Boston Symphony Orchestra Concert Programs, Summer, 2006

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BOSTON SYMPHONY ORCHESTRA

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

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

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

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

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

Life Trustees

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

Other Officers of the Corporation Mark Volpe, Managing Director Thomas D. May, ChiefFinancial Officer Suzanne Page, Clerk ofthe Board Board of Overseers of the Boston Symphony Orchestra, Inc. Shari Loessberg, Chair

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

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

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

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

Ranny Cooper Charles H. Jenkins, Jr. Ann M. Philbin Larry Weber James C. Curvey Paul L. Joskow May H. Pierce Robert S. Weil Tamara P. Davis Stephen R. Karp Claudio Pincus David C. Weinstein Mrs. Miguel de Stephen Kay Joyce L. Plotkin James Westra

Braganca Brian Keane Dr. John Thomas Potts, Jr. Mrs. Joan D. Wheeler Disque Deane Cleve L. Killingsworth Dr. Tina Young Poussaint Richard Wurtman, M.D. Paul F. Deninger Douglas A. Kingsley James D. Price Dr. Michael Zinner Alan Dynner Robert Kleinberg Patrick J. Purcell D. Brooks Zug Ursula Ehret-Dichter Peter E. Lacaillade Overseers Emeriti

Helaine B. Allen Peter H.B. Frelinghuysen Mrs. Gordon F. Kingsley Mrs. Jerome

Caroline Dwight Bain Mrs. Thomas David I. Kosowsky Rosenfeld

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

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

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

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

Officers of the Boston Symphony Association of Volunteers

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

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

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

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

Edward H. Linde by Alan S. Bressler and Edward I. Rudman Managing Director Bernadette M. Horgan, Director ofMedia Relations Ray F. Wellbaum, Orchestra Manager Thomas D. May, ChiefFinancial Officer ADMINISTRATIVE STAFF/ARTISTIC

• Bridget R Can, Archivist-Position endowed by Caroline Dwight Bain • Karen Leopardi, Artist Assistant Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director /Manager of Board Administration • Benjamin Schwartz, Assistant to the Artistic Administrator ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager

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

Assistant to the Orchestra Manager

BOSTON POPS

Dennis Alves, Director ofArtistic Programming Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • MargO Saulnier, Artistic Coordinator • Jeff Swallom, Administrative Coordinator

BUSINESS OFFICE

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

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

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

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

Kelly, Associate Manager of'Development Operations • Brian Kern, Senior Major Gifts Officer • Nicole Leonard, Assistant Manager ofPlanned Giving • Ryan Losey, Manager ofFoundation Support • Pam Malumphy, Manager, Tanglewood Business Friends • Pamela McCarthy, Manager ofProspect Research • Cynthia Morgan, Gift Processing and Donor Records Assistant • Cristina Perdoni, Assistant Manager of Gift Processing and Donor Records • Jennifer Raymond, Associate Director, Friends Membership • Katie Schlosser, Coordinator ofAnnual Fund Projects • Yong- Hee Silver, Manager ofBSO and Pops Societies • Kara L. Stepanian, Senior Major Gifts Officer • Mary E. Thomson, Program Manager, Corporate Programs • Hadley Wright, Foundation and Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS

Myran Parker-Brass, Director ofEducation and Community Programs

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

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

FACILITIES

Robert L. Barnes, Director ofFacilities

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

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

Tanglewood Facilities Staff Robert Casey • Steve Curley • Rich Drumm • Bruce Huber HUMAN RESOURCES

Dorothy DeYoung, Benefits Manager Mary Pitino, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director ofInformation Technology

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

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

PUBLICATIONS Marc Mandel, Director ofProgram Publications

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

SALES, SUBSCRIPTION, AND MARKETING

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

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

Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason

Lyon, Group Sales Manager • Dominic Margaglione, Senior Subscription Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Michael Moore, E-Commerce Marketing

Analyst • MarcyKate Perkins, SymphonyCharge Representative • Kristen Powich, Sponsor Relations Coordinator • Doreen Reis, Marketing Coordinatorfor Advertising • Robert Sistare, SymphonyCharge Representative • Megan E. Sullivan, Senior Subscription Associate

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

• Box Office Representatives Mary J. Broussard • Cary Eyges • Mark Linehan Arthur Ryan TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Michael Nock, Manager of Student Services • Kristen Reinhardt, Administrator • Gary Wallen, Scheduler

TANGLEWOOD SUMMER MANAGEMENT STAFF

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

The Tanglewood Festival

In August 1934 a group of music-loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philharmonic under the direction of Henry Hadley. The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer. The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the

Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, drawing a total of nearly 15,000 people. In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered

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

August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival's second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the "Forest Murmurs" from Siegfried, music too delicate to be heard through the downpour.

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

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

evening of August 4,

1938, when the first concert of that year's festival was given, and remains, with modifica-

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

In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small

studios were finished, and the festival had so expanded its activities and its reputation for ex-

cellence that it attracted nearly 100,000 visitors. With the Boston Symphony Orchestra's acquisition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood's public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of

using the newly acquired property as the site for a new concert hall to replace the outmod- . ed Theatre-Concert Hall (which was used continuously with only minor modifications since 1941, and which with some modification has been used in recent years for the Tangle- wood Music Center's opera productions), and for improved Tanglewood Music Center facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall—designed by the architectural firm William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirke-

gaard 6c Associates of Downer's Grove, Illinois, and representing the first new concert facil- ity to be constructed at Tanglewood in more than a half-century—now provides a modern venue for TMC concerts, and for the varied recital and chamber music concerts offered bv

the Boston Symphony Orchestra throughout the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein Campus, as described below. Also at Tanglewood each summer, the Boston University Tanglewood Institute sponsors a variety of programs that offer individual and ensemble instruction to talented younger students, mostly of high school age.

Two "Special Focus" Exhibits at the Tanglewood Visitor Center

"Schoenberg on Display": In conjunction with the BSO's two-season Beethoven/Schoenberg project, the Arnold Schoenberg Center in Austria has graciously lent the BSO a selection of dramatic photographs of Arnold Schoenberg (1874-1951). The displayed photographs—including Schoenberg's "Blue Self-Portrait" of 1910 (shown here)—represent a small portion of a much larger traveling exhibition

! that was curated by the composer's son and daughter, Lawrence A.

5^ ; Schoenberg and Nuria Schoenberg Nono, and was displayed at Sym- phony Hall during the 2005-06 season. The Schoenberg Center images are supplemented with materials from the BSO Archives that document BSO performances of works by Schoenberg.

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

Goldovsky. Pictured here in a photo by Howard S.

Babbitt, Jr., are Berkshire Music Center students Dorothy Dawson as Idomeneo's son Idamante, Nancy Trickey as the

Trojan princess Ilia, and Joseph Laderoute as Idomeneo,

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

The Tanglewood Music Center

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

The Music Center opened formally on July 8, 1940, with speeches and music. "If ever there was a time to speak of music, it is now in the New World," said Koussevitzky, alluding to the war then raging in Europe. "So long as art and culture exist there is hope for humanity." Randall Thompson's Alleluia for unaccompanied chorus, specially written for the ceremony, arrived less than an hour before the event began but made such an impression that it continues to be performed at the opening ceremonies each summer. The TMC was Kousse- vitzky s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as the BSO's music director. Charles Munch, his successor in that position, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school's programs. In 1963, new BSO Music

Director Erich Leinsdorf took over the school's reins, returning to Koussevitzky 's hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO's programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein was appointed Director of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC's Fellowship Program—advanced musicians who generally have completed all or most of their formal training—participate in an intensive program including chamber and orchestral music, opera, and art song, with a strong emphasis on music of the twentieth and twenty- first centuries. All participants receive full fellowships that underwrite tuition, room, and board. TMC Orchestra highlights this summer include a concert performance in the Koussevitzky Music Shed of Strauss's Elektra conducted by James Levine with a guest cast of internationally renowned singers, and three TMCO concerts in Seiji Ozawa Hall led by Bernard Haitink (the orchestra's opening concert), Stefan Asbury (with guest artist Dawn Upshaw), and Herbert Blomstedt (making his first appearance with the TMCO in the season's final concert). All TMCO concerts in Ozawa Memories of Tanglewood...

