist house and masterpieces next Berkshire Museum to Tanglewood. Hourly guided tours Pittsfield, 413-443-7171 Thursday- Sunday 10am to 3pm. www.berkshiremuseum.org Baseball thru October 29, celebrates Hancock Shaker Village Red Sox/Yankee rivalry with memorabilia Pittsfield, 413-443-0188 8c photographs. www.hancockshakervillage.org Shaker Family Picnics-Shaker-inspired Berkshire Opera Company picnics 8/5, 12 8c 19 4:30pm. Pittsfield, 413-442-9955 www.berkshireopera.org Jacob s Pillow Dance Festival Madama Butterfly by Puccini, Becket, 413-243-0745 August 17-29 at the Koussevitsky www.j acobspillow. org Arts Center, Pittsfield. Striking international dance, archives and exhibits, community dance classes, diverse dining.

The Berkshire Visitors Bureau's Cultural Alliance would like to thank Studley Press, Inc. for donating these pages. cene and Culture Steals The Show

The Mac-Haydn Theatre Sheffield Historical Society Chatham, NY, 518-392-9292 Sheffield, 413-229-2694 www.machaydntheatre.org www.sheffieldhistory.org Cats, Guys and Dolls, Gigi and children's Historic house tours Thur-Sat 11-4. theatre shows in theatre-in-the-round. Changing exhibits. Old Stone Store. Spit Roast 8/26. Mahaiwe Performing Arts Center Great Barrington, 413-528-0100 The Theater Barn www.mahaiwe .org New Lebanon, NY, 518-794-8989 Glenn Gould Film & Music August 4, www. theaterbarn. com WAMC Live August 12, Professional theater in the country. Juilliard Jazz August 26. Only minutes from the Berkshires. Shows June - October. MASS MoCA North Adams, 413-MOCA-lll Ventfort Hall Mansion &, www.massmoca.org Gilded Age Museum Galleries open daily 10-6. Lenox, 413-637-3206 Hear Jim Carroll August 19, www.gildedage.org Holmes Brothers August 26. Tours, exhibits, summer play, lectures, teas, performances, private rentals, Music & More kid's programs. New Marlboro, 413-229-2785 www. newmarlborough.org Williams College Museum ofArt New Marlboro Meeting House Williamstown, 413-597-2429 8/12 Gregory Whitehead, 8/19 Burning www.wcma.org College: Wall - film, 8/26 Berkshire Writers. Jackson Pollock at Williams A Tribute to Kirk Varnedoe '67 Norman Rockwell Museum on view through 10/1. Stockbridge, 413-298-4100 www.nrm.org Williamstown Theatre Festival 413-597-3400 A Rockwell Rediscovered 6c Frederic Williamstown, Remington and the American Civil War: www.wtfestival. org Double Double, Nervous A Ghost Story - 10/29. Romeo & Juliet, A Smile, The Opposite ofSex 6c Cabaret in Aug. North Adams Museum of History & Science While you're in the Berkshires, be North Adams, 413-664-4700 sure to come see the Berkshire Visitors wwwgeocities.com/northadamshistory Bureau's "Discover the Berkshires" 260tn Anniversary Siege of Visitor Centers in Adams and Ft. Massachusetts August 19-20. Programs at site &c museum. Call us. Pittsfield. Enjoy displays, multimedia presentations and grab the latest Pleasant Valley Wildlife Sanctuary information on Berkshire attractions. Lenox, 413-637-0320 www.massaudubon.org 1,300 acres, 7 miles of well-marked trails. Open daily, dawn to dusk. 472 W. Mountain Rd. ERKSHIRES

Berkshire Visitors Bureau • 800-237-5747 • www.berkshires.org 3 Hoosac Street • Adams, MA and 111 South Street • Pittsfield, MA THE BEST PAPERBACKS for Summer Reading

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or more during the 2005-2006 fiscal year. An eighth note symbol («h) denotes support of $1,250 to $2,499. Names that are capitalized recognize gifts of $3,000 or more.

