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Tanglewood SUMMER 2010 Dale Chihuly

ScHANTZ Galleries CONTEMPORARY GLASS

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May 11, 2001 (sell) May 10, 2002 (sell) November 15, 2007 (sell)

"Don't get too scientific.just ask yourself; "If [the NASDAQ] pierces the 1600 level "The obvious answer is a temporary

does it feel like a recession? We don't again, the prudent investor will not hold position in cash." think it feels as bad as 1990-1991, but it out for another relief rally...the NASDAQ The stock market fell 48.9% after is bad enougli." is setting up for a retest of the September that sell signal. [2007] lows of the 1400S." The stock market fell 16.5% until our next buy signal. June (sell) October 11, 2002 (buy) 9, 2008 September 28, 2001 (buy) "It will make sense to reduce equity "The VIX broke 50 [on October loth], "Equity valuations are better than they exposure." and that is my buy signal this time." have been in years." The stock market rose 80% until our March 6, 2009 (buy) The stock market rose 10.4% until our next sell signal. next sell signal. "Expect a bottom for the S&P 500 at 660 points." January 1, 2002 (sell) BERKSHIRE The stock market rose 63.2% from that buy signal to the of "I've had my three months of bullishness, end 2009.

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129th season, 2009-2010 ^==^^

Trustees of the Symphony Orchestra, Inc.

Stephen B. Kay and Robert P. O'Block, Co-Chairmen • Edmund Kelly, Chairman-Elect •

Diddy Cullinane, Vice-Chairman • Roger T. Servison, Vice-Chairman • Vincent M. O'Reilly, Treasurer

George D. Behrakis • Alan Bressler • Jan Brett • Samuel B. Bruskin • Paul Buttenwieser •

Eric D. Collins • Cynthia Curme • AlanJ. Dworsky • William R. Elfers •

• Judy Moss Feingold, ex-offido • Nancy J. Fitzpatrick • Thelma E. Goldberg • Michael Gordon

Brent L. Henry • Charles H. Jenkins, Jr. • John M. Loder • Carmine A. Martignetti •

• R. • P. • • Robert J. Mayer, M.D. Nathan Miller Richard Morse Aaron J. Nurick, ex-offido Susan W. Paine • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Stemberg •

Caroline Taylor • Stephen R. Weber • Stephen R. Weiner • Robert C. Winters

Life Trustees

Vernon R. Alden • Harlan E. Anderson David B. Arnold, Jr. • J.P Barger • Leo L. Beranek Deborah Davis Berman • Peter A. Brooke Helene R. Cahners • James F. Cleary •

• John F. Cogan,Jr • Mrs. Edith L. Dabney Nelson J. Darling, Jr • Nina L. Doggett Mrs. John H. Fitzpatrick • Dean W. Freed Edna S. Kalman • George Krupp •

• Mrs. August R. Meyer • Mrs. Robert B. Newman • William J. Poorvu • Irving W.Rabb Peter C. Read • Richard A. Smith • Ray Stata • John Hoyt Stookey • WilmerJ. Thomas, Jr. •

John L. Thorndike • Dr. Nicholas T. Zervas

Other Officers of the Corporation

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

Board of Overseers of the Boston Synnphony Orchestra, Inc.

Judy Moss Feingold, Chairman • William F. Achtmeyer • Noubar Afeyan • David Altshuler •

Diane M. Austin • Judith W. Barr • Lucille M. Batal • Linda J. L. Becker • George W. Berry •

Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke •

Stephen H. Brown • Gregory E. Bulger • Joanne Burke • Ronald G. Casty •

Carol Feinberg Cohen • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Charles L. Cooney

Ranny Cooper • James C. Curvey • Gene D. Dahmen • Mrs. Miguel de Bragan^a •

Paul F. Deninger • Ronald F. Dixon • Ronald M. Druker • Alan Dynner •

Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. , Jr. •

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Robert P. Gittens • Carol Henderson • Susan Hockfield • Roger Hunt • William W. Hunt •

• • • • Valerie Hyman Ernest Jacquet Everett L. Jassy Stephen J. Jerome Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • Douglas A. Kingsley •

Robert Kleinberg • Farla H. Krentzman • Peter E. Lacaillade • Charles Larkin •

Robert J. Lepofsky • Christopher J. Lindop • Nancy K Lubin • Jay Marks •

Jeffrey E. Marshall • Joseph B. Martin, M.D. • C. Ann Merrifield • Dr. Martin C. Mihm, Jr. •

Programs copyright ©2010 Boston Symphony Orchestra Cover photo by Michael J. Lutch Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose •

• T. O'Connell • Peter Palandjian • Vincent Panetta, • Robert J. Morrissey Robert Jr. Diane Patrick • Joseph Patton • Ann M. Philbin • May H. Pierce • Claudio Pincus •

Joyce L. Plotkin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • WiUiam F. Pounds •

Dr. Tina Young Poussaint • Claire Pryor • Patrick J. Purcell • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg • Joseph D. Roxe •

Kenan Sahin • Gilda Slifka • Christopher Smallhorn • Margery Steinberg • Theresa Stone •

Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson •

Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt •

David C. Weinstein • Christoph Westphal • James Westra • Patricia Plum Wylde •

Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar •

William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Mrs. James C. Collias •

Joan P. Curhan • • Tamara P. Davis • Disque Deane • Betsy P. Demirjian •

JoAnne Walton Dickinson • Phyllis Dohanian • Goetz B. Eaton • Harriett Eckstein •

• • George Elvin • Pamela D. Everhart J. Richard Fennell • Lawrence K. Fish

Peter H.B. Frelinghuysen • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb

Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill •

Deborah M. Hauser • Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Lolajaffe •

Michael Joyce • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley •

Da\id L Kosowsky • Robert K Kraft • Benjamin H. Lacy • Mrs. William D. Larkin •

Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Charles P. Lyman •

Mrs. Harry L. Marks • Joseph C. McNay • Albert Merck • John A. Perkins •

Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Roger A. Saunders •

Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Charles A. Stakely •

Patricia Hansen Strang • Samuel Thorne • Paul M. Verrochi • Robert A. Wells •

• Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Mrs. John J. Wilson Richard Wurtman, M.D.

Established 1974 Berkshire Record Outlet

classical CD Deletions & Overruns:

Top quality CDs, videos, musical scores, books, cassettes and LPs. Prices starting

at ^1.99. Over 1 3,000 titles at a fraction of their original retail cost.

We also offer dozens of photographic reproductions of BSO tour posters and historic musicians at work and i -H^K^ play, all of which are on display at our store. A sample is shown to the left.

Our retail store/warehouse is 3.8 miles east of Stockbridge on Route 102 in Lee (please see map).

Summer hours (6/28-8/30): Monday - Saturday, 10-5:30

ExHZ Mass Lee Pike , Vladimir Main St Rte 102 /- Horowitz and Bruno Waiter Red V Lion BERKSHIRE 18" 21" (Arcteally mounled in add-free x ii'fiili' mall Inn RECORD OUTLET

ROUTE 102, LEE • 413-243-4080 • WWW.BERKSHIRERECORDOUTLET.COM Q^ Administration

Mark Volpe, Managing Director, Eunice andJulian Cohen Managing Directorship, fully funded in perpetuity

Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Director ofTanglewood Music Center, Tanglewood Music Center Directorship

endowed in honor ofEdward H. Linde by Alan S. Bressler and Edward I. Rudman Bernadette M. Morgan, Director ofPublic Relations Thomas D. May, ChiefFinancial Officer

Kim Noltemy, Chief Marketing and Communications Officer Bart Reidy, Director ofDevelopment—Institutional Giving, Events, and Administration Elizabeth P. Roberts, Director ofDevelopment—Campaign and Individual Giving

Ray F. Wellbaum, Orchestra Manager

Administrative Staff/Artistic

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

Administrative Staff/Production

Christopher W. Ruigomez, Director of Concert Operations

H.R. Costa, Technical Director • Leslie DeRoche, Concert Operations Administrator • Vicky Dominguez,

Operations Manager • Jake Moerschel, Assistant Stage Manager • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager

Boston Pops

Dennis Alves, Director of Artistic Planning

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

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller

Mimi Do, Budget Manager • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant

to the Business Management Team • Karen Guy, Accounts Payable Supervisor • David Kelts, Staff Accountant • Minnie Kwon, Payroll Associate • John O'Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Nina Jung, Director ofDevelopment Events and Volunteer Outreach • Ryan Losey, Director ofFoundation and Government Relations • Jennifer Roosa, Director ofDevelopment Research and Information Systems • George Triantaris, Director ofPrincipal and Planned Giving

Amanda Aldi, Data Project Coordinator • Stephanie Baker, Campaign Manager • Susan Beaudry, Manager of Tanglewood Business Partners • Emily Borababy, Manager ofDevelopment Communications • Duke Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer » Maria Capello, Grant Writer • Diane Cataudella, Associate Director ofDonor Relations • Sabine Chouljian, Manager ofDevelopment Events and Volunteer Services • Kerri Cleghorn, Associate Director, Business Partners • Allison Cooley, Associate Director of Society Giving • Emily Diaz, Donor Information and Data Coordinator • Marcy Bouley Eckel, Associate Director ofDirect Fundraising • Laura Frye, Assistant Manager of Society Giving • David Grant, Development Operations Manager • Susan Grosel, Interim Director of Annual Funds • Barbara Hanson, Major Gifts Officer • Emily Horsford, Manager ofDonor Relations • Sabrina Karpe, Donor Relations Coordinator • Angela Kaul, Assistant Manager of Planned Giving • Pam Malumphy,

Tanglewood Annual Giving Advisor • Dominic Margaglione, Donor Ticketing Associate • Jill Ng, Senior Major and Planned Giving Officer • Madge Nimocks, Development Communications Writer • Suzanne Page, Associate Directorfor Board Relations • Emily Reeves, Major Gifts Coordinator • Amanda Roosevelt, Executive Assistant • Laura Sancken, Coordinator, Development Events and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja, Assistant Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Kenny Smith,

• Acknowledgment and Gift Processing Coordinator • Stephanie J. Smith, Annual Fund Project Coordinator Mary E. Thomson, Associate Director of Corporate Giving • Szeman Tse, Assistant Director ofDevelopment Research • Romain Tsiplakis, Graphic Designer

Education and Community Programs

Myran Parker-Brass, Director ofEducation and Community Programs

Claire Carr, Manager ofEducation Programs • Sarah Glenn, Assistant Manager ofEducation and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager, Berkshire Education and Community Programs

Facilities

C. Mark Cataudella, Director ofFacilities

SYMPHONY HALL OPERATIONS Christopher Hayden, Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator Shawn Wilder, Mailroom Clerk

MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier,

Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC • Sandra Lemerise, Painter • Michael Maher, HVAC ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis,

Assistant Lead Custodian • Desmond Boland • Julien Buckmire • Claudia Ramirez Calmo •

Angelo Flores • Gaho Boniface Wahi

TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager

Ronald T. Brouker, Grounds Supervisor • Edward F. Collins, Logistics Operations Supervisor •

Maurice Garofoli, Electrician • Peter Socha, Buildings Supervisor • Robert Casey • Stephen Curley •

Richard Drumm • Bruce Huber

Human Resources

Susan Olson, Human Resources Recruiter • Heather Mullin, Human Resources Manager • Kathleen Sambuco, Benefits Manager

VVVC-^^^^ 4H '

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! Information Technology

Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Switchboard Supervisor • David Tucker, Infrastructure Systems Manager • Brian Van Sickle, User Support

Specialist • Richard Yung, Technology Specialist

Public Relations

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

Publications

Marc Mandel, Director ofProgram Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising • Alexander Henry, Editorial Assistant, Tanglewood

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Sponsorships • Sid Guidicianne, Front of House Manager • James Jackson, Call Center Manager • Roberta Kennedy, Buyerfor Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing Programs • Michael Miller, Director of Ticketing

Caitlin Bayer, Subscription Representative • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi,

Marketing Production Manager • Rich Bradway, Associate Director ofE-Commerce and New Media •

Lenore Camassar, Associate Manager, SymphonyCharge • Theresa Condito, Access Services

Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tangleiuood Glass House •

Erin Glennon, Graphic Designer • Randie Harmon, Customer Service and Special Projects Manager •

Matthew Heck, Marketing Projects Coordinator • Michael King, Subscriptions Associate •

Michele Lubowsky, Associate Subscriptions Manager • Jason Lyon, Group Sales Manager •

Laura Maas, Merchandising Assistant • Ronnie McKinley, Ticket Exchange Coordinator •

Michael Moore, E-Commerce Marketing Analyst • Katie Mueller, SymphonyCharge Representative •

Allegra Murray, Corporate Sponsorship Coordinator • Doreen Reis, Marketing Coordinatorfor

Advertising • Andrew Russell, Senior Manager, Corporate Sponsorships • Laura Schneider, Web

Content Editor • Robert Sistare, Subscriptions Representative • Kevin Toler, Art Director •

Himanshu Vakil, Web Application Lead • Stacy Whalen-Kelly, Manager, Corporate Sponsor Relations

Box Office Da\ad Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager

Box Office Representatives Mary J. Broussard • Arthur Ryan Event Services Kyle Ronayne, Director ofEvent Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Cesar Vilalon De Lima, Events Administrative Assistant

Tanglewood Music Center

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

Tanglewood Sunnmer Management Staff

Thomas Cinella, Business Office Manager • Peter Grimm, Seranak House Manager • David Harding, TMC Concerts Front of House Manager • Randie Harmon, Front of House Manager • Matthew Heck, Manager of Visitor Center *iv>"^ r"***" fVfj. JV'">-. This Summer's Special Focus Exhibits at the Tanglewood Visitor Center and Highwood

Celebrating the Tanglewood Music Center's 70th Anniversary, and Tanglewood Photographer Walter H. Scott

This summer marks the 70th anniversary of the Tangle- wood Music Center, the BSO's summer training institute for young musicians that was founded (as the Berkshire Music Center) by in 1940. In con- junction with this anniversary, the BSO Archives has mounted an exhibit at the Tanglewood Visitor Center. The display celebrates the seven decades of teaching and learning that have influenced generations of instru- mentalists, conductors, vocalists, and composers who have studied with BSO musicians and conductors, as well as with a vast number of distinguished composers and other visiting artists on the TMC faculty. teaching a Berkshire In addition, a special exhibit on the first floor of the Music Center composing class in celebrates the of distin- the 1940s (Howard S. Babbitt, Jr./ Highwood Manor House work BSO Archives) guished photographer Walter H. Scott (1931-2009). For more than a quarter-century, from 1974, Walter Scott documented the history of Tanglewood through the thousands of pictures he took. Curated by his son Hilary Scott, the exhibit includes vintage prints from Walter Scott's Stockbridge studio.

A late-W70s portrait of Tanglewood Yi'^^inM--^ r-1 photographer Walter H. Scott First page of the manuscript score of (courtesy Hilary Scott) Flandall Thompson's "Alleluia, " composed for the opening exercises of the Berkshire Music Center's inaugural session in 1940 (BSO Archives) o- 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 Philhar- monic 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. II 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, draw- ing a total of nearly 15,000 people.

In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tap- pan 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.

After the storm of August 12, 1937, wfiich precipitated a fundraising drive At the all-Wagner concert that opened for thie construction of ttie Tanglewood Shed (BSO Archives) the 1937 festival's second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission alto- gether of the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour. At the intermission, Miss GerUude 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 Fianz 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 modifications, to this day. It has echoed vwth the music of the Boston Symphony Orches- tra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concerlgoers. 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 - tions. 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 outmoded 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 Tanglewood 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 Kirkegaard &: 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 var- ied recital and chamber music concerts offered by the Boston Symphony Orchestra through- out the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Campus, as described below. Also at Tangle- wood each summer, the Boston University Tanglewood Institute sponsors a variety of pro- grams that offer individual and ensemble instruction to talented younger students, mosdy of high school age.

Today Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there are weekly chamber music concerts, Friday- and Saturday- evening Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Con- temporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The appears annually, and the season closes with a weekend-long 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 contin- ues to be performed at the opening ceremonies each summer. The TMC was Koussevitzky's pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors.

Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as 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 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 pro- grams at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as gen- eral 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. All partic- ipants receive full fellowships covering tuition, room, and board. TMC Orchestra highlights this summer include Mahler's Symphony No. 3 conducted by Michael Tilson Thomas in the Koussevitzky Music Shed (July 17), and, in Seiji Ozawa Hall, works by Falla and Debussy led

by Rafael Friihbeck de Burgos (July 5) , Hindemith's Symphonic Metamorphoses on Themes of Weber led by Quly 25), and Copland's Symphony No. 3 led by (August 16). In addition, a concert by the TMC Chamber Orches- tra will showcase performances by the TMC Fellows (July 12).

Opera activities include a fully staged TMC production of Strauss's Ariadne aufNaxos with Christoph von Dohnanyi conducting (August 1,2, and 4 in the Theatre) and concert versions of Oliver Knussen's Where the Wild Things Are and John Harbison's Full Moon in March as part of the 2010 Festival of Contemporary Music (August 15 in Ozawa Hall). The Mark Morris Dance Group returns for

its annual residency with performances Milton Babbitt. Elliott Carter, John Harbison, and TMC Fellows including by the company and TMC Fellows on conductor Tomasz Golka (standing at podium) during reliearsal for a June 27 and 28, including a new Mark 2006 TMC performance of Stravinsky's "L'Histoire du soldat" Morris work choreographed to folksong (photo: Hilary Scott) arrangements by Beethoven and MMDG repertory works choreographed to music by Cowell, Chopin, and Harrison. TMC string play- ers start the season with a week-long intensive study of the string quartet, culminating in marathon concerts on June 27 and 28 in the Theatre. All of the TMC Fellows participate in chamber music programs in Ozawa Hall throughout the summer, notably on Sunday morn- ings at 10 a.m., and on Saturdays at 6 p.m. prior to BSO concerts.

The Festival of Contemporeiry Music (FCM) , an annual five-day celebration of the music of our time, will this year be the culmination of season-long programming celebrating the Tanglewood Music Center's 70th anniversary, and the seven decades of great composers who have taken a major role in its composition program teaching the next generation of composers and inspir- ing the next generation of performers. Directed and programmed collaboratively by Gunther Schuller, Oliver Knussen, and John Harbison, this year's six FCM concerts (August 12-16) will be a retrospective of great works of the twentieth and twenty-first centuries.

It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include , Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, David Del Tredici, Christoph von Dohnanyi, , Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, , Wynton Marsalis, , Sherrill Milnes, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, , Michael Tilson Thomas, , 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 , 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. TO: STOCKBRIDGE v*^NORTH \. EAST BARN

HAWTHORNE ROAD

TANGLEWOOD CAFE -J

HIGHWOOD MANOR HOUSE

' ^ ' ^HIGHWOOI GIFT SHOP ®^^^

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'7"-^-'-^MAPLE LOT , . _-.:=,^ pjH I // HICKORY LOT jlLU//1 (RESERVED)// (RESERVED>^,::- ..^^^i;;:;^,,^^^ A, OAK ..LOl BERNSTEIN^xS ^ -v. Xt tRESERVI ^ ^ HAWTHORNE ENTRANCE ^ CAMPUS GATE)^^ M^

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^^. RESTROOMS ^ RESTROOMS (ACCESSIBLE TO HANDICAPPED) TELEPHONES X FOOD & BEVERAGES VISITOR CENTER ATM TICKETS DESIGNATED SMOKING AREA TO:LENOX PITTSFIELD LEE MASS PIKE ROUTES 7 & 20 Tanglewood LENOX, AAA m^ ^^ Boston Symphony Association of Volunteers Tanglewood Volunteer Leaders 2010 >i^f5^>-^^ry

\ Chair, Aaron J. Nurick Vice-Chair, Wilma Michaels

Co-Chairs

Howard Arkans • Augusta Leibowitz • Alexandra Warshaw

Liaisons

Ushers, Bill Ballen . Glass IHouse, Ken Singer

Project Lead Team

Brochure Distribution, Gladys Jacobson and Robert Gittlennan • Off-Season

Educational Resources, Norma Buffer • Exhibit Docents, Michael Geller and

Roberta White • Event Services Help Desk, Marsha Burniske and Roberta Cohn •

Friends Office, David Gaipern and Marty Levine • Newsletter, Sylvia Stein •

Recruit, Retain, Reward, Carole Siegel and Bonnie Desrosiers • Seranak Flowers,

Sandra Josel • Talks and Walks, Theresa Delusky and Linda Lapointe • Tanglewood

for Kids, Susan Frisch Lehrer and Carol Maynard • TMC Lunch Program, Mark Beiderman and Pam Levit Beiderman, Robert and Carol Braun • Tour Guides, Ron and Elena Winter

The Last Five Years Written and Composed by 2010 SEASON Directed by Anders Cato ''Tt The Guardsman matterj by Ferenc Molnar Directed by Jotin Rando Macbeth by William Shakespeare Directed by Eric Hill Edward Albee's A Delicate Balance Directed by David Auburn K2 by Patrick Meyers Directed by Wes Grantom Endgame by Samuel Beckett

Directed by Eric Hill Rodgers & Hart's Babes in Arms Directed by E. Gray Sinnons III BERKSHIRE I No Wake Theatre Festival I World Premiere by William Donnelly .3-298-5576 Stockbfidge, MA | Directed by Kyle Fabel berkshiretheatre.org just south ^ 5 of Pittsfield S In Consideration of Our Perfornning Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center.

Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Please do not bring food or beverages into the Koussevitzky 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 of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall.

In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts.

Thank you for your cooperation.

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

TANGLEWOOD's WEB SITE at www.tanglewood.org provides information on all Boston Sym-

phony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly.

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

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 automobile will provide the safest possible shelter during a severe lightning storm. Re- admission 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 online in advance at www.tanglewood.org or by phone at (413) 637-5240. Program Book Re-Use Initiative

initiative as part Tanglewood is pleased to continue its program book re-use of the processof increasing its recycling and eco-friendly efforts. We are also studying the best approaches for alternative and more efficient energy systems to reduce our dependency on fossil fuels. .„_

If you would like your program book to be re-used, please choose from the following: /.¥' hi. clean program book to i) Return your unwanted /i.r.r-'Ar T J*' an usher following the performance.

Leave your program book on your seat. 2) :^ to the program bins. 3) Return your clean program book

Thank you for helping to make Tanglewood greener! LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAYBE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children's lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children's groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates.

KIDS' CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further informa- tion 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. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRLVN WALKWAYS are located in the area of the Main Gate and many of the parking areas.

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

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

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

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

THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children's leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Tanglewoo(d Visitor Center

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lavm across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the 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 5 p.m. Monday through Friday, from 9 a.m. through intermission on Saturday, and from noon until 5 p.m. Sunday. The Visitor Center is open from July 2 through August 29. There is no admission charge. glewood GLASS HOUSE

of Discovery

Visit the Glass House for a pleasurable shopping experience!

View our 2010 collection, including apparel, recordings, unique gifts, and great Tanglewood mementos.

New this year! The Glass House at Highwood Gate is now a self-service store. Enjoy browsing the displays and make your own selections. Shopping will be fun, easy, and efficient. Try our new assortments from Chocolate Springs!

Shop for yourself, or for someone special, and savor the spirit of Tanglewood.

Main Gate: Highwood Gate: Monday -Thursday, ioam-4pm Performance Hours Friday, loam - 30 minutes post-concert Saturday, gam - 30 minutes post-concert Sunday, noon - 6pm .

^^ James Levine

Now in his sixth season as Music Director of the Boston Symphony Orchestra, James Levine is the BSO's 14th music director since the orchestra's founding in 1881 and the first American-born conductor to hold that position. HighUghts of his 2009-10 BSO programs included the premieres of commissioned works from Peter Lieberson, Elliott Carter, and John Harbison; the world premiere ofJohn Williams's On Willows and Birches, written for the BSO's longtime harpist Ann Hobson Pilot, who retired from the orchestra in 2009; the BSO's first complete Beetho- ven symphony cycle on subscription concerts in 75 years; Mendelssohn's Elijah in its first BSO performances since 1980, and a Pension Fund Concert featuring all four Strausses (both Johanns, Josef, and Richard) His programming each year balances orchestral, operatic, and choral classics with significant music of the 20th and 21st centuries, including newly commissioned works from leading American composers.

James Levine made his Boston Symphony Orchestra debut in April 1972 and became music director in the fall of 2004, having been named music director designate in October 2001. In addition to his BSO concerts in Boston and at Tanglewood, he also leads Tanglewood Music Center classes devoted to orchestral repertoire, Lieder, and opera. James Levine and the Boston Symphony Orchestra made their first European tour together following the 2007 Tanglewood season. At Tanglewood in 2008 he was

(photo: Michael J. Lutch) Festival Director for the Elliott Carter Centenary Celebration marking the composer's lOOth-birthday year. In February 2009, Mr. Levine and the Boston Symphony Orchestra released their first recordings together on the BSO Classics label, all taken from live performances—Brahms's Ein deutsches Requiem, Ravel's complete Daphnis et Chloe, Mahler's Symphony No. 6, and William Bolcom's Eighth Symphony and Lyric Concerto.

James Levine is also Music Director of the , where, in the thirty- eight years since his debut there, he has conducted nearly 2,500 performances of 85 different , including fifteen company premieres. This past season at the Met he led new productions of and Les Contes d'Hoffmann and revivals of and Lulu, as well as concerts at with the MET Orchestra and MET Chamber Ensemble. Also a distinguished pianist, Mr. Levine is an active chamber music and recital collaborator, especially in Lieder and song repertoire with the world's great singers.

The recipient of numerous international honors and awards, James Levine has con- ducted every major orchestra in the United States and Europe. Outside the United States, his activities have been characterized by his intensive and enduring relation- ships with Europe's most distinguished musical organizations, especially the Berlin Philharmonic, the Philharmonic, and the summer festivals in Salzburg and Bayreuth. He was music director of the UBS Verbier Festival Orchestra from its found- ing in 2000 and, before coming to Boston, was chief conductor of the Munich Phil- harmonic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival and, concur- rently, was music director of the Cincinnati May Festival for six summers. 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, , Munich Philhar- monic, Dresden Staatskapelle, Orchestra, and Vienna Philharmonic, mak- ing more than 200 recordings over the last thirty years of works ranging from Bach to Babbitt. Boston Symphony Orchestra

Tanglewood 2010

James Levine Valeria Vilker Bonnie Bewick* Mihail Jojatu Kuchment* * Sandra and David Bakalar Music Director James Cooke Theodore W. and Evelyn chair Ray and Maria Stata Music Berenson Family chair Victor Romanul* Directorship, fully funded Jonathan Miller* Bessie Pappas chair in perpetuity Tatiana Dimitriades* Charles andJoAnne Stephanie Morris Marryott Catherine French * Dickinson chair

Bernard Haitink and Franklin J. Marryott Jason Horowitz* Owen Young* Conductor Emeritus chair John F Cogan, Jr., and LaCroix Family Fund, Si-Jing Huang* Julianne Lee* Mary L. Cornille chair, fully funded in perpetuity Catherine and Paul Yuncong Zhang* fully funded in perpetuity Buttenxvieser chair * Seiji Ozawa Andrew Pearce Nicole Monahan* Stephen and Dorothy Weber Music Director Laureate Violas Mary B. Saltonstall chair, chair, fully funded fully funded in perpetuity Steven Ansell in perpetuity First Violins Wendy Putnam * Principal Mickey Katz * Charles S. Dana chair, Malcolm Lowe Kristin and Roger Servison Richard C. and Ellen E. endowed in perpetuity Concertmaster chair Paine chair, fully funded in 1970 in perpetuity Charles Munch chair, Xin Ding* fully funded in perpetuity Cathy Basrak Donald C. and Ruth Brooks Alexandre Lecarme* Assistant Principal Tamara Smirnova Heath chair, fully funded Lillian and Nathan R Anne Stoneman chair, fully Associate Concertmaster in perpetuity Miller chair funded in perpetuity * Helen Horner Mclntyre Glen Cherry* Adam Esbensen chair, endowed in perpetuity Edward Gazouleas * in 1976 Lois and Harlan Anderson Blaise Dejardin Second Violins chair, fully funded Alexander Velinzon in perpetuity Assistant Concertmaster Haldan Martinson Basses Robert L. Beal, Enid L., Principal Robert Barnes Edwin Barker and Bruce A. Beal chair, Carl SchoenhofFamily Michael Zaretsky Principal endowed in perpetuity chair, fully funded Harold D. Hodgkinson in 1980 in perpetuity Marc Jeanneret chair, endowed in perpetuity * * Elita Kang Vyacheslav Uritsky Mark Ludwig in 1974 Assistant Concertmaster Assistant Principal Rachel Fagerburg* Lawrence Wolfe Edward and Bertha C. Rose Charlotte and Irving W. Assistant Principal chair Rabb chair, endowed Kazuko Matsusaka* Maria Nistazos Stata chair, in perpetuity in 1977 Bo Youp Hwang in perpetuity Rebecca Gitter* fully funded John and Dorothy Wilson (position vacant) Benjamin Levy chair, fully funded Leith Family chair, fully in perpetuity Ronald Rnudsen Cellos funded in perpetuity Shirley and J. Richard Lucia Lin Fennell chair, fully funded Eskin Jules Dennis Roy Forrest Foster Collier chair in perpetuity Principal Joseph andJan Brett Philip R. Allen chair, Ikuko Mizuno (position vacant) Heame chair endoiued in perpetuity Dcnolhy Q. and David B. David H. and Edith C. in 1969 Joseph Hearne Arnold, Jr., chair, fully Howie chair, fully funded * funded in perpetuity in perpetuity Martha Babcock James Orleans Assistant Principal Sheila Fiekowsky* Ronan Lefkowitz Vernon and Marion Alden Todd Seeber* C. Kasdon Muriel and Eleanor L. and Levin H. * chair, endowed in perpetuity Marjorie C. Paley chair Nancy Bracken Campbell chair, in 1977 fully Jennie Shames* Aza Raykhtsaum* funded in perpetuity Sato Knudsen Carl Shapiro Robert Bradford Newman * Ruth and J. Stovall Mischa Nieland chair, fully John chair, fully funded chair, fully funded funded in perpetuity in perpetuity in perpetuity Benjamin Wright Harp Arthur and Linda Gelb Elizabeth Rowe Craig Nordstrom chair Jessica Zhou Principal Farla and Harvey Chet Nicholas and Thalia Zervas Walter Piston chair, Krentzman chair, fully Thomas Siders chair, fully funded in endowed in perpetuity funded in perpetuity Assistant Principal perpetuity by Sophia and in 1970 Kathryn H. and Edward Bernard Gordon M. Lupean chair (position vacant) Myra and Robert Kraft (position vacant) Voice and Cliorus Richard Svoboda chair, endowed in perpetuity Ford H. Cooper chair, Principal in 1981 endowed in perpetuity John Oliver Edward A. Taft chair, in 1984 Tanglewood Festival Elizabeth Ostling endowed in perpetuity Chorus Conductor Associate Principal in 1974 Alan J. and Suzanne W. Marian Gray Lewis chair, Dworsky chair, Suzanne Nelsen fully funded fully funded in perpetuity in perpetuity John D. and Vera M. Toby Oft MacDonald chair Principal

Piccolo J.P. and Mary B. Barger Richard Ranti Librarians chair, fully funded Cynthia Meyers Associate Principal in perpetuity Marshall Burlingame Evelyn and C. Charles Diana Osgood Tottenham/ Principal Marran chair, endowed Hamilton Osgood chair, (position vacant) Lia and William Poorvu in perpetuity in 1979 fully funded in perpetuity chair, fully funded Bass in perpetuity Contrabassoon William Shisler Douglas Yeo John Ferrillo Gregg Henegar John Moors Cabot chair, John Perkel Principal Helen Rand Thayer chair fully funded in perpetuity Mildred B. Remis chair, endowed in perpetuity Assistant in 1975 Horns Conductors

Mark McEwen James Sommerville Mike Roylance Julian Kuerti Principal Principal James and Tina Collias Anna E. Finnerty chair, Helen Slosberg/Edna Margaret and chair Sagoff William C. fully funded in perpetuity S. Kalman chair, endowed Rousseau chair, fully Keisuke Wakao in perpetuity in 1974 funded in perpetuity Shi-Yeon Sung Assistant Principal Richard Sebring Associate Principal Personnel English Horn Margaret Andersen Managers Congleton chair, fully Timothy Genis Robert Sheena funded in perpetuity Sylvia Shippen Wells chair, Lynn G. Larsen Beranek chair, fully funded endowed in perpetuity Bruce M. Creditor in perpetuity (position vacant) in 1974 Elizabeth B. Storer chair, Timothy Tsukamoto fully funded in perpetuity Assistant Personnel Percussion Managers (posiUon vacant) William R. Hudgins Frank Epstein fohn R II and Nancy S. Principal Peter and Anne Brooke Eustis chair, fully funded Stage Manager Ann S.M. Banks chair, in perpetuity chair, fully funded endowed in perpetuity in perpetuity John Demick in 1977 Jason Snider Gordon and Mary Ford J. William Hudgins Michael Wayne Kingsley Family chair Peter Andrew Lurie chair, Thomas Sternberg chair fully funded in perpetuity Jonathan Menkis * participating in a system Thomas Martin W. Lee Vinson Jean-Noel and Mona N. rotated Associate Principal & of seating Tariot chair Barbara Lee chair E-flat clarinet § on sabbatical leave Stanton W. and Elisabeth Daniel Bauch * Assistant Timpanist on leave K. Davis chair, fully funded in perpetuity Mr. and Mrs. Edward H. Thomas Rolfs Linde chair Principal

Roger Louis Voisin chair, endowed in perpetuity in 1977 OMPANY

2010 SUMMER SEASON GREET TH GLORIOUS

SUMMEr*^ Julius Caesar

MAY28-JULY24

irn Tg and Mahler I '^ "'NE Il-SEPTIO

The Amorous Quarrel JUNE 23-AUG 28

Tne uomedy of Errors JUNE 26-SEPT 4

Richard III JULY 2-SEPTEMBER 5

Sea Marks flVL. JULY 9-SEPT 4

"the most consistently impressive The Winter's Tale summer drama festival in America." JULY 15-SEPT 5 WALL STREET JOURNAL 2009 The Taster 4 <^' JULY 29-SEPT

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Get front-row seats to Richard III, The Bad Dates Winter's Tale or The Taster \o[ \us\ $15! AUGUST 4-SEPT 1 ' Visit Shakespeare.org/tickets for d

*• .JI^ Tickets Shakespeare.org IG-EDGE THEATRE or 41 3-637-3351 « ^^ A Brief History of the Boston Symphony Orchestra

Now in its 129th season, the Boston Symphony Orchestra gave its inaugural concert on

October 22, 1881, and has continued to uphold the vision of its founder, the businessman, 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 Tanglewood is one of the world's most impor-

tant 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, and vocalists. The orches-

tra's virtuosity is reflected in the concert and recording activities of the Boston Symphony 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 stan- dard 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 sup-

port of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and indi- viduals. Major Henry Lee Higginson, founder of ttie Boston Henry Lee Higginson dreamed of founding a great and permanent orchestra Symphony Orcfiestra in his home town of Boston for many years before that vision approached reality IBSO Archives) 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 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.