You can take them with you! ,

Visit our Tanglewood Glass House and Music Store

Wide selection of classical music Weekly concert selections

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

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

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

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

written for unusual solo instruments (with performances on July 5); the other, in collaboration with Shakespeare 8c Company, on writing incidental music for the theater (with actors including Tina Packer, that company's director, on stage with TMC musicians in Ozawa

Hall on August 9).

It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American

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

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

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

ists of tomorrow.

BSO Music DirectorJames Levine, who works with the TMC Fellows in classes on orchestral repertoire, Lieder, and opera, shown here with TMC Vocal Fellows in a July 2005 session devoted to Mozart's "Don Giovanni" TO: LENOX HAWTHORNE ENTRANCE (reserved)

[J] RESTROOMS RESTROOMS (ACCESSIBLE TO handicapped) D TELEPHONES

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FOOD & BEVERAGES

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

Chair Friends Office Database/New Members William B alien Marge Lieberman Norma Ruffer Immediate Past Chair Judy Benjamin Ned Dana Ursula Ehret-Dichter Seranak Gardens and Flowers Membership Meetings Secretary Jack Adler Joyce Kates Wilma Michaels Anita Busch Rita Kaye Gloria McMahon Nominating Newsletter Mel Blieberg Tent Club Silvia Stein Carolyn Corby Personnel

• Alexandra Warshaw COMMUNITY/ EDUCATION Ready Team AUDIENCE SERVICES Jessica Mormann Bonnie Sexton, Vice Chair Gabe Kosakoff, Vice-Chair Mary Naylor Education and Community The Joys ofTanglewood Cynthia Bilder-Caminiti Outreach (Berkshire Museum Series) Retired Volunteers Club Nancy Cowhig Carol Kosakoff Judith Cook Elena Winter Ellen Plageman Passes/Tickets Tour Guides Talks & Walks Pat Henneberry Ada Hastings Ivan Kates Man' Ellen Tremblay Brochure Distribution Kelly and Jonathan Cade Customer Service TMC Muriel Lazzarini Vice-Chair Ushers and Programmers Bob Gitdeman, Bob Rosenblatt Tanglewoodfor Kids TMC Lunch Program Rita Blieberg Visitor Center Howard and Sue Arkans Stephanie Gitdeman Michael Geller Transportation Coordinator Youth Activities Gus Leibowitz Brian Rabuse Opening Exercises Andrew Garcia DEVELOPMENT Mary Blah- Margy Steinberg, Vice-Chair • Karen Methven Annual Fund MEMBERSHIP TOP Picnic Mary Jane and Arline Breskin Ken Singer, Vice-Chair Joseph Handler Rosalie Beal Administrative Events Marsha Burniske Roz Mancher

James Levine & Van Cliburn at Marlboro

from our August 2005 Cover

online at

berkshirehomestyle . com IN CONSIDERATION OF OUR PERFORMING ARTISTS AND PATRONS

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

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

TANGLEWOOD INFORMATION

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

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

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

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

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

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

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

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

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

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

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

OPEN REHEARSALS by the Boston Symphony Orchestra are held each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. Tickets are $17 and available at the

Tanglewood box office. A half-hour pre-rehearsal talk about the program is offered free of charge to ticket holders, beginning at 9:30 in the Shed.

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

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

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

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

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

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

Tanglewood Visitor Center

The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. Staffed by volunteers, the Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tangle- wood and the Tanglewood Music Center, as well as the early history of the estate. You are cordially invited to visit the Center on the first floor of the Tanglewood Manor House. During July and August, daytime hours are from 10 a.m. to 4 p.m. Monday through Friday, from 9 a.m. to 4 p.m. on Saturday, and from noon until twenty minutes after the concert on Sunday, with additional hours Friday and Saturday evenings from 5:30 p.m. until twenty minutes after the concerts on these evenings, as well as during concert intermissions. In June and September the Visitor Center is open only on Saturdays and Sundays, from 10 a.m. to 4 p.m. There is no admission charge. JAMES LEVINE James Levine became Music Director of the Boston Sym-

phony Orchestra in the fall of 2004, having been named

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

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

1881 and the first American-born conductor to hold that position. Highlights of Maestro Levine's 2005-06 subscription season included a season-opening all-French program

i celebrating the BSO's longstanding tradition of performing m the French orchestral repertoire; historic works by Bartok, I Debussy, Dutilleux, and Stravinsky given their world or

I American premieres by the BSO in the course of the past ^ century; BSO 125th-anniversary commissions from Elliott

f. M^ I Carter, Jonathan Dawe, and Peter Lieberson; five of eleven Fifl Rk. ^ programs (divided between 2005-06 and 2006-07) juxtaposing works by Beethoven and Schoenberg; and an appearance as conductor and pianist with the Boston Symphony Chamber Players. Highlights of his 2006-07 BSO programs (three of which again go to Carnegie Hall) include an American-themed Opening Night program featuring Renee Fleming in Barber's Knoxville: Summer of1915 and Sir James Galway in Bolcom's Lyric Concerto for flute and orchestra; the conclusion of the two-season Beethoven/Schoenberg proj-

ect, including concert performances of Beethoven's Fidelio and Schoenberg's Moses undAron; Bartok's Bluebeards Castle and Berlioz's La Damnation de Faust; BSO 125th-anniversary commissions from Gunther Schuller and Charles Wuorinen; and music of Haydn, Mozart, Schu- mann, Brahms, and Ravel. Last summer at Tanglewood, Mr. Levine led concerts with the Boston

Symphony Orchestra and the Tanglewood Music Center Orchestra, and worked with the TMC s Conducting and Vocal Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Highlights of his 2006 Tanglewood season include Beethoven's Ninth Symphony, Schoenberg's Gurrelieder, concert performances of Mozart's Don Giovanni (part of a BSO all-Mozart weekend marking the 250th anniversary of the composer's birth) and Strauss's Elektra (the latter with the Tanglewood Music Center Orchestra), and the American stage premiere (also with TMC forces) of Elliott Carter's opera What Next? Maestro Levine made his BSO debut in April 1972; he has since led the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of Babbitt, Cage, Carter, Harbison, Ligeti, Sessions, and Wuorinen.

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

since his debut there, he has developed a relationship with that company unparalleled in its history and unique in the musical world today. All told at the Met he has led more than 2,000 performances of 80 different operas. In 2006-07 Maestro Levine will lead new Met productions of Puccini's Madama Butterfly (a special Opening Night performance), Puccini's II trittico, and Gluck's Orfeo ed Euridice; revivals of Mozart's Idomeneo and Die Zauberflbte, Verdi's Don Carlo, and Wagner's Die Meistersinger von Niirnberg; and three concerts each at Carnegie Hall with the MET Orchestra and MET Chamber Ensemble. Mr. Levine inaugurated the "Metro-

politan Opera Presents" television series for PBS in 1977, founded its Young Artist Development Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house—a former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world.