ACCOUNTING/TAX CONTRACTING/ TRUE NORTH INSURANCE, PREPARATION BUILDING SUPPLIES INC. UBS/Financial .hWarren H. Hagler Associates Alarms of Berkshire County Services Wheeler 8c Taylor Inc. Alan S. Levine, P.C., CPA David J. Tierney Jr., Inc. Lombardi, Clairmont 8c Keegan Dettinger Lumber Co., Inc. DRESSER-HULL COMPANY HIGH TECHNOLOGY/ ELECTRONICS ADVERTISING/PR Great River Construction Company, Inc. ^Leading Edge Concepts Ed Bride Associates Lou Boxer Builder, J>New Yorker Electronics Inc. JDC Communications LLC Co., New England Dynamark Security PLASTICS TECHNOLOGY ANTIQUES/ART Center LABORATORIES, INC. GALLERIES .hPetricca Construction Co. WorkshopLive! S 6c K Design - Interior Design JCoffman's Antiques Market PETER D. WHITEHEAD, INSURANCE ^Country Dining Room Antiques BUILDER Bader Insurance DeVries Fine Art Agency, Inc. BERKSHIRE LIFE Elise Abrams Antiques EDUCATION Green River Gallery INSURANCE COMPANY J'Belvoir Terrace - Fine Hoadley Gallery 8c OF AMERICA Performing Arts Center jKjenatt Associates R.W. Wise, Goldsmiths, Inc. Berkshire Country Day School jL. V. Toole Insurance ARCHITECTS JCamp Greylock, Inc. LEGACY BANKS Myrna Kruuse McCormick, Smith 8c Curry Christian C. Carey, Architect, LENOX ATHENAEUM Insurance, Inc. PC. Massachusetts College of Liberal Minkler Insurance Agency, Inc. - .hedm architecture . engineering . Arts Reynolds, Barnes 8c Hebb, Inc. management Thinking in Music, Inc. - Art for TRUE NORTH INSURANCE, Edward Rowse Architects Critical Thinking INC. i^Hill Engineers, Architects, WorkshopLive! Planners Inc. LEGAL ENERGY/UTILITIES AUTOMOTIVE Braverman 8c Associates The Berkshire Gas Company CAIN, HIBBARD, MYERS 8c J'Biener Nissan-Audi ESCO Energy Services Co. COOK Pete's Motor Group National Grid J^Certilman Balin Adler 8c Hyman, VIKING FUEL OIL LLP BANKING COMPANY, INC. Cianflone 8c Cianflone, PC

Adams Co-operative Bank Michael J. Considine, Attorney BERKSHIRE BANK ENGINEERING at Law

Greylock Federal Credit Union - Deely 8c Deely Attorneys .Pedrn architecture . engineering . LEGACY BANKS management Grinnell, Dubendorf, 8c Smith Lenox National Bank Jonas 8c Welsch, PC. .hGeneral Systems Company, Inc. «hThe Pittsfield Cooperative jLinda Leffert, Attorney Bank J'Hill Engineers, Architects, South Savings ^Roger H. Madon 8c Associates, Adams Bank Planners Inc TD BANKNORTH PC. ENVIRONMENTAL Norman Mednick, Esq BEVERAGE/FOOD SERVICES Philip F Heller 8c Associates SALES/CONSUMER .hSchragger, Schragger 8c Lavine GOODS/DISTRIBUTION ^Berkshire Corporation ^Lester M. Shulklapper, Esq. MAXYMILLIAN Bernard Turiel, Esq. .hCrescent Creamery TECHNOLOGIES, INC. Wakefern Food Corp. .PNowick Environmental Associates LODGING/ GOSHEN WINE SPIRITS, & WHERETO STAY INC. FINANCIAL SERVICES Guido's Fresh Marketplace A Bed 8c Breakfast in the KOPPERS CHOCOLATE jAbbott Capital Management, Berkshires Nejaime's Wine Cellars LLC APPLE TREE INN 8c BERKSHIRE BANK RESTAURANT CONSULTING: MANAGE- THE BERKSHIRES CAPITAL Applegate Inn MENT/FINANCIAL INVESTORS J^Birchwood Inn ^Monroe G. Faust THE FEDER GROUP, LLC Best Western Black Swan Inn Integrated Wealth Management BLANTYRE i^Hurwit Investment Group Associates ^Kaplan L.P. .hBrook Farm Inn, Inc. Jonas &Welsch, PC. LEGACY BANKS CANYON RANCH .PPilson Communications, Inc. Lenox National Bank ^Chesapeake Inn of R.L. Associates Lenox TD BANKNORTH Chez Nous j^Saul Cohen 8c Associates COME ENJOY A SLICE OF THE 1 930s & 1 940s