The first photograph, actually a collage, of the Boston Synnphony Orchestra under Georg Henschel, taken 1882 (BSO Archives) —

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 appoint- ment 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 "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with the Victor Talking Machine Company (the predecessor to RCA Victor) in 1917, con- tinued with increasing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeeded the following year by . 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 musician- ship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. The BSO's first live con- cert 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 Koussevitzky 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 Serge Koussevitzky arriving at Tanglewood prior to a concert musicians," and in 1940 that dream was realized with the founding (BSO Archives) 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 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.

ONIO FESTIVML

A banner advertising tine 1939 Berkshire Symphonic Festival (BSO Archives) 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 for- gotten 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 Sym- phony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon 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.

Rush ticket line at Sympiiony IHall, probably Seiji Ozawa became the BSO's thirteenth music director in the in the W30s (BSO Archives) fall of 1973, following a year as music advisor 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 repu- tation worldwide, Ozawa reaffirmed the BSO's commitment to new music through the com- missioning of many new works (including commissions marking the BSO's centennial in 1981 and the TMC's 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 wel- comed 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 posidon—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, Leon Kirchner, Peter Lieberson, Gunther Schuller, and Charles Wuorinen. He also appears as pianist with the Boston Symphony Cham- ber Players, conducts the Tanglewood Music Center Orchestra, and works with the TMC Fellows in classes devoted to orchestral repertoire, Lieder, and opera. In late summer 2007, he and the BSO made their first European tour together, performing in the Lucerne Festival, the Schleswig-Holstein Festival (in Hamburg), Essen, Diisseldorf, the Berlin Festival, Paris, and the BBC Proms in London.

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. All Berkshire. All the time. 24/7

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.^^ Table of Contents

Friday, August 27, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Harbison and Beethoven

Friday, August 27, 8:30pm 8 BOSTON SYMPHONY ORCHESTRA DAVID ZINMAN conducting; , ; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Music of Poulenc and Hoist

Saturday, August 28, 8:30pm 20 BOSTON SYMPHONY ORCHESTRA DAVID ZINMAN conducting; EMANUEL AX, piano Music of Brahms and Dvorak

Sunday, August 29, 2:30pm 28 BOSTON SYMPHONY ORCHESTRA KURT MASUR conducting (Beethoven); JOHN OLIVER conducting (Bach); NICOLE CABELL, MARIETTA SIMPSON, GARRETT SORENSON, and JOHN RELYEA, vocal soloists; TANGLEWOOD FESTIVAL CHORUS Music of Bach and Beethoven

^^ "This Week at Tanglewood" Once again this summer, Tanglewood patrons are invited to join us in the Kousse- vitzky Music Shed Friday evenings 7:15-7:45pm for "This Week at Tanglewood" hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week's guests, to close the season on Friday, August 27, are conductor Kurt Masur and pianist Emanuel Ax.

CZ^ Saturday-Morning Open Rehearsal Speakers July 10, 17, 24; August 21 —Robert Kirzinger, BSO Assistant Director of Program Publications July 31; August 14—Jan Swafford of The Boston Conservatory August 7, 28—Elizabeth Seitz of The Boston Conservatory

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

TANGLEWOOD WEEK 8 TABLE OF CONTENTS 2010 Tanglewood iT\ SEIJI OZAWA HALL Prelude Concert Friday, August 27, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

MICHAEL WAYNE, clarinet RICHARD RANTI, RICHARD SEBRING, horn IKUKO MIZUNO, violin KAZUKO MATSUSAKA, viola ALEXANDRE LECARME, cello TODD SEEBER, double bass

HARBISON "Deep Dances," for cello and double bass Pretty Low Going B.a.s.s. Fishing Azure Day

BEETHOVEN Septet in E-flat for clarinet, bassoon, horn, violin, viola, cello, and double bass. Opus 20 Adagio—^Allegro con brio Adagio cantabile Tempo di menuetto Tema con variazioni: Andante Scherzo: Allegro molto e vivace Andante con moto alia marcia—Presto

^J^^ Bank of Annerica is proud to sponsor the 2010 Tanglewood season.

• Steinway & Sons is the exclusive provider of pianos for Tanglewood.

Special thanks to Commonwealth Worldwide Chauffeured Transportation.

In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert.

Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. p

NOTES ON THE PROGRAM

Harbison's long association with Tanglewood began C \__^ John when he was a member of ^^ ^ the conducting class in 1959 and 1960; he has since, of course, gone on to become one of the world's most prominent composers. He has been on the composition faculty of the Tanglewood Music Center on many occasions, and since 2006 has been chairman of the composition program. He was one of three directors this summer of Tanglewood's Festival of Contemporary Music, along with Gunther Schuller and Oliver Knussen; the TMC celebrates its 70th anniversary this year by honoring eminent composition faculty past and present. Harbison's 1977 one-act opera Full Moon in March was performed as part of FCM, and also during the festival he conducted a performance of Yehudi Wyner's ensemble piece Passage.

John Harbison (b. 1938) won the in music for his The Flight Into Egypt, written for Boston's Cantata Singers, with whom he has had a long relationship. He has also been involved on many levels with Emmanuel Music in Boston, and founded, with his wife, the violinist Rose Mary Harbison, the Token Creek Chamber Music Festival in . His acclaimed opera The Great Gatsby was commissioned by the Metropolitan Opera and was premiered there; it was also produced by the Lyric Opera of Chicago. Harbison has written for most of the major ensembles in the country, but has a particularly close relationship with the Boston Symphony Orchestra. His Diotima was premiered by the BSO in 1977. His first BSO commission was for the orchestra's

centennial, leading to his Symphony No. 1, premiered by the BSO and Seiji Ozawa in March 1984. Further BSO commissions have included his Requiem; Darkbloom, Overture for an imagined opera; the Fifth Symphony (premiered in spring 2009 under James

Levine) , and co-commissions for the Cello Concerto and Concerto for Bass Viol. The orchestra also gave the world premiere, this past spring, of his Double Concerto for violin, cello, and orchestra.

In his career, Harbison has covered all the bases of genre from opera, cantata, and orchestral music to solo works. In addition to works for standard ensembles such as the four string quartets, a piano quintet, a piano trio, and an often-performed wind quin-

tet, there are many works for less often encountered groupings. The present piece is one such. Deep Dances for cello and bass viol was written in 2006; those with Harbison's catalog memorized will immediately make the connection, in his use of the term "bass viol" instead of simply double bass or contrabass, with his Concerto for Bass Viol of the same year. (His use of that term refers to the history of the double bass as having come from the viol family of instruments, a point of pride among many bassists.) In fact this THE BSO ONLINE

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TANGLEWOOD WEEK 8 PRELUDE PROGRAM NOTES three-movement piece makes use of material that had originated as part of his concerto but which, in the course of things, he decided didn't belong in the piece. Composers being practical and economical people, they often recycle, even reuse outright. So Harbison, asked to write a piece to be choreographed, composed this six-minute score for a performance of Rebecca Rice Dance. Cellist Emmanuel Feldman and bassist Pascale Delache-Feldman were the players; the performance took place on May 6, 2006, at the Tsai Performance Center at Boston University. The three movements flow one to the next and offer different musical characters, delineated mostly by meter and rhythm: duple in the first movement, triplets in the second, and a syncopated motif in the third, which ends with flowing sixteenth notes. In the second movement, keep your ear open for a musical pun derived from the notes b, a, s, s—the German spelling for B-flat, A, E-flat, E-flat. "Pretty Low" should be self-evident; "Azure," of course, is a shade of blue.

(^[31^1^ (1770-1827) composed his charming Septet, Opus 20, for winds ^ and strings between the summer of 1799 and March 1800. Following a private unveil-

ing at the home of Prince Schwarzenburg, it was given publicly in Vienna on April 2, 1800—Beethoven's first concert in Vienna under his own auspices. That concert, which also included the premiere of the First Symphony, was one of the greatest suc- cesses Beethoven ever enjoyed. In December he wrote to the publisher Hoffmeister to offer him, among other things, the First Symphony and the Septet, which, he assured the publisher, "has been very popular." It was, in fact, the last of his works that his erst- while teacher Haydn fully approved of, a fact that irked Beethoven, who was surely conscious of the weight of the great Viennese tradition. For a time, relations between the two composers grew cool, though after Haydn's death in 1809 Beethoven never spoke of him with anything but the greatest admiration. Still, as time passed, Beethoven more and more belittled the significance of the Septet in an attempt to draw attention to his later work. In the meantime the Septet was endlessly arranged for other instru- ments from wind band to guitar duet (the arrangers included musicians as eminent as

Hummel and Czerny) . Its lasting popularity may be gauged from the fact that at the auction of Beethoven's effects after his death, the manuscript of the Septet fetched eighteen florins as against the seven florins bid for the autograph of the Missa Solemnis.

The Septet has an unusual and attractive instrumentation: violin, viola, cello, bass, clarinet, bassoon, and horn. The size of the ensemble might suggest a miniature sym- phony, but Beethoven keeps the chamber music atmosphere with kaleidoscopic re- groupings of the instruments, giving each a chance to shine. The six-movement layout recalls the leisurely structure of 18th-century serenades and divertimentos, though the

energy of the Septet is typically Beethovenian for all its grace. (In 1824 Schubert wrote his delightful Octet, modeled directiy on Beethoven's Opus 20 with the addition of a second violin.)

The Adagio introduction, a gracefully extended dominant pedal, leads to a fiery move- ment of great energy in Beethoven's most characteristic tempo marking, Allegro con brio. The beautiful Andante cantabile has a melody of bel canto lyricism, and Beethoven gives each instrument a chance to sing its song. The minuet theme is a self-borrowing, taken from an easy piano sonata that Beethoven composed about 1796. (He was later

persuaded to publish it in 1805 with the misleadingly late designation of Opus 49, No. 2.) Scholars have attempted to trace the folklike tune used for the variations in the fourth movement. It was published in 1838, apparently as a folk song, with the text

"Ach Schiffer, lieber Schiffer'' ("Ah sailor, dear sailor"), but there is no evidence that the

tune predates this Septet. The lively scherzo is a companion piece to the third move- ment of the First Symphony, but in the symphony Beethoven still followed convention

in calling it a minuet. In both cases the verve of the music takes it far from the sphere of the courtly dance. The final movement reveals Beethoven's indebtedness to Muzio Clementi, from whose E-flat piano sonata, Opus 23, No. 3 (composed not later than 1789), he adapted the theme for the Presto. Beethoven's version, though, is much faster and liveher, and whirls the Septet to a brilliant conclusion.

Notes by ROBERT KIRZINGER (Harbison) and STEVEN LEDBETTER (Beethoven)

Composer/annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

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

.Q-> Artists

Michael Wayne joined the Boston Symphony Orchestra's clarinet section in September 2008. He has performed as an orchestral, chamber, and solo musician throughout North and South America, Europe, and Asia. After finishing his studies at the Univer-

sit)' of Michigan in 2003, Mr. Wayne became a member of the Kansas City Symphony. In addition to his duties in Kansas City, he was also a member of the Grand Teton Festival Orchestra. Mr. Wayne has performed with the New World Symphony, Phoenix Symphony, and Kansas City Chamber Orchestra, and at the Colorado Music Festival. In 2005 he gave the world premiere of Michael Daugherty's clarinet concerto Bridge at Carnegie Hall, subsequently recording the work for Equilibrium Records. He made his solo debut performing Nielsen's Clarinet Concerto. He has performed as soloist with such ensembles as the University of Michigan Symphony Orchestra and Corpus Christi Wind Symphony. Mr. Wayne received first place in the wind division of the Kingsville International Solo Competition and was also a medalist at the Fischoff National Chamber Music Competition. He has participated in festivals including Music Academy of the West, Verbier, National Orchestral Institute, and Hot Springs Music Festival. In 2003 Mr. Wayne received a Whitaker Advanced Study Grant through the Music Academy of the West to further his studies in orchestral clarinet performance. Other honors include the Earl V. Moore Award in Music from the University of Michi- gan and a Fine Arts Award from the Interlochen Arts Academy. His teachers include Richard Hawkins and Fred Ormand.

Associate principal bassoon Richard Ranti joined the Boston Symphony Orchestra at

the start of the 1989-90 season; he is also principal bassoon of the Boston Pops Orches- tra. Born in Montreal, Mr. Ranti started bassoon at the age of ten, studying with Sidney Rosenberg and David Carroll. After graduating from Interlochen Arts Academy, he studied with Sol Schoenbach at the Curtis Institute of Music. At the age of nineteen, he won the second bassoon position in the ; he spent six years with

PRELUDE CONCERT SEATING

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

minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOOD WEEK 8 PRELUDE PROGRAM NOTES >fF

that orchestra, the last as acting associate principal. A 1982 Fellow at the Tanglewood Music Center, Mr. Ranti has also participated in the Spoleto and Marlboro festivals. He won second prize in the 1982 Toulon International Bassoon Competition and is the recipient of two Canada Council grants. Mr. Ranti can be heard frequently in Boston- area chamber performances with groups such as the Walden Chamber Players, with whom he has recorded an album of bassoon and string music. He is on the faculty of both the New England Conservatory and Boston University School for the Arts.

Richard Sebring is associate principal horn of the Boston Symphony Orchestra and principal horn of the Boston Pops Orchestra. Born and raised in Concord, Massachu- setts, Mr. Sebring studied at Indiana University, New England Conservatory, and the . In 1979 he was a Fellow of the Tanglewood Music Center. Previously principal horn of the Rochester Philharmonic, he joined the Boston Sym- phony Orchestra in 1981 as third horn. He has served in his current positions since 1982. Mr. Sebring has been a soloist with the Boston Symphony Orchestra in Boston, at Tanglewood, and on tour; he has also been a soloist with the Boston Pops Orchestra. A faculty member at New England Conservatory, Mr. Sebring is a member of the Walden Chamber Players and an active studio musician whose work was featured prominendy in John Williams's soundtrack for the motion picture Saving Private Ryan.

D(uko Mizuno began her musical training at five, entering the Toho-Gakuen School of Music in her native Tokyo and going on to win first prize in a national violin compe- tition for high-school students. A prizewinner in Japan's NHK Mainichi Shimbun Competition, she came to the United States as a winner of the Spaulding Award, which enabled her to study with Roman Totenberg at Boston University, where she received her master's degree and was named a member of the honorary society Phi Kappa Lambda. She was also a fellowship student at the Tanglewood Music Center. In Japan her teachers included Jeanne Isnard, Toshiya Etoh, and (for chamber music) . She holds diplomas from the Accademia Musicale Chigiana in Siena, Italy, where she studied with Franco Gulli, and from the Geneva Conservatory, where she studied with Henryk Szeryng. She joined the Boston Symphony in 1969 as the first woman ever appointed to its violin section. A frequent chamber music performer, she made her New York recital debut at Carnegie Recital Hall in 1972. Ms. Mizuno teaches at Massachusetts Institute of Technology, Boston University's School of Fine Arts, and the Boston University Tanglewood Institute; she has been guest professor at the Toho- Gakuen School of Music, and also coaches Tanglewood Music Center chamber ensem- bles. She has been soloist with the Boston Pops Orchestra and numerous other New England-area orchestras, she performs regularly in the Chicago area, and she returns frequently to Japan for recitals and performances with orchestra. She was concertmas- ter for the inaugural concert of the Women's Orchestra ofJapan and has been a mem- ber of the Saito Kinen Orchestra since its inaugural concert in September 1985. In September 2007, in Tokyo, she was the invited speaker—discussing the acquisition of violin-playing skills, and the avoidance of injuries resulting from unnatural and diffi- cult postures—at an Internadonal Conference on Skill Science (sponsored by Keio

University in Japan) , which brought together computer and cognitive scientists, musi- cologists, and experts in the performing arts from around the world.

Violist Kazuko Matsusaka joined the Boston Symphony Orchestra in August 1991. From 1987 to 1990 she was a member of the Pittsburgh Opera Orchestra, Pittsburgh Ballet Theater, and Pittsburgh New Music Ensemble. Ms. Matsusaka studied violin with Josef Gingold at the Indiana University School of Music. A Tanglewood Music Center Fellow in 1985, she holds a bachelor's degree from Hartt College of Music/University of Hartford, where she studied violin with Charles Terger, and a master's degree from the State University of New York, where she studied viola with John Graham. In 1988 she was awarded a special jury prize at the Lionel Tertis International Viola Competition. Ms. Matsusaka has been a soloist with the Central Massachusetts Symphony, the Newton Symphony Orchestra, and the Boston Pops Orchestra. A prizewinner in the Fischoff National Chamber Music Competition, she has also participated in the Norfolk Music Festival and the Yellow Barn Music Festival.

Cellist Alexandre Lecarme joined the Boston Symphony Orchestra in September 2008. A native of Grasse, , Mr. Lecarme graduated with the Premier Prix de Violoncelle from the Conservatoire National Superieur de Musique de Paris in 1997. He moved to Boston at the invitation of Roman Totenberg, obtaining an Artist Diploma and master of music degree from Boston University as a recipient of the Saul B. and Naomi R. Cohen Foundation Grant and a Dean's Scholarship. His principal teachers included Jean-Marie Gamard in Paris, David Soyer, Andres Diaz, Michael Reynolds, and George Neikrug. Mr. Lecarme is an avid chamber musician. As a founding member of the Tancrede Trio, he has performed extensively in the United States and Europe. High- lights have included concerts at Opera de Nice, at the Salle Olivier Messiaen in Grenoble, France, and at Shermetiev Palace in St. Petersburg for the 300th anniversary of that city. He has collaborated with such ardsts as Roman Totenberg, Seymour Lipkin, and members of the Tokyo String Quartet, and has participated at the Pablo Casals, Domaine Forget, Kneisel Hall, and Norfolk chamber music festivals. In 2007, while a Fellow of the Tanglewood Music Center, he was principal cello of the TMC Orchestra for Verdi's Don Carlo under James Levine. Mr. Lecarme has released three CDs for Hammond GMAC Performing Arts, including works by Bach, Debussy, Schubert, Beethoven, and, most recently, cello sonatas of Rachmaninoff and Franck. The Saul B. and Naomi R. Cohen Foundation has generously loaned Mr. Lecarme a cello by JB Vuillaume.

Todd Seeber joined the Boston Symphony Orchestra's double bass section in May 1988. From January 1986 until he joined the BSO, he was principal bass of the Buffalo Phil- harmonic, which he joined at twenty and with which he appeared frequendy as a soloist. Before joining the Buffalo Philharmonic, he was assistant principal bass of the Boston Pops Esplanade Orchestra and of the Handel & Haydn Society Orchestra. Born in Spokane, Washington, Mr. Seeber grew up in Canada, Hawaii, and Australia. He began studying the double bass at age eleven with George Wellington and attended high school in Portland, Oregon, where he studied with Herman Jobelmann. A Tanglewood Music Center Fellow in 1983 and 1984, he won first prize in the American String Teachers National Solo Competition in 1983 and was a 1984 winner of the Boston University Concerto-Aria Competition. In May 1985 he graduated from Boston Uni- versity, where he studied with Henry Portnoi. Mr. Seeber currently teaches at the New England Conservatory of Music, Boston University's School for the Arts, the Tangle- wood Music Center, and the Boston University Tanglewood Institute.

TANGLEWOOD WEEK 8 PRELUDE PROGRAM NOTES .

2010 Tanglewood

Boston Symphony Orchestra 129th season, 2009-2010 ^^^

Friday, August 27, 8:30pm

DAVID ZINMAN CONDUCTING

POULENC "Gloria" for soprano, orchestra, and chorus Gloria Laudamus te Domine Deus

Domine fill unigenite Domine Deus, agnus Dei Qui sedes ad dexteram patris

ISABEL BAYRAKDARIAN, soprano TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 1 1

Intermission

HOLST "The Planets," Suite for large orchestra. Opus 32 Mars, the Bringer of War (Allegro) Venus, the Bringer of Peace (Adagio) Mercury, the Winged Messenger (Vivace) Jupiter, the Bringer ofJollity (Allegro giocoso) Saturn, the Bringer of Old Age (Adagio) Uranus, the Magician (Allegro) Neptune, the Mystic (Andante) WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

This evening's appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

v_j2^ Bank of Annerica is proud to sponsor the 2010 Tanglewood season.

Steinway & Sons is the exclusive provider of pianos for Tanglewood.

Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert.

Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. NOTES ON THE PROGRAM

^^-^ Francis Poulenc (1899-1963) "Gloria," for soprano, orchestra, and chorus

First performance: Janu2LTy 21, 1961, Boston Symphony Orchestra, Charles Munch cond., Adele Addison, soprano, Chorus Pro Musica, Alfred Nash Patterson cond. First Tanglewood performance: June 21, 1961, C. Munch cond., A. Addison, soprano, Festival Chorus. Most recent Tangkwood performance: June 30, 1985, Seiji Ozawa cond., Sylvia McNair, soprano, Tanglewood Festival Chorus, John Oliver cond.

French composers have rarely been bashful about writing music whose main pur- pose was to give pleasure. It was French composers who began openly twitting the profundities of late romantic music in the cheeky jests of Satie and in many works by the group that claimed him as their inspiration, the "Group of Six," which included Francis Poulenc.

During the first half of his career, Poulenc's work was so much in the lighter

vein that he could be taken as a true follower of Satie 's humorous sallies. That changed in 1935 when, following the death of a close friend in an auto- mobile accident, Poulenc reached a new maturity, recovering his lost Catholic faith and composing works of an unprecedented seriousness, though without ever losing sight of his lighter style as well. From that time on, he continued to compose both sacred and secular works, and often he could shift even within the context of a single phrase from melancholy or somber lyricism to nose-thumbing impertinence. But the more serious works include some of his largest, and the sheer size of them tends to change our view of the man's music

from about the time of World War II, when he composed the exquisite a cappella choral work La Figure humaine to a text of Paul Eluard as an underground protest to the Gierman occupation. He became an opera composer, first in the surrealist joys of Les Mamelles de Tiresias ("The Breasts of Tiresias") in 1944 (performed 1947), but later in the very different religious opera Dialogues of the Carmelites (1956), set during the Reign of Terror in the French Revolution, or the one-woman opera La Voix humaine (1958), in which a woman talking to her lover for the last time on the tele- phone tries vainly to hold on to him. Critic Claude Rostand once wrote of Poulenc that he was "part monk, part guttersnipe," a neat characterization of the two strik-

JACOB'S DANCEPILLOW FESTIVAL 2010 * June 19 -August 29

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TANGLEWOOD WEEK 8 FRIDAY PROGRAM NOTES ingly different aspects of his musical personality, though the monk seemed more and more to predominate in his later years. Still, as Ned Rorem said in a memorial tribute, Poulenc was "a whole man always interlocking soul and flesh, sacred and profane."

As a composer with special gifts in setting words to music, Poulenc had already com- posed a great deal of choral music, in French and Latin, before turning to the Gloria. Many of his earlier imaccompanied sacred choruses had an intensely mystical quality;

this is as true of the motets "for a time of penitence" as it is of the motets for the presumably more joyous feast of Christmas. In 1950 he composed the first of three large-scale pieces for chorus and orchestra, a Stabat mater. This was followed by the Gloria in 1959 and Sept Repons des tenebres (1962). The Stabat materia a setting of a medieval Latin text recounting the reaction of the Virgin Mary to the crucifixion of Jesus; the "Seven Responses for Tenebrae" are likewise a part of the liturgy for the week before Easter, and deal with emotionally charged matter. Of the three late

choral-orchestral works, then, the Gloria is the only one that is predominantly festive and exuberant.

The text of the Gloria is regarded as one of the great prose hymns of Christian litera- ture. Normally sung in the Latin Mass immediately after the Kyrie on festive occasions,

the Gloria has also been used separately as a hymn of praise. The text as it is now

employed developed over an extended period until it reached its present form in the ninth century. Poulenc chooses to repeat a number of phrases in his setting in

a way that is not liturgically appropriate; he evidently thought of his Gloria as a con- cert piece and not a work for the church service. As the composer himself said, "My

Stabat is an a cappella chorus [though with orchestra!], my Gloria is a large choral

symphony." The choral writing is far less contrapuntal than in the unaccompanied motets and choral songs. The voices instead form a block of timbral color around which the orchestral instruments weave their colorful parts.

The range of expression in the Gloria is broad—so broad, in fact, that some parts of the work attracted critical reactions when it was first performed. The second

movement is among the most lighthearted movements in all of Poulenc's work. As he recalled:

The second movement caused a scandal; I wonder why? I was simply thinking,

in writing it, of the Gozzoli frescoes in which the angels stick out their tongues;

I was thinking also of the serious Benedictines whom I saw playing soccer one day.

The second and fourth movements are both rhythmically alive and generally lively in character, while the third and fifth sections are filled with that special mystical quality that was so much a part of Poulenc's personality. All in all, the Gloria, in its directness of approach, perfectly captures the faith of the man who said, "1 want the religious spirit to be expressed clearly, out in the open, with the same realism that we see in romanesque columns." The Gloria may not be his most profound work, but it is assuredly among the most brilliant and life-affirming.

STEVEN LEDBETTER

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

10 I. Gloria: Maestoso

Gloria in excelsis Deo Glory to God on high et in terra pax hominibus bonae and on earth, peace to men of good will. voluntatis.

II. Laudamus te: Tres vif et joyeux (Very lively and joyous)

Laudamus te, benedicimus te, We praise thee, we bless thee, Adoramus te, glorificamus te, we worship thee, we glorify thee, Gratias agimus tibi gloriam tuam we give thanks unto thee Propter magnam gloriam tuam. for thy great glory. Laudamus te. We praise thee.

III. Domine Deus: Tres lent et calme (Very slow and calm)

Domine Deus, rex caelestis, Lord God, heavenly king, Pater omnipotens, omnipotent father, Rex caelestis, Deus pater, heavenly king, God the father, Pater omnipotens, Deus pater. Father almighty, God the father. Gloria. Glory.

rv. Domine fili unigenite: Tres vite et joyeux (Very fast and joyous)

Domine fili unigenite Lord, only-begotten son, Jesu Christe. Jesus Christ.

V. Domine Deus, agnus Dei: Tres lent; Plus allant (Very slow; Faster) Domine Deus, agnus Dei, Lord God, lamb of God, Filius patris, rex caelestis son of the father, king of heaven, Qui tollis peccata mundi who bearest the sins of the world, Miserere nobis have mercy upon us, Suscipe deprecationem nostram. receive our prayers.

VI. Qui sedes ad dexteram patris: Maestoso

Qui sedes ad dexteram patris Thou who sittest at the right hand of the father, Miserere nobis, have mercy upon us, Quoniam tu solus sanctus, for thou alone art holy, tu solus Dominus, Amen. thou alone art Lord, Amen, Qui sedes tu solus altissimus, thou who sittest alone on high, Jesu Christe, Jesus Christ, Cum Sancto Spiritu, in gloria with the Holy Spirit, in the glory of Dei patris. God the father. Amen. Amen.

TANGLEWOOD WEEK 8 FRIDAY PROGRAM NOTES 0- Gustav Hoist (1874-1934) "The Planets," Suite for large orchestra, Opus 32

First performances: (private, oi Mars, Mercury, Jupiter, Saturn, and Neptune only) , Septem- ber 29, 1918, London, Queen's Hall Orchestra, Adrian Boult cond.; (public, of the complete suite) November 15, 1920, London, London Symphony Orchestra cond. First BSO performance: ]a.nudLry 1923, Pierre Monteux cond. First Tangle- wood performance of music from the suite (Jupiter only): August 16, 1940, Stanley Chappie cond. First Tanglewood performance of the complete suite: August 20, 1977, Andrew Davis cond. Most recent Tanglewood performance: ]uly 8, 1995, John Williams cond.

In his early years Hoist went under the full name Gustav von Hoist, but he was entirely English in his upbringing, as were his father and grandfather. His closest

friend was Ralph Vaughan Williams, and his fondness for English folksong is clear from such pieces as his Somerset Rhapsody and Moorside Suite. But he was also fascinated by remote cultures and occult beliefs. He studied Sanskrit and Hindu literature, and his choice of texts for operas and songs was astonish- ingly wide. His range of musical activities was wdde too; he was a composer, arranger, conductor, and full-time schoolteacher all his life. He managed to find time to write much music in different forms, skirting the traditional categories of symphony, sonata, and string quartet, and instead making unconventional groups of pieces on unconventional subjects.

The conception of a suite of seven tone poems on the astrological implica-

tions of the planets came to Hoist partly from reading Alan Leo's What is a

Horoscope and How is it Cast. MarswzLS the first movement to be composed, in 1914. Venus and Jupiter \vere also written in 1914, with Saturn, Uranus, and Neptune in 1915 and Mercury in 1916. The performance sequence leads from the grim physicality of mortal combat via the intervening planets to Neptune's disembodied mystical uni-

verse. (There is no movement for Pluto, the existence of which had not been con-

firmed, and which is now in any case demoted from planetary status.) Opportunities for performing such a large work were limited in the war years, but Hoist was able to hear a private run-through in September 1918. The full work was publicly performed for the first time in November 1920.

I. Mars, the Bringer of War. Mars was the Greek god of war, but Hoist was not trying just to reflect the mythological characters of the Greek gods after whom the planets are named but also their astrology, to which Alan Leo's book guided him. The battle

imagery of Mars is unmistakable, made grotesque by insistent drumbeats and the 5/4 meter, and building again and again to brutal climaxes on huge dissonant

chords. The organ adds its powerful voice to the uproar. II. Venus, the Bringer of Peace. Mythology associates Venus more with love than with peace, while astrology endows those born under this planet with a refined nature and deep devotion to those they love. Venus explores serenity, beauty, and delicate quietude, aided by the sounds of , celesta, and harps. III. Mercury, the Winged Messenger, moves swiftly and nimbly, and a "mercurial" character emerges from the interplay of instruments and the brilliance of the woodwinds. A symphonic scherzo in form,

it contains a Trio in which a melody is heard on a solo violin and a dozen times more in different orchestral dress.