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

works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

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

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

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Summer Retail Hours: Mon.-Sat. 10:00 AM-5:30 PM (June 29-August 30) BERKSHIRE RECORD OUTLET Rte. 102, Lee, MA Website: www.berkshirerecordoutlet.com (413) 243-4080 "Jennie Shames^ Robert Barnes Theodore W. and Evelyn Ronald Wilkison Berenson Family chair Michael Zaretsky *Valeria Vilker Kuchment Marc Jeanneret Stephanie Morris Marryott and *Mark Ludwig Franklin J. Marryott chair "Tatiana Dimitriades *Rachel Fagerburg Catherine and Paul Buttenwieser "Kazuko Matsusaka chair *Rebecca Gitter Huang *Si-Jing *Marvin Moon TANGLEWOOD Mary B. Saltonstall chair, fullyfunded in perpetuity 2006 Cellos *Nicole Monahan Jules Eskin James Levine Kristin and Roger Servison chair Principal Music Director "Wendy Putnam Philip R. Allen chair, endowed Ray and Maria Stata Donald and Ruth Brooks C in perpetuity in 1969 Music Directorship, Heath chair, funded in per- fully Martha Babcock fullyfunded in perpetuity petuity Assistant Principal *Xin Ding Bernard Haitink Vernon and Marion Alden chair, Conductor Emeritus endowed in perpetuity in 1977 Second Violins LaCroix Family Fund, Sato Knudsen fullyfunded in perpetuity Haldan Martinson Mischa Nieland chair, Principal fullyfunded in perpetuity Seiji Ozawa Carl SchoenhofFamily chair, Mihail Jojatu Music Director Laureate fullyfunded in perpetuity Sandra and David Bakalar chair Vyacheslav Uritsky Luis Leguia First Violins Assistant Principal Robert Bradford Newman chair, Charlotte and Irving W. Rabb Malcolm Lowe fullyfunded in perpetuity chair, endowed in perpetuity Concertmaster "Jerome Patterson in 1977 Charles Munch chair, Lillian and Nathan R. Miller Ronald fullyfunded in perpetuity Knudsen chair Edgar and Shirley Grossman Tamara Smirnova "Jonathan Miller chair Associate Concertmaster Charles andJoAnne Dickinson Helen Horner Mclntyre chair, Joseph McGauley chair Shirley and Richard Fennell endowed in perpetuity in 1976 J. *Owen Young chair, fullyfunded in perpetuity Alexander Velinzon John F Cogan,Jr., and Mary L. Ronan Lefkowitz Assistant Concertmaster Cornille chair, fullyfunded in Edith Robert L. Beal, Enid L., and David H. and C Howie perpetuity chair, fullyfunded in perpetuity Bruce A. Beal chair, endowed in *Andrew Pearce perpetuity in 1980 Bracken *Nancy Stephen and Dorothy Weber chair Elita Kang "Aza Raykhtsaum "Mickey Katz Assistant Concertmaster *Bonnie Bewick Richard C and Ellen E. Paine Edward and Bertha C Rose chair *James Cooke chair, fullyfunded in perpetuity Bo Youp Hwang "Victor Romanul John and Dorothy Wilson chair, Kingsley Bessie Pappas chair Gordon and Mary Ford in perpetuity fullyfunded Family chair Lucia Lin *Catherine French Forrest Foster Collier chair *Kelly Barr Basses Ikuko Mizuno *Polina Sedukh Edwin Barker Dorothy Q. and David B. *Glen Cherry Principal Arnold, Jr., chair, fullyfunded in "Jason Horowitz Harold D. Hodgkinson chair, perpetuity endowed in perpetuity in 1974 § Gerald Elias Amnon Levy Lawrence Wolfe Muriel Kasdon and C Violas Assistant Principal Marjorie C Paley chair Maria Nistazos Stata chair, Steven Ansell *Sheila Fiekowsky fullyfunded in perpetuity Principal Ruth and CarlJ. Shapiro chair, Charles S. Dana chair, Joseph Hearne fullyfunded in perpetuity endowed in perpetuity in 1970 Leith Family chair, Cathy Basrak fullyfunded in perpetuity Assistant Principal Dennis Roy * Brett chair Participating in a system Anne Stoneman chair, Joseph andfan Hearne ofrotated seating fullyfunded in perpetuity John Salkowski On leave Edward Gazouleas Erich and Edith Heymans chair X On sabbatical leave Lois and Harlan Anderson chair, "James Orleans ^Substitute player fullyfunded in perpetuity Todd Seeber Bassoons Bass Trombone Eleanor L. and Levin H. Richard Svoboda Douglas Yeo Campbell chair, fullyfunded Principal John Moors Cabot chair, in perpetuity EdwardA. Taft chair, endowed fullyfunded in perpetuity *John Stovall in perpetuity in 1974 *Benjamin Levy Suzanne Nelsen Tuba John D. and Vera M. Mike Roylance Flutes MacDonald chair Margaret and William C Elizabeth Rowe Richard Ranti Rousseau chair, fullyfunded Principal Associate Principal in perpetuity Walter Piston chair, endowed Diana Osgood Tottenham/ in perpetuity in 1970 Hamilton Osgood chair, Timpani Fenwick Smith fullyfunded in perpetuity Timothy Genis Myra and Robert Kraft chair, Sylvia Shippen Wells chair, endowed in perpetuity in 1981 Contrabassoon endowed in perpetuity in 1974 Elizabeth Ostling Gregg Henegar Associate Principal Helen Rand Thayer chair Percussion Marian Gray Lewis chair, Frank Epstein fullyfunded in perpetuity Horns Peter and Anne Brooke chair, James Sommerville fullyfunded in perpetuity Piccolo Principal J. William Hudgins Helen SagojfSlosberg/Edna Peter Andrew Lurie chair, Evelyn and C. Charles Marran S. Kalman chair, endowed fullyfunded in perpetuity chair, endowed in perpetuity in in perpetuity in 1974 1979 Richard Sebring Barbara Lee chair § Linda Toote Associate Principal Margaret Andersen Congleton Assistant Timpanist Oboes chair, fullyfunded in perpetuity Mr. and Mrs. Edward H. Linde John Ferrillo Daniel Katzen chair Principal Elizabeth B. Storer chair, Mildred B. Remis chair, endowed fullyfunded in perpetuity Harp in perpetuity in 1975 Jay Wadenpfuhl Ann Hobson Pilot Mark McEwen John P. II and Nancy S. Eustis Principal James and Tina Collias chair chair, fullyfunded in perpetuity Keisuke Wakao Voice and Chorus Assistant Principal Jonathan Menkis John Oliver Elaine andJerome Rosenfeld Jean-Noel and Mona N Tanglewood Festival Chorus chair Tariot chair Conductor § Kevin Owen Alan and Suzanne W. Dworsky English J. Horn chair, fullyfunded in perpetuity Robert Sheena Trumpets Beranek chair, fullyfunded Charles Schlueter Librarians in perpetuity Principal Marshall Burlingame Roger Louis Voisin chair, Principal Clarinets endowed in perpetuity in 1977 Lia and William Poorvu chair, William R. Hudgins Peter Chapman fullyfunded in perpetuity Principal Ford H Cooper chair, endowed William Shisler Ann S.M. Banks chair, endowed in perpetuity in 1984 John Perkel in perpetuity in 1977 Thomas Rolfs Scott Andrews Associate Principal Assistant Conductors Thomas Sternberg chair Nina L. and Eugene B. Doggett Jens Georg Bachmann Thomas Martin chair Anna E. Finnerty chair, Associate Principal & Benjamin Wright fullyfunded in perpetuity E-flat clarinet Rosemary and Donald Hudson Ludovic Stanton W. and Elisabeth K. chair Morlot Davis chair, fullyfunded in perpetuity Trombones Personnel Managers Lynn G. Larsen Bass Clarinet Ronald Barron Principal Bruce M. Creditor Craig Nordstrom J. P. and Mary B. Barger chair, Farla and Harvey Chet fullyfunded in perpetuity Stage Manager Krentxman chair, fullyfunded Norman Bolter John Demick in perpetuity Arthur and Linda Gelb chair In Town, In Tune, In Touch!