GLAMOROUS ARTISTIC COUPLE SUZY FRELINGHUYSEN AND GEORGE L K MORRIS LIVED, WORKED, AND PLAYED IN THE HEART OF LENOX, WITHIN EARSHOT OF THE B.S.O.! COME EXPLORE THEIR PAINTINGS AND FRESCOES, ART COLLECTION, HOUSE, STUDIO, AND SPECTACULAR FORTY-SIX ACRE GROUNDS RIGHT IN TANGLEWOOD S BACK YARD! NEW EXHIBITION THIS SEASON: STEPS TO ABSTRACTION.

92 Hawthorne Street Lenox, MA 413.637.0166 www.frelinghuysen.org Thursday—Sunday Guided Icurs -

LODGING/ Berkshire Mortgage Company Windy Hill Farm WHERE TO STAY (CONT.) J>BUDCO Management Co. R.W. Wise, Goldsmiths, Inc. J^Cohen 8c White Associates jGliffwood Inn ERSKINE PARK LLC SCIENCE/MEDICAL ^Comfort Inn and Suites Hotel CRANWELL RESORT, SPA Evergreen Buyer Brokers of the 510 Medical Walk-In & GOLF CLUB Berkshires Audrey T Shulman, PhD Speech THE FEDER GROUP, LLC Language Associates jDevonfield Franz Forster Real Estate Berkshire Health Systems ^Federal House Inn J. Wakefern Food Corp. Carol Kolton, JThe Gables Inn LCSW The Havers ^Lewis R. Dan, M.D. The Garden Gables Inn J>Hill Realty, LLC Dr. and Mrs. Ellman Gateways Inn 8c Restaurant Jesse INLAND MANAGEMENT Irving Fish, M.D. JThe Inn at Stockbridge CORPORATION One Main B8cB Ellen H. Frankel, M.D. THE PORCHES INN AT J>L. V. Toole Insurance GTL Incorporated - Link to Life MASSMOCA J>P 8c L Realty jLeon Harris, M.D. THE RED LION INN Roberts 8c Associates Realty, Inc. Stuart E. Hirsch, M.D. Stone House Properties, LLC Mark Albertson, DMD, PA J^Rookwood Inn J. Michael Sucoff Real Estate JWilliam Knight, Spencertown Country House M.D. Wheeler & Taylor Inc. Long Island Eye Physicians and jToole Companies - Hospitality Surgeons 8c Real Estate RESTAURANTS/ ^Walker House Northeast Urogynecology WHERE TO EAT Philadelphia Eye Associates The Weathervane Inn STONOVER FARM Arcadian Shop Donald Wm. Putnoi, M.D. JlAster's Steak 8c Raw Bar Robert K. Rosenthal, M.D., PC. WHEATLEIGH HOTEL 8c RESTAURANT jGafe Lucia J^Royal Home Health Care Castle Street Cafe Services of New York Whistler's Inn Chez Nous SERVICES MANUFACTURING/ Church Street Cafe INDUSTRIAL Cork 'N Hearth ABBOTT'S LIMOUSINE 8c ANONYMOUS Firefly LIVERY SERVICE Gateways Inn 8c Restaurant Alarms of Berkshire County J\Barry L. Beyer BROADWAY MANUFACTUR- THE RED LION INN Boulderwood Group LLC WHEATLEIGH HOTEL 8c Dery Funeral Home ING SUPPLY RESTAURANT CRANE & COMPANY, INC. Flowers by Tabitha Kimball Farms Lifecare Harris Steel Group, Inc. RETAIL/ HOUSATONIC CURTAIN WHERETO SHOP Retirement Community COMPANY, INC. KRIPALU CENTER FOR JTKG Arcadian Shop YOGA 8c HEALTH KOPPERS CHOCOLATE Bare Necessities Fine Lingerie New England Dynamark Security PLASTICS TECHNOLOGY .hCarr Hardware Center LABORATORIES, INC. CASABLANCA S 8c K Design - Interior Design ^Security Self Storage i>Ray Murray, Inc. COUNTRY CURTAINS CRANE 8c COMPANY, INC. SHEFFIELD PLASTICS, INC. STORAGE J^SpaceNow! Corporation Flowers by Tabitha Gatsbys i>Security Self Storage PRINTING/PUBLISHING GOSHEN WINE 8c SPIRITS, J>SpaceNow! Corporation ANONYMOUS INC. INITIALLY YOURS TOURISM/RESORTS The Berkshire Eagle QUALITY PRINTING MONOGRAMMING 8c CANYON RANCH COMPANY, INC. ENGRAVING CRANWELL RESORT, SPA THE STUDLEY PRESS, INC. Limited Edition Lighting 8c GOLF CLUB Mary Stuart Collections Jiminy Peak REAL ESTATE Nejaime's Wine Cellars Orchids, Etc. of Lee TRAVEL 8c Barb Hassan Realty Inc. Paul Rich 8c Sons Home TRANSPORTATION Barbara K. Greenfeld Furnishings 8c Design jBarrington Associates Realty ABBOTT'S LIMOUSINE 8c Talbots Trust LIVERY SERVICE Ward's Nursery 8c Garden Center Benchmark Real Estate