III. Jupiter, the Bringer of Jollity also brings enthusiasm, manly energy, lopsided acrobatics, peasant merrymaking, nobility, and grandeur—a broad tune in the mid- dle evoking Elgar's world. Leo attributed to Jupiter's sons "an abundance of life and vitality... cheery and hopeful... noble and generous." IV. Saturn, the Bringer of Old

Age, is the longest movement in the suite. The orchestration is highly imaginative,

12 with three flutes and harp harmonics treading painfully forward while the double

basses stir in the depths. The bass adds its unusual voice. Old age is represented as slow and steady, but not necessarily in a negative sense. V. Uranus, the Magician. Hoist's attribution of magic powers to Uranus seems to have been his own fanciful gloss on the strange character associated with that planet. Thumping timpani, galumphing bassoons, swirling piccolos, and a humorous march add up to a remark- ably inventive piece of music. VI. Neptune, the Mystic. Here Hoist comes to the psy- chological heart of his planetary journey. The 5/4 meter may be an echo of Mars, but the stillness of the music and the delicacy of its orchestration paint a quite dif- ferent world. The supreme invention was to call for an invisible choir of female voices, which fade to nothing like a dot of light disappearing into the infinite darkness of space.

HUGH MACDONALD

Hugh Macdonald, a frequent guest annotator for the Boston Symphony Orchestra, is Avis Blewett Professor of Music at Washington University in St. Louis and principal pre-concert speaker for the Saint Louis Symphony Orchestra.

.O^ Guest Artists

David Zinman

David Zinman's career has been distinguished by a broad repertoire, strong commit-

ment to contemporary music, and historically informed performance practice. He is in his fifteenth season as music director of the Tonhalle Orchestra in Zurich. Mr. Zinman studied conducting with Pierre Monteux, and since his debut with the Philadelphia Orchestra in 1967, he has conducted many of the world's lead- ing orchestras. He previously served as music director of the Rotterdam Philhar- monic, Rochester Philharmonic Orchestra, and Symphony Orchestra, as well as music director of the Aspen Music Festival and School and the Ameri-

can Academy of Conducting for thirteen years. He has also conducted all of the leading North American orchestras, including the Boston and Chicago sym- phony orchestras, the Cleveland and Philadelphia orchestras, and the . European engagements include the Berlin Philharmonic, Leipzig Gewandhaus Orchestra, Munich Philharmonic, Symphonieorchester des Bayerischen Rundfunks, WDR Sinfonieorchester, and the Orchestra of the Age of Enlightenment. He also has relationships with the Royal Concertgebouw Orchestra, , London Philharmonic, BBC Symphony, and Philharmonia orches- tras, as well as Orchestre de Paris and Orchestre National de France. He has recently performed with the NHK Symphony Orchestra and the Tokyo and Hong Kong phil- harmonic orchestras, and will make a long-awaited return to the Sydney and New Zealand symphony orchestras in 2012. Mr. Zinman has toured widely with many inter- national orchestras and continues to tour in Europe, Asia, and the United States with the Tonhalle Orchestra. His extensive discography of more than one hundred record- ings has earned him numerous international honors, including five Grammy awards, two Grand Prix du Disque, two Edison Prizes, the Deutsche Schallplattenpreis, and a Grzimophone Award. He was also the 1997 recipient of the Ditson Award from Columbia University, given in recognition of his exceptional commitment to the performance of works by American composers (many of which he has recorded in a series for Decca's Argo label). On the Arte Nova label David Zinman and the Tonhalle Orches- tra released a highly acclaimed Beethoven cycle. Previous recordings, also on Decca/

TANGLEWOOD WEEK GUEST ARTISTS 13 Argo, include Richard Strauss tone poems and the complete Schumann symphonies. Current projects for Sony/BMG are a Mahler cycle and a recording of all the Schubert

symphonies. In 2000 the French Ministry of Culture awarded David Zinman the title of Chevalier de I'Ordre des Arts et des Lettres. In 2002 he became the first conductor and the first person not originally from Switzerland to receive the City of Zurich Art Prize. More recently he received the Thomas Theodore award in recognition of out- standing achievement and extraordinary service to one's colleagues in advancing the art and science of conducting, reflecting honor on the profession. In 2008 he won the Midem Classical Award for Artist of the Year, for his work with the Tonhalle Orchestra. He made his BSO debut at Tanglewood in July 1968 and his subscription series debut in January 1980; his most recent appearances with the orchestra were at Symphony Hall in January 2007 and at Tanglewood in July 2008.

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14 ;

Isabel Bayrakdarian

Isabel Bayrakdarian makes her Boston Symphony Orchestra debut in tonight's concert. Since winning first prize in the 2000 Operalia competition founded by Placido Domingo, Ms. Bayrakdarian has performed in many of the world's major opera houses and concert halls. In the 2010-11 season she sings selections from Mahler's Des Knaben Wunderhorn at the Aspen Music Festival with , returns to the Canadian Opera Company as Pamina in Die Zauberflote and Euridice in Gluck's Orfeo ed Euridice, and will reprise the title role ofJanacek's The Cunning Little Vixen with the New York Philharmonic under Alan Gilbert. Concert appearances include Mahler's Symphony No. 2 with the Symphony Orchestra and , a program of arias with the Seattle Symphony and Nicolas McGegan, Gorecki's Symphony No. 3 with the Danish National Symphony Orchestra and John Axelrod, and the premiere of a new work by Serouj Kradjian with the Manitoba Chamber Orchestra under Anne Manson. Ms. Bayrakdarian also appears in recital with her husband, pianist Serouj Kradjian, at London's Wigmore Hall and Ars Nova in Ottawa, Ontario. In the 2009-10 season Ms. Bayrakdarian sang The Cunning Little Vixen with Teatro del Maggio Musicale Fiorentino under Seiji Ozawa; made her role debut as Ilia in Idomeneo at Paris Opera and Canadian Opera Company; and made her Minnesota Opera debut as Leila in Les Pecheurs de perles. She also appeared in recital with her husband, pianist Serouj Kradjian, with whom she per- forms often throughout North America and in major cities in Europe and Asia. Operatic highlights of recent seasons include her role debut as Melisande in Pelleas

et Melisande at Canadian Opera Company, the title role in The Cunning Little Vixen at the Saito Kinen Festival, the title role in L'incoronazione di Poppea at Teatro del , and her role debut as Blanche in Poulenc's Dialogues des Carmelites at Lyric Opera of Chicago. Mozart roles include Zerlina in Don Giovanni and Pamina in Die Zauberflote at the Metropolitan Opera, Zerlina at the Salzburg Festival, Despina in Cosifan tutte at the Palau de les Arts in Valencia, and Susanna in Le nozze di Figaro at Covent Garden and Houston . Ms. Bayrakdarian sings on the Grammy Award-winning soundtrack of the film Lord of The Rings: The Two Towers, and in the Canadian film Ararat. She has been honored with four Juno awards, Canada's highest recording prize, most recently for her CD "Mozart Arie e Duetti" with Russell Braun and . She recently recorded a disc of songs by the Armenian composer Gomidas Vartabed with Serouj Kradjian and the Armenian Philharmonic Orchestra (Nonesuch) the recording was a 2009 Grammy nominee. Her other honors include the Queen Elizabeth II Golden Jubilee Medal, the 2005 Virginia Parker Prize from the Canada Council for the Arts, the Leonie Rysanek Award from the George London Foundation, and a Metropolitan Opera National Council Award in 1997. The CBC-TV film A Long fourney Home documents Ms. Bayrakdarian 's first trip to Armenia. Born in Lebanon to Armenian parents and now a citizen of Canada, Ms. Bayrakdarian moved wdth her fam- ily to Toronto as a teenager. Her earliest singing experience was at church, which remains—along with her family—the central focus of her life. She holds an honors degree in Biomedical Engineering from the . Ms. Bayrakdarian is dressed for this concert by Atelier Rosemarie Umetsu.

TANGLEWOOD WEEK 8 GUEST ARTISTS Tanglewood Festival Chorus John Oliver, Conductor

This summer, the Tanglewood Festival Chorus and founding conductor John Oliver celebrate the ensemble's 40th anniversary by joining the Boston Symphony Orchestra for performances of Mahler's Symphony No. 2 under Michael Tilson Thomas (the BSO's opening Tanglewood concert of the season, July 9); a double bill of Stravinsky's Symphony ofPsalms and Mozart's Requiem also with Michael Tilson Thomas (July 16); a double bill of Poulenc's Gloria diXiA Hoist's The Planets \ed by David Zinman (August 27), and the BSO's traditional season-ending performance of Beethoven's Ninth Symphony (August 29), this year led by Kurt Masur. With John Oliver conducting, the chorus began its summer season with its all-French, July 9 Prelude Concert in Ozawa Hall (joined by guest artist Stephanie Blythe) and performs Bach's motet /

Founded in January 1970, when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus

made its debut on April 11 that year, in a performance of Beethoven's Symphony No. 9 with Leonard Bernstein conducting the Boston Symphony Orchestra. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the BSO's summer season at Tanglewood, the chorus originally numbered 60 well-trained Boston-area singers, but quickly expanded to a complement of 120 singers in 1971-72 and by 1972-73 had begun to play a major role in the BSO's Symphony Hall subscription season as well as at Tanglewood. Now numbering more than 250 mem- bers, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and the Boston Pops and has developed an international reputation for its

skill, intelligence, versatility, thrilling sound, and enthusiastic performances.

The Tanglewood Festival Chorus made its Carnegie Hall debut with the Boston Sym- phony Orchestra on October 10, 1973, performing Berlioz's La Damnation de Faust led by Seiji Ozawa, and has since returned regularly to Carnegie Hall with the BSO. The

ensemble gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan in Berlioz's Requiem, Romeo et Juliette, the "Royal Hunt and Storm" from Les Troyens, and the Asian premiere of Berlioz's

16 Messe solennelle. In 2001 the chorus sang Stravinsky's Symphony ofPsalms and Ravel's Daphnis and Chloe with Bernard Haitink and the BSO during the orchestra's tour of European music festivals, also performing an a cappella program of music by Brahms, Bruckner, Copland, Martin, and Martino in the Dom in Liibeck, Germany. Most recently, following its 2007 Tanglewood season, the chorus joined James Levine and the Boston Symphony Orchestra on tour in Europe for Berlioz's La Damnation de Faust

in Lucerne, Essen, Paris, and London, and performed an a cappella program of its own in Essen and Trier.

The chorus's first recording with the BSO, Berlioz's La Damnation de Faust vAth Seiji Ozawa, was recorded in October 1973 and received a Grammy nomination for Best Choral Performance of 1975. Two years later, at the invitation of Deutsche Gram- mophon, the chorus recorded an album of a cappella 20th-century American choral music, which received a Grammy nomination for Best Choral Performance of 1979. Also in 1979, the chorus's recording of Schoenberg's Gurrelieder -with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with conductors James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. The latest additions to the chorus's discography, all drawn from recent live performances with Maestro Levine and the BSO, were released on BSO Classics in February 2009—Ravel's complete Daphnis and Chloe (which won

the Grammy Award for Best Orchestral Performance of 2009) , Brahms's Ein deutsches Requiem, and William Bolcom's Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the orchestra and the Tanglewood Festival Chorus. Most recently, a recording of a cappella musichy].S. Bach, Bruckner, Copland, Antonio Lotti, and Frank Martin drawn from live performances by the Tanglewood Festival Chorus was issued on BSO Classics in April 2010 to mark the ensemble's 40th anniversary.

In addition to their work with the Boston Symphony Orchestra, members of the Tangle- wood Festival Chorus have performed Beethoven's Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Phila- delphia, and participated in a Saito Kinen Festival production of Britten's Peter Grimes under Seiji Ozawa in Japan. In 1989 the chorus helped close a month-long Inter- national Choral Festival that took place in and around Toronto, Canada, giving the final performance of the festival, Verdi's Requiem, with conductor . In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite,

in Beethoven's Ode to Joy. The Tanglewood Festival Chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004. The ensemble had the honor of singing at Sen. Edward Kennedy's funeral; has performed with the Boston Pops for the Boston Red Sox on Opening Day and at the NBA Finals, and can also be heard on the soundtracks to Clint Eastwood's Mystic River, ]oh.n Sayles's Silver City, and Steven Spielberg's Saving Private Ryan.

TEC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni fre- quendy return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its 40-year history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

TANGLEWOOD WEEK 8 GUEST ARTISTS ,

John Oliver

John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 900 performances. These include appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras, and as a solo ensemble. In addition, he has had a major impact on musical life in Boston and beyond through his work v«th countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years) and Fellows of the Tanglewood Music Center who now perform with distin- guished musical institutions throughout the world. Mr. Oliver's affiliation with the Boston Symphony Orchestra began in 1964 when, at twenty-four, he pre- pared the Sacred Heart Boychoir of Roslindale for the BSO's performances and recording of excerpts from Berg's Wozzeck conducted by Erich Leinsdorf. In 1966 he prepared the choir for the BSO's performances and recording of Mahler's

Symphony No. 3, also with Leinsdorf. Soon after, he was asked by Leinsdorf to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, he was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. Mr. Oliver has prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with conductors James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. He made his Boston Symphony conducting debut at Tanglewood in August 1985, led subscription concerts for the first time in December 1985, conducted the orchestra most recently in July 1998, and returns to the BSO podium again on August 29, to open the BSO's final Tanglewood concert of this summer.

In addition to his work wdth the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a Mdde-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. Mr. Oliver and the Chorale also recorded Charles Ives's The Celestial Country and Charles Loeffler's Psalm 137 for Northeastern Records, and Donald Martino's Seven Pious Pieces for New World Records. John Oliver's appearances as a guest conductor have included Mozart's Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn's Elijah and Vaughan Williams's A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children's choir for Andre Previn's performances of Benjamin Britten's Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn's Carnegie performance of Brahms's Ein deutsches Requiem. Also an expert chef and master gardener, John Oliver lives in western Massachusetts.

18 Tanglewood Festival Chorus John Oliver, Conductor

(Poulenc Gloria and Hoist The Planets, August 27, 2010)

The Tanglewood Fesdval Chorus celebrates its 40th anniversary this summer. In the following list, § denotes membershop of 40 years, * denotes membership of 35-39 years, and # denotes membership of 25-34 years; ° is for those singing in The Planets.

Sopranos

Emily Anderson • Michele Bergonzi # • Joy Emerson Brewer ° • Alison M. Burns •

Jeni Lynn Cameron ° • Catherine C. Cave • Anna S. Choi ° • Saewon Lee Chun ° •

Lorenzee Cole ° # . Sarah Dorfman Daniello # • Christine Pacheco Duquette # •

Ann M. Dwelley • Mary A. V. Feldman # • Margaret Felice • Karen Ginsburg • Kathy Ho •

Eileen Huang ° • Cynthia Kassell Polina Dimitrova Kehayova ° • Carrie Kenney •

Donna Kim • Nancy Kurtz ° • Leslie A. Leedberg • Barbara Abramoff Levy * •

Kieran Murray ° • Jaylyn Olivo ° • Laurie Stewart Otten ° • Kimberly Pearson •

Laura Stanfield Prichard • Adi Rule ° • Melanie Salisbury • Laura C. Sanscartier •

Johanna Schlegel • Joan P. Sherman § • Stephanie Steele • Dana R. Sullivan

Mezzo-

Virginia Bailey ° • Martha A. R. Bewick ° • Betsy Bobo • Lauren A. Boice ° • ° Donna J. Brezinski • Janet L. Buecker • Abbe Dalton Clark • ELathryn DerMarderosian •

Diane Droste ° • Paula Folkman ° # • Debra Swartz Foote ° • Dorrie Freedman ° * •

Irene Gilbride ° # • Mara Goldberg ° • Lianne Goodwin • Betty Jenkins ° •

Evelyn Eshleman Kern * • Yoo-Kyung Kim • Gale Livingston ° # • Katherine Mallin ° •

Anne Forsyth Martin ° • Crisdna McFadden • Louise-Marie Mennier ° • Ana Morel •

Tracy Elissa Nadolny ° • Fumiko Ohara # • Roslyn Pedlar • Laurie R. Pessah •

Julie Steinhilber ° # • Cindy M. Vredeveld ° • Jennifer A. Walker • Marguerite Weidknecht

Tenors

Brad W. Amidon • James Barnswell • John C. Barr # • Adam Kerry Boyles •

Felix M. Caraballo • Stephen Chrzan • Tom Dinger • Ron Efromson • Jonathan Erman •

Keith Erskine • Leon Grande • J. Stephen Groff # • David Halloran # • John Horigan •

James R. Kauffman # • Thomas Kenney • Lance Levine • Ronald Lloyd • Henry Lussier * • * John Vincent Maclnnis • Ronald J. Martin • Glen Matheson • Mark Mulligan •

David Norris # • Dwight E. Porter # • Guy F. Pugh • Peter Pulsifer • Brian R. Robinson •

Sean Santry • Blake Siskavich • Arend Sluis • Peter L. Smith • Joseph Y. Wang

Basses

Thomas Anderson • Thaddeus Bell • Nathan Black . Daniel E. Brooks # •

Stephen J. Buck • Matthew E. Crawford • Michel Epsztein • Jim Gordon •

S. Gregory • L. # • • • Jay Mark Haberman Robert Hicks Marc J. Kaufman David M. Kilroy • Will Koffel • Timothy Lanagan # • Joseph E. Landry •

Daniel Lichtenfeld • Nathan Lofton • Christopher T. Loschen • Devon Morin •

Joshua H. Nannestad • Eryk P. Nielsen • Stephen H. Owades § • Donald R. Peck •

Michael • • • • Prichard Bradley Putnam Steven J. Ralston Sebastian Remi

Peter Rothstein * • • • • Jonathan Saxton Karl Josef Schoellkopf Joseph J. Tang Craig A. Tata • Bradley Turner • Thomas C. Wang # • Terry L. Ward

William Cutter, Assistant Conductor (Hoist) Mark B. Rulison, Chorus Manager Martin Amlin, Rehearsal Pianist

TANGLEWOOD WEEK 8 GUEST ARTISTS 2010 Tanglewood

Boston S}Tnphony Orchestra 129th season, 2009-2010

Saturday, August 28, 8:30pm THE STEPHEN AND DOROTHY WEBER CONCERT

DAVID ZINMAN CONDUCTING

BRAHMS Piano Concerto No. 2 in B-flat, Opus 83 Allegro non troppo Allegro appassionato Andante Allegretto grazioso EMANUEL AX

{Intermission

DVORAK Symphony No. 9 in E minor. Opus 95, "From the New World" Adagio—^Allegro molto Largo Scherzo: Molto vivace Allegro con fuoco

_J^^^ Bank of America is proud to sponsor the 2010 Tanglewood season.

Steinway & Sons is the exclusive provider of pianos for Tanglewood.

Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert.

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

20 NOTES ON THE PROGRAM

^^-^ Johannes Brahms (1833-1897) Piano Concerto No. 2 in B-flat, Opus 83

First public performance: November 9, 1881, National Theater Orchestra, Alexander Erkel cond., Brahms, piano. First BSO performances: March 1884, Georg

Henschel cond., B.J. Lang, piano. First Tanglewood performance: August 9, 1941, Serge Koussevitzky cond., Leonard Shure, piano. Most recent Tanglewood performance by the BSO: August 20, 2006, cond., Peter Serkin, piano. Most recent Tangle- wood performance: August 16, 2009, Tanglewood Music Center Orchestra, Kurt Masur cond., Garrick Ohlsson, piano.

". . . and a second one will sound very different," wrote Brahms to Joseph Joachim, rendering a report on the disastrous reception in Leipzig of his First Piano Concerto. More than twenty years would pass before there was "a second one." They were full years. Brahms had setded in Vienna and given up conducting and playing the piano as regular activities and sources of livelihood. Belly and beard date from those years ("clean-shaven they take you for an actor or a priest," he

said) . The compositions of the two decades include the variations on themes by Handel, Paganini, and Haydn; the string quartets and piano quartets (three of each), as well as both string sextets, the piano quintet, and the horn trio; a cello sonata and one for violin; the first two symphonies and the Violin Concerto; and, along with over a hundred songs and shorter choral pieces, a series of large-scale vocal works including the German Requiem, the Alto Rhapsody, the Song ofDestiny, and Ndnie. He was resigned to bachelor- hood and to never composing an opera. He had even come to terms with the fact that at the beginning of the century there had been a giant called Beetho- ven whose thunderous footsteps made life terribly difficult for later composers. To the young Brahms, Beethoven had been inspiration and model, but also a source

of daunting inhibition. Fully aware of what he was doing and what it meant, Brahms waited until his forties before he sent into the world any string quartets or a first symphony, both being genres peculiarly associated with Beethoven. In sum, the Brahms of the Second Piano Concerto was a master, confident and altogether mature. For the University of Breslau to call him "artis musicae severioris in nunc prin-

ceps" in its honorary degree citation of 1879 was to take a firm anti-Bayreuth political stand, but at least in that central and northern European musical world where opera was thought of as either transalpine triviality or as the province of that dangerous vulgarian Dr. Richard Wagner, the stature ofJohannes Brahms was clearly perceived.

In April 1878, Brahms made what was to be the first of nine journeys to Italy and Sicily. His companion was another bearded and overweight North German who had setded in Vienna, Theodor Billroth, an accomplished and knowledgeable amateur musician, and by profession a surgeon, a field in which he was even more unambigu- ously ''princeps" than Brahms in his. Brahms returned elated and full of energy. His chief task for that summer was to complete his Violin Concerto for Joseph Joachim. He planned to include a scherzo, but dropped the idea at Joachim's suggestion. He had, however, made sketches for such a movement after his return from the South, and he retrieved them three years later when they became the basis of the new piano concerto's second movement.

The year 1881 began with the first performances of the Academic Festival and Tragic overtures, and there were professional trips to Holland and Hungary as well as another Italian vacation. In memory of his friend, the painter Anselm Feuerbach,

TANGLEWOOD WEEK 8 SATURDAY PROGRAM NOTES he made a setting of Schiller's Ndnie, and then set to work on the sketches that had been accumulating for the piano concerto. (By this time, Brahms had established a regular pattern for his year: concentrated compositional work was done during the summers in various Austrian or Swiss villages and small towns, each visited for two or three years in a row and then dropped, while winters were the season of sketches,

proofreading, and concerts) . On July 7 he reported to his friend Elisabet von Her- zogenberg, perhaps his closest musical confidante of those years, that he had fin- ished a "tiny, tiny piano concerto with a tiny, tiny wisp of a scherzo." Writing on the same day to the pianist Emma Engelmann, he is not quite so coy, though Billroth was sent his copy with a remark about "a bunch of little piano pieces." The measure

of Brahms's sureness about the work is to be found in his singling it out for dedica- tion "to his dear friend and teacher Eduard Marxsen." Marxsen, to whom Brahms had been sent by his first teacher, Otto Cossel, as a boy of seven, was born in 1806 and had studied with Carl Maria von Bocklet, the pianist who had played in the first performance of Schubert's E-flat trio, and his orchestral version of Beethoven's Kreutzer SondiX2i was widely performed in the nineteenth century. Brahms's devotion lasted until the end of Marxsen's life in 1887. The choice of the B-flat concerto as

occasion for the long-delayed formal tribute to his master is surely significant: not only was the piano Marxsen's instrument as well as his own, but Brahms must have felt that he had at last achieved what had eluded him in the wonderful D minor con- certo, namely the perfect fusion of inspirational fire with that encompassing tech- nique whose foundations were laid in those long-ago lessons in Hamburg.

It was the last work Brahms added to his repertory as a pianist, and for someone

who had long given up regular practicing to get through it at all is amazing. After the premiere, Brahms took the work on an extensive tour of Germany with Hans von Biilow and the superb Meiningen Orchestra: Leipzig resisted once again, but elsewhere the reception was triumphant. People tended to find the first movement harder to grasp than the rest, and almost universally a new relationship between piano and orchestra was noted, phrases like "symphony with piano obbligato" being

much bandied about. With respect to the latter question, it is mainly that Brahms knew the concertos of Mozart and Beethoven better than his critics and was pre- pared to draw more imaginative and far-reaching conclusions from the subtle solo- tutti relationship propounded in those masterpieces of the classical style.

Brahms begins by establishing the whole range of the solo's capabilities. The piano enters with rhythmically cunning comment on the theme sung by the horn. This is

poetic and reticent, though there is also something quietly assertive in the way the piano at once takes possession of five-and-a-half octaves from the lowest B-flat on the keyboard to the F above the treble staff. When, however, the woodwinds and then the strings continue in this lyric vein, the piano responds with a cadenza that

22 silences the orchestra altogether. But this cadenza, massive and almost violent

though it is, settles on a long dominant pedal and demonstrates that its "real" func-

tion is to introduce, as dramatically as possible, an expansive and absolutely formal orchestral exposition. Perhaps the greatest moment, certainly the most mysterious

and original, of this magisterial movement is the soft dawning of the recapitulation,

the horn call and its extensions in the piano being now gently embedded in a con- tinuous and flowing texture, an effect that suggests that the opening of the move- ment should be played not as an introduction in a slower tempo, but as the real and organic beginning. When all this occurs, you remember the piano's earlier eruption

into the cadenza, and the contrast now of the entirely lyrical continuation is the more poignant for that memory. One tends to think of this concerto as essentially declamatory and as the quintessential blockbuster, but the expression mark that

occurs more often than any other is ''dolce" (followed in frequency by "leggiero'l).

Beethoven had to answer tiresome questions about why there were only two move- ments in his last piano sonata, and now Brahms was constantly asked to explain the presence of his "extra" Scherzerl. He told Billroth that the first movement appeared to him "too simple [and that] he required something strongly passionate before the

equally simple Andante." The answer half convinces: simplicity is not the issue as much as urgency and speed. Long-range harmonic strategy, particularly with respect to the Andante to come, must have had a lot to do with Brahms's decision. The con-

trast, in any event, is welcome, and the movement, in which one can still sense the biting double-stops ofJoachim's violin, goes brilliantly.

The first and second movements end in ways meant to produce the ovations they got at their early performances (and how priggish and anti-musical the present cus- tom that indiscriminately forbids such demonstrations between movements). From here on, Brahms reduces the scale of his utterance, trumpets and drums falling silent for the remainder of the concerto. The Andante begins with a long and famous cello solo,* which, like its oboe counterpart in the Adagio of the Violin

Concerto, becomes increasingly and ever more subtly enmeshed in its surroundings (and thus less obviously soloistic). The piano does not undertake to compete with the cello as a singer of that kind of song. Its own melodies stand on either side of

that style, being more embellished or more skeletal. The key is B-flat, the home key of the concerto and thus an uncommon choice for a slow movement, the most famous precedent being Brahms's own earlier piano concerto, but the excursions

v^dthin the piece are bold and remarkable in their effect. For an example, it is its

placement in the distant key of F-sharp that gives the return of the cello solo its won- derfully soft radiance.

The finale moves gently in that not-quite-fast gait that is so characteristic of Brahms. A touch of gypsy music passes now and again, and just before the end, which occurs without much ado, Brahms spikes the texture with triplets.

MICHAEL STEINBERG

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

* Five years later Brahms found another beautiful continuation from the same melodic " germ in the song "Immer leiser wird mein Schlummer.

TANGLEWOOD WEEK 8 SATURDAY PROGRAM NOTES Antonin Dvorak (1841-1904)

Symphony No. 9 in E minor, Opus 95, 'From the New World"

First performance: December 16, 1893, New York Philharmonic, Anton Seidl cond. First BSO performances: December 29-30, 1893, Emil Paur cond. First Tanglewood per- formance: August 11, 1950, Serge Koussevitzky cond. Most recent Tanglewood performance: August 4, 2007, James Levine cond.

Antonin Dvorak's arrival in America on September 26, 1892, was a triumph of per- sistence forjeannette Thurber, founder of the National Conservatory of Music in New York. She hoped that the appointment of this colorful nationalist with a wide reputation both as composer and teacher would put her institution on a firm footing and eventually produce American composers who could vie with any in the world. Dvorak had at first been unwilling to leave his beloved Prague and to undertake the rigors of a sea voyage to the New World for so uncertain a venture, but Mrs. Thurber's repeated offers eventually wore down his resistance. She also hoped that, in addition to teaching young American musicians, he would compose new works especially for American consumption. One potential project was an opera based on Longfellow's Song of Hiawatha, which Dvorak had already read and enjoyed in a Czech translation years before. The opera never materialized, but the subject did have an influence on the first large work Dvorak composed here, his most famous symphony.

Upon his arrival it quickly became clear to Dvorak that he was more than a celebrity; great things were expected of him. He wrote to a Moravian friend in mock terror that what the American papers were writing about him was "simply terrible—they see in me, they say, the savior of music and I don't know what else besides!" But after a few months he wrote to friends in Prague more equably:

The Americans expect me. . . to show them to the promised land and kingdom of a new and independent art, in short to create a national music. If the small Czech nation can have such musicians, they say, why could not they, too, when

their country and people is so immense.

Shortiy after writing this letter he began a sketchbook of musical ideas and made his first original sketches in America on December 19. The next day he noted on the second page one of his best-known melodic inventions: the melody assigned to the English horn at the beginning of the slow movement in the New World Symphony. In the days that followed he sketched other ideas on some dozen pages of the book, many of them used in the symphony, some reserved for later works, and some ulti- mately discarded. Finally, on January 10, 1893, Dvorak turned to a fresh page and started sketching the continuous thread of the melodic discourse (with only the barest indications of essential accompaniments) for the entire first movement. From that time until the completion of the symphony on May 24 he fitted composition into his teaching as best he could.

No piece of Dvorak's has been subjected to so much debate as the Symphony From

the New World. The composer himself started it all with an interview published in the New York Herald on May 21, just as he was finishing the last movement. He was quoted as having said:

I am now satisfied that the future of music in this country must be founded upon what are called the Negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States. When I came here last year I was impressed with this idea and it has

24 .

developed into a settled conviction. These beautiful and varied themes are the product of the soil There is nothing in the whole range of composition that cannot be supplied with themes from this source.

At another time Dvorak complicated the issue by claiming to have studied the music of the American Indians and even to have found it strikingly similar to that of the Negroes. This view was surely mistaken, or at least greatly oversimplified.

In any case, Dvorak's comments attracted much attention. Diligent American re- porters buttonholed European composers and asked for their views, then wrote that most composers felt Dvorak's recommendations to be impractical if not impossible. Thus, when the new symphony appeared six months later, everyone wanted to know if he had followed his own advice. Claims appeared on all sides that the melodic material of the symphony was borrowed from Black music, or from Indian music, or perhaps both. In another interview just before the first performance, Dvorak empha- sized that he sought the spirit, not the letter of traditional melodies, incorporating their qualities, but developing them "with the aid of all the achievements of modern rhythm, counterpoint, and orchestral coloring." Despite the composer's disclaimer, accounts of his tracking down sources for the music became progressively embel- lished. By the time the New World Symphony made its third appearance in the pro- grams of the BSO, in November 1896, the program annotator, W.F. Apthorp, stated flatly, if incorrectly, "Its thematic material is made up largely of Negro melodies from the Southern plantations."

Since Dvorak sketched all the thematic material of the symphony during his fourth month in this country, when he had never been south or west of New York, it is hard to imagine what music "from the Southern plantations" he might have heard. And as for Indian melodies—^well, there were a few unscientific transcriptions and even a doctoral dissertation published in German, as well as, perhaps, a Wild West show or two. And yet one credible witness, Victor Herbert, who was then the head of the cello faculty at the National Conservatory and a close associate of Dvorak's, recalled later that the young Black composer and singer Harry T. Burleigh, then a student at the conservatory, had given Dvorak some of the tunes for the symphony. Certainly on a number of occasions Burleigh sang for Dvorak, who took a great interest in him as one of the most talented students at the school. Whether or not he gave Dvorak any actual melodies, he certainly helped him become familiar with the characteristic melodic types of the spiritual, including the frequent appearance of a pentatonic scale.