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A BRIEF HISTORY OF THE BOSTON SYMPHONY ORCHESTRA

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

in addition, it reaches audiences numbering in the millions

through its performances on radio, television, and recordings. It plays an active role in commissioning new works from to-

day's most important composers; its summer season at Tan-

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

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

during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists,

Major Henry Lee Higgin- and vocalists. The orchestra's virtuosity is reflected in the son, founder of the Boston concert and recording activities of the Boston Symphony Symphony Orchestra Chamber Players, one of the world's most distinguished chamber ensembles made up of a major symphony orchestra's principal players, and the activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony

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

Thefirst photograph, actually a collage, ofthe Boston Symphony Orchestra under Georg Henschel, taken 1882 the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the centennial of Symphony Hall, and the rich history of music performed and intro-

duced to the world at Symphony Hall since it opened over a century ago. Georg Henschel was succeeded by a series of German-born and -trained conductors—Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Prome- nade" concert, offering both music and refreshments, and fulfilling Major Higgin- son's wish to give "concerts of a lighter kind of music. "These concerts, soon to be given

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

In 1915 the orchestra made its first trans- continental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Fran- Rush ticket line at Symphony Hall, cisco. Recording, begun with the Victor probably in the 1930s Talking Machine Company (the predecessor to RCA Victor) in 1917, continued with increasing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeeded the following year by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five

years. The BSO's first live concert broadcasts, privately funded, ran from January 1926 through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, regular live Boston Symphony broadcasts being initiated in October 1935. In 1936 Kousse-

vitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Koussevitzky as music director of the Boston Symphony Orchestra in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country.

During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full-tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammo- phon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the midwest. Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a year as music adviser and three years as an artistic director at Tanglewood. His historic twenty- J&± nine-year tenure, from 1973 to 2002, exceeded that of any previous BSO conductor; in the summer of 2002, at the completion of his tenure, he was named Music Director Laureate. Besides maintaining the orchestra's reputation worldwide, Ozawa reaf- firmed the BSO's commitment to new music through the commission- Symphony Hall in the early 1940s, -with the main ing of many new works (including entrance still on Huntington Avenue, before the commissions marking the BSO's intersection ofMassachusetts and Huntington centennial in 1981 and the TMC's avenues was reconstructed so the Green Line could run underground fiftieth anniversary in 1990), played an active role at the Tanglewood Music Center, and further expanded the BSO's recording activities. In 1995 he and the BSO welcomed Bernard Haitink as Principal Guest Conductor. Named Conductor Emeritus in 2004, Mr. Haitink has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, and has also recorded with the orchestra. In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music director. Maestro Levine began his tenure as the BSO's fourteenth music director—and the first American-born conductor to hold that position—in the fall of 2004. His wide- ranging programs balance great orchestral, operatic, and choral classics with equally significant music of the 20th and 21st centuries, including newly commissioned works from such important American composers as Milton Babbitt, Elliott Carter, John Harbison, Peter Lieberson, Gunther Schuller, and Charles Wuorinen. He also appears as pianist with the Boston Symphony Chamber Players, conducts the Tanglewood Music Center Orchestra, and works with the TMC Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston. The Center for CosMedic Rejuvenation and Wellness /LTD.

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June 29 - August 20, 2006

OPERA Cenoveva

July 28, 30, August 2, 4, 5

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

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

late-night cabaret—drawn together THEATER

by the life and work of Franz Liszt and CamMe

the great European Romantic era in July 6, 7, 8, 9, 13, 14, 15, 16 Adapted by Neil Bartlett which he thrived. Come and experience After La Dame aux camellias by Alexandre Dumas//7s SummerScape's distinctive brand of Directed by Kate Whoriskey cultural discoveries in a venue unlike any DANCE other: the Fisher Center for Richard B. Donna Uchizono Dance Company the Performing Arts, on Bard College's June 29, 30, July 1

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

new Fisher Center was packed." BARD MUSIC FESTIVAL Seventeenth season Alex Ross. The New Yorker. 2005 Liszt and His World

August 11-13, 18-20

Two weekends of concerts and other events bring the musical world of composer Franz Liszt vividly to life

For tickets and information, SPECIAL EVENTS call 845-758-7900 or visit Spiegeltent fishercenter.bard.edu. June 29 -July 30

The Spiegeltent is the very essence of a festival club and European "kabaret salon," with ballooning velvet canopies, ornate bars, and intimate booth.

PERfc> .

Bard SummerScape also features a Max Ophuls film Bard College festival, the Czechoslovak-American Marionette Theater,

Annandale-on-Hudson. N.Y. and cabaret. August 11-13 and August 18-20, 2006

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

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

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

WEEKEND ONE PROGRAM FIVE PROGRAM NINE VIRTUOSITY TRANSFIGURED: BETWEEN TWO SCHOOLS: AUGUST 11-13, 2006 IN THE SHADOW OF PAGANINI LISZT AND THE CHAMBER MUSIC ART, SPECTACLE, AND Works by Liszt, Schumann, Brahms, TRADITION Paganini Works by Liszt, Raff, Volkmann, THE PUBLIC Cornelius, Franz, Rubinstein PROGRAM SIX GRAND OPERA BEFORE WAGNER PROGRAM TEN FRIDAY, AUGUST 11 Excerpts from operas by Auber, CHRIST AND FAUST PROGRAM ONE Meyerbeer, Bellini, Rossini, Halevy, Works by Liszt and Berlioz LISZT: MIRROR OF THE Donizetti American Symphony Orchestra 19TH CENTURY American Symphony Orchestra Leon Botstein, conductor Works by Liszt Leon Botstein, conductor SUNDAY, AUGUST 20 SATURDAY, AUGUST 12 PROGRAM ELEVEN PROGRAM TWO WEEKEND TWO LATE LISZT: SPIRITUALITY AND THE YOUNG LISZT. 18-20, EXPERIMENTATION FROM VIENNA TO PARIS AUGUST 2006 Works by Liszt, Bruckner, Works by Liszt, Beethoven, Schubert, FAITH AND POLITICS Saint-Saens, Franck, Busoni, Hummel, Field, Czerny, Moscheles, Debussy, Wagner Chopin, Wieck, Alkan, Henselt FRIDAY, 18 AUGUST PROGRAM TWELVE SPECIAL EVENT PROGRAM SEVEN LISZT AND WAGNER THE PIANO AND THE LISZT AND NATIONAL Works by Liszt and Wagner 19TH CENTURY ASPIRATIONS American Symphony Orchestra Performance with Commentary Works by Liszt, Schumann, Chopin, Leon Botstein, conductor PROGRAM THREE Smetana, Grieg, Musorgsky, POLITICS, PAINTING, THEATER, MacDowell, Sgambati Tickets are $25 to $55. AND POETRY Panels and symposia are free.