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ENDOWMENT FUNDS SUPPORTING THE TANGLEWOOD FESTIVAL, THETMC, AND YOUTH EDUCATION IN THE BERKSHIRES

Endowment funds at the BSO provide critical on-going support for the Tanglewood Festival, the Tanglewood Music Center, and the BSO's youth education programs at Tanglewood and in the Berkshires. TMC Fellows pay no tuition and are offered essentially free room and board, their residency at Tanglewood being underwritten largely through endowed, as well as annual, Fellowships. The TMC Faculty, composed of many of the world's finest musical artists, is funded in part by endowment funds supporting artists' positions. Endowment funds also support the BSO's Days in the Arts program at Tanglewood and the BSO's Berkshire Music Education programs.

ENDOWED ARTIST POSITIONS Marie Gillet Fellowship Berkshire Master Teacher Chair Fund Haskell and Ina Gordon Fellowship Edward and Lois Bowles Master Teacher Chair Fund Florence Gould Foundation Fellowship Richard Burgin Master Teacher Chair Fund John and Susanne Grandin Fellowship Charles E. Culpeper Foundation Master Teacher William and Mary Greve Foundation-

Chair Fund John J. Tommaney Memorial Fellowship Eleanor Naylor Dana Visiting Artists Fund Luke B. Hancock Foundation Fellowship Vic Firth Master Teacher Chair Fund, William Randolph Hearst Foundation Fellowship endowed by Mr. and Mrs. Henry Wheeler C. D.Jackson Fellowship Barbara LaMont Master Teacher Chair Fund Paul Jacobs Memorial Fellowship Renee Longy Master Teacher Chair Fund, Lola and Edwin Jaffe Fellowship gift ofJane and John Goodwin Billy Joel Keyboard Fellowship Harry L. and Nancy Lurie Marks Tanglewood Susan Kaplan Fellowship Artist-In-Residence Fund Steve ana Nan Kay Fellowship Marian Douglas Martin Master Teacher Chair Fund, Robert and Luise Kleinberg Fellowship endowed by Marilyn Brachman Hoffman Mr. and Mrs. Allen Z. Kluchman Memorial Beatrice Sterling Procter Master Teacher Chair Fund Fellowship

Sana H. and Hasib J. Sabbagh Master Teacher Dr. John Knowles Fellowship Chair Fund Naomi and Philip Kruvant Family Fellowship Surdna Foundation Master Teacher Chair Fund Donald Law Fellowship Stephen and Dorothy Weber Artist-In-Residence Fund Barbara Lee/Raymond E. Lee Foundation Fellowship Bill and Barbara Leith Fellowship ENDOWED FULL FELLOWSHIPS Edward H. and Joyce Linde Fellowship Jane W. Bancroft Fellowship Edwin and Elaine London Family Fellowship Bay Bank/BankBoston Fellowship Stephanie Morris Marryott &.