Perhaps, then, it was to suggest a particularly "American" quality that Dvorak re- worked some of the original themes from his sketchbook to make them more obvi- ously pentatonic. The clearest case of this is the English horn solo at the beginning of the slow movement, which in the original sketch lacked most of the dotted notes and had no feeling of pentatonic quality. A very simple melodic change made the opening phrases strictly pentatonic, perhaps more "American." The dotted rhythms, which were also an afterthought, may be a reflection of the rhythm of one of Bur- leigh's favorite songs, "Steal Away." Finally, the English writer H.C. Colles, who once asked Burleigh to sing for him the same tunes he had sung for Dvorak, commented that the timbre of his voice resembled no orchestral instrument so much as the Eng- lish horn, the very instrument that Dvorak finally chose to play the theme (after hav- ing planned originally to give it to clarinets and flutes)

The title that Dvorak appended to the symphony—almost at the last minute—has also been heavily interpreted, probably over-interpreted, in discussions of the work's national character. Dvorak added the words ''ZNoveho sveta" {"From the New World')

TANGLEWOOD WEEK 8 SATURDAY PROGRAM NOTES 25 at the head of the title page in the middle of November 1893, just before his assis- tant JosefJan Kovafik delivered the manuscript to Anton Seidl, who was to conduct the premiere. Many years later Kovafik commented:

There were and are many people who thought and think that the title is to be understood as meaning "American" symphony, i.e., a symphony with American music. Quite a wrong idea! This title means nothing more than "Impressions and Greetings from the New World"—as the master himself more than once explained.

All in all, then, the American influence seems to be, for the most part, exotic trim- ming on a framework basically characteristic of the Czech composer. Today, nearly 120 years after the first performance of the piece, we can't get so exercised over

the question of whether or not the symphony is really American music; the point is moot now that American composers have long since ceased functioning as imitators of European art. Still, there is little reason to doubt Dvorak's evident sincerity when

he wrote to a Czech friend during the time he was composing it, "I should never

have written the symphony 'just so' if I hadn't seen America."

The two middle movements, according to Dvorak, were inspired in part by passages in The Song of Hiawatha. The slow movement was suggested by the funeral of Minne- haha in the forest, but at the same time Dvorak instilled a deep strain of his own

homesickness for Bohemia (perhaps it is no accident that the text that came to be attached to this melody was "Coin' home").

Dvorak's image for the third movement was the Indian dance in the scene of Hia-

watha's wedding feast. Though it is nearly impossible to find anything that could be considered "Indian" music in this very Czech dance, he must have been referring to the dance of Pau-Puk-Keewis, who, after dancing "a solemn measure," began a much livelier step. The whirling opening section has many of the same rhythmic shifts and ambiguities as the Czech furiant, and the remaining melodic ideas are waltzes, graceful and energetic by turns.

The last movement is basically in sonata form, but Dvorak stays so close to home base, harmonically speaking, and uses such square thematic ideas that there is not much energy until the very end, when, gradually, elements of all three earlier move- ments return in contrapuntal combinations (most stunning of these is the rich chord progression from the opening of the second movement, played fortissimo in

the brass and woodwinds over stormy strings) . Somehow in these closing pages we get the Czech Dvorak, the Americanized Dvorak, and even a strong whiff of Wagner

(for a moment it sounds as if the Tannhduser Venus is about to rise from the Venus-

berg) all stirred into a heady concoction to bring the symphony to its energetic close.

STEVEN LEDBETTER

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

26 ^^ Guest Artists

For a biography of David Zinman, see page 13.

Emanuel Ax

In recognition of the bicentenaries of Chopin and Schumann in 2010 and in partner- ship with London's Barbican, Amsterdam's Concertgebouw, New York's Carnegie Hall, the , and the San Francisco Symphony, pianist Emanuel Ax commissioned new works from composers Thomas Ades, Peter Lieberson, and Stephen Prutsman for three recital programs to be presented in each of those cities with colleagues Yo-Yo Ma and Dawn Upshaw. Other recent and upcoming engagements include returns to the orchestras of Chicago, Phila- delphia, and Boston for subscription concerts, a tour of Asia with the New York Philharmonic under Alan Gilbert, and tours of Europe with the Chamber Orchestra of Europe under and the Pittsburgh Symphony under Manfred Honeck. Highlights of 2008-09 included a duo-recital tour with Yefim Bronfman that included performances at Chicago's Orchestra Hall, Walt Disney Hall in Los Angeles, and Carnegie Hall; a performance with Itzhak Perlman and Yo- Yo Ma at Carnegie Hall; and solo recital tours in North America and Europe. Mr. Ax toured the Far East with the Dresden Staatskapelle and , with whom he recorded Strauss's Burleske for Sony Classical; performed with the Tonhalle Orchestra, the Bayerischer Rundfunk Orchestra in Munich and at Carnegie Hall, the London Philharmonia, and the Orchestre National de France; and, along with Yo-Yo Ma, col- laborated with the Mark Morris Dance Group in a dance work jointly commissioned by Tanglewood and the Mostly Mozart Festival. An exclusive Sony Classical recording artist since 1987, Mr. Ax recently released Mendelssohn piano trios with Yo-Yo Ma and Itzhak Perlman, Strauss's Enoch Arden narrated by Patrick Stewart, and a disc of two- piano music with Yefim Bronfman. Mr. Ax has received Grammy awards for the second and third volumes of his cycle of Haydn's piano sonatas. He has also made a series of Grammy-winning recordings with Yo-Yo Ma of the Beethoven and Brahms cello sonatas. In recent years, Mr. Ax has turned his attention toward the music of twentieth-century composers, premiering works by John Adams, Christopher Rouse, Krzysztof Penderecki,

Bright Sheng, and Melinda Wagner. He is also a devoted chamber musician; he has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Yo-Yo Ma, Edgar Meyer, Peter Serkin, and Jaime Laredo, and was a frequent collaborator with the late Isaac Stern. Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family as a young child. His studies at the Juilliard School were supported by the spon- sorship of the Epstein Scholarship Program of the Boys Clubs of America. He subse- quently won the Young Concert Artists Award, the first Arthur Rubinstein Internation- al Piano Competition in Tel Aviv in 1974, and the Avery Fisher Prize. He attended Columbia University, where he majored in French. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia universities. He has appeared often with the BSO since his debuts at Tangle- wood in August 1978 and at Symphony Hall in December 1980. He last performed with the orchestra at Tanglewood in August 2009 and in subscription concerts in April 2010.

TANGLEWOOD WEEK 8 GUEST ARTISTS 27 2010 Tanglewood

Boston Symphony Orchestra 129th season, 2009-2010 ^•==^^

Sunday, August 29, 2:30pm THE GREAT BENEFACTORS CONCERT

CELEBRATING THE 40TH ANNIVERSARY OF THE TANGLEWOOD FESTIVAL CHORUS

JOHN OLIVER CONDUCTING

J.S. BACH "Jesu, meine Freude," BWV 227, Motet for five-part mixed chorus TANGLEWOOD FESTIVAL CHORUS

with RICHARD SVOBODA, bassoon JULES ESKIN, cello EDWIN BARKER, double bass MARK KROLL, harpsichord JAMES DAVID CHRISTIE, organ

Text and translation begin on page 33.

Please note that there is no intermission in this concert.

28 — ———— —

KURT MASUR CONDUCTING

BEETHOVEN Symphony No. 9 in D minor. Opus 125 Allegro ma non troppo, un poco maestoso

Molto vivace—Presto—Tempo I Presto—Tempo I Adagio molto e cantabile—^Andante moderato Tempo I—^Andante—^Adagio Presto—^Allegro ma non troppo—^Vivace Adagio cantabile—^Allegro moderato Allegro—^Allegro assai—Presto—^Allegro assai—^Allegro assai vivace, alia Marcia Andante maestoso—^Adagio ma non troppo, ma divoto—^Allegro energico, sempre ben marcato—^Allegro ma non tanto Prestissimo

NICOLE CABELL, soprano MARIETTA SIMPSON, mezzo-soprano GARRETT SORENSON, JOHN RELYEA, bass- TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 40.

This afternoon's appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

We are fortunate that tenor Garrett Sorenson was available at short notice to substi- tute for Marcus Haddock in today's performance of Beethoven's Ninth Symphony. Mr. Haddock has been recovering steadily from a stroke suffered in April 2009 and expects to be performing again in the near future.

^J^^ Bank of America is proud to sponsor the 2010 Tanglewood season.

Steinway & Sons is the exclusive provider of pianos for Tanglewood.

Special thanks to Commonwealth Worldwide Chauffeured Transportation.

In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert.

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

TANGLEWOOD WEEK 8 SUNDAY PROGRAM 29 IN MEMORIAM

George H. Kidder June 14, 1925-August 20, 2009

At the close of last summer's Tanglewood season, the Boston Symphony Orchestra announced with great sadness the passing of a beloved member of the BSO family, Life Trustee and former BSO President George H. Kidder. George's contributions to the creation of Ozawa Hall and the development of the Bernstein Campus are remembered today with the performance of one of his favorite pieces, Beethoven's Symphony No. 9.

A respected and admired leader of the BSO for decades, George became a member of the BSO family more than 75 years ago, upon first attending Symphony at a very young age, leading to a lifelong passion for music as well as his commitment to the orchestra. He was elected an Overseer in 1968, a Trustee in 1977, and a Life Trustee in 1994; he became President of the Orchestra in 1987, his tenure lasting until 1994. George's legacy follows from his strong, wise, even-handed leadership in making decisions that affected the long- term future of the orchestra, particularly the expansion of the Tanglewood campus, as mentioned in the accompanying reminiscence by BSO Trustee, Caroline Taylor, who worked closely with George from the time she first joined the BSO staff nearly thirt)' years ago.

Upon hearing of George's passing, his close friend John Williams shared these thoughts: "George Kidder's passing marks the end of an illustrious chapter in the history of our beloved Boston Symphony Orchestra. The years in which he guided the orchestra as President were marked by his grace and wisdom; and through his contributions to the City of Boston, to music, and his visionary expansion of Tangle- wood, he leaves a legacy unlikely to be surpassed. He will be greatly missed."

30 —

Recollections of a Friend

"Hello, dearie," I can hear him call, cheerily, across the lawn at Tanglewood, clad in his cardinal-red sports-coat (although he might cringe, given his undisputed Episcopalian ties, at that adjective).

He loved that place, Tanglewood, so much so that he gambled—or so it was thought—on more than doubling the size of its already ample grounds. He forged ahead with the acquisition of Highwood, the estate then owned by the family of Warren G. Harding, for what at the time seemed too exorbitant and unnecessary a price for the Boston Symphony to pay for another manor house with a lawn.

George didn't stop there; with that beautiful and luxuriant acreage, he led the way in devising and building Seiji Ozawa Hall, the award-winning jewel box of a cham- ber music room, in addition to the creation of the Bernstein campus, giving the Tanglewood Music Center students a proper home for the first time in the school's history.

He was a member of a rare and disappearing species: someone who was a product of position and privilege, yet who felt a deep obligation to serve his community and fellow man. I always thought that Tom Brokaw's The Greatest Generation could have been written with him in mind. Ditto the poem "If" by Rudyard Kipling. He was passionate, impish, persuasive turned stubborn, courageous turned feisty when the situation warranted. He was a leader—^willing to risk disapproval to stand on princi- ple, come hell or high water.

George could and did invoke his particular and elegant command of the English language—^with his quintessential Brahminese he could read the phone book and transform it into a psalm. He was aided mightily by that stentorian speaking voice only a step away, one could imagine, from morphing into a reedy, mellifluous tenor.

He was not unaware of his gifts, and he loved nothing more than a chance to dis- play them on behalf of his beloved Boston Symphony. He once called working for the BSO the best volunteer job in the city of Boston.

Perhaps my favorite example of George being George—and to great acclaim—came during the Boston Pops' first tour to Japan, in 1986 under the baton ofJohn Williams.

The orchestra arrived just prior to Thanksgiving, which meant musicians and staff had to forego the American holiday. The Japanese presenters, aware of this sacri- fice, threw a special opening party in honor of this hallowed tradition. However, in their enthusiasm, they seemed to have confused Thanksgiving and Halloween. They presented the orchestra with a small play, complete with jack-o'-lanterns, witches, turkey sushi, and the piece de resistance, George cast as Miles Standish.

After the great success of the event, the promoter turned to John Williams, breathed a sigh of relief, and said "Thank you for bringing with you such a great actor as Mr. Kidder."

We at the Boston Symphony were blessed to have had him as our advocate and champion.

CAROLINE TAYLOR

TANGLEWOOD WEEK 8 GEORGE H. KIDDER NOTES ON THE PROGRAM

&^ Johann Sebastian Bach (1685-1750) "Jesu, meine Freude," Motet for chorus, with cello, double bass, bassoon, and organ, BWV 227

First Tangleioood performance: July 15, 1977, Tanglewood Festival Chorus, John Oliver cond. Only other Tanglewood performance: August 28, 1998, performers as above.

J.S. Bach left six works identified as "motets." Few terms in the history of music have longer pedigrees or mean more different things. For Bach, the motet was a setting for several voice parts of a sacred text in which each phrase received its own musical treatment according to the significance of the words. It was thus a chain of musical

gestures proceeding through the text, highlighting its meaning to the lis- tener. That tradition was already an old one in Bach's day, going back to the

high Renaissance of the sixteenth century. Latin motets were still used in the Sunday worship service, and Bach might have composed newer German motets, but he preferred to turn his energies to the more elaborate and modern cantata. His motets were composed for various occasions outside the regular liturgy. They were most frequendy performed as part of funeral services, but they could be called upon for other occasions as well. Whatever their function, the motets are a rich demonstration of Bach's ability to write music that translates every word, every phrase, into an expressive detail without losing sight of the overall architecture.

The best-known of Bach's motets, Jesu, meine Freude draws its text from two different sources: the eighth chapter of Paul's Epistle to the Romans; and a familiar Lutheran chorale with a text by Johann Franck and a melody by Johann Criiger, which had first appeared in the 1653 hymnal Praxis pietatis melica. Bach's motet was almost cer- tainly composed for a funeral, since the verse from Romans that makes up the tenth movement was commonly used as the pastor's text for a funeral sermon. But we do

not know for sure when the motet was composed or for whom. Nor is it clear why

Bach chose the chorale /i?5m, meine Freude for this motet, since it was not a song nor- mally connected with funerals. Possibly he did so in accordance with the wishes of the family of the deceased.

A Tribute to Mary H. Smith (January 19, 1922-August 12, 2010)

John Oliver and the Tanglewood Festival Chorus offer today's performance of Bach's Jesu, meine Freude in memory of Mary H. Smith, a great friend and benefactor of the chorus who, as the BSO's Concert Manager, was instrumental in the formation of the chorus in 1970.

A longtime staff member who held various positions with the BSO between 1949 and 1975, Mary Hunting Smith passed away earlier this month, at 88, following an extended illness. She began her BSO work as secretary in the program office, later becoming secretary to the manager; press director; Concert Manager, and Assistant Manager, Concerts and Artists. She played an important role in organizing the BSO's historic 1956 tour to Europe and the Soviet Union, also collecting concert programs, photographs, postcards, and other tour memorabilia that she presented to the BSO Archives several years ago with additional BSO-related materials. Mary remained active as a member of the Archives Committee during the 1990s, traveling to Boston from her home in the Berskshires and sharing her recollections of the orchestra with great sensitivity, insight, and humor—attributes that had long endeared her to so many friends and colleagues during her time with the BSO.

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ONE DAY UNIVERSITY «f Tanglewood 888-266-1200 tanglewood.org/onedayu What is clear is that Bach here created one of the great monuments of the choral repertory, sturdy in architectural shape, vivid in expressive effect, and profound in substance. He set all six stanzas of Franck's chorale text, interspersing them with verses from Paul's letter that deal with the opposition between "life in the Spirit" through Christ and "life in the flesh" through the things of the world. Each stanza of the chorale text employs Criiger's tune, though the treatments vary throughout, reflect- ing the expressive aim. The last line of the final stanza is the same as the first line of the first stanza, ''Jesu, meine Freude,'" so that the outset of the work is also its summation.

The structure of the chorale, with the first and last lines being the same, both textu- ally and melodically, played directly into one of Bach's favorite architectonic devices and probably suggested the overall shape of the score. Bach liked to arrange multi- movement compositions in a kind of arch-form, with the movements placed in a mirror image around a central core that is the hinge on which the whole score is balanced. This symmetrical arrangement is often referred to as "chiastic" from the

Greek letter chi (X), which is, of course, a kind of cross and therefore especially suit- able as a symbolic structure in a work espousing Christian belief.

Bach's chiastic structure is most apparent in the fact that the first and last movements are identical harmonizations of the chorale text. The next inside movements, second and tenth, though not identical, are slightly varied treatments of the same musical material setting very similar passages from Romans. The remaining movements are all balanced, with regard to number of voices and treatment of the chorale melody, around the central fugue (the sixth movement), which deals with the opposition between "Spirit" and "flesh."

As impressive as Bach's carefully wrought architecture is the way he expresses his text throughout, particularly the light vocal roulades on "Geist" ("Spirit") as opposed to heavier chordal treatment for "Fleisch" ("flesh"). Even more striking is the flexibil- ity with which Bach gives dramatic treatment to individual lines or words even within a chorale harmonization, which would seem to allow little opportunity for such lib- erties. Bach wrote music of larger scope, but even in his vast output there is litde that surpasses /(?5M, meine Freude in shapeliness, technical aplomb, and expressive power.

STEVEN LEDBETTER

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

"Jesu, meine Freude," BWV 227

I.

[Stanza 1] Jesu, meine Freude, Jesus, my joy, meines Herzens Weide, my heart's pasture, Jesu, meine Zier! Jesus, my adornment! Ach, wie lang, ach lange Ah, how long, how long ist dem Herzen bange my heart has been in fear und verlangt nach dir! and has longed for you. Gottes Lamm, mein Brautigam, Lamb of God, my bridegroom, ausser dir soil mir auf Erden aside from you, nothing on earth nichts sonst liebers werden. shall be dear to me.

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES II.

Es ist nun nichts Verdammliches There is therefore now no condemnation in denen, die in Christo Jesu sind, for those who are in Christ Jesus, die nicht nach dem Fleische wandeln, who walk not according to the flesh, sondern nach dem Geist. but according to the spirit. —Romans 8:1,4

III.

[Stanza 2] Unter deinem Schirmen Under thy protection bin ich vor den Stiirmen I am set free from the storms aller Feinde frei. of all my foes. Lass den Satan wittern, Let Satan suspect, Lass den Feind erbittern, let the Enemy provoke! mir steht Jesus bei. Jesus stands by me. Ob es itzt gleich kracht und blitzt, Even amid thunder and lightning, ob gleich Siind und HoUe schrecken: amid the terrors of sin and hell, Jesus will mich decken. Jesus will protect me.

IV.

Denn das Gesetz des Geistes, der da For the law of the spirit of life in lebendig machet in Christo Jesu, hat Christ Jesus has set me free of the law mich frei gemacht von dem Gesetz der of sin and death. Siinde und des Todes. —Romans 8:2

[Stanza 3] Trotz dem alten Drachen, Defy the old , trotz des Todes Rachen, defy the jaws of death, trotz der Furcht darzu! defy the fear of death! Tobe, Welt, und springe, Rage, world, and break;

ich steh hier und singe I'll stand here and sing in gar sichrer Ruh. in utterly secure peace. Gottes Macht halt mich in acht; God's might holds me safe; Erd und Abgrund muss verstummen earth and abyss must grow silent, ob sie noch so brummen. however much they roar now.

VI.

Ihr aber seid nicht fleischlich, sondern But you are not of the flesh, you are in geistlich, so anders Gottes Geist in euch the spirit, if the spirit of God really dwells wohnet, wer aber Christi Geist nicht in you. And anyone who does not have hat, der ist nicht sein. the Spirit of Christ does not belong to him. —Romans 8:9

VII.

[Stanza 4] Weg mit alien Schatzen! Away with all treasures! Du bist mein Ergotzen, You are my delight, Jesu, meine Lust! Jesus, my joy! Weg ihr eitlen Ehren, Away, vain honors, ich mag euch nicht horen. I don't want to hear you;

34 bleibt mir unbewusst! be unknown to me. Elend, Not, Kreuz, Schmach und Tod Misery, want, crucifixion, shame, and soil mich, ob ich viel muss leiden, death shall—although I must suffer nicht von Jesu scheiden. much—never separate me from Jesus.

VIII.

So aber Christus in euch ist, so ist der But if Christ is in you, although your Leib zwar tot um der Siinde willen; der bodies are dead because of sin, your Geist aber ist das Leben um der spirits are alive because of Gerechtigkeit willen. righteousness. —Romans 8:10

IX.

[Stanza 5] Gute Nacht, o Wesen, Good night, o substance, das die Welt erlesen that has chosen the world, mir gefallst du nicht. you please me not. Gute Nacht, ihr Sunden, Good night, you sins, bleibet weit dahinten, remain far away, kommt nicht mehr ans Licht! come no more to light. Gute Nacht, du Stolz und Pracht! Good night, pride and splendor! Dir sei ganz, du Lasterleben, To you, o life of depravity, gute Nacht gegeben. I say once and for all: Good night.

X.

So nun der Geist des, der Jesum von den If the Spirit of him who raised Jesus from Toten auferwecket hat, in euch wohnet, the dead dwells in you, so wird auch derselbige, der Christum he who raised Christ Jesus von den Toten auferwecket hat, cure from the dead will sterbliche Leiber lebendig machen um give life to your mortal bodies also, des willen, das sein Geist in euch wohnet. through his Spirit which dwells in you. —Romans 8:11

XI.

[Stanza 6] Weicht, ihr Trauergeister, Disperse, ye spirits of gloom, denn mein Freudenmeister, for the master of my joy, Jesus tritt herein. Jesus, enters. Denen, die Gott lieben, To those who love God, muss auch ihr Betriiben even their sorrows must be lauter Zucker sein. pure delight.

Duld ich schon hier Spott und Hohn, Even though I suffer scorn and derision here, dennoch bleibst du auch im Leide, nevertheless even in sorrow you v^U remain, Jesu, meine Freude. Jesus, my joy.

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES 40TH ANNIVERSARY TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER COND

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The 40th-anniversary celebration CD features works by J.S. Bach, Bruckner, Copland, Antonio Lotti, and Frank Martin, drawn from live Prelude Concert performances that took place in Seiji Ozawa Hall at Tanglewood from 1998 to 2005, under the direction of John Oliver.

Available now in the Glass House gift shop and as a CD or download from tanglewood.org. PHOTOGRAPHY: WALTER H. SCOTT C^-v Ludwig van Beethoven (1770-1827) Symphony No. 9 in D minor, Opus 125

First performance: May 7, 1824, Karntnerthor Theater, Vienna, with the deaf compos- er on stage beating time, but Michael Umlauf cond.; Henriette Sontag, Karohne Unger, Anton Haitzinger, and Joseph Seipelt, soloists. First BSO performance: March 1882, Georg Henschel cond.; Mrs. Humphrey Allen, Mary H. How, Charles R. Adams,

and V. Cirillo, soloists. First Tanglewood performance: August 4, 1938, to inaugurate the Music Shed, Serge Koussevitzky cond.; Jeannette Vreeland, Anna Kaskas, Paul Althouse, and Norman Cordon, soloists; Cecilia Society chorus, Arthur Fiedler cond. Most recent Tanglewood performance: August 23, 2009, Michael Tilson Thomas, cond.; Erin Wall, Kendall Gladen, Stuart Skelton, and Raymond Aceto, soloists; Tanglewood Festival Chorus, John Oliver, cond.

Beethoven's Ninth Symphony in D minor is one of the most beloved and influential

of symphonic works, and one of the most enigmatic. Partly it thrives in legends: the unprecedented introduction of voices into a symphony, singing Schiller's "Ode to Joy"; the Vienna premiere in 1824, when the deaf composer could not hear the frenzied ovations behind him; the mystical beginning, like matter coa- lescing out of the void, that would be echoed time and again by later com- posers—Brahms, Bruckner, Mahler. Above all there is the choral theme of the last movement, one of the most familiar tunes in the world.

On the face of it, that in his last years Beethoven would compose a paean to joy is almost unimaginable. As early as 1802, when he faced the certainty that he was going deaf, he cried in the "Heiligenstadt Testament": "For so long now the heartfelt echo of true joy has been a stranger to me!" Through the next twenty years before he took up the Ninth, he lived with painful and humiliating illness. The long struggle to become legal guardian of his nephew, and the horrendous muddle of their relationship, brought him to the edge of madness.

The idea of setting Schiller's Ode to music was actually not a conception of Beetho- ven's melancholy last decade. The poem, written in 1785 and embodying the revolu- tionary fervor of that era, is a kind of exalted drinking song, to be declaimed among comrades with glasses literally or figuratively raised. Schiller's Utopian verses were the young Beethoven's music of revolt; it appears that in his early twenties he had already set them to music.

In old age we often return to our youth and its dreams. In 1822, when Vienna had become a police state with spies everywhere, Beethoven received a commission for a symphony from the Philharmonic Society of London. He had already been sketch- ing ideas; now he decided to make Schiller's fire-drunk hymn to friendship, mar- riage, freedom, and universal brotherhood the finale of the symphony. Into the first three movements he carefully wove foreshadowings of the 'Joy" theme, so in the finale it would be unveiled like a revelation.

The dramatic progress of the Ninth is usually described as "darkness to light." Scholar Maynard Solomon refines that idea into "an extended metaphor of a quest for Elysium." But it's a strange darkness and a surprising journey.

The first movement begins with whispering string tremolos, as if coalescing out of silence. Soon the music bursts into figures monumental and declamatory, and at the same time gnarled and searching. The gestures are decisive, even heroic, but the harmony is a restless flux that rarely settles into a proper D minor, or anything else. What kind of hero is rootless and uncertain? The recapitulation (the place where the opening theme returns) appears not in the original D minor but in a strange

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES 37 D major that erupts out of calm like a scream, sounding not triumphant but some- how frightening. As coda there's a funeral march over an ominous chromatic bass line. Beethoven had written funeral marches before, one the second movement of the Eroica Symphony. There we can imagine who died: the hero, or soldiers in battle. Who died in the first movement of the Ninth?

After that tragic coda comes the Dionysian whirlwind of the scherzo, one of Beetho- ven's most electrifying and crowd-pleasing movements, also one of his most com-

plex. Largely it is manic counterpoint dancing through dazzling changes of key, punctuated by timpani blasts. In the middle comes an astonishing Trio: a little wisp of folksong like you'd whistle on a summer day, growing through mounting repeti-

tions into something hypnotic and monumental. So the second movement is made of complexity counterpoised by almost childlike simplicity—a familiar pattern of Beethoven's late music.

Then comes one of those singing, time-stopping Adagios that also mark his last peri-

od. It is alternating variations on two long-breathed, major-key themes. The varia- tions of the first theme are liquid, meandering, like trailing your hand in water beside a drifting boat. There are moments of yearning, litde dance turns, everything unfolding in an atmosphere of uncanny beauty.

The choral finale is easy to outline, hard to explain. Scholars have never quite

agreed on its formal model, though it clearly involves a series of variations on the 'Joy" theme. But why does this celebration ofjoy open with a dissonant shriek that Richard Wagner called the "terror fanfare," shattering the tranquility of the slow movement? Then the basses enter in a quasi-recitative, as if from an oratorio but wordless. We begin to hear recollections of the previous movements, each rebuffed

in turn by the basses: opening of the first movement. . . no, not that despair; second

movement. . . no, too frivolous; third movement. . . nice, the basses sigh, but no, too sweet. (Beethoven originally sketched a singer declaiming words to that effect, but he decided to leave the ideas suggested rather than spelled out.) This, then: the ingenuous little Joy theme is played by the basses unaccompanied, sounding rather like somebody (say, the composer) quietly humming to himself. The theme picks up lovely flowing accompaniments, begins to vary. Then, out of nowhere, back to the terror fanfare. Now in response a real singer steps up to sing a real recitative: "Oh friends, not these sounds! Rather let's strike up something more agreeable and joyful."

Soon the chorus is crying "Freude!"—"Joy!"—and the piece is off, exalting joy as the god-engendered daughter of Elysium, under whose influence love could flour- ish, humanity unite in peace. The variations unfold with their startling contrasts. We hear towering choral proclamations of the theme. We hear a grunting, lurching mili- tary march heroic in context ('Joyfully, like a hero toward victory") but light unto satiric in tone, in a style the Viennese called "Turkish." That resolves inexplicably into an exalted double fugue. We hear a kind of Credo reminiscent of Gregorian chant ("Be embraced, you millions! Here's a kiss for all the world!"). In a spine- tingling interlude we are exhorted to fall on our knees and contemplate the Godhead ("Seek him beyond the stars"), followed by another double fugue. The coda is boundless jubilation, again hailing the daughter of Elysium.

So the finale's episodes are learned, childlike, ecclesiastical, sublime, Turkish. In his

quest for universality, is Beethoven embracing the ridiculous alongside the sublime? Is he signijfying that the world he's embracing includes the elevated and the popular. West and East? Does the unsettied opening movement imply a rejection of the heroic voice that dominated his middle years, making way for another path?

38 In a work so elusive and kaleidoscopic, a number of perspectives suggest themselves. One is seeing the Ninth in light of its sister work, the Missa Solemnis. At the end of Beethoven's Mass the chorus is declaiming ''Dona nobis pacem," the concluding prayer for peace, when the music is interrupted by the drums and trumpets of war. Just before the choir sings its last entreaty, the drums are still rolling in the distance. The Mass ends, then, with an unanswered prayer.

Beethoven's answer to that prayer is the Ninth Symphony, where hope and peace are not demanded of the heavens. Once when a composer showed Beethoven a work on which he had written "Finished with the help of God," Beethoven wrote under it: "Man, help yourself!" In the Ninth he directs our gaze upward to the divine, but ultimately returns it to ourselves. Through Schiller's exalted drinking song, Beethoven proclaims that the gods have given us joy so we can find Elysium on earth, as brothers and sisters, husbands and wives.

In the end, though, the symphony presents us as many questions as answers, and its vision of Utopia is proclaimed, not attained. What can be said with some certainty is that its position in the world is probably what Beethoven wanted it to be. In an un- precedented way for a composer, he stepped into history with a great ceremonial work that doesn't simply preach a sermon about freedom and brotherhood, but aspires to help bring them to pass. Pardy because of its enigmas, so many ideologies have claimed the music for their own; over two centuries Communists, Christians, Nazis, and humanists have joined in the chorus. Leonard Bernstein conducted the Ninth at the celebration of the fall of the Berlin Wall, and what else would do the job? Now the Joy theme is the anthem of the European Union, a symbol of nations joining together. If you're looking for the universal, here it is.

One final perspective. The symphony emerges from a whispering mist to fateful proclamations. The finale's Joy theme, prefigured in bits and pieces from the begin- ning, is almost constructed before our ears, hummed through, then composed and recomposed and decomposed. Which is to say, the Ninth is also music about music, about its own emerging, about its composer composing. And for what? "Be embraced, you millions! This kiss for all the world!" run the telling lines in the finale, in which Beethoven erected a movement of monumental scope on a humble little tune that anybody can sing, and probably half the world knows.

The Ninth Symphony, forming and dissolving before our ears in its beauty and ter- ror and simplicity and complexity, is itself Beethoven's embrace for the millions, from East to West, high to low, naive to sophisticated. When the bass soloist speaks the first words in the finale, an invitation to sing for joy, the words come from Beethoven, not Schiller. It's the composer talking to everybody, to history. There's something singularly moving about that moment when Beethoven greets us person to person, with glass raised, and hails us as friends.

JAN SWAFFORD

Jan Swafford is an award-winning composer and author whose books include biographies ofJohannes Brahms and Charles Ives, and The Vintage Guide to Classical Music. An alum- nus of the Tanglewood Music Center, where he studied composition, he teaches at Tufts University and is currently working on a biography of Beethoven for Houghton Mifflin.