Works by Liszt, Ernst, Raff SATURDAY, AUGUST 19 For ticket information, American Symphony Orchestra PROGRAM EIGHT call 845-758-7900 or visit Leon Botstein, conductor THE "GYPSIES," THE HUNGARIANS, fishercenter.bard.edu. AND THE EXOTIC IN MUSIC SUNDAY, AUGUST 13 Works by Liszt, Haydn, Schubert, THE RICHARD B. PROGRAM FOUR Brahms, Mosonyi, Rozsavolgyi FISHER VIRTUOSITY BLOW OUT CENTER

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Table of Contents

Prelude Concert of Friday, August 18, at 6 (Ozawa Hall) 3 Members of the Boston Symphony Orchestra; Hilary Hahn, violin; Randall Hodgkinson, piano MUSIC OF MOZART AND BRAHMS

Boston Symphony concert of Friday, August 18, at 8:30 11 Rafael Friihbeck de Burgos conducting; Ann Hobson Pilot, harp; Josep Colom, piano MUSIC OFTURINA, FALLA, DEBUSSY, AND RAVEL

Boston Symphony concert of Saturday, August 19, at 8:30 25 Herbert Blomstedt conducting; Hilary Hahn, violin MUSIC OF DVORAK AND BEETHOVEN

Boston Symphony concert of Sunday, August 20, at 2:30 39 Rafael Friihbeck de Burgos conducting; Peter Serkin, piano ALL-BRAHMS PROGRAM

THIS WEEK'S ANNOTATORS

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

Robert Kirzinger is Publications Associate of the Boston Symphony Orchestra.

Steven Ledbetter, program annotator of the Boston Symphony Orchestra from 1979 to 1998, now writes program notes for orchestras and other ensembles throughout the country, and for such concert venues as Carnegie Hall. Michael Steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Phil- harmonic. Oxford University Press has published three volumes of his program notes.

Jan Swafford is a composer and author whose books include Johannes Brahms: A Biography. Mr. Swafford teaches at Tufts University and The Boston Conservatory

and is currently working on a biography of Beethoven.

<*» SATURDAY-MORNING OPEN REHEARSAL SPEAKERS

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

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Friday, August 18, at 6 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA ALEXANDER VELINZON, violin STEVEN ANSELL, viola JONATHAN MILLER, cello HILARY HAHN, violin RANDALL HODGKINSON, piano

MOZART Trio in E for piano, violin, and cello, K.542 Allegro Andante grazioso Finale: Allegro Mr. HODGKINSON, Ms. HAHN, and Mr. MILLER

BRAHMS Quartet in C minor for piano, violin, viola, and cello, Opus 60 Allegro non troppo Scherzo: Allegro Andante Finale: Allegro comodo

Messrs. HODGKINSON, VELINZON, ANSELL, and MILLER

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

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

Steinway and Sons Pianos, selected exclusively for Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

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

Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and other audience members. Note that the use of audio or video recording equipment during performances in the Music Shed or Ozawa Hall is prohibited.

Week 7 Notes

The summer of 1788 was a time of active composition for Wolfgang Amade Mozart (1756-1791). During the space of six weeks he composed the last three great symphonies, apparently with a series of benefit concerts in view. (These seem never to have taken

place, and it is doubtful whether Mozart ever heard the symphonies.) At the same time he was composing a number of smaller works, including some piano trios for which no commissions are known, so they were probably composed "on speculation" in the hopes of generating some badly needed income. He wrote his last three piano trios during the same period in which he composed his last three symphonies. The present work in E major was completed on June 22, only days before he finished the E-flat symphony, No. 39. In July, during the interim between that symphony and No. 40 in G minor, he turned out two compositions in the key of C major, the key that would soon serve him for the Jupiter Symphony, No. 41, composed in August: the well-known piano sonata "for beginners," K.545, and a trio, K.548, completed in Vienna on July 14. The third and last of these trios, K.564 in G, came in October. Since piano trios were a very popular medium in

Vienna at this time, it is very likely that Mozart wrote these large pieces in the hopes of creating something that would command a large sale to amateur performers.

One of the first references to this trio in E is found in a letter from Mozart to his

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Masonic lodge brother and frequent benefactor Michael Puchberg. On June 17 Mozart wrote: "When will we have a chance to make some music at your place again? For I have written a new trio!" Not only is the work new in date of composition, but also in its serenity and poignancy, demonstrating a richness in harmonic color perhaps motivated in part by

a key he rarely used. It is transparent in texture and radiant in its happiness, though shot through with moments of surprising modulation to distant keys that suggest an undertone of melancholy, especially in the Andante grazioso. The finale casts any lingering shadows out the window with brilliant scales, flourishes, and a lively triplet figure in the violin.

Although the C minor piano quartet was not published until 1875, Johannes Brahms (1833-1897) had composed—two decades earlier—a movement in C sharp minor that contains the essential musical ideas of the later work's opening movement. The first version was tried out privately in November 1856 with an ensemble including the violinist Joseph Joachim, who suggested several changes in a letter he sent to Brahms the following week, but nothing more seems to have come of the work at that time. In any case, Brahms was

not yet prepared to publish it, and when he did return to the quartet nearly two decades later, the finished product took a quite different form. The changes are hard to document precisely, since the composer, following his usual custom, destroyed the score of the early version, though it is clear that the last two movements were composed in the winter of 1873-74 (Brahms having indicated as much in a manuscript catalogue of his works), while the first two movements are listed as having been composed "earlier." From the available evidence, it seems that Brahms retained the original exposition of his first movement in all essential details (though transposing it down a semitone) but then completely rewrote the remainder of the movement, much as he was later to do in reworking his early trio, Opus 8. The dark turmoil of the opening movement hints at the emotional pressure under which Brahms composed the early version during the terrible last days of his friend Robert Schu- mann or immediately after Schumann's death. The intensely personal character of the music is also indicated by the composer's comment in a letter transmitting the early version to Theodor Billroth: "This quartet is only communicated as a curiosity, say as an illustra- tion to the last chapter of the Man with the Blue Jacket and Yellow Vest." The reference is to the despairing young man in Goethe's The Sorrows of Young Werther, in the last chapter of which Werther commits suicide. Whether or not Brahms himself ever seriously con- templated taking his own life, he seems to have found this music too personal for imme-

Emerson String Quartet The quartet joins an Eugene Drucker, Violin • Philip Setzer, Violin internationally recog- Lawrence Dutton, Viola • David Finckel, Cello nized faculty, plays a Chamber Music Faculty includes central role in the Stony Elaine Bonazzi • Colin Carr • Joseph Carver • Kevin Cobb • Christina Brook Chamber Music Dahl • Pamela Frank • Daniel Gilbert • Gilbert Kalish • Ani Kavafian Program, and directs Eduardo Leandro • Timothy Long • Frank Morelli • Katherine Murdock Michael Powell • William Purvis • Stephen Taylor the Emerson Quartet OT,v^TVT\7' Chris Pedro Trakas • Carol Wincenc O 1 iPJN I International Chamber For more information, visit our Web site www. Music Workshop. BR^^K

stonybrook. 1 edu/music or ca 1 (63 1 ) 632-7330. m/eoe state UNIVErsity of new york Make Tanglewood a Part of Your Family

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

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

For more information on how to include Tanglewood in your estate plans or for sample bequest language, Tanglewood contact Nicole Leonard, Assistant Manager of The Walter Piston Society Planned Giving, at (617) 638-9262, (888) 244-4694 or [email protected]. diate publication, too openly revealing of his hopeless love for Clara Schumann. But dis- tance in time gave him enough objectivity to rework it into the final form.