Leonard Bernstein Fellowships Franklin J. Marryott Fellowship

Edward S. Brackett, Jr. Fellowship Robert G.McClellan, Jr. & Frederic and Juliette Brandi Fellowship IBM Matching Grants Fellowship Jan Brett and Joe Hearne Fellowship Merrill Lynch Fellowship Rosamund Sturgis Brooks Memorial Fellowship Messinger Family Fellowship

Tappan Dixey Brooks Memorial Fellowship Ruth S. Morse Fellowship

BSAV/Carrie L. Peace Fellowship Albert L. and Elizabeth P. Nickerson Fellowship Stanley Chappie Fellowship Northern California Fellowship

Alfred E. Chase Fellowship Seiji Ozawa Fellowship Clowes Fund Fellowship Theodore Edson Parker Foundation Fellowship

Harold G. Colt, Jr. Memorial Fellowship Pokross/Fiedler/Wasserman Fellowship Andre M. Come Memorial Fellowship Lia and William Poorvu Fellowship Caroline Grosvenor Congdon Memorial Fellowship Daphne Brooks Prout Fellowship Margaret Lee Crofts Fellowship Claire and Millard Pryor Fellowship Charles E. Culpeper Foundation Fellowship Rapaporte Foundation Fellowship Darling Family Fellowship Harry and Mildred Remis Fellowship Omar Del Carlo Fellowship Peggy Rockefeller Memorial Fellowship Otto Eckstein Family Fellowship Carolyn and George R. Rowland Fellowship Friends of Armenian Culture Society Fellowship Saville Ryan/Omar Del Carlo Fellowship Judy Gardiner Fellowship Wilhelmina C. Sandwen Memorial Fellowship Athena and James Garivaltis Fellowship Morris A. Schapiro Fellowship Merwin Geffen, M.D. and Edward G. Shufro Fund Fellowship Norman Solomon, M.D. Fellowship Starr Foundation Fellowship Juliet Esselborn Geier Memorial Fellowship Anna Sternberg and Clara J. Marum Fellowship Armando A. Ghitalla Fellowship Miriam H. and S. Sidney Stoneman Fellowships Fernand Gillet Memorial Fellowship Surdna Foundation Fellowship

Continued. . COLD WELL BANKER P R E V I E W S INTERNATIONAL*

BOSTON, MA $1 ,1 75,000 - $1 ,550,000 GLOUCESTER, MA $2,350,000

An enclave of eight distinctive, artisan-crafted condominiums on This outstanding oceanfront home is located in the desirable private

1.5 acres overlooking Olmsted's Emerald Necklace. Landmark new area of Rockholm in Annisquam. Breathtaking views overlooking the construction boasting grand proportions and dramatic water views. Atfantic Ocean, historic Lighthouse and coast with some of the most

Revel in lavish master suites, dream kitchens, fireplaces, splendid decks, spectacular sunsets in the northeast. The well-maintained home patios and porches plus basements and garages. An urban Eden. features a first-floor master bedroom addition, gorgeous brick patio and 10 minutes to downtown. Janet Deegan & Constance Cervone, Jamaica a 4-car garage. Steps to Lighthouse Beach. Nancy Goodick, Gloucester,

Plain, MA office, (617) 835-0674, [email protected] MA office, (978) 281-8808, [email protected]

BOSTON, MA $1,695,000 BOXFORD, MA $3,500,000 Pondside. Splendid 1860s Victorian with water vistas across 22,000 A truly remarkable property built in 1991 on over 11 private acres of square feet of land. Flamboyant details include hand-carved woodwork, beautifully landscaped and wooded grounds. Designed with recreation marble fireplaces, inlaid floors, stained glass and bays. Exquisitely in mind, the home features an indoor pool, sauna, exercise room, restored including glass conservatory and chef's kitchen. Private au pair regulation-size racquetball and basketball courts, a dog kennel and quarters. Constance Cervone & Janet Deegan Jamaica Plain, MA office, pistol range. Many of the 26 rooms throughout the 19,500-square-foot

(617) 796-8607, [email protected] residence are ideal for formal entertaining. Gwen Washburn, Topsfield,

MA office, (978) 887-6536, [email protected]

WAYLAND, MA $2,795,000 LONGMEADOW, MA $1,595,000

Beautifully designed, this classic Shinge-style home abuts the aqueduct This magnificent home is situated on over one and one-half acres in and is set on 1.74 acres of landscaped, level grounds. The five-bedroom Longmeadow's lovely Glen Arden. The 12-room property offers five residence features and an outstanding floor plan custom kitchen, bedrooms including three two-room suites with baths, remodeled magnificent interior finishes and 1,300 square feet of additional kitchen, large formal dining room, and 30-foot sunken living room living space in the lower level. Carole Milott, Weston, MA office, overlooking garden and golf course. Sally Mitchell, Longmeadow, MA