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES 39 Text to the finale of Beethoven's Ninth Symphony, based on Schiller's ode, "To Joy"

O Freunde, nicht diese Tone! O friends, not these tones; Sondern lasst uns angenehmere Rather, let us tune our voices anstimmen, Und freudenvollere. In more pleasant and more joyful song. —Beethoven

Freude, schoner Gotterfunken, Joy, beauteous, godly spark. Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Wem der grosse Wurf gelungen, He who has won in that great gamble Fines Freundes Freund zu sein, Of being friend unto a friend, Wer ein holdes Weib errungen, He who has found a goodly woman. Mische seinen Jubel ein! Let him add his jubilation too! Ja—^wer auch nur eine Seele Yes—he who can call even one soul Sein nennt auf dem Erdenrund! On earth his own! Und wer's nie gekonnt, der stehle And he who never has, let him steal Weinend sich aus diesem Bund. Weeping from this company.

Freude trinken alle Wesen All creatures drink ofJoy An den Briisten der Natur, At Nature's breasts. Alle Guten, alle Bosen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Kiisse gab sie uns und Reben, She gave us kisses and vines. Einen Freund, gepniift im Tod, And a friend who has proved faithful even in death. WoUust ward dem Wurm gegeben, Lust was given to the Serpent, Und der Cherub steht vor Gott. And the Cherub stands before God.

Froh wie seine Sonnen fliegen As joyously as His suns fly Durch des Himmels pracht'gen Across the glorious landscape of the Plan, heavens. Laufet, Briider, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest.

Freude, schoner Gotterfunken, Joy, beauteous, godly spark. Tochter aus Elysium, Daughter of Elysium,

40 Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Briider—iiberm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells.

Ihr stiirzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn iiberm Sternenzelt! Seek him above the canopy of the stars! Uber Sternen muss er wohnen. Surely he dwells beyond the stars.

Freude, schoner Gotterfunken, Joy, beauteous, godly spark. Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine.

Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world!

Ihr stiirzt nieder, Millionen? Do you fall headlong, ye Millions! Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn iiberm Sternenzelt! Seek him above the canopy of the stars! Briider—iiberm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells.

Freude, Tochter aus Elysium! Joy, Daughter of Elysium! Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Briider—iiberm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schoner Gotterfunken! Joy, beauteous, godly spark!

Translation copyright ©Donna Hewitt-Didham; all rights reserved.

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Kurt Masur

Kurt Masur is well known to orchestras and audiences alike as both a distinguished conductor and humanist. In September 2002 he became music director of the Orches- tre National de France in Paris, assuming the title of Honorary Music Director for Life in September 2008. From 2000 to 2007 he was principal conductor of the London Philharmonic. From 1991 to 2002 he was music director of the New York Philharmonic; following his tenure he was named Music Director Emeritus, becoming the first New York Philharmonic music director to receive that title, and only the second (after the late Leonard Bernstein, who was named Laureate Conductor) to be given an honorary position. The New York Philharmonic established the Kurt Masur Fund for the Orchestra, endowing "conductor debut week" at the Philharmonic in perpetuity in his honor. From 1970 until 1996, Mr. Masur served as Gewandhaus Kapellmeister of the Leipzig Gewandhaus

Orchestra; upon his retirement from that post, the Gewandhaus named him its first- ever Conductor Laureate. He holds the lifetime title of Honorary Guest Conductor of the Israel Philharmonic Orchestra. Since 1989, when he played a central role in the peaceful demonstrations that led to the German reunification, the impact of his lead- ership has attracted worldwide attention. His many honors include the Cross of the Order of Merit of the Federal Republic of Germany; the Gold Medal of Honor for Music from the National Arts Club; the titles of Commander of the Legion of Honor from the French government (subsequently upgraded to Grand Officer of the Legion of Honor, a rank rarely given to foreign citizens) and Cultural Ambassa- dor from the City of New York; Commander Cross of Merit of the Polish Republic; the Cross v«th Star of the Order of Merit of the Federal Republic of Germany; Germany's Great Cross of the Legion of Honor with Star and Ribbon, and, most recently, the Furtwangler Prize. In July 2004 he was appointed chairman of the Beethoven House in Bonn (the composer's birthplace). Kurt Masur made his United States debut with the

Cleveland Orchestra in 1974 and led the Gewandhaus Orchestra on its first American tour that same year. He made his Boston Symphony debut in 1980 and his New York Philharmonic debut in 1981. He returns to the United States annually to conduct the Boston Symphony, New York Philharmonic, Cleveland Orchestra, Philadelphia Orches- tra, Chicago Symphony, San Francisco Symphony, and the National Symphony Orches- tra in Washington, D.C. In Europe he works with, among others, the Gewandhaus Orchestra, Dresden Philharmonic, Concertgebouw Orchestra, Berlin Philharmonic, Rome's Santa Cecilia Orchestra, the orchestras of Teatro and La Fenice, and the London Philharmonic. In July 2007, at his 80th Birthday Concert at the BBC Proms in London, he conducted joint forces of the London Philharmonic Orchestra and the Orchestre National de France. A professor at the Leipzig Academy of Music since 1975, Kurt Masur is also an Honorary Citizen of his hometown of Brieg. He has made well over 100 recordings with numerous orchestras and in 2008 celebrated sixty years as a professional conductor. Visit kurtmasur.com for further information. Since his BSO debut in 1980, Kurt Masur has appeared frequently with the Boston Symphony Orchestra in Symphony Hall and at Tanglewood. His most recent appearances with the orchestra were in subscription concerts in January 2009 and at Tanglewood in August 2009.

TANGLEWOOD WEEK 8 GUEST ARTISTS Nicole Cabell

Making her Boston Symphony debut in this concert, Nicole Cabell is fast becoming one of the world's most sought-after lyric sopranos. During the 2009-10 season she returned to the Metropolitan Opera to sing Musetta in La boheme and to the Lyric Opera of Chicago to sing Adina in L'elisir d'amore. She also made her New Orleans Opera debut in the role ofJuliette. In concert, she debuted with the Cleveland Orchestra and Franz Welser-Most as the soprano soloist in Brahms's Ein deutsches Requiem and returned to the Chicago Symphony Orchestra for per- formances of Mahler's Fourth Symphony with Markus Stenz; she also sang in Mahler's Second Symphony with the Singapore Symphony and John Nelson, and with the Accademia di Santa Cecilia and Antonio Pappano in Rome and on tour to La Scala in . In recital, she performed in Urbana, Illinois; and Savannah, Georgia. Future engagements include returns in leading roles at the Metropolitan Opera, the Lyric Opera of Chicago, the Royal Opera House, Covent Garden, and the Deutsche Oper Berlin, and opera debuts in Cologne, Montreal, and Tokyo. Nicole Cabell's 2008-09 season brought her to the Metropolitan Opera for her house debut in The Magic , as Pamina, and in L'elisir d'amore, as Adina. With her home company, the Lyric Opera of Chicago, she sang Leila in Bizet's Les Pecheurs de perles and an opera concert at Millenium Park conducted by the company's music director. Sir Andrew Davis. Other opera engagements included two role debuts: the Countess in Mozart's Le nozze di Figaro with the Cincinnati Opera and Micaela in with the Deutsche Oper Berlin. In concert, Ms. Cabell sang in Copenhagen, Prague, Munich, Frankfurt, Dortmund, Ottawa, Indianapolis, and Raleigh. She appeared twice in recital at Carnegie Hall, first for Marilyn Home's seventy-fifth birthday gala concert, then as part ofJessye Norman's Honor Festival. Other solo appearances were

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44 in Toronto, Berkeley, and Cincinnati; in addition, Ms. Cabell gave a series of cabaret concerts at the Orange County Performing Arts Center. Other recent engagements included debuts at Covent Garden as Eudoxie in concert performances of Lajuive, with the Orchestra of St. Luke's at Carnegie Hall in Poulenc's Gloria, at the as Musetta in La boheme, the Opera de Montpellier as Adina in L'elisir d'amore, and the Deutsche Oper Berlin as Juliette, Ilia in Idomeneo, and Pamina in Die Zauberflote. Notable concert appearances included Carmina burana and Honey and Rue with the Oslo Phil- harmonic and Andre Previn, the Gorecki Third Symphony with the Minnesota Orches- tra and Osmo Vanska, and a return to the Indianapolis Symphony for a concert of arias with Mario Venzago. Ms. Cabell also appeared in recital in London and Tokyo, among other cities. She made her London concert debut at the Proms in Britten's Les Illuminations with the BBC Symphony Orchestra and Sir Andrew Davis. She returned to the Ravinia Festival for a crossover concert with James Conlon, to the Bard Music Festival for a recital of Franz Liszt Lieder and a concert of music by Halevy. Winner of numerous awards, including the 2005 BBC Singer of the World Competition in Cardiff, Ms. Cabell is a Decca recording artist. Her solo debut album, "Soprano," was named Editor's Choice by Gramophone and has received several awards, including the 2007 Georg Solti Orphee d'Or from the French Academic du Disque Lyrique, and an Echo Klassik Award in Germany. Nicole Cabell holds a bachelor's degree in vocal perform- ance from the Eastman School of Music.

Marietta Simpson

Mezzo-soprano Marietta Simpson has been acclaimed for her performances with major orchestras throughout the United States, under many of the world's greatest conduc- tors. Ms. Simpson's 2009-10 season included a performance of Mahler's Riickert- Lieder with the Memphis Symphony Orchestra, Beethoven's Ninth Symphony with the Columbus Symphony Orchestra, Verdi's Requiem with the Louisville Orchestra; Handel's Messiah with the Cincinnati Symphony Orchestra and the Detroit Symphony; Mendelssohn's Die Erste Walpurgisnacht and Bach's St. Matthew Passion with the Alabama Symphony; and a recital at the Kennedy Center. In 2008-09 Ms. Simpson sang Maria in in a return to the Lyric Opera of Chicago and performed Hindemith's When Lilacs Last in the Dooryard Bloom'd with the Cathedral Choral Society of Washington D.C., Verdi's Requiem with the Mendelssohn Club of Philadelphia, and Bach's Cantata No. 78 and Christmas Oratorio at the Baldwin-Wallace Bach Festival. In summer 2009 she sang as soloist with the Philadelphia Orchestra in an evening of opera arias and spirituals. Other recent performances include Verdi's Requiem with the Nashville Sym- phony, Maria in Porgy and Bess for Washington National Opera, Opera Birmingham, , and Opera Pacific; Messiah with the Baltimore and Nashville sym- phony orchestras, and the role of Dominga de Adviento in the world premiere of Peter Eotvos's Love and Other Demons at the Glyndebourne Festival Opera. Ms. Simpson made her New York Philharmonic debut under Kurt Masur in Mendelssohn's Elijah, followed by performances of Beethoven's Missa Sokmnis and Ninth Symphony, and Bach's St. John Passion, also under Mr. Masur. She sang in Carnegie Hall's commemoration of the 250th anniversary of Messiah and performed Beethoven's Ninth Symphony with the Symphony Orchestra, under Zdenek Macal, for the inauguration of the New Jersey Performing Arts Center in Newark. Both events were nationally televised. She toured in Poland, Germany, and Russia with Helmuth Rilling and the Stuttgart Bachakademie Orchestra and Chorus, and has sung at the Prague and Brno festivals, as well as at many festivals in the United States, including Grant Park, Ojai, and the Mann Music Center. Marietta Simpson has also sung as soloist with the Philadelphia

TANGLEWOOD WEEK 8 GUEST ARTISTS 45 Orchestra, Milwaukee Symphony Orchestra, Chicago Symphony Orchestra, Vienna Philharmonic, and Berlin Philharmonic, among other ensembles, under such conduc- tors as , Sir Simon Rattle, and David Robertson. On the operatic stage, Ms. Simpson made her debut at Lyric Opera of Chicago singing the role of Addie in Marc Blitzstein's , a role she later reprised at the Kennedy Center and Bard SummerScape Festival; and her debut at the Royal Opera House, Covent Garden, in 's production of Porgy and Bess, which was filmed for British television. She has also toured Europe with Lorin Maazel and the Pittsburgh Symphony in con- cert performances of Porgy and Bess. She was a member of the Houston Opera Studio and has sung roles with the Mobile and Minnesota operas and the New York City Opera. Ms. Simpson made her Carnegie Hall debut in 1988 as soloist in Brahms's Alto Rhapsody with the Atlanta Symphony Orchestra under Robert Shaw. She can be seen on Video Artists International's complete version of Handel's Messiah with Robert Shaw and the Atlanta Symphony Orchestra, shown seasonally on PBS television. She has recorded Vivaldi's Gloria, Bach's Magnificat, Schubert's Mass No. 2 and Mass No. 6, Beethoven's Mass in C, Bach's B minor Mass, Janacek's Glagolitic Mass, Mahler's Sym- phony No. 8, Dvorak's Stabat Mater, and Szymanowski's Stabat Mater (Telarc), also

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46 with Robert Shaw and the Atlanta Symphony Orchestra. She can also be heard on the EMI recording of Porgy and Bess, conducted by Sir Simon Rattle; and on the Grammy Award-winning recording of William Bolcom's Songs ofInnocence and Experience, Leonard

Slatkin conducting (Naxos) . A native of Philadelphia, Ms. Simpson graduated from Temple University and received her master's degree in music from the State University

of New York at Binghamton. She is an associate professor of voice at Indiana Uni- versity. She made her BSO debut at Tanglewood in August 1996 and her subscription series debut in January 1998. Ms. Simpson's most recent performance with the orches- tra was at Tanglewood in July 1998.

Garrett Sorenson

Garrett Sorenson's 2009-10 season began with Salome dit San Francisco Opera, followed by Janacek's Katya Kabanovd with Lyric Opera of Chicago. He made his debut with Canadian Opera Company and with West Australian Opera as Don Jose in Carmen. Orchestral engagements included Handel's Messiah with the Alabama Symphony and Verdi's Requiem with the Grand Rapids Symphony. Mr. Soren- son's 2008-09 season included role debuts as Froh in Das Rheingold at the Metro- politan Opera under James Levine; the Duke of Mantua in , in his Arizona Opera debut; and, in his Kentucky Opera debut, the title role of Massenet's opposite his wife, Elizabeth Batton, as Charlotte. Mr. Sorenson appeared as soloist in Beethoven's Ninth Symphony with the San Francisco Symphony under Michael Tilson Thomas (including a concert at Carnegie Hall), as well as with the Pacific Symphony. The 2007-08 season included Cassio in Otello at the Metropolitan Opera opposite Renee Fleming and Johan Botha, conducted by Semyon Bychkov. He made his role debut as Rodolfo in La boheme with Houston Grand Opera under Patrick Summers, and reprised Alfredo in La traviata for his Opera Colorado debut. He also made role debuts as Hoffmann in Les Contes d 'Hoffmann with Opera Theatre of St. Louis conducted by Stephen Lord, and in the title role of Faust vfith New Orleans Opera. He appeared with Gotham Chamber Opera in Janacek's Diary of One Who Disappeared at the Morgan Library, New York, and also took part in the Marilyn Home Foundation's annual concert at Zankel Hall. During the 2006-07 season, he returned to the Metropolitan Opera as Da-Ud in a new production of Richard Strauss's Die dgyptische Helena starring and conducted by Fabio Luisi. He also sang Alfredo in La traviata in the Met in the Parks series in August 2006. Other Met roles have included Alfred in Die Fledermaus, Scaramuccio in Ariadne auf Naxos, and Arturo in Lucia di Lammermoor, Shepherd in Tristan und Isolde under James Levine, Young Man in DieFrau ohne Schatten, and Youth in Moses und Aron, also under James Levine. Mr. Sorenson's Metropolitan Opera debut was in the role of Itulbo in Bellini's II pirata opposite Renee Fleming, conducted by Bruno Campanella. He also performed at opening night of the 2004-05 Metropolitan Opera season as Cassio in Otello opposite Ben Heppner, again under James Levine. In summer 2006 Mr. Sorenson gave his first performances of Beethoven's Ninth Symphony under James Levine at the Verbier Festival. He also made acclaimed role debuts as Sam Kaplan in a new production of Street Scene at Opera Theatre of St. Louis, and as Don Ottavio in Don Giovanni at PORTopera in Portland, Maine. In 2006-07 he made his Houston Grand Opera debut as Don Ottavio under Patrick Summers, and his Santa Fe Opera debut as Leukkipos in a new production of Strauss's Daphne by Mark Lamos. In recent seasons Mr. Sorenson has returned to Boston Lyric Opera as Alfredo following his acclaimed appearance as Lensky there. He made his debut as the Italian Tenor in Der Rosenkavalier at Los Angeles Opera in a new production by Maximilian Schell, con- ducted by Kent Nagano. He made his debut at Opera Pacific in his first performances

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48 as Alfredo and sang Edgardo in Lucia di Lammermoor at PORTopera. He also made debuts with the Cleveland Orchestra in Elektra under Franz Welser-Most, with the New York Philharmonic in a program of Viennese music, and with the Baltimore Symphony in a concert of arias and duets. Mr. Sorenson is a graduate of the Metropolitan Opera's Lindemann Young Artist Development Program, which he joined at the beginning of the 2001-02 season. In 2001, Mr. Sorenson was a member of the Santa Fe Opera Apprentice Program and made a last-minute substitution for the role of Werther in the Apprentice Showcase Scenes. He previously attended Texas Tech University, where he performed the role of Eisenstein in Die Fledermaus while still a baritone. Among his honors and awards, Mr. Sorenson was winner of the Opera Birmingham Young Singer Contest and the Sorantin Young Artist Award. He was also a finalist in the Loren L. Zachary Society Contest for Young Opera Singers and the Metropolitan Opera National Council auditions for the Southwest. He was a winner at the 2003 George London Foundation Competition. He also received a Sara Tucker Study Grant and a 2004 Richard Tucker Foundation Career Grant. He lives in Kentucky with his wife, Elizabeth Batton, and their sons. Mr. Sorenson made his Tanglewood debut in August 2008, as Lensky in Eugene Onegin with the Tanglewood Music Center Orchestra. He made his BSO subscription debut in January 2009 in concert performances of Simon Boccanegra under James Levine.

John Relyea

John Relyea continues to distinguish himself as one of today's finest bass-. This season Mr. Relyea made his debut at the Lyric Opera of Chicago in La Damnation de Faust, and returned to the Metropolitan Opera for Le nozze di Figaro and the San Francisco Opera as Mephistopheles in Faust. He also performed with the Los Angeles Philharmonic, Cleveland Orchestra, Pittsburgh Symphony, and the Dresden Staatskapelle. Mr. Relyea has appeared in many of the world's most celebrated opera houses, including the Metropolitan Opera, San Francisco Opera, Seattle Opera, Paris Opera, Munich State Opera, , the Mariinksy Theater, and Royal Opera House, Covent Garden. He has sung

the title roles in Le nozze di Figaro, Bluebeard's Castle, and Aleko; Mephistopheles in La Damnation de Faust, the Four Villains in Les Contes d'Hoffman, Raimondo in Lucia di Lamm£rmoor, Giorgio in I puritani, Escamillo in Carmen, Don Basilio in // barbiere di Siviglia, Alidoro in , Nick Shadow in The Rake's Progress, Colline in La boheme, Marke in Tristan und Isolde, Caspar in Der Freischiitz, Banquo in Macbeth, Collatinus in The Rape ofLucretia, and Garibaldo in Rodelinda. Mr. Relyea also appears regularly in concert with such orchestras as the Philadelphia Orchestra, Boston Sym- phony Orchestra, New York Philharmonic, Pittsburgh Symphony, Cleveland Orchestra, Minnesota Orchestra, Atlanta Symphony Orchestra, Met Chamber Orchestra, Israel Philharmonic, Montreal Symphony, Monnaie Orchestra, Swedish Radio Symphony Orchestra, Scottish Chamber Orchestra, the Philharmonia Orchestra, and the Berlin Philharmonic. He has worked v«th conductors including Harry Bicket, Pierre Boulez, Sir Colin Davis, Christoph von Dohnanyi, , Bernard Haitink, Marissjansons, James Levine, Lorin Maazel, Sir Charles Mackerras, Sir Neville Marriner, Zubin Mehta, Kent Nagano, Sir Roger Norrington, Seiji Ozawa, Antonio Pappano, Sir Simon Ratde, Donald Runnicles, Esa-Pekka Salonen, Robert Spano, , and Ilan Volkov. He has also appeared at the Tanglewood, Ravinia, Blossom, Vail, Lanaudiere, Salzburg, Edinburgh, Lucerne, and Mostly Mozart festivals, and in the BBC Proms. In recital, he has sung at Weill Hall and the Metropolitan Museum of Art in New York City, and Wigmore Hall in London, among other venues. Mr. Relyea's most recent recording, Mahler's Eighth Symphony with Sir Simon Rattle and the City

TANGLEWOOD WEEK 8 GUEST ARTISTS of Birmingham Symphony Orchestra, was released on EMI. He also recorded Idomeneo with Sir Charles Mackerras and the Scottish Chamber Orchestra (EMI) and appears on the Metropolitan Opera's DVD presentations of Don Giovanni, I puritani, and Die Meistersinger von Niirnberg (Deutsche Grammophon), and Macbeth (Metropolitan Opera

HD Live Series) . He is an alumnus of the Merola Opera Program and a former Adler Fellow at the San Francisco Opera. Mr. Relyea is the winner of the 2009 Beverly Sills Award and the 2003 Richard Tucker award. He made his BSO debut at Tanglewood in 1999 and his subscription series debut in January 2002. He appeared wdth the orches- tra in Mahler's Eighth Symphony in subscription concerts and at Carnegie Hall in October 2004; he last sang at Tanglewood in July 2006.

To read about John Oliver and the Tanglewood Festival Chorus, see pages 16-18.

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50 Tanglewood Festival Chorus John Oliver, Conductor

(Bachjesu, meine Freude and Beethoven Symphony No. 9, August 29, 2010)

The Tanglewood Festival Chorus celebrates its 40th anniversary this summer. In the following list, § denotes membershop of 40 years, * denotes membership of 35-39 years, and # denotes membership of 25-34 years; + is for those singing /««, meine Freude.

Sopranos

Emily Anderson • Michele Bergonzi # • Joy Emerson Brewer + • Alison M. Burns •

Jeni Lynn Cameron + • Catherine C. Cave • Anna S. Choi • Saewon Lee Chun + •

Lorenzee Cole + # • Christine Pacheco Duquette * • Ann M. Dwelley •

Mary A. V. Feldman # • Margaret Felice • Karen Ginsburg • Kathy Ho • Eileen Huang + •

Cynthia Kassell • Polina Dimitrova Kehayova • Carrie Kenney • Donna Kim •

Nancy Kurtz + • Leslie A. Leedberg • Barbara Abramoff Levy * • Kieran Murray + •

Jaylyn Olivo + • Laurie Stewart Otten • Kimberly Pearson • Laura Stanfield Prichard •

Adi Rule + • Melanie Salisbury • Laura C. Sanscartier + • Johanna Schlegel •

Joan P. Sherman § • Stephanie Steele • Dana R. Sullivan

Mezzo-Sopranos

Virginia Bailey + • Martha A. R. Bewick • Betsy Bobo • Lauren A. Boice + •

Donna J. Brezinski • Janet L. Buecker • Abbe Dalton Clark + • Sarah Dorfman Danielle # •

Kathryn DerMarderosian . Diane Droste + • Paula Folkman # • Debra Swartz Foote •

Dorrie Freedman + * • Irene Gilbride + # • Mara Goldberg + • Lianne Goodwin •

Rachel K. Hallenbeck + • Betty Jenkins + . Evelyn Eshleman Kern # • Yoo-Kyung Kim + •

Gale Livingston + * • Katherine Mallin + • Anne Forsyth Martin + •

Cristina McFadden • Louise-Marie Mennier + • Ana Morel • Tracy Elissa Nadolny •

Fumiko Ohara # • Roslyn Pedlar • Laurie R. Pessah • Julie Steinhilber + # •

Cindy M. Vredeveld + • Jennifer A. Walker • Marguerite Weidknecht

Tenors

Brad W. Amidon • James Barnswell • John C. Barr # • Felix M. Caraballo + •

Stephen Chrzan + • Tom Dinger • Ron Efromson • Jonathan Erman • Keith Erskine •

Leon Grande • J. Stephen Groff # • David Halloran # • John Horigan •

James R. Kauffman # • Thomas Kenney • Lance Levine • Ronald Lloyd •

Henry Lussier + * • * • • + • John Vincent Maclnnis Ronald J. Martin Glen Matheson Mark Mulligan + • David Norris + # • Dwight E. Porter # • Guy F. Pugh •

Peter Pulsifer • Brian R. Robinson + • Sean Santry + • Blake Siskavich • Arend Sluis •

Peter L. Smith • Joseph Y. Wang

Basses

Thomas Anderson + • Thaddeus Bell • Nathan Black • Daniel E. Brooks # •

Stephen J. Buck • Matthew E. Crawford • Michel Epsztein + • Jim Gordon •

S.Gregory • L. # . • • Jay Mark Haberman Robert Hicks Marc J. Kaufman David M. Kilroy • Will Koffel • Timothy Lanagan + # • Joseph E. Landry •

Daniel Lichtenfeld • Nathan Lofton • Christopher T Loschen • Devon Morin + •

Joshua H. Nannestad + • Eryk P. Nielsen + • Stephen H. Owades § • Donald R. Peck + •

Michael Prichard + • • • • Bradley Putnam Steven J. Ralston Sebastian Remi

Peter Rothstein * • Jonathan Saxton • Karl • • Josef Schoellkopf Joseph J. Tang Craig A. Tata . Bradley Turner . Thomas C. Wang # . Terry L. Ward

Mark B. Rulison, Chorus Manager Martin Amlin, Rehearsal Pianist

TANGLEWOOD WEEK 8 GUEST ARTISTS 0-^ Great Benefactors

In the building of his new symphony for Boston, the BSO's founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could neverfully cover the costs of running a great orchestra. From 1881 to 1918 Higginson covered the orchestra's annual deficits -with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following gener- ous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor For more information, please contact Elizabeth P. Roberts, Director ofDevelopment— Campaign and Individual Giving, at 61 7-638-9269 or [email protected].

Ten Million and above

Mr. Julian Cohen t • Fidelity Investments • The Linde Family Foundation •

Ray and Maria Stata • Anonymous

Seven and One Half Million

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

Five Million

Bank of America and Bank of America Charitable Foundation •

Paul and Catherine Buttenwieser • Germeshausen Foundation •

NEC Corporation • Stephen and Dorothy Weber • Anonymous

Two and One Half Million

Mr. and Mrs. J. P. Barger • Peter and Anne Brooke •

Eleanor L. Campbell and Levin H. Campbell • Commonwealth of Massachusetts •

Cynthia and Oliver Curme/The Lost & Foundation, Inc. •

• Alan J. and Suzanne W. Dworsky • EMC Corporation • Jane and Jack Fitzpatrick

Susan Morse Hilles Trust • National Endowment for the Arts • William and Lia Poorvu •

Miriam and Sidney Stoneman t • Estate of Elizabeth B. Storer • Anonymous

One Million

American Airlines • Mr. and Mrs. Harlan E. Anderson • Dorothy and David B. Arnold, Jr. •

AT&T • The Bank of New York Mellon • Gabriella and Leo Beranek •

Mr. William I. Bernell t • George and Roberta Berry • Alan S. and Lorraine D. Bressler •

Jan Brett and Joseph Hearne • Chiles Foundation • Mr. t and Mrs. William H. Congleton •

William F. Connell t and Family • Country Curtains • John and Diddy Cullinaine •

Lewis S. and Edith L. Dabney • Mr. and Mrs. Stanton W. Davis t •

Estate of Mrs. Pierre de Beaumont • Estate of Elizabeth B. Ely • John P. II and Nancy S.t Eustis •

The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts •

Shirley and Richard Fennell • Estate of Verna Fine • Estate of Anna E. Finnerty •

The Ann and Gordon Getty Foundation • Estate of Marie L. Gillet •

The Gillette Company • Sophia and Bernard Gordon Mrs. Donald C. Heath t «

Estate of Francis Lee Higginson • Major Henry Lee Higginson t •

Estate of Edith C. Howie • John Hancock Financial Services • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation •

Estate of Richard L. Kaye • George H.t and Nancy D. Kidder •

Harvey Chet t and Farla Krentzman • The Kresge Foundation • Liz and George Krupp •

52 Bill t and Barbara Leith • Liberty Mutual Foundation, Inc. •

Estates ofJohn D. and Vera M. MacDonald • Nancy Lurie Marks Family Foundation •

Andrew W. Mellon Foundation • Kate and Al Merck • Mr. and Mrs. Nathan R. Miller •

Mr. and Mrs. Paul M. Montrone • The Richard R and Claire W. Morse Foundation •

William Inglis Morse Trust • Mrs. Robert B. Newman •

Mrs. Mischa Nieland and Dr. Michael L. Nieland • Megan and Robert O'Block •

Mr. Norio Ohga • Carol and Joe Reich • Mr. and Mrs. Dwight R Robinson, Jr. t •

Susan and Dan Rothenberg • Estate of Wilhemina C. Sauidwen •

Dr. Raymond and Hannah H. t Schneider • Carl Schoenhof Family •

Arthur I. Segel and Patti B. Saris • Kristin and Roger Servison •

• Ruth and Carl J. Shapiro • Miriam Shaw Fund

The Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith •

Sony Corporadon of America • State Street Corporation • Thomas G. Sternberg •

Dr. Nathan B. and Anne P. Talbot t • Caroline and James Taylor • Diana O. Tottenham •

The Wallace Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund

Mr. and Mrs. John Williams • Estate of Mrs. Helen Zimbler • Anonymous (8) t Deceased

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OLIVER WYMAN .^^ Extraordinary Support

Many music-lovers derive great joy from more than one part of the BSO family and contribute generously to fund all areas of the BSO. During the period of September 1, 2008, to August 31,

2009, the following individual donors or estates made cash gifts to the BSO totaling $10,000 or

more. This list represents new outright gifts and pledge payments during the fiscal year to annual funds, events, capital projects, endowment, or special projects.