The scherzo is a kind of pendant to the Allegro, continuing in the same key with the same kind of ferocity. Although we know that it was composed "earlier" than the last two

movements, it would be sheer conjecture to say whether it formed part of the original C sharp minor version or came from a different uncompleted composition or was written independently. The Andante, in the surprisingly bright key of E major, was once believed to have been part of the original version of the score and thus probably to represent an avowal of the composer's love for Clara. But Brahms's catalogue and Clara's own response

to the music after she had first heard it in 1875 make it clear that this movement—long regarded as one of the highest peaks of Brahmsian melodic writing—was new. The finale

is virtually a perpetuo moto, the ending of which, despite the major key and tranquillo marking, does not entirely banish the memory of things past. Perhaps the finest tribute to the composer's constructive powers in this quartet came from Clara Schumann in 1875:

"He had already written the first two movements earlier. . . and now the last two are also entirely works of genius: an intensification right up to the end that fairly takes your breath

away. It is strange how the mood remains unified, despite the quite different dates of the various movements." —Steven Ledbetter

ARTISTS

For a biography of Hilary Hahn, see page 36.

A native of St. Petersburg, Russia, violinist Alexander Velinzon joined the Boston Symphony Orchestra in January 2000 and became an assistant concertmaster of the BSO in August 2005. Mr. Velinzon began playing the violin at six and graduated from the Leningrad School for Gifted Children. After coming to the United States, he continued his studies at the Manhattan School of Music and received his master's degree from Juilliard. His appearances as soloist with orchestra have included the Rondo Chamber Orchestra on its tour to Venezuela; the Absolute Ensemble, the Metamorphoses Orchestra, and Chappaqua Symphony in New York; and the National Symphony of Santo Domingo in the Dominican Republic. He has

also been heard playing violin concertos of J.S. Bach for the Paul Taylor Dance Company. Mr. Velinzon was a prizewinner in the Heida Hermann International Competition in the United States and in the Tibor Varga International Competition in Switzerland. He made his New York recital debut at Carnegie Hall's Weill Recital Hall as winner of the Artist International 1996 Young Artists Auditions.

Steven Ansell joined the Boston Symphony Orchestra as principal viola in September 1996, having already appeared with the orchestra in Symphony Hall as guest principal viola. A native of Seattle, he also remains a member of the acclaimed Muir String Quartet, which he co- founded twenty-seven years ago, and with which he has toured extensively throughout the world. A graduate of the Curtis Institute of Music, where he studied with Michael Tree and Karen Turtle, Mr. Ansell was named professor of viola at the University of Houston at twenty- one and became assistant principal viola of the Pittsburgh Symphony Orchestra under Andre Previn at twenty-three. As a recording artist he has received two Grand Prix du Disque awards and a Gramophone magazine award for Best Chamber Music Recording of the Year. He has appeared on PBS's "In Performance at the White House" and has participated in the Tangle- wood and the Marlboro, Schleswig-Holstein, Newport, Blossom, Spoleto, and Snowbird music festivals. He teaches at the Boston University College of Fine Arts. As principal viola of the Boston Symphony Orchestra, he is also a member of the Boston Symphony Chamber Players. Mr. Ansell's solo appearances with the Boston Symphony Orchestra have included performances of Mozart's Sinfonia concertante for violin and viola, Berlioz's Harold in Italy, Bruch's Concerto for Viola, Clarinet and Orchestra, and Strauss's Don Quixote. Jazz F nglewood LENOX, MA September i - 3

SEPTEMBER 1 FRIDAY Spanish Harlem Orchestra; The Big Three Palladium Orchestra featuring the music of Tito Puente, Machito, and Tito Rodriguez

SEPTEMBER 2 SATURDAY Marian McPartland with special guest Elvis Costello; Wynton Marsalis; Dr. John with guests Steve Tyrell, John Pizzarelli, and more

SEPTEMBER 3 SUNDAY Dizzy Gillespie™ All Star Big Band directed by Slide Hampton with special guest vocalist Roberta Gambarini Dave Brubeck Quartet and Symphonette

BORDERS. JazzTimesocom (617) 266-1200 BOOKS MUSIC MOVIES CAFE ...more t*»an magazine www. tanglewood. org The Exclusive Music Seller of The Exclusive Music Magazine The Tanglewood Jazz Festival of the Tanglewood Jazz Festival

Celebrating Moments of Extraordinary Collaboration.

We salute and proudly sponsor the Boston Symphony Orchestra's season at Symphony Hall.

The Sherman Financial Group Thomas B. Sherman, Senior Vice President-Investments

UBS Financial Services Inc. 2 South Street, Berkshire Common, Suite 200 Pittsfield, MA 01201 413-236-4406 800-833-1999 [email protected] www.ubs.com/team/shermanfg You & Us UBS

©2006 UBS Financial Services Inc. All Rights Reserved. Member SIPC. After attending Pablo Casals' master class at the University of California at Berkeley, Jonathan Miller chose to abandon his study of literature there and devote himself completely to the cello, training with Bernard Greenhouse of the Beaux Arts Trio. Seeking out masters of different schools and styles, he also studied with Raya Garbousova, Leonard Rose, Harvey Shapiro, and Edgar Lustgarten. In 1964 and 1965 he was a fellowship student at the Tanglewood Music Center. Before joining the Boston Symphony in 1971, Mr. Miller was principal cellist of the Juilliard, Hartford, and San Diego symphony orchestras. He has been soloist with the Hartford Symphony, the Boston Pops Orchestra, and the Metropolitan Symphony Orchestra of Boston, and he has performed in chamber music concerts at Symphony Hall and at Tangle- wood. A winner of the Jeunesses Musicales auditions, he toured the United States twice with the New York String Sextet, appeared as a member of the Fine Arts Quartet, and has taught at the New England Conservatory and at the Boston University Tanglewood Institute. He is music director of the Boston Artists Ensemble, which he founded in 1980, and a member of the Gramercy Trio, which received a Copland Foundation Grant for its first CD and made its acclaimed New York debut in 2003 in Merkin Hall. In June 1990, at the invitation of Mstislav Rostropovich, Mr. Miller was a soloist at the American Cello Congress. He has recently recorded the Beethoven cello sonatas with pianist Randall Hodgkinson for Centaur records.

American pianist Randall Hodgkinson, grand prize winner of the International American Music Competition sponsored by Carnegie Hall and the Rockefeller Foundation, has performed with orchestras in Atlanta, Philadelphia, Buffalo, Boston, Cleveland, and abroad in

Italy and Iceland. His recital programs span the repertoire from J.S. Bach to Donald Martino.

He is an artist member of the Boston Chamber Music Society and performs four-hand and two-piano repertoire with his wife, Leslie Amper. Mr. Hodgkinson has appeared at festivals including Blue Hill in Maine, Bargemusic, Chestnut Hill Concerts in Connecticut, the Seattle Chamber Music Festival, Chamber Music Northwest, and Mainly Mozart in San Diego. His critically acclaimed recent solo release on the Ongaku label features music of Stravinsky, Chopin, Schumann, and Beethoven. Among his other recordings are the Beethoven cello sonatas with BSO cellist Jonathan Miller on Centaur, and, recorded "live," the world premiere of Gardner Read's Piano Concerto, on the Albany label. Mr. Hodgkinson is on the faculties of the New England Conservatory of Music and the Longy School. He has appeared as orchestral pianist with the Boston Symphony Orchestra on numerous occasions, and made his debut as concerto soloist with the BSO in Bartok's Concerto for Two Pianos, Percussion, and Orchestra in October 2001. /m i

FRIENDS OF Tanglewood

When you give, the legacy continues

When you make a contribution to the Friends of Tanglewood,

you not only support new Music Director James Levine's

extraordinary vision and commitment to artistic excellence,

but the upkeep of Tanglewood's magnificent grounds as

well. Earned income from ticket sales covers less than fifty

percent of the cost of maintaining the beautiful campus

and your support helps make the magic of Tanglewood

and the fusion of music and nature more meaningful and

accessible to all.