(781) 894-5555, [email protected] office, (413) 567-8931, [email protected]

FOR INFORMATION ON THE PREVIEWS INTERNATIONAL PROGRAM OFFERED BY COLDWELL BANKER RESIDENTIAL BROKERAGE, PLEASE CALL (800) 548-5003 www.NewEnglandMoves.com

3 2006 Coldwell Banker Real Estate Corporation. Coldwell Banker' is a registered trademark licensed to Coldwell Banker Real Estate Corporation. An Equal Opportunity Company. Equal Housing Opportunity. Owned and Operated by NRT Incorporated. James and Caroline Taylor Fellowship Aaron Copland Fund for Music William F. and Juliana W. Thompson Fellowship Margaret Lee Crofts Concert Fund Ushers/Programmers Instrumental Fellowship Margaret Lee Crofts TMC Fund in honor of Bob Rosenblatt Paul F and Lori A. Deninger DARTS Ushers/Programmers Harry Stedman Vocal Fellowship Scholarship Fund Wallace-Reader's Digest Fund Fellowship Alice Willard Dorr Foundation Fund Max Winder Memorial Fellowship Carlotta M. Dreyfus Fund Education Jerome Zipkin Fellowship Raymond J. Dulye Berkshire Music Fund Virginia Howard and Richard A. Ehrlich Fund ENDOWED HALF FELLOWSHIPS Selly A. Eisemann Memorial Fund

Mr. and Mrs. David B. Arnold, Jr. Fellowship Elvin Family Fund Kathleen Hall Banks Fellowship Elise V. and Monroe B. England Tanglewood Leo L. Beranek Fellowship Music Center Fund Felicia Montealegre Bernstein Fellowship Honorable and Mrs. John H. Fitzpatrick Fund Sydelle and Lee Blatt Fellowship Daniel and Shirlee Cohen Freed Concert Fund Brookline Youth Concerts Awards Committee Ann and Gordon Getty Fund Fellowship Gordon/Rousmaniere/Roberts Fund Helene R. and Norman L. Cahners Fellowship Grace Cornell Graff Fellowship Fund for Marion Callanan Memorial Fellowship Composers at the TMC Nat Cole Memorial Fellowship Adele and John Gray Memorial Fellowship Harry and Marion Dubbs Fellowship Heifetz Fund Daniel and Shirlee Cohen Freed Fellowship Mickey L. Hooten Memorial Award Fund Dr. Marshall N. Fulton Memorial Fellowship Grace Jackson Entertainment Fund Gerald Gelbloom Memorial Fellowship Grace B. Jackson Prize Fund Arthur and Barbara Kravitz Fellowship Paul Jacobs Memorial Commissions Fund Bernice and Lizbeth Krupp Fellowship Louis Krasner Fund for Inspirational Teaching Philip and Bernice Krupp Fellowship and Performance, established by Lucy Lowell Fellowship Marilyn Brachman Hoffman Morningstar Family Fellowship William Kroll Memorial Fund Stephen and Persis Morris Fellowship Lepofsky Family Educational Initiative Fund Dr. Raymond and Hannah H. Schneider Fellowship Dorothy Lewis Fund Pearl and Alvin Schottenfeld Fellowship Kathryn & Edward M. Lupean & Edward G. Shufro Fund Fellowship Diane Holmes Lupean Fund Evelyn and Phil Spitalny Fellowship Samuel Mayes Memorial Cello Award Fund R. Amory Thorndike Fellowship Charles E. Merrill Trust TMC Fund Augustus Thorndike Fellowship Northern California TMC Audition Fund Sherman Walt Memorial Fellowship Herbert Prashker Fund Patricia Plum Wylde Fellowship Renee Rapaporte DARTS Scholarship Fund Mr. and Mrs. Ernest H. Rebentisch Fund ENDOWED SCHOLARSHIPS Jules C. Reiner Violin Prize Fund Maurice Abravanel Scholarship Harvey and Elaine Rothenberg Fund Eugene Cook Scholarship Helena Rubinstein Fund