$1,000,000 and above

Joyce and Edward t Linde • Mr. and Mrs. John Williams

$500,000 - $999,999

• Alan S. and Lorraine D. Bressler • Estate of William J. Joyce • Estate of Maria Maris Estate of Anne P. Talbot • Caroline and James Taylor • Estate of G. Crandon Woolley

$250,000 - $499,999

Mr. and Mrs. George D. Behrakis • Sophia and Bernard Gordon • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation

Kate and Al Merck • Patti Saris and Arthur Segel

$100,000 -$249,999

George and Roberta Berry • Peter and Anne Brooke • Paul and Catherine Buttenwieser •

Estate of Arthur P. Chiasson • The Chiles Foundation • John F. Cogan, Jr., and Mary L. Cornille

John and Diddy Cullinane • Cynthia and Oliver Curme/The Lost & Foundation, Inc. •

Estate ofJohn G. Guillemont • Ted and Debbie Kelly • Lizbeth and George Krupp •

Mr and Mrs. C. Kevin Landry • Estate ofJoseph F McCrindle • Richard P. and Claire W. Morse

William and Lia Poorvu • Carol and Joe Reich/The Pumpkin Foundation •

Susan and Dan Rothenberg • Carole and Edward I. Rudman •

Richard Saltonstall Charitable Foundation • Kristin and Roger Servison •

Roberta and Stephen R. Weiner • Anonymous (2)

$50,000 - $99,999

P. Andrews and Linda H. McLane • Linda J. L. Becker • Jan Brett and Joseph Hearne •

Cogan Family Foundation Dick and Ann Marie Connolly • The Connors Family Office •

• • Bill and Jacalyn Egan/Duniry Foundation Nancy J. Fitzpatrick and Lincoln Russell The Ann and Gordon Getty Foundation • Estate of Lucy G. Henderson •

Mrs. Marilyn Brachman Hoffman • Dorothy and Charlie Jenkins • Glenda and Jeffrey Lawrence

• • Cynthia and Robert J. Lepofsky Elizabeth W. and John M. Loder

Anne R. Lovett and Stephen G. Woodsum • Mr. and Mrs. Jeffrey E. Marshall •

Carmine A. and Beth V. Martignetti • Megan and Robert O'Block • Wendy C. Philbrick •

Mr. and Mrs. Daniel Pierce • Irene and Abe t Pollin • Mr. Irving W. Rabb •

John S. and Cynthia Reed • Michael and Elizabeth Ruane • Ray and Maria Stata •

• Thomas G. Sternberg Charitable Foundation • Mr. and Mrs. Wilmer J. Thomas

Stephen and Dorothy Weber • Mrs. Henry Wheeler • Robert and Roberta Winters • Anonymous

TANGLEWOOD WEEK 8 EXTRAORDINARY SUPPORT 55

v. $25,000 - $49,999

Estate ofJoseph C. Beaudoin • Samuel B. and Deborah D. Bruskin •

The Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald and Ronni Casty

Jim and Barbara Cleary • Estate of Abram T. Collier • David jmd Victoria Croll •

• Ann Dulye and Linda Dulye • Alan J. and Suzanne W. Dworsky • Alan R. Dynner Mrs. Harriett M. Eckstein • William and Deborah Elfers • Jane and Jack Fitzpatrick •

• • t • Estate of Helen Ford Mr. Mario J. Gabelli Richard and Joy Gilbert

Sally and Michael Gordon • Elizabeth and Phill Gross • Mr. and Mrs. Amos B. Hostetter, Jr. •

The Karp Family Foundation • Paul L. King • Bill and Bridget Koch •

Mr. and Mrs. Peter E. Lacaillade • Dr. Robert and Jane B. Mayer • Joseph C. McNay •

Ann Merrifield and Wayne Davis • Mrs. August R. Meyer • Dr. Martin C. Mihm, Jr. •

• Mr. and Mrs. Paul M. Montrone • Morby Family Charitable Foundation • Robert J. Morrissey Ms. Cecile Higginson Murphy • Mrs. Evelyn S. Nef t • Jay and Eunice Panetta •

Louise C. Riemer • The Richard and Susan Smith Family Foundation •

Richard and Donna Tadler • Jacqueline and Albert Togut • Paul M. Verrochi •

Edwin S. Webster Foundation • Joan D. Wheeler • Anonymous (6)

$10,000 - $24,999

Harlan and Lois Anderson • Robert and Elana Baum • Gabriella and Leo Beranek •

Jamie and Ethan Berg • Mr. Gordon M. Binder • Mrs. Linda Cabot Black • Ann F. Brown

Brad and Terrie Bloom • Joan and John Bok • Mark G. and Linda Borden •

Mr. and Mrs. John M. Bradley • William David Brohn •

Eleanor L. Campbell and Levin H. Campbell • Mrs. Florence C. Chesterton-Norris t •

Michael and Renee Child • The Clair Family • Joseph and Phyllis Cohen •

B S O L E V I N E LIVE

MOZART SYMPHONIES 14-18-20 •39-41

ON SALE NOW AT THE Available on CD and as a download GLASSHOUSE AND from tanglewoocl.org: TANGLEWOOD.ORC Available in both II s c> • I, r: \' I rC K 1. 1 V K On sale now! standard and HD MPs This CD is drawn from Surround formats. recordings that have MOZART W^ taken place during live SYMPHONIES pi>y / performances by James DIGITAL f SUBSCRIPTIONS! Levine and the BSO at The B50 now offers a Symphony Hall. digital music subscription which provides patrons SYMPHONY complete access to the ^^1 ORCHESTRA ^V entire digital music JAMES LEVIN£^||^P catalog. BSO 9 CLASSICS

56 Mr. Joseph M. Cohen • William P. Collatos and Linda C. Wisnewski • James Jind Tina Collias •

Mrs. William H. Congleton • Ranny Cooper and David Smith • Mrs. Bigelow Crocker •

Mr. and Mrs. William F. Cruger • The Curvey Family Foundation •

Dr. and Mrs. Philip D. Cutter • Lewis S. and Edith L. Dabney • Mr. David D'Alessandro •

Mr. and Mrs. Miguel de Bragan^a • Robert and Evelyn Doran • Julie and Ronald M. Druker •

Ginger and George Elvin • The Fassino Foundadon/Jonathan D. Miller and Diane Fassino •

Roger and Judith Feingold • Elizabeth Taylor Fessenden Foundation •

Mr. and Mrs. Steven S. Fischman • Larry and Atsuko Fish • The Frelinghuysen Foundation •

Tom and Jody Gill • Cora and Ted Ginsberg • Thelma and Ray Goldberg • Roberta Goldman

Mr. and Mrs. Peter S. Gordon • John T. Hailer • Mr. and Mrs. Francis W. Hatch, Jr. •

Carol and Robert Henderson • Mr. and Mrs. Brent L. Henry • Rhoda Herrick •

Mr. Harold Hestnes • Patricia and Galen Ho • Susan Hockfield and Thomas N. Byrne •

Estates of George F. and Elsie B. Hodder • Ms. Emily C. Hood •

Mr. and Mrs. Lawrence S. Horn • Mr. Timothy P. Home • Valerie and Allen Hyman •

Ronald and Kathleen Jackson • Margery and Everett Jassy • Leslie and Stephen Jerome •

Sherry and Ralph Jones • Jerry and Darlene Jordan •

Prof. Paul Joskow and Dr. Barbara Chasen Joskow • Lauren Joy and Elyse Eding •

Dr. Alice S. Kandell • In Memory of Florence and Leonard S. Kandell • Mr. Brian A. Kane •

Kevin and Maryellen Kelley • George H. t and Nancy D. Kidder • Robert and Luise Kleinberg •

Mr. and Mrs. Jacques Kohn • Farla Krentzman • Pamela Kunkemueller •

The Roger and Myrna Landay Charitable Foundation • Thomas H. Lee and Ann G. Tenenbaum

Barbara A. and Paul F. Levy • Shari Loessberg and Christopher Smart •

Dr. and Mrs. Frederick H. Lovejoy, Jr. • Carolyn and Peter S. Lynch •

John and Dorothy t Magee • Hinda and Arthur Marcus • Jay and Shirley Marks •

Dan Mathieu and Tom Potter • Mrs. Robert B. Newman • The Paglia Family •

Mr. and Mrs. Peter Palandjian • The Bessie Pappas Charitable Foundation •

Joseph and Joan Patton • Estate of Marianne E. Pfaff • Drs. Eduardo and Lina Plantilla •

Mr. and Mrs. Jonathan Poorvu • John and Susanne Potts • William and Helen Pounds •

Walter and Karen Pressey • Mrs. Millard H. Pryor, Jr. • John S. Reidy •

Linda and Laurence t Reineman • Maureen and Joe Roxe/The Roxe Foundation •

Mr. Alan Sagner • Mr. and Mrs. Kenan E. Sahin • Mr. and Mrs. Ira Sarinsky •

Mr. Benjamin Schore • Gloria Schusterman • Mr. and Mrs. Douglas H. Sears •

Estate of Martha L. Seegal • Arlene and Donald Shapiro • Evelyn and Ronald Shapiro •

Lois and Norman Silverman Foundation • Gilda and Alfred Slifka •

Mr. and Mrs. Christopher Smallhorn • Estate ofJudith A. Solomon •

Margery and Lewis Steinberg • Suzanne and Robert Steinberg • Rick and Terry Stone •

Patricia L. Tambone • Aso O. Tavitian • Tazewell Foundation • Ms. Jean C. Tempel •

Mr.John L. Thorndike • Loet and Edith Velmans • Mrs. Charles H. Watts II •

Mr. and Mrs. David C. Weinstein • Suzy and Jack Welch • James Westra •

Mrs. John J. Wilson • Frank Wisneski • Estate of Elizabeth Woolley •

Drs. Richard • • and Judith Wurtman Rhonda and Michael J. Zinner, M.D. Linda M. and D. Brooks Zug • Anonymous/A Friend of the Tanglewood Music Center • Anonymous (12) t Deceased

TANGLEWOOD WEEK 8 EXTRAORDINARY SUPPORT .^-> The Walter Piston Society

Established in 1987 and named for Pulitzer Prize-winning composer and noted musician Walter Piston, who endowed the Principal Flute Chair with a bequest, the Walter Piston Society recognizes and honors those who have provided for the future of the Boston Symphony Orchestra, Boston Pops or Tanglewood through one of a variety of irrevocable deferred gifts or by including the BSO in their long-term plans.

Ifyou would like information about how to include the BSO in your plans, or ifyou find that your

name is not listed and should be, please contact George Triantaris, Director ofPlanned Giving, at (617) 638-9268 or [email protected].

Everett L. Jassy, Co-chair, Planned Giving Committee

Richard P. Morse, Co-chair, Planned Giving Committee Peter C. Read, Co-chair, Planned Giving Committee

Sonia S. Abrams • Dellson Alberts • Ms. Eunice Alberts • Mr. Vernon R. Alden • John F. Allen •

Rosamond Warren Allen • Harlan and Lois Anderson • Mr. Matthew Anderson • Mrs. Rae D. Anderson •

Mariann and Mortimer Appley • Dorothy and David Arnold • Dr. David M. Aronson •

Miss Eleanor Babikian • Denise Bacon • Henry W. D. Bain • Mr. and Mrs. Sherwood E. Bain •

Mr. Donald Ball • Dr. and Mrs. Richard F. Balsam • Dr. and Mrs. James E. Barrett •

Mr. and Mrs. Herman Becker • Robert Michael Beech • Gabriella and Leo Beranek •

Mr. Ralph Berkowitz • Deborah Davis Berman • George and Joan Barman • Leonard and Jane Bernstein •

Mr. Roger Berube • Mrs. Ben Beyea • Mr. Peter M. Black • Mr. Carl G. Bottcher •

Adam M. LuC}Tiski and Joyce M. Bowden • Mrs. John M. Bradley • Jan Brett and Joseph Hearne •

Mr. and Mrs. Peter A. Brooke • Phyllis Brooks • Mr. and Mrs. E. B. Brown • Michael Buonsanto •

Mr. Richard-Scott S. Burow • Mrs. Mary L. Cabot • Eleanor L. Campbell and Levin Campbell •

Mr. and Mrs. Steven Castraberti • Mr. Charles Christenson • Ms. Deborah P. Clark • Kathleen G. and

Gregory S. Clear • Mr. John F. Cogan,Jr. and Ms. Mary L. Cornille • Ms. Carolyn A. Cohen •

Saul and Mimi Cohen • Mrs. Aaron H. Cole • Dr. and Mrs. James C. Collias • Mrs. Abram T. Collier •

Mr. and Mrs. Marvin A. Collier • Mrs. Carol P. Come • Mrs. William H. Congleton •

Dr. William G. and Patricia M. Conroy • Dr. Michael T. Corgan and Sallie Riggs Corgan •

Mrs. Bigelow Crocker • Joan P. and Ronald C. Curhan • Mrs. Edith L. Dabney • Mrs. David Dangel •

• Peggy Daniel • Eugene M. Darhng, Jr. • Mr. and Mrs. Nelson J. Darling, Jr.

Tamara P. and Charles H. Davis II • Maude Sergeant Davis • Mr. Henry B. Dewey • Mr. Robert Djorup •

Mr. and Mrs. David Doane • Nina L. and Eugene B. Doggett • Mr. Norman Dorian • Henry P. Dunbar •

• • Mrs. Harriett Eckstein • Ms. MarieJ. Eger The Rev. and Mrs. J. Bruce Duncan Alan R. Dynner M. and Ms. Mary Jane Osborne • Miss Mary C. Eliot • Mrs. Richard S. Emmett • Lillian K Etmekjian •

John P. Eustis II • David H. Evans • Marilyn Evans • Mrs. Samuel B. Feinberg •

• • Fine • C. Peter and Beverly A. Fischer • Roger and Judith Feingold Mr. Gaffney J. Feskoe Miss Elio Ruth

Doucet and Stephen Fischer • Mr Stuart M. Fischman • Mr. L. Antony Fisher • John Munier and

Dorothy Fitch • Jane and Jack Fitzpatrick • Elaine Foster • Mr. Matthew Fox and Ms. Linda Levant Fox •

Mr. and Mrs. Dean W. Freed • Dr. Joyce B. Friedman • Mr. William H. Ganick • David Endicott Gannett •

Mr. Gabor Garai and Ms. Susan Pravda • Mrs. James G. Garivaltis • Prof. Joseph Gifford •

• Mrs. Henry C. Gill, Jr. • Annette and Leonard Gilman • Barry Glasser and Candace Baker

Mrs. Joseph Glasser • Susan Godoy • Thelma and Ray Goldberg • Ms. Claire Goldman •

• Mr. Mark R. Goldweitz • Hugo and Midge Golin • Hon.Jose A. Gonzalez, Jr. and Mary Copeland Gonzalez

Jane W. and John B. Goodwin • Mrs. Clark H. Gowen • Mr. and Mrs. Daniel S. Gregory •

Mr. and Mrs. Norman Gritz • Hope and Warren Hagler • Mr and Mrs. Roger H. Hallowell.Jr. •

Mr. Michael A. Halperson • Dr. Firmon E. Hardenbergh • Margaret L. Hargrove • Anne and Neil Harper •

Ms. Judith Harris • Mr. Warren Hassmer • Mrs. Francis W. Hatch • Deborah Hauser •

Mr. Harold A. Hawkes • Mr. Robert R. Hayward • Dorothy A. Heath • Julie and Bayard Henry •

Ann S. Higgins • Mr. James G. Hinkle,Jr. • Mrs. Richard B. Hirsch • Mr. John Hitchcock •

• Joan and Peter Hoffman • Mrs. Marilyn Brachman Hoffman • Mr. Richard Holman • M. A. B. Holmes

Ms. Emily C. Hood • Silka Hook • Larry and Jackie Horn • Thomas P. Hosmer •

Mr. Charles A. Hubbard II • Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson •

Holcombe Hughes, Sr. • Mr. and Mrs. Roger Hunt • Mr. and Mrs. Joseph Hyman •

58 Valerie and Allen Hyman • Janet S. Isenberg • Emilie K. Jacobs • Everett and Margery Jassy •

• • • Mrs. David Jeffries Carolyn J. Jenkins Ms. Elizabeth W. Jones • Mr. and Mrs. H. E. Jones

Edna S. and Bela T. Kalman • Dr. Alice S. Kandell • David L. Kaufman • Stephen B. Kay and

Lisbeth L. Tarlow • Mrs. Richard L. Kaye • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent •

Mrs. George Kidder • Athena and Richard Kimball • Mary S. Kingsbery • Ms. Marsha A. Klein •

• Mr. Mason J. O. Klinck, Sr. • Kathleen Knudsen • Audrey Noreen Koller • Joan Hudson Kopperl

Mr and Mrs. Robert K. Kraft • Farla Krentzman • Mr. George E Krim • Mr. and Mrs. Rudolf M. Kroc •

Mr. Richard I. Land • Lloyd W.Johnson and Joel H. Laski • Mr. and Mrs. Robert A. Lawrence •

Dr. • Mrs. Shirley Lefenfeld • • • Robert Lee Barbara Leith Mrs. Vincent J. Lesunaitis

Jeffrey and Delia Levy • Dr. Audrey Lewis • Mrs. T. Herbert Lieberman • Mrs. George R. Lloyd •

John M. Loder • Diane H. Lupean • Mr. and Mrs. Donald Malpass, Jr. • Ruth G. Mandalian •

Matthew B. and Catherine C. Mandel • Irma S. Mann • Mr. Russell E. Marchand • Jay Marks •

Mrs. Nancy Lurie Marks • Mr. and Mrs. Jeffrey E. Marshall • Mrs. Barbara McCullough •

Mrs. Richard M. McGrane • Mr. and Mrs. David McKearnan • Mrs. Williard W. McLeod, Jr. •

Mr. and Mrs. Russell R Mead • Mr. Heinrich A. Medicus • Dr. Joel R. Melamed • Mr. Richard R Menaul

Mrs. August R. Meyer • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Miss Margo Miller •

Mr. and Mrs. Nathan R. Miller • Richard S. Milstein, Esq. • Mrs. Elting E. Morison •

Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse • Mr. James Edward Mulcahy •

Ms. Cecile Higginson Murphy • Mrs. Robert M. Mustard • Katharine S. Nash • Robert and Lee Neff •

AnneJ. Neilson • Ms. Dianna Nelson • Mrs. Robert B. Newman • Alan A. and Barbara Nicoll •

Mrs. Mischa Nieland • Michael L. Nieland, MD • Koko Nishino • Mr. Richard C. Norris •

Mr. and Mrs. Arthur E. Norton • Ms. Luciana Noymer • Dr. Peter Ofner • Annette and Vincent O'Reilly

Mrs. Stephen D. Paine • Mrs. Marion S. Palm • Dr. and Mrs. Egidio Papa • Catherine L. Pappas •

Mary B. Parent • Mrs. Jack S. Parker • Janet Fitch Parker • Mr. and Mrs. John B. Pepper •

Mr. and Mrs. John A. Perkins • Polly Perry • Mrs. Roger A. Perry, Jr. • Mrs. Thomas D. Perry •

Margaret D. Philbrick • Rev. Louis W. Pitt, Jr. • Muriel K. Pokross • Mrs. Rita Pollet •

William and Lia Poorvu • Potter • William • • M.Joan and Helen Pounds Mr. Peter J. Previte

Dr. Robert O. Preyer • Carol Procter • Mrs. Daphne Brooks Prout • Mrs. Millard H. Pryor, Jr. •

Mr. Irving W. Rabb • Herbert Rakatansky MD Barbara Sokoloff • Mr. John B. Read, Jr. •

Peter and Suzanne Read • Kenneth Sawyer Recu • John S. Reidy • Robert and Ruth Remis •

Ms. Carol Ann Rennie • Marcia and Norman Resnick • Dr. Paul A. Richer • Barbara Rimbach •

Marcia A. Rizzotto • Elizabeth P. Roberts • Ms. Margaret C. Roberts • Mr. David Rockefeller, Jr. •

Dr. • • • • • J. Myron Rosen Mr. Jerome Rosenfeld Mr. James L. Roth Mrs. George R. Rowland Arnold Roy

Jordan S. Ruboy, M.D. • Mr. Robert M. Sanders • Mr. Stephen Santis • Ms. Carol Scheifele-Holmes and

Mr. Ben L. Holmes • Constance Lee Scheurer • Liolia • John N. and J. Schipper Dr. Raymond Schneider Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann •

Mr. and Mrs. George G. • • • Schwenk Mr. and Mrs. Thomas J. Scott Alice M. Seehnger

Mrs. George James Seibert • Krisdn and Roger Servison • Wolf Shapiro • Dr. Richard M. Shiff Trust •

Mrs. Jane Silverman • Mr. and Mrs. Robert L. Singleton • Barbara F. Sittinger •

Dr. and Mrs. Jan P. Skalicky • Mr. and Mrs. Christopher E. Smith • Mrs. W. D. Sohier •

Mrs. Joseph P. Solomon • Drs. Norman Solomon and Merwin Geffen • Mrs. Diane A. Sparr •

Harold Sparr and Susan Abramsky • Mrs. Nathaniel H. Sperber • Ray and Maria Stata •

Thomas G. Stemberg • Marylen R. Sternweiler • Mr. and Mrs. Josiah Stevenson IV •

Miss Ruth Elsa Stickney • Henry S. Stone • Mrs. Patricia Hansen Strang • Peter and Joanna Strauss •

Mr. and Mrs. Jonathon D. Sutton • Jean-Noel and Mona N. Tariot • Mr. Thomas Teal •

Mr. John L. Thorndike • Mr. and Mrs. Samuel Thorne • Mr. and Mrs. Carlos H. Tosi •

Diana O. Tottenham • Mr Joseph F. Urner and Ms. Lorian R. Brown • Laughran S. Vaber •

Robert and Theresa Vieira • Mr. and Mrs. Mark Volpe • Mrs. Arthur A. Wahmann •

Eileen Michael • • • < and Walker Carol A. and Henry J. Walker Lyle Warner Harvey and Joelle Wartosky Prof Talbot H. Waterman • Ms. Kathleen M. Webb • Stephen and Dorothy Weber •

Ms. Carol A. Whitcomb • Mrs. Constance V.R. White • Edward T. Whitney, Jr. • Dr. Michael Wiedman •

Mr. and Mrs. Mordechai Wiesler • Mrs. Mary Wilkinson-Greenberg • Mr. and Mrs. Richard E. Willett •

Georgia H. Williams • Mr. Jeffery D. Williams • Mr. and Mrs. John Williams •

Mrs. Margaret Williams-DeCelles • • • Mr. Donald B. Wilson Mrs. John J. Wilson

Mr. and Mrs. Leslie J. Wilson • Jeanne H. Wolf • Mr. David A. Wood • Chip and Jean Wood •

Drs. Richard and Judith Wurtman • Mr. David Yalen • Lisl Zausmer •

Isa Kaftal and George O. Zimmerman • Richard M. Ziter, M.D. • Anonymous (31)

TANGLEWOOO WEEK 8 THE WALTER PISTON SOCIETY •

0-> The Koussevitzky Society

The Koussevitzky Society recognizes gifts made since September 1, 2009, to the followingfunds.

Tanglewood Annual Fund, Tanglewood Business Fund, and Tanglewood restricted annual gifts.

The Boston Symphony Orchestra is grateful to the following individuals, foundations, and businesses for their annual support of $3,000 or more during the 2009-10 season. Forfurther information, please contact Allison Cooky, Associate Director of Society Giving at 413-637-5161.

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

Appassionato $100,000 and above

Carol and Joseph Reich

Virtuoso $50,000 to $99,999

Linda J.L. Becker • George and Roberta Berry • Cynthia and Oliver Curme •

Dorothy and Charlie Jenkins • Joyce and Edwardf Linde • Dr. Michael Sporn •

Caroline and James Taylor • Mr. and Mrs. John Williams

Encore $25,000 to $49,999

Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix •

Canyon Ranch • Country Curtains • Ginger and George Elvin • Sally and Michael Gordon •

Mrs. Marilyn Brachman Hoffman • Elizabeth W. and John M. Loder • Evelyn Stefansson Neff •

Renee Rapaporte • Susan and Dan Rothenberg • Stephen and Dorothy Weber

Benefactors $20,000 to $24,999

Atlantic Trust • Joseph and Phyllis Cohen • Sanford and Isanne Fisher •

The Frelinghuysen Foundation • Cora and Ted Ginsberg • Robert and Stephanie Gitdeman •

Leslie and Stephen Jerome • Mr. James Levine • James A. Macdonald Foundation •

Jay and Shirley Marks • Mrs. August R. Meyer • Claudio and Penny Pincus •

Drs. Eduardo and Lina Plantilla • Ronald and Karen Rettner • Carole and Edward I. Rudman • The Wittels Family

IVlaestro $15,000 to $19,999

BSO Members' Association • Rhoda Herrick • Stephen B. Kay and Lisbeth Tarlow •

Dr. Robert and Jane B. Mayer • Mrs. Millard H. Pryor, Jr.

Patrons $10,000 to $14,999

Helaine Allen • Robert and Elana Baum • Mr. and Mrs. George D. Behrakis •

The Berkshire Capital Investors • Blantyre • Mr. and Mrs. Lee N. Blatt •

Bonnie Boyd and Jennifer Leighton • Paul and Catherine Buttenwieser • Ronald and Ronni Casty •

• John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger

• • Jane and Jack Fitzpatrick Nancy J. Fitzpatrick and Lincoln Russell • Mr. and Mrs. Scott M. Hand

Mr. and Mrs. Stuart Hirshfield • Mr and Mrs. Lawrence S. Horn • Margery and Everett Jassy •

Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Mrs. Louis Kaitz •

In memory of Florence and Leonard S. Kandell • Dr. Alice S. Kandell • Mr. Brian A. Kane •

Robert and Luise Weinberg • Mr. and Mrs. Jacques Kohn • Lizbeth and George Krupp •

Lenox Athenaeum • Jonathan D. Miller and Diane Fassino • Mrs. Irene Pollin • Frank M. Pringle •

The Red Lion Inn • John S. and Cynthia Reed • Maureen and Joe Roxe/The Roxe Foundation •

Alan Sagner • Gloria Schusterman • Mr. and Mrs. Marxdn Seline • Arlene and Donald Shapiro •

Daniel and Lynne Shapiro • Evelyn and Ronald Shapiro • The Honorable and Mrs. George P. Shultz •

Margery and Lewis Steinberg • Suzanne and Robert Steinberg • The Studley Press, Inc. •

Mr. Gordon Van Huizen • Loet and Edith Velmans • Wheatleigh Hotel & Restaurant • Mr. Jan Winkler and Ms. Hermine Drezner

60 Sponsors $5,000 to $9,999

Abbott's Limousine Service & Livery • Alii and Bill Achtmeyer • Dr. Norman Atkin •

Mr. and Mrs. Hillel Bachrach • Joan and Richard Barovick • Berkshire Bank •

Berkshire Insurance Group • Phyllis and Paul Berz • Linda and Tom Bielecki • Hildi and Walter Black

Brad and Terrie Bloom • Jane and Jay Braus • Judy and Simeon Brinberg • Ann Fitzpatrick Brown •

James and Tina CoUias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Crane & Company, Inc. •

Mr. and Mrs. William F. Cruger • Ursula Ehret-Dichter and Channing Dichter • Marion and Sig Dubrow

Mr. Alan Dynner • Eitan and Malka Evan • Gwenn Earl Evitts • Ms. Marie V. Feder •

A Friend of the Tanglewood Music Center • Dr. Donald and Phoebe Giddon •

Mr. and Mrs. Stanley A. Ginsberg • Roberta Goldman • Joe and Perry Goldsmith •

Corinne and Jerry Gorelick • John and Chara Haas • Joseph K. and Mary Jane Handler •

Dr Lynne B Harrison • Mrs. Francis W. Hatch, Jr. • Mrs. Ann Henegan • Richard Holland •

Dr. and Mrs. Edwin H. Hopton • Valerie and Allen Hyman • Stephen and Michelejackman •

Carol and George Jacobstein • Mr. and Mrs. R. Courtney Jones • Kahn Family Foundation •

Natalie Katz, in memory of Murray S. Katz • Deborah and Arthur Kaufman • Koppers Chocolate •

• Marilyn • • • Kumon William and Larkin Legacy Banks Mr. and Mrs. Jesse J. Lehman

Arlene and Jerome Levine • Murray and Patti Liebowitz • Phyllis and Walter F. Loeb •

Mr. and Mrs. Edwin N. London • Dan Mathieu and Tom Potter • Ms. Janet A. McKinley •

Rebecca and Nathan Milikowsky • Mr. and Mrs. Michael Monts • Robert and Eleanor Mumford •

Myriad Productions, Inc. • Jerry and Mary Nelson • Mrs. Alice D. Netter • Mr. and Mrs. Chet Opalka •

The Honorable and Mrs. Deval Patrick • Lynn Pike and John Carter • Mr. and Mrs. Jonathan Poorvu •

Walter and Karen Pressey • Quality Printing Company, Inc. • The Charles L. Read Foundation •

Dr. Robin S. Richmjm and Dr. Bruce Auerbach • Elaine and Bernard Roberts •

Barbara and Michael Rosenbaum • Suzanne and Burton Rubin • Sue Z. Rudd •

Mr. and Mrs. Kenan Sahin • Mr. and Mrs. Michael Salke • Malcolm and BJ Salter •

Marcia and Albert Schmier • Mr. and Mrs. Ernest Schnesel •

Mr. Daniel Schulman and Ms. Jennie Kassanoff • Sheffield Plastics, Inc. • Hannah and Walter Shmerler <

Marion and Leonard Simon Mr. and Mrs. Robert L. Singleton • Carol and Irv Smokier •

Jerry and Nancy Straus • Roz and Charles Stuzin • Marjorie and Sherwood Sumner •

Lois and David Swawite • Aso O. Tavitian • Jean C. Tempel • Jerry and Roger Tilles •

Jacqueline and Albert Togut • Mrs. Charles H. Watts II • Karen and Jerry Waxberg •

Robert and Roberta Winters • Anonymous (8)

Members $3,000 to $4,999

Abbott Capital Management, LLC • Mark and Stephanie Abrams • Deborah and Charles Adelman •

Mr. Howard Aibel • Mr. and Mrs. Ronald Altman • Mr. Robert Antonisse and Ms. Barbara Eyman •

Arthur Appelstein and Lorraine Becker • Apple Tree Inn • Gideon Argov and Alexandra Fuchs •

Barrington Associates Realty Trust • Timi and Gordon Bates • Helene and Ady Berger •

David and Cindy Berger • Jerome and Henrietta Berko • Berkshire Co-Op Market •

Berkshire Inns/Yankee Inn • Berkshire Life Insurance Company of America •

Mr. and Mrs. James L. Bildner • Gordon and Adele Binder • Mr. and Mrs. Nat Bohrer •

Mr. and Mrs. Nicholas Boraski • Marlene and Dr. Stuart H. Brager • Mr. and Mrs. James H. Brandi •

Marilyn and Arthur Brimberg • Ms. Sandra L. Brown • Samuel B. and Deborah D. Bruskin •

Mr. and Mrs. Allan S. Bufferd • Careers through Culinary Arts Program • Phyllis H. Carey •

David and Maria Carls • Mary Carswell • Frederick H. Chicos • Lewis F. Clark Jr. •

Barbara Cohen-Hobbs • Carol and Randy Collord • Judith and Stewart Colton •

Linda Benedict Colvin in loving memory of her brother, Mark Abbott Benedict •

Herbert and Jeanine Coyne • Cranwell Resort, Spa & Golf Club •

Mr. Ernest Cravalho and Ms. Ruth Tuomala • Crowne Plaza Hotel - Pittsfield • Mrs. Ann Cummis •

Arthur and Isadora Dellheim • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass •

Dresser-Hull Company • Terry and Mel Drucker • Ann Dulye and Linda Dulye •

Mrs. Harriett M. Eckstein • Mr. and Mrs. Leonard Edelson • Elaine Sollar Eisen and Edwin Roy Eisen •

Dr. and Mrs. T. Donald Eisenstein • Mr. and Mrs. Monroe B. England • Dr. and Mrs. Gerald D. Falk •

Mr. David Fehr • Mr. and Mrs. Carl M. Feinberg • Dr. Jeffrey and Barbara Feingold •

Ms. Nancy E. Feldman • Mr. and Mrs. Philip Fidler • Doucet and Stephen Fischer •

TANGLEWOOD WEEK 8 THE KOUSSEVITZKY SOCIETY Betty and Jack Fontaine • Herb and Barbara Franklin • Rabbi Daniel Freelander and Rabbi Elyse Frishman •

The Hon. Peter H.B. Frelinghuysen • Mr. Michael Fried • Carolyn and Roger Friedlander •

Myra and Raymond Friedman • Audrey and Ralph Friedner • Mr. David Friedson and Ms. Susan Kaplan •

• • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner Mr. and Mrs. Leslie J. Garfield

Genatt Associates, Inc. • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler •

Mr. and Mrs. Melvin Y. Gershman • Drs. Anne and Michael Gershon •

Stephen A. Gilbert and Geraldine R. Staadecker • Glad Rags • David H. Glaser and Deborah F. Stone •

Sy and Jane Glaser • Ms. Erika Z. Goldberg and Dr. Stephen Kurland •

Mr. and Mrs. Seymour L. Goldman • Judith Goldsmith • Roslyn K. Goldstein •

Mr. and Mrs. Robert A. Goodman • Dr. and Mrs. Sherwood L. Gorbach • Goshen Wine & Spirits, Inc. •

Jud and Roz Gosdn • Mrs. Roberta Greenberg • Mr. Harold Grinspoon and Ms. Diane Troderman •

Mr. and Mrs. Sheldon A. Gross • Carol B. Grossman • Ms. Bobbie Hallig • Felda and Dena Hardymon •

Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki T. and Michael S. Heifer •

• • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen Mr. Arnold J. and Helen G. Hoffman

Charles and Enid Hoffman • Howard Johnson Express Inn •

Hunt Alternatives Fund/Fern Portnoy and Roger Goldman • Initially Yours • Liz and Alan Jaffe •

Lolajaffe • Mr. and Mrs. , Jr. • John and Maureen Jerome •

Mr. and Mrs. Daniel R. Johnson • Lauren Joy and Elyse Eding • Carol and Richard Kalikow •

Adrienne and Alan Kane • Mr. and Mrs. Arnold Y. Kapiloff • Ms. Cathy Kaplan • Marcia Simon Kaplan •

Martin and Wendy Kaplan • Monsignor Leo Kelty • Kemble Inn • Mr. and Mrs. Carleton F. Kilmer •

Deko and Harold Klebanoff • Mr. Robert E. Koch • Diane Krane • Mr. and Mrs. Richard Kronenberg •

Naomi Kruvant • Norma and Sol D. Kugler • Dr. and Mrs. Stephen Kulvin • Shirley and Bill Lehman •

• Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky

• David and Lois Lerner Family Foundation • Mr. Arthur J. Levey and Ms. Rocio Cell

Marjorie T. Lieberman • Geri and Roy Liemer • Ian and Christa Lindsay •

Mr. and Mrs. A. Michael Lipper • Jane and Roger Loeb • Gerry and Sheri Lublin • Diane H. Lupean •

Gloria and Leonard Luria • Mrs. Paula M. Lustbader • Mr. and Mrs. Darryl Mallah •

Rev. Cabell B. Marbury • Suzanne and Mort Marvin Mary and James Maxymillian •

• • • The Messinger Family Wilma and Norman Michaels Judy and Richard J. Miller

Mr. and Mrs. John C. Morris • Peter and Yvette Mulderry • Mr. and Mrs. Raymond F. Murphy, Jr. •

Mr. and Mrs. Joseph L. Nathan • Linda and Stuart Nelson • Bobbie and Arthur Newman •

Mr. and Mrs. Gerard O'Halloran • Mr. Chee Ooi • Dr. and Mrs. Simon Parisier •

Patten Family Foimdation • The Claudia and Steven Pedes Family Foundation • Wendy C. Philbrick •

Ms. Joyce Plotkin and Bennett Aspel, M.D. • The Porches Inn at MASS MoCA •

Mary Ann and Bruno A. Quinson • Mr. and Mrs. Mickey Rabina • Mr. and Mrs. Nathan Reiber •

Ms. Deborah Reich and Mr. Frank Murphy • Robert and Ruth Remis • Bruce Reopolos •

Mr. and Mrs. Albert P. Richman • Mary and Lee Rivollier • Mr. Brian Ross • Mr. and Mrs. Stanley Ross •

Mr. and Mrs. Milton B. Rubin • Mr. Robert M. Sanders • Dr. and Mrs. James Satovsky •

Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher •

Pearl and Alvin Schottenfeld • Karyn and James Schwade • Martin and Jane Schwartz •

Carol and Marvin Schwartzbard • Betsey and Mark Selkowitz • Carol and Richard Seltzer

Mr. and Mrs. Joel Shapiro • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern •

The Richard Shields Family • Beverly and Arthur T. Shorin • The Silman Family • Richard B. Silverman •

Dorothy Silverstein and Ted Popoff • Robert and Caryl Siskin • Arthur and Mary Ann Siskind •

Jack and Maggie Skenyon • Mr. Peter Spiegelman and Ms. Alice Wang • Mrs. Lauren Spitz •

Mr. and Mrs. Lewis Stein • Mr. and Mrs. Daniel S. Sterling • Mrs. Pat Strawgate •

Michael and Elsa Daspin Suisman • Mr. and Mrs. George A. Suter, Jr. • Mr. and Mrs. Gerald E. Swimmer •

Mr. and Mrs. William Taft • Mr. and Mrs. Richard Taylor • TD Bank • Mr. John L. Thorndike •

• • David J. Tierney, Jr., Inc. • Diana O. Tottenham • Barbara and Gene Trainor Ms. Gay G. Tucker Myra and Michael Tweedy • Laughran S. Vaber • Mr. and Mrs. Edwin A. Weiller III •

Ron and Vicki Weiner • Betty and Ed Weisberger • Mr. and Mrs. Barry Weiss • Dr. and Mrs. Jerry Weiss •

Tom and Suky Werman • Ms. Michelle Wernli and Mr. John McGarry • Ms. Carol Andrea Whitcomb •

Carole White • Peter D. Whitehead Builder, LLC • Mr. Robert G. Wilmers •

Pamela and Lawrence Wolfe • Mr. and Mrs. Ira Yohalem • Carol and Robert Zimmerman •

Richard M. Ziter, M.D. • Lyonel E. Zunz • Anonymous (7)

62 O^ Foundation Grantors

Foundation grants make possible a variety of Boston Symphony Orchestra activities. In particular,

foundation support is vital to sustaining the BSO 's educational mission, from youth education and community-outreach initiatives throughout the Greater Boston area to professional trainingfor promising young musicians at the Tanglewood Music Center. Gifts from foundations nationwide help bridge the gap between ticket revenue and the cost ofpresenting a full BSO season, as well as funding special projects, concert programs, new music for the Boston Pops, and the BSO archives. In addition, endowment and capital ^fts from foundations help ensure the future of all these activities, as well as supporting the maintenance of the orchestra's concert facilities. The Boston

Symphony Orchestra gratefully acknowledges those foundations that have helped it to achieve its multifaceted mission.