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

centers for advanced musical study, the Tanglewood Music

Center, where the leading artists of today mentor the master

musicians of tomorrow. Friends of Tanglewood Music Center

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

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

(413) 637-5261 Tanglewood Music Center today with a generous or visit us online contribution. When you give, the cherished legacy of at www.bso.org. America's premier summer music festival continues. 2006 Tanglewood BOSTON SYMPHONY ORCHESTRA 125th Season, 2005-2006

Friday, August 18, at 8:30 THE JEAN THAXTER BRETT MEMORIAL CONCERT

RAFAEL FRUHBECK DE BURGOS conducting

TURINA Theme and Variations, Opus 100, for harp and strings (arranged by Rafael Fruhbeck de Burgos) ANN HOBSON PILOT

FALLA Nights in the Gardens ofSpain, Symphonic impressions for piano and orchestra

In the Generalife Distant dance In the gardens of the Sierra de Cordoba JOSEP COLOM

INTERMISSION

DEBUSSY La Mer Three symphonic sketches y

From Dawn to Noon on the Sea Play of the Waves Dialogue of the Wind and the Sea

RAVEL Bolero

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

Steinway and Sons Pianos, selected exclusively for Tanglewood

Special thanks to Delta Air Lines and Commonwealth Worldwide Chauffeured Transportation

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

11 Week 7 roiectSTEP

Project STEP is the creation of three collaborating institutions: the Boston Symphony Orchestra, the New England Conservatory,

and the Boston University School of Music.

Project STEP provides comprehensive string training and

education to talented children of color. We offer first-rate

instruction on string instruments to African-American and

Latino students who have strong potential for successful

careers in classical music.

1 h&Tlk lOli to all of the individuals who have been

extraordinarily generous. Below is a partial list.

Sandy and David Bakalar George and Nancy Kidder Jan Brett and Joseph Hearne Barbara Kravitz and the Barbara Berger late Arthur Kravitz George and Roberta Berry Edward and Joyce Linde Mr. and Mrs. Peter A. Brooke Keith Lockhart

Gregory E. Bulger Foundation Dianne Luby Paul and Catherine Buttenweiser Rita N. Meyer Eleanor and Levin Campbell William and Betsy Mover Mark Churchill David Oswald Anne Covert and Edward Cutler Daniel and Barbara Palant John and Diddy Cullinane William and Lia Poorvu Cynthia and Oliver Curme Irving W. Rabb Nina and Eugene Doggett Susan Rothenberg Jonathan Glionna Elizabeth K. Saudek Avram and Carol Goldberg David and Marie Louise Scudder Thelma and Ray Goldberg Alfred and Gilda Slifka Randall and Elaine Hitler Philip and Ann Smith Jackie Jenkins-Scott Daniel and Prudence Steiner Bela and Edna Kalman Marcus Thompson

Ethel and Zelman Kamien Edith L. Walker

Rita J. Kaplan and Stanley H. Kaplan John and Samantha Williams Family Foundation Margaret Williams-DeCelles

Symphony Hall. 301 Massachusetts Avenue. Boston. MA 02115 617-267-5777 www.projectstep.org

12 NOTES ON THE PROGRAM

Joaquin Turina (1882-1949) Theme and Variations, Opus 100, for harp and strings (arranged by Rafael Friihbeck de Burgos)

First performance: March 6, 1979, Washington, D.C., National Symphony Orchestra,

Rafael Friihbeck de Burgos cond., Nicanor Zabaleta, soloist. This is thefirst performance by the Boston Symphony Orchestra, and thefirst performance ofthe piece at Tanglewood.

Joaquin Turina was born and raised in Seville, the son of an artist of Italian descent. He showed a talent for music from an early age, making his debut as a pianist already in 1897. His family didn't discourage his musical pursuits altogether, but he was expected to study medicine. Eventually his evident obsession with music gained him his father's approval

to study more formally; he was composing proHfically all the while. At twenty he decided to leave the provincial Seville for the capital Madrid in hope of immediate success as an opera composer. It was there that he met Manuel de Falla. In Madrid the fashion was for the zarzuela, a semi-operatic form of pop-

ular music theater. Turina tried his hand at this genre with little success, along with other pursuits; disappointment led him to move to Paris in 1905. There was already a strong contingent of Spaniards in Paris, including Albeniz; Falla would arrive there in 1907. Determined to continue his formal studies, Turina attended the Schola Cantorum, where Vincent d'Indy held sway. Meanwhile he was performing as a pianist with the Parent Quartet and had begun, at the advice of Albeniz, to use the material of Spanish folk music in his pieces. In 1913, the year of his graduation from the Schola, Turina's symphonic poem La procesion del Rocio was performed by the Madrid Symphony Orchestra with great success. By the time he and Falla returned to Madrid the following year, he was considered one of Spain's most important composers. Among his most important pieces are his Sinfonia sevillana for orchestra (1920), his opera Jardin de oriente (1923), and the Piano

TANGLEWOOD 2006 TALKS & WALKS

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

desserts are available for purchase. Talks 8c Walks is a project of the Tanglewood Association of the Boston Symphony Association of Volunteers.

July 13 Sir Andrew Davis, Conductor July 21 Susan Graham, Mezzo-Soprano July 27 Hans Graf, Conductor

August 3 Osvaldo Golijov, Composer August 10 Norman Fischer, Cellist August 17 Hilary Hahn, Violinist August 24 Emanuel Ax, Pianist

13 ,

Trio, Opus 35 (1926). He became a professor at Madrid Conservatory in 1930, and suf- fered at the hands of the Republicans during the civil war, but—the Nationalists having won out—was further honored in the last years of his life. Turina's output reflects his interest in writing for the central genres of chamber music; his catalog includes a couple of piano quintets, two violin sonatas, string quartets, and four works for the combination of piano, violin, and cello, including his first Piano Trio,

Opus 35, which won the National Music Prize in 1926. In its original form for harp and piano, his Opus 100 Theme and variations dates from 1945. Until today the Boston Symphony Orchestra has played only three works by Joaquin

Turina: his Danzasfantdsticas (1920), given its American premiere by the BSO under Pierre Monteux in 1923; the symphonic poem La procesidn del Rocio (1913), led by Enrique Fernandez Arbos in 1929, and Sinfonia sevillana, conducted by Charles Munch in November 1956. The following note on the Theme and Variations, Opus 100, was written by Rafael Friihbeck de Burgos for the 1979 premiere by the National Symphony Orchestra of his arrangement for harp and string orchestra. The soloist on that occasion was the Spanish harpist Nicanor Zabaleta, at whose suggestion the conductor created his orchestral version of the work. —Robert Kirzinger

The Theme and Variations for harp and piano, Opus 100, composed in 1945, is the first of the four pieces that constitute the Ciclo Plateresco by Joaquin Turina. The subse- quent pieces are Magic Lantern, Opus 101, for piano; Homage to Navarre, Opus 102, for violin and piano; and Cinematographic Fantasy, Opus 103, a rondo for piano. Following Nicanor Zabaleta's suggestion, I have arranged the piano part of the Theme and Varia-

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14 tions for string orchestra. The original version begins with a mysterious introduction by the piano (Lento) which develops into an arpeggiated dialogue between the two instruments. The theme then continues (Andante) with a beautiful lyrical melody on the harp which the piano accom- panies with modulating harmonies. The first variation (Andantino mosso—Allegro moderato—Andantino mosso) evokes the folklore of Andalusia, already suggested in the Introduction and Theme. The harp sings "softly, with a guitar-like timbre," and with

"amusing and flexible" character. The second variation is a charmingfarruca, a folk dance; the third (Andante mosso) is decidedly lyrical, with a reminiscence of the Introduction and Theme, ending the work in a brilliant, romantic Majestuoso. The orchestration of the piano part for strings seemed to call for slight changes. I have added color to the repetition of the theme, using sonorities of Turina's liking: a violin and cello solo (as in the Sinfonia sevillana and Danzasfantdsticas) which are then joined by an imitative viola. The first variation, which is accompanied almost exclusively by solo instruments, is then repeated with a lyrical intervention by the strings; this almost amounts to an additional variation.