Dorothy and Montgomery Crane Scholarship Edward I. and Carole Rudman Fund

William E. Crofut Family Scholarship Lenore S. and Alan Sagner Fund Ethel Barber Eno Scholarship Renee D. Sanft Fund for the TMC Richard F. Gold Memorial Scholarship Hannah and Ray Schneider TMCO Concert Fund* Leah Jansizian Memorial Scholarship Maurice Schwartz Prize Fund by Marion E. Dubbs Miriam Ann Kenner Memorial Scholarship Ruth Shapiro Scholarship Fund Andrall and Joanne Pearson Scholarship Dorothy Troupin Shimler Fund

Mary H. Smith Scholarship Asher J. Shuffer Fund Cynthia L. Spark Scholarship Evian Simcovitz Fund Tisch Foundation Scholarship Albert Spaulding Fund Jason Starr Fund ENDOWED FUNDS SUPPORTING THE Tanglewood Music Center Composition TEACHING AND PERFORMANCE PROGRAMS Program Fund George W. and Florence N. Adams Concert Fund Tanglewood Music Center Opera Fund Eunice Alberts and Adelle Alberts Vocal Studies Fund* TMC General Scholarship Fund Elizabeth A. Baldwin DARTS Fund Denis and Diana Osgood Tottenham Fund Bernard and Harriet Bernstein Fund The Helen F Whitaker Fund George & Roberta Berry Fund for Tanglewood Gottfried Wilfinger Fund for the TMC Peter A. Berton (Class of '52) Fund John Williams Fund Donald C. Bowersock Tanglewood Fund Karl Zeise Memorial Cello Award Fund Gino B. Cioffi Memorial Prize Fund Jerome Zipkin DARTS Fund

Gregory and Kathleen Clear DARTS Anonymous (1) Scholarship Fund*

Phyllis and Lee Coffey Memorial Concert Fund *Deferred gifts

Listed as ofJune 2, 2006 .

CAPITAL AND ENDOWMENT CONTRIBUTORS

The Boston Symphony Orchestra is committed to providing the highest caliber performances and education and community outreach programs, and to preserving its world-renowned concert facilities. Contributions from donors and income from the endowment support 40 percent of the annual budget. The BSO salutes the donors listed below who made capital and endowment gifts of $10,000 or more between June 7, 2005, and June 6, 2006. For further information, contact Nancy Baker, Director of Major and Planned Giving, at (617) 638-9265.

$1,000,000 and Up Estate of Elizabeth B. Ely Carol and Joe Reich Liberty Mutual Foundation, Inc.

$500,000-$999,999 Advent International Corporation Susan and Dan Rothenberg

Alan S. and Lorraine D. Bressler Carole and Edward I. Rudman Lizbeth and George Krupp Roberta and Stephen R. Weiner Mr. and Mrs. C. Kevin Landry Estate of Mrs. Helen Zimbler Estate of David L. McClelland Anonymous Estate of Mrs. Dwight Parker

Robinson, Jr.

$250,000-5499,999

George and Roberta Berry Cynthia and Robert J. Lepofsky Jan Brett and Joseph Hearne Anne R. Lovett and Stephen G. Calderwood Charitable Foundation Woodsum Bill and Jacalyn Egan/Duniry Estate of Professor Arthur Maass Foundation P. Andrews and Linda H. McLane A Friend of the Tanglewood Music Michael and Elizabeth Ruane Center Mr. and Mrs. James V. Taylor Mr. and Mrs. William M. Joel

$100,000-$249,999

Mr. William I. Bernell David and Victoria Crol Mr. and Mrs. William T. Burgin Estate of Carolyn A. Dilts Rick and Nonnie Burnes William R. and Deborah Elfers Mr. and Mrs. Craig Burr Roberta and Macey Goldman Jeffrey T. Chambers Stephen F Gormley William P. Collatos and Linda C Wisnewski

Continued. . $100,000 -$249,999 (continued) Ms. Marsha Gray Morby Family Charitable Foundation Thomas H. Lee and Ann G. Polly and Daniel Pierce Tenenbaum Gilda and Alfred Slifka Joyce and Edward Linde Sternberg Family Charitable Trust Massachusetts Office of Travel 6c Linda M. and D. Brooks Zug Tourism