The followingfoundations made grants of $1,000 or more to the BSO last fiscal year through June 2010.

For more information, contact Ryan Losey, Director ofFoundation and Government Relations, at (617) 638-9462 [email protected].

$1,000,000 and above The Andrew W. Mellon Foundation

$100,000 to $499,999

Chiles Foundation • National Endowment for the Arts • Anonymous (2)

$50,000 to $99,999

Fromm Music Foundation • The Ann and Gordon Getty Foundation •

The Geoffrey C. Hughes Foundation • Massachusetts Cultural Council MetLife Foundation Miriam Shaw Fund

$25,000 to $49,999

The Aaron Copland Fund for Music • Associated Grant Makers of Massachusetts •

Elizabeth Taylor Fessenden Foundation • Grew Family Charitable Foundation •

Kingsbury Road Charitable Foundation • The Lowell Institute • The Billy Rose Foundation •

The Richard and Susan Smith Family Foundation • The Wallace Foundation •

Edwin S. Webster Foundation • Yawkey Foundation II

$10,000 to $24,999

Dedham Institution for Savings Foundation • Germeshausen Foundation •

Halfway Rock Foundation • The Roger and Myrna Landay Charitable Foundation •

June Rockwell Levy Foundation • The Bessie Pappas Charitable Foundation •

Proctor and Gamble Corporate Giving Fund • Paul Sacher Foundation •

Saquish Foundation • The William E. and Bertha E. Schrafft Charitable Trust •

Abbot and Dorothy H. Stevens Foundation • Alice Ward Fund of the Rhode Island Foundation

Anonymous (3)

TANGLEWOOD WEEK 8 FOUNDATION GRANTORS $5,000 to $9,999

The Arts Federation • Adelaide Breed Bayrd Foundation • The Anthony Advocate Foundation •

Clipper Ship Foundation, Inc. • Irene E. and George A. Davis Foundation •

Demoulas Foundation • Fuller Foundation • Home Family Charitable Foundation, Inc. •

Gerondelis Foundation, Inc. • The Roy A. Hunt Foundation • The E. Nakamichi Foundation •

Albert Shapiro Fund • Stetson Whitcher Fund

$2,500 to $4,999

Biogen Idee Foundation • Brookline Youth Concerts Fund • Cambridge Community Foundation •

Katharine L. W. and Winthrop M. Crane, 3D Charitable Foundation • Ellen Abbot Oilman Trust •

Jackson and Irene Golden 1989 Charitable Trust • Elizabeth Grant Fund •

Elizabeth Grant Trust • Helen G. Hauben Foundation •

The Clayton F. and Ruth L. Hawkridge Foundation • The Hoche-Scofield Foundation •

Medtronic Foundation • Red Sox Foundation • The Seth Sprague Educational and Charitable Foundation • Sudbury Assabet and Concord Wild and Scenic River Stewardship Council •

Sudbury Valley Trustees • Edward A. Taft Trust • Anonymous

$1,000 to $2,499

The Lassor and Fanny Agoos Charity Fund • The Apple Lane Foundation •

The Paul and Edith Babson Foundation • Frank M. Barnard Foundation •

Eastern Massachusetts National Wildlife Refuge Complex • Ben E. Factors Foundation •

Orville W. Forte Charitable Foundation • The Nancy Foss Heath and Richard B. Heath Foundation •

Mark S. and Donna R. Leventhal Family Foundation, Inc •

Catherine McCarthy Memorial Trust Fund • Max and Sophie Mydans Foundation •

Jean Nichols Charitable Trust • Oxford Fund • Abraham Perlman Foundation •

The Stearns Charitable Trust • Charles Irwin Travelli Fund • Albert O. Wilson Foundation

Tours of Tanglewood

Phone: 4^3-637-5393 July lO-August 2g Tuesday: 1:30pm

The Tanglewood Association of tlie Boston Wednesday: 10:30am Symphony Association of Volunteers offers Sunday: 12:30pm for BSO concert free, historical, one-hour walking tours of the ticket holders only Tanglewood grounds, including visits to the Koussevitzky Music Shed, Ozawa Hall, other Schedule subject to change. music facilities, the Visitors Center history Reservations are not required, rooms, and more. but please email [email protected].

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Sunday, August 1, 7:30pnn Saturday, August 7, 8:30pm Monday, August 2, 7:30pm BSO—SHI-YEON SUNG, conductor Wednesday, August 4, 7:30pm , violin TMC VOCAL FELLOWS AND ORCHESTRA WAGNER Prelude to , Act III DOHNANYI, conductor CHRISTOPH VON SIBELIUS Violin Concerto (August 1 and 2) COPLAND Quiet City KEITARO HARADA (TMC Fellow), conductor STRAVINSKY Suite from The Firebird (August 4) IRA SIFF, director Sunday, August 8, 2:30pm EDUARDO SICANGCO, set and costume designer BSO—CHRISTOPH VON DOHNANYI, MATTHEW MCCARTHY, lighting designer conductor , vioHn STRAUSS Ariadne aufNaxos Fully staged production, sung in German with BEETHOVEN Violin Concerto English supertitles DVORAK Symphony No. 8

Tuesday, August 3, 8:30pm Sunday, August 8, 8:30pm Tanglewood on Parade SILK ROAD ENSEMBLE BSO, BOSTON POPS ORCHESTRA, and YO-YO MA, cello TMC ORCHESTRA A program marking the 10th anniversary of KEITH LOCKHART, STEFAN ASBURY, and the Silk Road Ensemble JOHN WILLL\MS, conductors A salute to John Williams on the occasion of Monday, August 9, 7:30pm his 30th Tanglewood summer HERBIE HANCOCK Grounds open at 2pm with family activities and music throughout the afternoon; fireworks follow Tuesday, August 10, 8pm the concert. PIERRE-LAURENT AIMARD, piano

Thursday, August 5, 8pm MEMBERS OF THE CHAMBER ORCHESTRA OF EUROPE BERNARDA FINK, mezzo-soprano Music ofJ.S. Bach, Carter, and Ligeti ANTHONY SPIRI, piano Songs of Robert and Clara Schumann, Friday, August 13, 6pm (Prelude Concert) Granados, Gianneo, Dallapiccola, and Rodrigo MEMBERS OF THE BSO ALISA WEILERSTEIN, cello

Friday, August 6, 6pm (Prelude Concert) Music of Brahms and Boccherini MEMBERS OF THE BSO Music of Gandolfi and Brubeck Friday, August 13, 8:30pm BSO—MIGUEL HARTH-BEDOYA, conductor

Friday, August 6, 8:30pm ELIZABETH ROWE, flute BSO—CHRISTOPH VON DOHNANYI, ALISA WEILERSTEIN, cello conductor "Caminos del Inka: A Musical Journey" RICHARD GOODE, piano FRANK Illapa, Tone Poem for Flute and Orchestra MENDELSSOHN Calm Sea and Prosperous Voyage GOLIJOV Mariel, for Cello and Orchestra

MOZART Piano Concerto No. 14 in E-flat, Music of Robles, Compafion, Luzuriaga, Frank, K.449 Leng, and Lopez

TCHAIKOVSKY Symphony No. 6, Pathetique Saturday, August 14, 10:30am

Saturday, August 7, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 15 BSO program of Sunday, August 8

Programs and artists subject to change. 6

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Film Night at Tanglewood BSO—GL\NCARLO GUERRERO, conductor BOSTON POPS GIL SHAHAM, violin JOHN WILLIAMS, conductor ADELE ANTHONY, violin OSBORNE, host ROBERT HIGDON blue cathedral BUTI YOUNG ARTISTS CHORUS SARASATE Song of the Nightingale, Marking John Williams's 30th summer at Zigeunerweisen; Navarra Tanglewood, celebrating great musical J.S. BACH Concerto in D minor for two violins moments in Hollywood history, and honoring and strings, BWV 1043 the work of director Steven Spielberg SUPPE Poet and Peasant Overture BIZET Suite from Carmen Sunday, August 15, 2:30pm

BSO—ROBERT SPANO, conductor Tuesday, August 24, 8pm JEAN-YVES THIBAUDET, piano GARRICK OHLSSON, piano THOMAS MARTIN, clarinet All-Chopin Program I GERSHWIN An American in Paris SCHULLER Seven Studies on Themes ofPaul Klee Thursday, August 26, 8pm BERNSTEIN Prelude, Fugue, and Riffs GARRICK OHLSSON, piano GERSHWIN Piano All Chopin Program II

Wednesday, August 18, 8pm Friday, August 27, 6pm (Prelude Concert) AUSTRALL\N CHAMBER ORCHESTRA MEMBERS OF THE BSO RICHARD TOGNETTI, violin and leader Music of Harbison and Beethoven STEVEN ISSERLIS, cello of Elgar, Schumann, Vasks, and Mozart Music Friday, August 27, 8:30pm BSO—DAVID ZINMAN, conductor Thursday, August 19, 8pm ISABEL BAYRAKDARIAN, soprano EBENE STRING QUARTET TANGLEWOOD FESTIVAL CHORUS, Music of Mozart, Bartok, and Beethoven JOHN OLIVER, conductor POULENC Gloria Friday, August 20, 6pm (Prelude Concert) HOLST The Planets MEMBERS OF THE BSO Music Dvorak of Turina and Saturday, August 28, 8:30pm BSO—DAVID ZINMAN, conductor Friday, August 20, 8:30pm EMANUEL AX, piano BSO—LUDOVIC MORLOT, conductor BRAHMS Piano Concerto No. 2 DAWN UPSHAW, soprano DVORAK Symphony No. 9, From the New World MOZART Symphony No. 31, Paris CANTELOUBE Selections from Songs of the Sunday, August 29, 2:30pm Auvergne GOLIJOV Three Songs for Soprano and BSO—KURT MASUR, conductor Orchestra JOHN OLIVER, conductor (Bach) RAVEL Mother Goose (complete) NICOLE CABELL, MARIETTA SIMPSON, MARCUS HADDOCK, and JOHN RELYEA, Saturday, August 21, 10:30am vocal soloists TANGLEWOOD FESTIVAL CHORUS Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 22 J.S. BACH Jesu, meineFreude, Motet for chorus BEETHOVEN Symphony No. 9 Saturday, August 21, 8:30pm Wednesday, September 1, 7:30pm BSO—SUSANNA MALKKI, conductor JOSHUA BELL, violin CROSBY STILLS, AND NASH JEREMY DENK, piano Saturday, September MENDELSSOHN Overture to A Midsummer Sunday, September 5 Night 's Dream; Double Concerto in D minor for violin, piano, and strings TANGLEWOOD JAZZ FESTIVAL BEETHOVEN Romance No. 2 for violin and orchestra; Symphony No. 4 ^^^ 2010 Tanglewood Music Center Schedule

Unless otherwise noted, all events take place in the Florence Gould Auditorium of Seiji Ozawa Hall. Other venues are the Shed and Theatre

* indicates that tickets are available through the Tanglewood box office or SymphonyCharge.

Ji indicates that admission is free, but restricted to that evening's 8:30pm concert dcket holders.

* Sunday, June 27, 11am, 3pm (Theatre) Sunday, July 11, 10am * Monday, June 28, 11am, 3pm (Theatre) Chamber Music String Quartet Marathon: Four performances * Monday, July 12, 8pm Music of HA\DN, BEETHOVEN, BRAHMS, The Daniel Freed and Shirlee Cohen Freed and others, performed by SCHUMANN, Memorial Concert fourteen string quartet ensembles. One ticket TMC CHAMBER ORCHESTRA provides admission to all four performances. TMC CONDUCTING FELLOWS * Sunday, June 27, 8pm BACH (orch. WEBERN) Ricercare from * Monday, June 28, 8pm The Musical Offering I MARK MORIUS DANCE GROUP SCHUBERT Symphony No. 5 TANGLEWOOD MUSIC CENTER FELLOWS STRAUSS Suite from Le Bourgeois Gentilhomme Choreography by Mark Morris to music of COWELL, CHOPIN, BEETHOVEN, and Tuesday, July 13, 8pm HARRISON Vocal Chamber Concert

Saturday, July 17, 6pm J^ Sunday, July 4, 10am Prelude Concert Chamber Music for Brass and Percussion * Saturday, July 17, 8:30pm (Shed) Monday, July 5, 12pm The Leonard Bernstein Memorial Concert Opening Exercises Supported by Dr. Raymond and Hannah H. (free admission; open to the public) Schneider, and Diane H. Lupean * Monday, July 5, 2pm TMC ORCHESTRA The Phyllis and Lee Coffey Memorial Concert MICHAEL TILSON THOMAS, conductor TMC ORCHESTRA KAREN CARGILL, mezzo-soprano RAFAEL FRUHBECK DE BURGOS and WOMEN OF THE TANGLEWOOD TMC CONDUCTING FELLOW, conductors FESTFVAL CHORUS FALLA Suite from El amor brujo AMERICAN BOYCHOIR ALBENIZ "Cordoba," "Granada," and MAHLER Symphony No. 3 "El Corpus en Sevdlla" Sunday, July 18, 10am RIMSKY-KORSAKOV Capriccio espagnol Chamber Music DEBUSSY La Mer Saturday, July 24, 2:30pm Thursday, July 8, 8pm Music of TMC Composition Fellows Vocal Chamber Concert

Saturday, July 24, 6pm J> Saturday, July 10, 6pm ^ Prelude Concert Prelude Concert

For TMC concerts other than TMC Orchestra concerts and opera performances, tickets 2se available one hour prior to concert start-time at the Ozawa Hall box office only. Tickets are $11. Please note thai availability of seats inside Ozawa Hall is limited and concerts may sell out.

Tickets for TMC Orchestra concerts (July 5, 12, 17, 25), opera performances (August 1, 2, 4), and FCM events (August 12-16) can be ordered in advance by calling SymphonyCharge at 1-888-266-1200 or (617) 266-1200.

Further information about TMC events is available at the Tanglewood Main Gate, by calling (413) 637-5230, or at TanglewoodMusicCenterorg. All programs are subject to change.

FRIENDS OF TANGLEWOOD AT THE $75 LEVEL receive one free admission, and FRIENDS AT THE $150 LEVEL OR HIGHER receive two free admissions to all TMC Fellow recital, cham- ber, and Festival of Contemporary Music performances, (excluding Mark Morris, opera, and TMC Orchestra concerts). Friends should present their membership cards at the Bernstein Gate one hour before concert time.

Additional and non-member tickets (excluding TMC Orchestra concerts) can be purchased one hour prior to each recital, chamber music, or Festival of Contemporary Music concert for $11.

FOR INFORMATION ABOUT BECOMING A FRIEND OF TANGLEWOOD, please call (413) 637-5261 or visit bso.org. —

Sunday, July 25, 10am Thursday, August 12—Monday, August 16 Chamber Music 2010 FESTIVAL OF CONTEMPORARY * MUSIC Sunday, July 25, 8:00pm Gunther Schuller, Oliver Knussen, and The Caroline and James Taylor Concert TMC ORCHESTRA John Harbison, Festival Co-Directors Celebradng the 70th anniversary of the HERBERT BLOMSTEDT and TMC, the 2010 Festival is directed by die TMC CONDUCTING FELLOWS, conductors three living composers who have chaired MENDELSSOHN Fingal's Cave Overture; the TMC's composition activities excerpts from A Midsummer Night's Dream Gunther Schuller, Oliver Knussen, and TCHAIKOVSKY i?om^o and Juliet John Harbison—and features works by HINDEMITH Symphonic Metamorphoses these three composers along with music on Themes of Weber of Copland, Hindemith, and others, Wednesday, July 28, 8pm including recent resident composers. Vocal Recital * Thursday, August 12, 8pm

Saturday, July 31, 6pm J> TMC FELLOWS Prelude Concert OLIVER KNUSSEN and TMC CONDUCTING FELLOWS, conductors Sunday, August 1, 10am Chamber Music EDWIN BARKER, double bass of * Chamber music ANTONIOU, Sunday, August 1, 7:30pm (Theatre) PERLE, SCHULLER, MADERNA, and * Monday, August 2, 7:30pm (Theatre) HINDEMITH * Wednesday, August 4, 7:30pm (Theatre) * TMC VOCAL FELLOWS AND ORCHESTRA Friday, August 13, 2:30pm TMC FELLOWS CHRISTOPH VON DOHNANYI, conductor Chamber music of SESSIONS, BABBITT, (August 1 and 2) WUORINEN, FOSS, and HENZE KEITARO HARADA (TMC Fellow), * conductor (August 4) Saturday, August 14, 2:30pm IRA SIFF, director TMC FELLOWS EDUARDO SICANGCO, set and costume JOHN HARBISON, conductor designer Music of MCPHERSON, MACKEY, MATTHEW MCCARTHY, lighting designer JOLAS, SHENG, and WYNER * STRAUSS Ariadne aufNaxos Sunday, August 15, 10am Fully staged, sung in German with English TMC FELLOWS supertitles Chamber music of FINE, GOEHR, * Tuesday, August 3 BERIO, GRIME, GANDOLFI, and TANGLEWOOD ON PARADE MESSIAEN * To benefit the Tanglewood Music Center Sunday, August 15, 8pm 2:30pm: TMC Chamber Music The Fromm Concert at Tanglewood 4pm: TMC Chamber Music TMC ORCHESTRA AND VOCAL 8pm: TMC Brass Fanfares (Shed) FELLOWS 8:30pm: Gala concert (Shed) STEFAN ASBURY, conductor TMC ORCHESTRA, BSO, and BOSTON Concert operas: POPS ORCHESTRA HARBISON Full Moon in March KEITH LOCKHART, JOHN WILLL\MS, and KNUSSEN Where the Wild Things Are STEFAN ASBURY, conductors * Monday, August 16, 8pm A salute to John Williams on the occasion The Margaret Lee Crofts Concert of his 30th Tanglewood summer TMC ORCHESTRA Saturday, August 7, 6pm } ROBERT SPANO, OLIVER KNUSSEN, Prelude Concert by TMC Faculty and TMC FELLOWS, conductors Music of DRUCKMAN, CARTER, Sunday, August 8, 10am Chamber Music MATTHEWS, and COPLAND

Wednesday, August 11, 8pm The 2010 Festival of Contemporary Music Vocal Recital is made possible by grants from the Aaron Copland Fund for Music, the Fromm Music Saturday, August 14, 6pm J^ Foundation, the National Endowment for the Prelude Concert Arts, and the Helen F. Whitaker Fund, and by the generous support ofDr. Raymond and Hannah H. Schneider. Everything a Great New England Liberal Arts College has to Offer...

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www.interlochen.org The Boston University Tanglewood Institute (BUTI)

In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO's Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tangle- wood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Symphony Orchestra and the Tangle- wood Music Center.

Now in its 45th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its interaction with the Boston Symphony Orchestra and the (photo: Michael J. Lutch) Tanglewood Music Center makes BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent

I in the world of music as performers, composers, conductors, educators, and administra- tors. The Institute includes Young Artists Programs for students age fifteen to eighteen (Instrumental, Vocal, Piano, Harp, and Composition) as well as Institute Workshops (Clari- net, Flute, Oboe, Bassoon, , , Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the Institute's students receive financial assistance from funds contributed by individuals, foundations, and corpora- tions to the Boston University Tanglewood Institute Scholarship Fund. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

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

ORCHESTRA PROGRAMS: Saturday, July 17, 2:30pm, Paul Haas conducts music of Respighi and Brahms. Saturday, July 31, 2:30pm, David Hoose conducts Bach/Elgar and Shostakovich. Saturday, August 14, 2:30pm, Federico Cortese conducts Beaser and Rachmaninoff (in the Tanglewood Theatre).

WIND ENSEMBLE PROGRAMS (Celebrating its 10th Anniversary Season): Friday, July 16, 8pm, David Martins conducts Williams, Broughton, Graham, Rochester, and Holsinger, featuring soloist Terry Everson, trumpet, and a world premiere by Gandolfi. Friday, July 31, 8pm, H. Robert Reynolds conducts Ticheli, Ives, Esancio/Linklater, Amram, Patterson, and Daugherty/Spede, featuring soloist Kenneth Radnofsky, saxo- phone, and a world premiere by Newman; Frank Battisti guest conductor.

VOCAL PROGRAMS: Saturday, August 7, 2:30pm, Ann Howard Jones conducts Barber, Schumann, Paulus, Dove, and Rautavaara.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 19; Tuesday, July 20; Wednesday, July 21; Tuesday, August 10; Wednesday, August 11; Thvu-sday, August 12.

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

boasts over one hundred cultural attrac- Berkshire Choral Festival The Berkshires i tions. In fact, nowhere else will you find such a collection Sheffield, (413) 229-1999 • www.choralfest.org of museums, live performance venues, and architectural- Choral Masterpieces - 150 Voices, Springfield Symphony ly celebrated historic homes thoughtfully situated in lush Orchestra. July 17, 24, 31, Aug. 7. all minutes gardens jmd sprawling wooded properties— Berkshire FUm and Media Conunission England villages and towns. from quaint New Berkshire County, (413) 528-4223 www.berkshirefilm.com Don't just take our word for it. In November 2009, the The BFMC is a new non-profit dedicated to facilitating National Geographic Society named the Berkshires as " film, TV and media production in Western MA. one of the "world 's great places in its annual survey of destinations. The Berkshire Fringe Great Barrington, (413) 320-4175 • berkshirefringe.org Whether you are looking for a casual outing or a hard Mind-blowing new works of theater, music and dance by you'll it here. our guest in one core workout find Be emerging artists. July 26-Aug 16. the Berkshires' charming lodging properties, refresh Berkshire Historical Society at Herman Melville's in an all-inclusive spa, refuel at an area restaurant serv- Arrowhead ing farm-to-table produce and meat, or renew your Pittsfield, (413) 442-1793 • www.mobydick.org wardrobe at an eclectic boutique or oudet village. Arrowhead is the 1783 farmhouse where Herman The Berkshires' natural scenery has been muse to the Melville wrote his epic, "Moby-Dick". Tours, trail, gift shop. Rockwell, Edith Wharton, Herman likes of Norman Berkshire International Film Festival Melville, , Henry David Thoreau, Great Barrington & Pittsfield; (413) 528-8030 Nathanial Hawthorne, Leonard Bernstein, Arlo Guthrie, www.biffma.org Taylor and Yo-Yo Ma-many of whom called it home. James BIFF aims to create a world-class festival as an integral part of the cultural fabric of the Berkshires. June 3-6, 2011. Intrigued? Inspired? Below are just a few of the many experiences you don't want to miss. For more ideas, log Berkshires Jazz, Inc. on to www.berkshires.org for an upto-date calendar of Pittsfield, (413) 442-7718 • www.berkshiresjazz.org events or call us at The Berkshire Visitors Bureau... Pittsfield Cityjazz Festival, Oct. 8-21, in venues all around 800-237-5747. the City. The Bidwell House Museum Animagic Museum Monterey, (413) 528-6888 Lee, (413) 841-6679 • www.mambor.com/animagic www.bidwellhousemuseum.org Make your own animated movie. See Academy Award Colonial history museum on 192 acre grounds, trails, Matrix Predator v/ere and how the movies and made. gardens. Experience life in the Berkshires in the 1750s.

The Ashley House Museiun Capitol Steps at Cranwell Sheffield, 229-8600 • www.thetrustees.org/ (413) Lenox, (413) 881-1636 • www.cranwell.com places-to-visit/berkshires/ ashley-house.html Hilarious political satire & song parody shows nightiy African Heritage Trail anchor site. Oldest American at 8pm, July 2-Sept. 5, except Tues. house in the Berkshires. Weekend tours 10am-4pm. Chesterwood, A National Trust Historic Site Aston Magna Music Festival Stockbridge, (413) 298-3579 • www.chesterwood.org Great Barrington, (413) 528-3595/(800) 875-7156 The home, studio and gardens of sculptor Daniel www.astonmagna.org Chester French. Open daily, 10-5, May 29-Oct. 11. Berkshires' best kept secret: Great music, thrilling per- The Clark formances, world-class artists. Baroque music on period 458-2303 • www.clarkart.edu instruments. Williamstown, (413) Picasso Looks at Degas, an exhibition of two of the great Barrington Stage Company artists of the modern period. Pittsfield, (413) 236-8888 • vmw.barringtonstageco.org With Music Award-winning theatre presenting Sweeney Todd, Art, Oose Encounters Barrington, 843-0778 • www.cevrai.org Absurd Person Singular. 10 min. from Tanglewood. Great (800) Best in thematic chamber music October-June. Bartholomew's Cobble Internationally recognized soloists, vibrant programming Sheffield, • (413) 229-8600 www.thetrustees.org/ at the Mahaiwe 8c Ozawa Hall in 2010-2011. places-to-visit/berkshires/bartholomews

The Berkshire Visitors Bureau thanks The Studley Press, Inc. for donating these pages. are truly in harmony

Emily Dickinson Museum Norman Rockwell Museiun Amherst, (413) 542-8161 Stockbridge, (413) 298-4100 • www.nrm.org www.emilydickinsonmuseum.org Come home to Norman Rockwell Museum! Gift shop. Visit the intimate world of one of the world's best-loved Terrace cafe. Open year-round. 10 minutes from poets at her family homes in Amherst, MA. Tanglewood. Frelinghuysen Morris House & Studio North Adams Historical Society Lenox, (413) 637-0166 • www.frelinghuysen.org North Adams, (413) 664-4700 • northadamshistory.org Art Deco house, master Cubist collection, set on 46-acre North Adams Museum of History and Science, 25 estate next to Tanglewood. exhibits & a temporary gallery on 3 floors in Bldg 5A Heritage State Park, Thu-Sat 10-4, Sun 1-4. Hancock Shaker Village Pittsfield, (413) 443-0188 Performance Spaces for the 21st Century www.hancockshakervillage.org Chatham, NY, (518) 392-6121 • www.ps21chatham.org 50th anniversary in 2010! Historic buildings, gardens, PS/21 presents its 5th season of movies, dance, chamber trails, store & cafe open daily. music, comedy & drama under a tent in an apple orchard.

Housatonic River Walk Pittsfield Art Show Great Harrington, (413) 528-3391 Pittsfield, (413) 443-6501 • www.pittsfieldartshow.org www.gbriverwalk.org 6th Annual. July 17-18, 10am-4pm, rain or shine. Over Great Barrington Housatonic River Walk. A National 75 regional artists 8c crafts persons exhibiting. Juried Recreation Trail. show. Free.

IS 183 Art School SculptureNowJune 12-Oct. 30 Stockbridge, (413) 298-5252 • www.isl83.org Lee, (413) 623-2068 • www.sculpture.org/portfolio Classes & workshops in visual arts for toddlers-seniors, Juried exhibition. 15 large-scale, outdoor sculptures novice-professional in a wide variety of media. inspired by the Hancock Village Shaikers. Self-guiding maps at Visitor's Booth. Jacob's Pillow Dance Festival Becket, (413) 243-0745 • www.jacobspillow.org Shakespeare & Company Only 20 min. from Lenox featuring international dance, Lenox, (413) 637-3353 • www.shakespeare.org free performances, talks, tours and more. Presenting a thrilling season of Shakespeare: Richard 111, The Winter's Tale and more. Lichtenstein Center for the Arts Pittsfield, (413) 499-9348 • www.culturalpittsfield.com Tannery Pond Concerts A lively downtown arts center with classes, events & New Lebanon, NY, (800) 820-1696 changing art shows, plus info on nearby public art. www.tannerypondconcerts.org 7 chamber music concerts on the grounds of Mount The Mac-Haydn Theatre, Inc. Lebanon Shaker Village & Darrow School in a beautiful Chatham, NY, (518) 392-9292 295 seat 19 th c tannery. www.machaydntheatre.org wooden Professional classic & newer musicals, great voices, The Theater Barn dynamic dance, exciting family fun. New Lebanon, NY, (518) 794-8989 wwfw.theaterbarn.com Mahaiwe Performing Arts Center "Professional Theater in the Country" performing Great Barrington, (413) 528-0100 • www.mahaiwe.org Thursdays thru Sundays, July 2-Sept 26, 2010. The Mahaiwe is open year-round with Met Opera "Live in HD", live music, dance and more. Upper Housatonic Valley African American Heritage MASSMoCA Trail Great Barrington, (413) 528-3391 North Adams, (413) 662-2111 • www.massmoca.org www.africanamericantrail.org Housed in a restored 19th c factory featuring Sol LeWitt Upper Housatonic Valley African American Heritage plus the best art of our time. Trail. The Mission House & Indian Museum Williams College Department of Music Stockbridge, (413) 298-3239, Ext. 3000 Williamstown, 597-2736 • www.music.williams.edu www.thetrustees.org/places-to-visit/berkshires/ (413) Classical, Music, Choral. for every- mission-house.html New Jazz, Something one by incredibly talented students in the Berkshires. Where Stockbridge began, in Mohican homelands. Open 12-3pm, Thurs-Mon. One block from the Red Lion Inn. Williams College Museum of Art The Mount Williamstown, (413) 597-2429 • www.wcma.org Over 13,000 works that span the history of art - Lenox, (413) 551-5111 • www.edithwharton.org collection and changing exhibitions. Tues-Fri, Tour Edith Wharton's elegant 1902 estate and gardens. 10am-5pm; Sun, l-5pm. Terrace Cafe. Bookstore. Daily 10am-5pm, May-October. Naumkeag House & Gardens Stockbridge, (413) 298-3239, Ext. 3000 www.thetrustees.org/places-to-visit/berkshires/ naumkeag.html Forty eight acres of beauty and tranquility near the Red Lion Inn. The Trustees of Reservations.