$50/000-$99 / 999 Harlan and Lois Anderson Fish Family Foundation Mark G. and Linda Borden Chad and Anne Gifford Douglas R. Brown Clint and Meg Harris Samuel B. and Deborah D. Bruskin Estate of Francis Lee Higginson Michael and Renee Child George H. Kidder Estate of Aina M. Conklin Harvey Chet and Farla Krentzman Brian and Karen Conway Estate of Katharine P. Lanctot Mr. and Mrs. Michael F. Cronin Stamps Family Charitable Foundation Cynthia and Oliver Curme/The Lost Richard and Donna Tadler

and Foundation, Inc. Anonymous (2) Mr. and Mrs. Disque Deane

$25,000-$49,999

Estate of Frances Fahnestock Joseph J. O'Donnell Estate of Marie Gillet Mrs. Lauren Spitz

Estate of Klaus Peter Kuschel Mrs. Cornelius A. Wood, Jr. O.C.F. Foundation, Inc. Anonymous

$15 / 000-$24/ 999 Elizabeth Taylor Fessenden Estates of Dr. Nelson and Mrs. Grace Foundation Saphir Halfway Rock Foundation Mr. and Mrs. John L. Thorndike Mr. and Mrs. Frederick D. Kay Anonymous Dr. Robert O. Preyer

$10 / 000-$14 / 999 Estate of Mrs. Karl Burack Elizabeth F Potter Rick and Lisa Frisbie Mr. Edward G. Shufro Victor K. Fung Mrs. Joseph P. Solomon Deborah Hauser St. Botolph Club Edna S. and Bela T. Kalman Chip and Jean Wood Estates of Robert J. and Jane Kaufmann Estates of Mr. and Estate of Mr. Richard C. Lord Mrs. John D. Woodberry Estate of Mrs. George Nassau Anonymous Favorite Restaurants of the Berkshires

MAIN STREET LENOX 218 RESTAURANT 218 Main Street 637-4218 iftjftil ISNlHl'flllk Lunch- Dinner-7 Days Best Darn Pot Roast in New England! lenox 18 \2 cafe Menu Recommended by Yankee Magazine

4 13.274. 1000 www.jacksgrill.com Northern Italian and American

"Comparable to the Best in NYC" Zagat 2004 The Lenox Shops Route 7, Lenox, MA &IXEN (J mile North ofHistoric Lenox Village) Gourmet Japanese Cuisine & Sushi Bar (413) 637-9820 17 Railroad, Great Barrinqton, MA 413-528-434; WVVVV.CHOCOLATESPRiNGS.COM Tatami Rooms Kaiseki Robata Bar

La 5ruschetta / ceno THE BfST Of Food & Wine To Go restaurant fine picnic fare, fine dining and morel

1 Harris Street, West Stockbridge BOTH WORLDS. 413-232-7141 La Terrazza. A distinct Bar and Lounge in downtown Lenox. Open daily until midnight. Serving

light fare, self-indulgent desserts and the largest selection of single malts in Berkshire County.

The Gateways Inn and Restaurant.

Old world charm at its best. Exceptional

accommodations. Gourmet dining in a Hand Cut Steaks • Fresh Seafood cozy, candlelit atmosphere. Take-out Farm Fresh Salad Bar picnics. Recommended bySantee Magazine.

Wine Spectator award winner since 2002. Opening for Lunch Early July through Labor Day

Sunday Brunch lOflW - 2PW

Voted "feed fe\junck ih, tkt te^Juhc^"

Gateways Inn & Restaurant Reservations (413) 499-7900 1035 South Street, Pittsfield, MA 01201 51 Walker Street, Lenox, MA www.DakotaRestaurant.com Call for Reservations: 413-637-2532 Favorite Restaurants of the Berkshires

BOMBAY CLASSIC INDIAN cuisine x,MA 01240 (413)637-4904 SOU ce fine organic fo o d s Open late weekendst Fin Lunch, dinner and live 413.637.8022 Sushi • Japanese Cuisine • Sake Bar entertainment Lunch Wed-Sun • Omner Every Night • Take Out (413) 637-9171 Aspinwell, Route 7, Lenox 27 Housatonic Street. Lenox. MA

PRIME Dine different.

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Captivated by the City of Light I

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June 25-

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