NATURE • CULTURE • HARMONY

Berkshire Visitors Bureau 800-237-5747 • wvvw.berkshires.org • 3 Hoosac Street, Adams, MA and 109 South Street, Pittsfield, MA H

J. harwooeF South Mountain Concerts

ARCHITECT Pittsfield, Massachusetts 92"'' Season of Chamber Music

Concerts Sundays at 3 P.M. Septembers Kalichstein, Laredo, Robinson Trio

September 12

September 19 Emerson String Quartet and Menaliem Pressler, piano September 26 Jupiter String Quartet and Wu Han, piano

,- October 3 JoUyo String Quartet

For Brochure and Ticket Information Write South Mountain Concerts, Box 23 Pittsfield, MA 01 202 Phone 41 3 442-21 06 www.southmountainconcerts.com

Phoius Chuck Clmi uNcd wilh pcrrniitKion of Oliver Cope, Architect

5 Enchanted Evenings. '# 200 Voices in Song. t THITWINTKTHffiASON July 17 8pm H MAY29,6PM H^ndel-Judas Maccabeaus

July 24 8pm r^pEiMPM'Dhr^r

Paula RobisoD, flute RoiiiaoLuliainbo,guilai CyioBapiista,|)acussion Morten \j3i\x{vhen.~Lux Aetema Haydn-Paukenmesse ]mm \j \ \ July 31 8pm l\/ ' Jeremy Denl!,piinio *.\ J*— All-Brahms Evening: Schicksalslied,

Ol , P31,8PM I Geistlicheslied, Ndnie, , KiiGerstein, piano ;; ] Academic Festival Overture, and movements X from the Liebeslieder Waltzes u AUGUSTiyPM^Iil August? 8pm VivicaGeiiaiix,KZ2(Hopniiio Craig Rotenbeij piano Poulenc-G&m SEPTEMBER 4,8PM

Rurter- Te Deum I— ]eniiiferFiaulsdii, violin Eric Ruske, horn PedjaMnzijevit, piano Bizet- Te Deum X

Free PREPs: pre-concert talks at 6:45 p.m. Perfonnances are held in the Tannery on the grounds of Mount Lebanon Shaker Village and Oarrow School, New Lebanon, New York. 245 North Undermountain Road PU Reservations and information 888 820 1696 or www.tannerypondconcerts.org Sheffield, MA 01257 www.choralfest.org ^^ Tanglewood Business Partners

The BSO gratefully acknowledges the followingfor their generous contributions of $650 and higher

during the 2009-10 fiscal year. An eighth note J> denotes support of$l,250-$2,999, and those names that are capitalized denotes support of $3000 or more. For information on how to become a Tanglewood Business Partner, please contact Susan Beaudry, Manager of the Tanglewood Business Partners at (413) 637-5174 or [email protected].

Nancy J. Fitzpatrick, Chair, Tanglewood Business Partners Committee

Accounting/Tax Preparation

^ Berenfeld Spritzer Shechter and Sheer • -''Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Lombardi, Clairmont & Keegan, Certified Public Accountants Advertising/PR/Marketing Research/Professional Business Services/Consulting

Ed Bride Associates • - The Cohen Group • ^ General Systems Company, Inc. •

-''Pilson Communications, Inc. • «'' R.L. Associates

Antiques/Art Galleries

DeVries Fine Art International • Elise Abrams Antiques • f' Hoadley Gallery • Paul Kleinwald Art & Antiques, Inc. Architects/Designers

^ Nancy Edman Interiors • Hill-Engineers, Architects, Planners, Inc. • Barbara Rood Interiors IIDA • S & K Design Automotive ^ Biener Audi Banking

Adams Co-Operative Bank • BERKSHIRE BANK • Greylock Federal Credit Union . Lee Bank • LEGACY BANKS • Lenox National Bank • v^ The Pittsfield Cooperative Bank • South Adams Savings Bank • TD BANK Beverage/Food Sales/Consumer Goods

-'' Crescent Creamery, Inc. • GOSHEN WINE & SPIRITS, INC. • Guido's Fresh Marketplace • High Lawn Farm • KOPPERS CHOCOLATE • V" Price Chopper's Golub Foundation Contracting/Building Supplies

Alarms of Berkshire County • ^ R.J. Aloisi Electrical Contracting, Inc. • Berkshire Landmark Builders • Lou Boxer Builder, LLC • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY •

• • Great River Construction Co. DAVID J. TIERNEY, JR., INC. PETER D. WHITEHEAD BUILDER, LLC Education

Belvoir Terrace - Visual & Performing Arts Center • Berkshire Country Day School • CAREERS THROUGH CULINARY ARTS PROGRAM • KUMON • LENOX ATHENAEUM • Massachusetts College of Liberal Arts • -''Thinking in Music, Inc. • Westfield State College Energy/Utilities/Heating & Cooling

-^Berkshire County Stoves • Ray Murray, Inc. • VIKING FUEL OIL COMPANY, INC. Engineering

J' Foresight Land Services Environnnental Services

MAXYMILLMN TECHNOLOGIES, INC. • Nowick Environmental Associates

Financial Services

ABBOTT CAPITAL MANAGEMENT, LLC -''American Institute for Economic Research •

THE BERKSHIRE CAPITAL INVESTORS -'' Kaplan Associates L.P. • Pennington Management, LLC High Technologies/Electronics J'Nev/ Yorker Electronics Co., Inc. Insurance

Bader Insurance Company, Inc. • BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA • GENATT ASSOCIATES, INC. A KINLOCH COMPANY • Keator Group,LLC J' L.V. Toole Insurance Agency, Inc. • TRUE NORTH INSURANCE, INC. New York is classical music THE NEW SCHOOL is New York Mannes ARTISTRY AND COMMUNITY

As part of The New School, Mannes offers the resources of a major

university and an intimate, supportive environment where students

become first-rate musicians.

• World-renowned faculty of active professionals from all areas of music

• 2-to-l student-faculty ratio

• Bachelor of music, bachelor of science, and master of music

degree programs as well as undergraduate and professional studies diploma programs

• Hundreds of student performances annually at Mannes and leading

venues throughout New York City

To learn more about Mannes programs, contact admissions

at 212.580.0210 x4862 or [email protected]

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MANNES COLLEGEIVC NEW SCHOOL FOR MUSIC

The New School is a leading university in New York City offering some of the nation's most distinguished oegree,

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An Affirmative Action/ Equal OpportunKy Institution

T> T A A /f A Western Regional Office .r^". f-r^ 1 80 Elm Street, Suite C BrainP. Injury Association Q of Massachusetts Pittsfielcl,MA01201

"When the music stops, we are here."

The Brain Injury Association of Massachusetts provides support, information and resources.

www.biama.org Legal

•'^Braverman & Associates, P.C. • Cianflone & Cianflone, P.C. • Jay M. Cohen, P.A. •

• • ^ Cohen Kinne Valicenti & Cook LLP Michael J. Considine, Attorney at Law Deely & Deely Attorneys Grinnell Smith, LLP • Heller & Robbins • Hochfelder & Associates, P.C. • Jonas & Welsch, P.C. • Law Offices of David L. & Juliet P. Kalib • v^ Attorney Linda Leffert • Norman Mednick, Esq. • •'' Schragger, Schragger & Lavine • •'' Lester M. Shulklapper, Esq. • Louis Soloway • Bernard Turiel, Esq. Lodging

-''1804 Walker House • -/' 1862 Seasons on Main B&B • A Bed & Breakfast in the Berkshires • ."Americas Best Value Inn • -''Applegate Inn • APPLE TREE INN • BERKSHIRE INNS/YANKEE INN • ^ Berkshire Hampton Inn & Suites • ^ Berkshire Comfort Inn & Suites • ^ Birchwood Inn • BLANTYRE

-'^ •^ Brook Farm Inn • Chesapeake Inn of Lenox • •/' Cliffwood Inn • -'' The Cornell in Lenox • CRANWELL RESORT SPA & GOLF CLUB • CROWNE PLAZA HOTEL • > Devonfield Country Inn • ^ Econo Lodge Lenox ^ Federal House Inn • ^ The Garden Gables Inn • ^ Gateways Inn & La Terrazza Restaurant • -'' Inn at Green River • ^ Historic Merrell Inn • HOWARDJOHNSON INN EXPRESS • / The Kemble Inn Bed & Breakfast • THE PORCHES INN AT MASSMOCA • THE RED LION INN • /The Inn at Richmond and The Berkshire Equestrian Center • ^ The Rookwood Inn • -'' Seven Hills Inn • ^ The Inn at Stockbridge TOM & SUKI WERMAN • The Weathervane Inn • THE WHEATLEIGH HOTEL & RESTAURANT • Whisder'sinn • WINTHROP ESTATES • The Williams Inn . ^Williamstown Motel Manufacturing/Industrial

-/• Barry L. Beyer • General Dynamics • INITIALLY YOURS • ^ The Kaplan Group SHEFFIELD PLASTICS, INC. Photography

^ Lynne Graves - Lifestyle Photography

Printing/Publishing QUALITY PRINTING COMPANY, INC. SOL SCHWARTZ PRODUCTIONS, INC. THE STUDLEY PRESS, INC. Real Estate

ARTLIFEDESIGN . ^ Barnbrook Realty • BARRINGTON ASSOCL\TES REALTY TRUST •

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• • • ^ • / Cohen & White Associates Franz J. Forster Real Estate Robert Gal, LTD Barbara K. Greenfeld • Barb Hassan Realty, Inc. • The Havers • Hill Realty, LLC •'' Lawrence Hurwit THE PATTEN FAMILY FOUNDATION • Real Estate Equities Group LLC • Roberts & Associates Realty, Inc • Stone House Properties, LLC • Michael Sucoff Real Estate • Wheeler & Taylor Insurance & Real Estate Restaurants

>• Alta Restaurant & Wine Bar • >'Baba Louie's Wood Fired Organic Sourdough Pizza • ^ Brix Wine Bar • ^ Cafe Lucia • Cakewalk Bakery Cafe • Chez Nous Bistro • Church Street Cafe • Cork 'N Hearth • Firefly • -'' Mazzeo's Ristorante • ^ Perigee Restaurant/Apogee Catering • / Prime Italian Steak House & Bar • Spice Root Modern Indian Cuisine

Retail

AMERICAN TERRY CO. • Arcadian Shop • Bare Necessities • BERKSHIRE CO-OP MARKET .

/Carr Hardware and Supply Co., Inc. • ^Casablanca • ^ Chocolate Springs Cafe COUNTRY CURTAINS • CRANE & COMPANY, INC. • The Gifted Child • GLAD RAGS • ^ Limited Edition Lighting •

Nejaime's Wine Cellars in Stockbridge and Lenox • Orchids, Etc. of Lee •

^ Paul Rich & Sons Home Furnishings & Design • ^ picnic fashion • ^ The Spirit Shop • ^ Ward's Nursery & Garden Center • Windy Hill Farm, Inc. Science/Medical

-''510 • Medical Walk-In • J. Mark Albertson D.M.D., P.A. • Austen Riggs Center

•'' Back To Life! Chair Massage Pracdtioners • Berkshire Health Systems • «'' Lewis R. Dan, M.D. • Dr. and Mrs. Jesse Ellman • -'' Eye Associates of Bucks County • Dr. Steven M. Gallant •

-'' Leon S. Harris MD • Fred Hochberg, M.D. . William Knight, M.D. • Carol Kolton, LCSW • Lance Sterman, MD • -''Livingstone Dental Excellence and The Canaan Gende Dental & Implant Center • Long Island Eye Physicians and Surgeons, P.C. • Northeast Urogynecology • G. Michael Peters, M.D. • Philadelphia Eye Associates • Donald Wm. Putnoi, M.D. • ^ Robert K. Rosenthal, MD PC • -'' Royal Home Health Care Services of New York • -'' Suburban Internal Medicine Services ABBOTT'S LIMOSIUNE SERVICE & LIVERY / ALADCO Linen Services • Cady Brook Farm Equestrian Facility • •'' Shear Design • Dery Funeral Home •

MVRLAD PRODUCTIONS, INC. • -" SEVEN salon. spa • -" T Square Design Studio, Inc. Storage

•'' Security Self Storage • -'' SpaceNow! Corporation Tourism/Resorts

CRANWELL RESORT, SPA & GOLF CLUB • CANYON RANCH . Jiminy Peak Mountain Resort/EOS Ventures Berkshire Home»Style

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baystatehealth.org/heart ^-^ Endowment Funds Supporting the Tanglewood Festival, the TMC, 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. Other programs supported by these funds include the BSO's Days in the Arts at Tanglewood and the BSO's Berkshire Music Education. For more information, please contact

Elizabeth P. Roberts, Director of Individual Giving, at (61 7) 638-9269.

Endowed Artist Positions

Berkshire Master Teacher Chair Fund • Edward and Lois Bowles Master Teacher Chair Fund •

Richard Burgin Master Teacher Chair Fund • Charles E. Culpeper Foundadon Master Teacher Chair

Fund • Eleanor Naylor Dana Visiting Artists Fund • Vic Firth Master Teacher Chair Fund, endowed by

Mr. and Mrs. Henry Wheeler • Barbara LaMont Master Teacher Chair Fund • Renee Longy Master

Teacher Chair Fund, gift ofJane and John Goodwin • Harry L. and Nancy Lurie Marks Tanglewood

Artist-In-Residence Fund • Marian Douglas Martin Master Teacher Chair Fund, endowed by

Marilyn Brachman Hoffman • Beatrice Sterling Procter Master Teacher Chair Fund • Sana H. and

Hasib J. Sabbagh Master Teacher Chair Fund • Surdna Foundation Master Teacher Chair Fund • Stephen and Dorothy Weber Artist-In-Residence Fund

Endowed Full Fellowships

Jane W. Bancroft Fellowship • Bay Bank/BankBoston Fellowship • Leonard Bernstein Fellowships •

Edward S. Brackett, Jr. Fellowship • Frederic and Juliette Brandi Fellowship • Jan Brett and Joe Hearne

Fellowship • Rosamund Sturgis Brooks Memorial Fellowship • Tappan Dixey Brooks Memorial

Fellowship • Mary E. Brosnan Fellowship • BSAV/Carrie L. Peace Fellowship • Stanley Chappie

Fellowship • Alfred E. Chase Fellowship • Clowes Fimd Fellowship • Harold G. Colt, Jr. Memorial

Fellowship • Andre M. Come Memorial Fellowship • Caroline Grosvenor Congdon Memorial Fellowship •

Margaret Lee Crofts Fellowship • Charles E. Culpeper Foundation Fellowship • Darling Family

Fellowship • Omar Del Carlo Fellowship • Akiko Shiraki Dynner Memorial Fellowship • Otto Eckstein

Family Fellowship Friends of Armenian Culture Society Fellowship • Judy Gardiner Fellowship •

Athena and James Garivaltis Fellowship • Merwin Geffen, M.D. and Norman Solomon, M.D. Fellowship •

Juliet Esselborn Geier Memorial Fellowship • Armando A. Ghitalla Fellowship • Fernand Gillet

Memorial Fellowship • Marie Gillet Fellowship • Haskell and Ina Gordon Fellowship • Michael and

Sally Gordon Fellowship • Florence Gould Foundation Fellowship • John and Susanne Grandin

Fellowship • William • and Mary Greve Foundation-John J. Tommaney Memorial Fellowship Luke B.

Hancock Foundation Fellowship • William Randolph Hearst Foundation Fellowship • Valerie and Allen

Hyman Family Fellowship • CD. Jackson Fellowship • Paul Jacobs Memorial Fellowship • Lola and

Edwin Jaffe Fellowship • Keyboard Fellowship • Susan B. Kaplan Fellowship • Steve and Nan

Kay Fellowship • Robert and Luise Weinberg Fellowship • Mr. and Mrs. Allen Z. Kluchman Memorial

Fellowship • Dr. John Knowles Fellowship • Naomi and Philip Kruvant Family Fellowship • Donald Law

Fellowship • Barbara Lee/Raymond E. Lee Foundation Fellowship • Bill and Barbara Leith Fellowship •

Edward H. and Joyce Linde Fellowship • Edwin and Elaine London Family Fellowship • Arno and Maria

Maris Student Memorial Fellowship • Stephanie • Morris Marryott & Franklin J. Marryott Fellowship

Robert G. McClellan, Jr. & IBM Matching Grants Fellowship • Merrill Lynch Fellowship • Messinger

Family Fellowship • Ruth S. Morse Fellowship • Albert L. and Elizabeth P. Nickerson Fellowship •

Northern California Fellowship • Seiji Ozawa Fellowship • Theodore Edson Parker Foundation

Fellowship Pokross/Curhan/Wasserman Fellowship • Lia and William Poorvu Fellowship • Daphne

Brooks • Prout Fellowship Claire and Millard Pryor Fellowship • Samuel Rapaporte, Jr. Family

Foundation Fellowship • Harry and Mildred Remis Fellowship • Peggy Rockefeller Memorial Fellowship •

Carolyn and George R. Rowland Fellowship, in • honor of the Reverend Eleanor J. Panasevich

Saville Ryan and Omar Del Carlo Fellowship • Wilhelmina C. Sandwen Memorial Fellowship •

Morris A. Schapiro Fellowship • Edward G. Shufro Fund Fellowship • Starr Foundation Fellowship •

Anna Sternberg and Clara J. Marum Fellowship • Miriam H. and S. Sidney Stoneman Fellowships • ^ .

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Piretti Real Estate 22 Walker Street Lenox, Massachusetts Call today for a free estimate 413-637-1696 www.pirettirealestate.com (413)441-5291 mailto:[email protected] Surdna Foundation Fellowship • James and Caroline Taylor Fellowship • William F. and Juliana W.

Thompson Fellowship • Ushers/Programmers Instrumental Fellowship, in honor of Bob Rosenblatt •

Ushers/Programmers Harry Stedman Vocal Fellowship • Wallace-Reader's Digest Fund Fellowship •

Stephen and Dorothy Weber Fellowship • Max Winder Memorial Fellowship • Patricia Plum Wylde

Fellowship • Jerome Zipkin Fellowship

Endowed Half Fellowships

Mr. and Mrs. David B. Arnold, Jr. Fellowship • Kathleen Hall Banks Fellowship • Leo L. Beranek

Fellowship • Felicia Montealegre Bernstein Fellowship • Sydelle and Lee Blatt Fellowship • Brookline

Youth Concerts Awards Committee Fellowship • Helene R. and Norman L. Cahners Fellowship • Marion

Callanan Memorial Fellowship • Nat Cole Memorial Fellowship • Harry and Marion Dubbs Fellowship •

Daniel and Shirlee Cohen Freed Fellowship • Dr. Marshall N. Fulton Memorial Fellowship • Gerald

Gelbloom Memorial Fellowship • Adele and John Gray Memorial Fellowship • Arthur and Barbara

Kravitz Fellowship • Bernice and Lizbeth Krupp Fellowship • Philip and Bernice Krupp Fellowship •

Dr. Lewis R. and Florence W. Lawrence Tanglewood Fellowship • Lucy Lowell Fellowship • Morningstar

Family Fellowship • Stephen and Persis Morris Fellowship • Dr. Raymond and Hannah H. Schneider

Fellowship • Pearl and Alvin Schottenfeld Fellowship • Edward G. Shufro Fund Fellowship • Evelyn

and Phil Spitalny Fellowship • R. Amory Thorndike Fellowship • Augustus Thorndike Fellowship •

Sherman Walt Memorial Fellowship • Avedis Zildjian Percussion Fellowship

Endowed Scholarships

Maurice Abravanel Scholarship • Eugene Cook Scholarship • Dorothy and Montgomery Crane

Scholarship • William E. Crofut Family Scholarship • Ethel Barber Eno Scholarship • Richard F. Gold

Memorial Scholarship • Leah Jansizian Memorial Scholarship • Miriam Ann Kenner Memorial

Scholarship • An drall and Joanne Pearson Scholarship • Mary H. Smith Scholarship • Cynthia L. Spark

Scholarship • Tisch Foundadon Scholarship

Endowed Funds Supporting Tanglewood and the Tanglewood Music Center

George W. and Florence N. Adams Concert Fund • Eunice Alberts and Adelle Alberts Vocal Studies

Fund* • Elizabeth A. Baldwin DARTS Fund • Bernard and Harriet Bernstein Fund • George and Roberta

Berry Fund for Tanglewood • Peter A. Berton (Class of '52) Fund • Donald C. Bowersock Tanglewood

Fund • Gino B. Cioffi Memorial Prize Fund • Gregory and Kathleen Clear DARTS Scholarship Fund* •

Phyllis and Lee Coffey Memorial Concert Fund • Aaron Copland Fund for Music • Margaret Lee Crofts

Concert Fund • Margaret Lee Crofts TMC Fund • Paul F. and Lori A. Deninger DARTS Scholarship

Fund • Alice Willard Dorr Foundation • Carlotta • Fund M. Dreyfus Fund Raymond J. Dulye Berkshire

Music Educadon Fund • Virginia Howard and Richard A. Ehrlich Fund • Selly A. Eisemann Memorial

Fund • Elvin Family Fund • Elise V. and Monroe B. England Tanglewood Music Center Fund •

Honorable and Mrs. John H. Fitzpatrick Fund • Daniel and Shirlee Cohen Freed Concert Fund •

Merwin Geffen, M.D. and Norman Solomon, M.D. New Commissions Fund • General Tanglewood Fund •

Ann and Gordon Getty Fund • Gordon/Rousmaniere/Roberts Fund • Grace Cornell Graff Fellowship

Fund for Composers at the TMC • Heifetz Fund • Mickey L. Hooten Memorial Award Fund • Grace

Jackson Entertainment Fund • Grace B.Jackson Prize Fund • Paul Jacobs Memorial Commissions Fund • Louis Krasner Fund for Inspirational Teaching and Performance, established by Marilyn Brachman

Hoffman • William Kroll Memorial Fund • Lepofsky Family Educadonal Inidative Fund • Dorothy Lewis

Fund • Kathryn & Edward M. Lupean & Diane Holmes Lupean Fund • Samuel Mayes Memorial Cello

Award Fund • Charies E. Merrill Trust TMC Fund • NGF TMC Fund • Northern California TMC

Audidon Fund • Herbert Prashker Fund • Renee Rapaporte DARTS Scholarship Fund • Mr. and Mrs.

Ernest H. Rebendsch Fund • Jules C. Reiner Violin Prize Fund • Harvey and Elaine Rothenberg Fund •

Helena Rubinstein Fund • Edward I. and Carole Rudman Fund • Alan Sagner Fund • Renee D. Sanft

Fund for the TMC • Hannah and Ray Schneider TMCO Concert Fund* • Maurice Schwartz Prize Fund

by Marion E. Dubbs • Ruth Shapiro Scholarship Fund • Dorothy Troupin Shimler Fund • AsherJ.

Shuffer Fund • Evian Simcovitz Fund • Albert Spaulding Fund • Jason Starr Fund • Hopie Stokes

TMC Fund • Tanglewood Music Center Composition Program Fund • Tanglewood Music Center Opera

Fund • TMC General Scholarship Fund • Denis and Diana Osgood Tottenham Fund • The Helen F.

Whitaker Fund • Gottfried Wilfinger Fund for die TMC* • John Williams Fund • Karl Zeise Memorial

Cello Award Fund • Jerome Zipkin DARTS Fund • Anonymous (1)

Listed as ofJune 1, 2010 * Deferred gifts ^-^ Tanglewood Major Corporate Sponsors 2010 Season

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

Bank of America

Bank of America is proud to be the 2010 season sponsor of Tanglewood. As a major supporter

of arts and culture in the United States, and increasingly in Europe, Bank of America has

built its support on a foundation of responsible business practices and good corporate citizenship Bob Gallery that helps improve access to the arts and arts Massachusetts President, Bank of America education in local communities nationwide. Bank of America offers customers free access to more than 120 of the nation's finest cultural institutions

through its acclaimed Museums on Us® program, while the Art in our Communities® program shares exhibits from the bank's corporate collec- tion with communities across the country through

local museums. In addition, the Bank of America Charitable Foundation provides philanthropic

support to museums, theaters, and other arts- related non-profits to expand their services and

offerings to schools and communities.

Bank of America understands the important role

artistic institutions play in both enriching our

quality of life and strengthening our economy. We know that healthy communities are healthier places to do business. ARBELLA INSURANCE GROUP CHARITABLE FOUNDATION. INC.

John Donohue The Arbella Insurance Group, through its Arbella Insurance Chairman, President, Group Charitable Foundation, is proud to be a sponsor of and CEO Opening Night at Tanglewood, a New England institution that

brings music, arts and entertainment to the community. Through our foundation, we help support organizations, such as the Boston Symphony Orchestra, that work so hard to positively

impact the lives of those around them. We're proud to be local,

and our passion for everything that is New England helps us

better meet all the unique insurance needs of our neighbors.

OMMONWEALTH WORLDWIDE CHAUFFEURED TRANSPORTATION 'I

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

STEINWAY 6 SONS

Steinway & Sons is proud to be the exclusive provider of pianos to Symphony Hall and Tanglewood. Since 1853, Ron Losby Steinway pianos have set an uncompromising standard President - Americas for sound, touch, beauty, and investment value. Steinway

remains the choice of 9 out of 10 concert artists, and it is the preferred piano of countless musicians, professional and amateur, throughout the world. FAVORITE RESTAURANTS OF THE BERKSHIRES

Our Own ^vv^^^^;LI2si^< Ice Cream & Sorbets

Kjnocolaii Sprinqs

Route 102, Lee, MA 413-394-4047 (413) 637-9820 • Route 7, Lenox. MA WWW.CHOCOLATESPRINGS.COM Serving Daily 5pm to 10pm

BOMBAY 1 CLASSIC INDIAN CUISINE

LUNCH • DINNER • WEEKEND BRUNCH HAVEN At Quality Inn 435 Laurel Street • Lee, MA. 01238 Cafe & 'Bakery 413 243 6731 ww\^'.fineinciiandining.com

Vrea^ast & lunch served a[[ iatf Dinner "Wed. - Sun. Tan^Cewood picnics "We support (ocat farmers & businesses ENTREES 8 franklin Street lenox 413.637.8948

XAaJI^1/^rl/k 117 Fenn Street r^JjjT^ Pjttsfleld iiiIQ 413-442-2290 www.mgidjacksbbqonline.com

call us for a TANGLEWOOD picnic pack FARE FOR ALL SUMMER MENUS, PERFECTLY SEASONED

TAVERN MAIN DINING ROOM | LION'S DEN I 1^ Entertainment Nightly in the Lion's Den Puh restaurant & bistro IheRedLmInn

3 Center Street • West Stockbridge, MA DISTINCTIVE LODGING • ARTFUL CUISINE • TIMELESS ELEGANCE RedLionInn.com 30 Main Street, Stockbridge, MA (413)298-5545 | (413) 232-4111 •www.rougerestaurant.com | FAVORITE RESTAURANTS OF THE BERKSHIRES

cuci'hfA I'mLiJ^A ,/a "Best mole east of Chicago!" -Emeril Live. Food Network 'Enjotf !\utfientk Italian tequila bar 'food in the 'Berk§fdres X F C O H T ^ N WWf' gourmet cuisine JP^*\ ^ mmmmmmmmmmmmmimm^,.— ^vww.trattona-vesuvio.com outdoor dining ^^^^^^^|||^^3ililUHim

open 7 days • 50 Stockbridge Rd/Rt 7, Gt Barrington IKPltTES 7dr20, LenoT^MAOUAO (413)637-4904 reservations recommended • 413.528.2002

{"Comparable to the Best in NYC" zagat 2010 Urn Street Market

m^^EH 8P.€XKFXrr, LUNCH &. LOCXL qoJSIP S6Rs,VeD. TXNCL£WOOD ffeKte^ BMKETJ XVXILXBL£. Gourmet Japanese Cuisine & Suslii Bar 17 Railroad, Great Barrington, MA 413-528-4345 JTOCKBKIDqe, MA • 413-298-3634 Tatami Rooms Kaiseki Robata Bar

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

CIP was founded in the town of Lee, MA -just 10 minutes from Tanglewood i

0%oP 3 Bedroom , 2 1/2 Bath, 1 Car Garage ^Jd $200'S

Upscale Luxury Condominiums

/ Luxury Townhouses On the Lenox/Stockbridge line

Swimming I .,_.,._ 3 to 5 Bedrooms 3 l/2to4 1/2 Bathrooms

First Floor Master Bedroom Suite Fireplace 'ejm Screen Porch / Oversize deck

Country Setting ' Maintenance Free Living 3 to 5 Bedrooms 2 Car Garage 2 1 /2 to 4 1/2 Batlnrooms Central Air C 2 Car Garage First Floor- Ivlaster Bedroom Suite Fireplace Screen Porch / Oversize deck Great Location Beautiful View IS/Iaintenance Free Living Central Air .^ii '5 minutes to Tandewood

HOiy.

.,:ealtySales,coni

413-443-8866 fa Information call 413443-8866 For Infoimation call

Another Luxury Development by LD Builders. I •srcrr^e^^ss^-

The Tradition Continues .

Combining natural beauty with a relaxing, unhurried pace, historic Cooperstown's

Otesaga Resort Hotel offers families first- rate accommodations, fine dining and an array of sports and recreational activities.

For reservations please call (800) 348-6222 or email [email protected],

Over 100 Years of Qracious Hospitality® The Otesaga Resort Hotel, 60 Lake Street, Cooperstown, NY

Historic HarELS www.Otesaga.com o/America

You love the outdoors - but did you know that insects that can move on firewood destroyed over 30,000 trees in Massachusetts?

The trees are counting on you to protect them by leaving your firewood at home. So don't move firewood, and buy local when you get here.

That's what tree said. To learn more, visit:

That's What Tree Said Love 6 Lauc/iter

June 12 to October 31, 2010

William Steig All nghts reserved

Brilliant drawings from The New Yorker to Shrek and the artistry of Jeanne Steig.

NORMAN ROC KWE L L MUS E UM NRM.org open daily 9 Route 183 Stockbridge, MA 413-298-4100

kids & teens free! A gift to families from Country Curtains, Blantyre, and The Red Lion Inn. lEAL OPPORTUNITIES - REAL SKILLS r/^

i

REAL CONFIDENCE - REAL INFLUENCE

y* V

MISS HALL'S SCHOOL «>-|®ki> what girls have in mind :^-&. aJ M ^5 492 Holmes Road, Pittsfield, Massachusetts 01201 (413) 499-1300^^^^^

www.misshalls.org • email: [email protected] Whether they make us laugh, cry or simply smile, the performing arts do much more than merely entertain. Bank of America is proud to be the season sponsor of Tanglewood.

Visit us at www.bankofamerica.com.

Bank of America, N.A. Member FDIC. Bankof America Equal Housing Lender t=t © 2008 Bank of America Corporation. All rights reserved. ART-45