The work in its original version has hardly been performed; it is our wish that this new version will reach a wider audience. —Rafael Friihbeck de Burgos

Manuel de Falla (1876-1946) Nights in the Gardens of Spain, Symphonic impressions for piano and orchestra

First performance: April 9, 1916, Madrid, Orquesta Sinfonica, Enrique Fernandez-Arbos cond., Jose Cubiles, soloist. First BSO performance: March 1924, Pierre Monteux cond., Heinrich Gebhard, soloist. Only previous Tang/ewoodperformance: July 17, 1983, Edo de Waart cond., Alicia de Larrocha cond.

Falla conceived his orchestral "nocturnes" originally for piano solo but decided to recast them for orchestra. He worked on them, continually polishing, for years. The score, largely written in Paris and dedicated to the Spanish pianist Ricardo Vines, shows the composer's experience of Debussy, but Falla has not simply imitated the Impressionist

style. Rather he has experienced it profoundly and recreated

it in terms of his own art. The arrangement into three movements suggests the traditional piano concerto, but the music at once reveals itself to be an orchestral work with a prominent, elaborate piano part. The composer himself wrote about the score:

If these "symphonic impressions" have achieved their object, the mere enumeration of their titles should be a sufficient guide to the hearer. Although in this work—as in all which have a legitimate claim to be considered as music—the composer has followed a definite design regarding tonal,

rhythmical, and thematic material. . . the end for which it was written is no other than to evoke [the memory of] places, sensations, and sentiments. The themes employed are based (as in much of the composer's earlier work) on the rhythms, modes, cadences, and ornamental figures which distinguish the popular music of Andalucia, though they are rarely used in their original forms; and the orchestration frequently employs, and employs in a conventional manner, certain effects peculiar to the popular instruments used in those parts of Spain. The music has no pretensions to being descrip- tive: it is merely expressive. But something more than the sounds of festivals and

15 Week 7 dances has inspired these "evocations in sound," for melancholy and mystery have their part also.

The composer assumes, of course, that the titles of the movements will call up some specific images of Spain, but non-Spanish listeners may want a little assistance as to the meanings of the titles. En el Generalife ("In the Generalife") refers to the Generalife garden on the hill of the Alhambra at Granada. Danza lejana ("Distant dance") is more neutral in its overtones, but En los jardines de la Sierra de Cordoba ("In the gardens of the Sierra de Cordoba") is a vigorous finale which may suggest a gypsy fiesta. Although the score is redolent of Debussy and Chopin, in diverse ways, it also draws clearly on the resources of Spanish music and, despite its lushness here and there, it points ahead to Falla's own spare later style, when he composed much for a chamber orchestral texture. —Steven Ledbetter

Claude Debussy (1862-1918) La Mer, Three symphonic sketches

First performance: October 15, 1905, Paris, Lamoureux Orchestra, Camille Chevillard cond. First BSO performance: March 1907 (American premiere), Karl Muck cond. First Tanglewoodperformance: August 6, 1938, Serge Koussevitzky cond. Most recent Tangle- woodperformance by the BSO: August 20, 1982, Joseph Silverstein cond. Most recent Tanglewoodperformance: July 10, 1994, Minnesota Orchestra, David Zinman cond.

Debussy had very little real experience of the sea, and that usually from the vantage point of a sandy beach. Yet among the few views of his childhood that the unusually private composer vouchsafed to the world was the occasional affectionate reference to summer vacations at Cannes, where he learned to love the sea. His parents even made

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16 plans that he should become a sailor (a life that could hardly have suited him for long), but they were scotched when a certain Mme. Maute, who was giving the nine-year-old boy piano lessons, discovered his musical talent, and within a year he was studying piano and theory at the Paris Conservatoire.

Still, when he came to write La Mer thirty years later, De- bussy commented that he was able to draw upon "innumer- able memories" and that these were "worth more than reality, which generally weighs down one's thoughts too heavily." In the meantime, Debussy's memories were charged with images drawn from literature and art. One hint of a source for the

piece comes from the title Debussy originally thought of giv-

ing the first movement: "Calm sea around the Sanguinary

Islands." This was, in fact, the title of a short story by Camille Mauclair that had apparently been published in 1893 ("lies

Sanguinaires" is the French name for Sardinia and Corsica). It is even conceivable that

Debussy was thinking of writing a sea-piece using this title as early as the 1890s, though in fact the first clear reference to La Mer comes from a letter of September 12, 1903, to Andre Messager. "I am working on three symphonic sketches under the title La Mer. Mer belle aux lies Sanguinaires; Jeux de vagues; and La Ventfait danser la mer? Only the second of these titles ("Play of the Waves") remained in the final version. The first came from Mauclair 's story, to be changed in the end to "From Dawn to Noon on the Sea." The last ("The Wind Makes the Sea Dance") was later turned into the rather more neutral "Dialogue of the Wind and the Sea."

But the most direct inspiration for La Mer was probably from art. Debussy had admired the sea paintings of Turner, with their misty impalpability, which had been on display in Paris and which he may also have seen during London visits in 1902 and 1903, shortly before he began composing La Mer. Still more influential were the Japanese artists Hokusai and Hiroshige, whose work became enormously popular in France by the end of the nineteenth century. When the score of La Mer was published, Debussy requested that the cover design include a detail of Hokusai 's most famous print, "The Hollow of the Wave off Kanagawa," the part showing the giant wave towering above and starting to curve over in its downward fall, its foaming billows frozen in a stylized pattern that almost resembles leaves on a tree. Debussy came to La Mer soon after the great success of his one completed opera Pelleas et Melisande, performed to great acclaim in April 1902. In the following years, he showed a new confidence in his art, prolifically turning out the second set of Fetes galantes, the first set of Images for piano, and the brilliant piano solo Lislejoyeuse, as well as La Mer. Moreover he may well have expected La Mer to be even more successful with the public than the opera had been, if only because the music was more assertive than that of the opera (whose whole dramatic point is inactivity, faithfully mirrored in the music). La

Mer, for all of Debussy's modesty in calling it simply "three symphonic sketches," is nothing less than a full-fledged symphony, with interrelationships between the movements and an artful balance of tension and repose, climax and release. It has been called the greatest symphony ever written by a French composer. But the work at its premiere caused violent controversy, with assessments ranging from "the composer's finest work" to "lifeless as dried plants in a herbarium." The rehearsals had been marked by overt objections from the members of the orchestra. Debussy later told Stravinsky that the violinists had tied handkerchiefs to the tips of their bows in rehearsal as a sign of ridicule and protest. Part of the reason may have been non-musical: Debussy was, at just that time, an object of scandal. In the autumn of 1903 he had

17 Week 7 met Emma Bardac, the wife of a banker. In June 1904 he left his wife and moved into an apartment with Bardac, where they lived for the rest of Debussy's life. In October his wife attempted suicide, and a number of Debussy's friends broke off relations with him. The mixed impression of the premiere was reversed when Debussy himself conducted La Mer in Paris on January 19 and 26, 1908—even though he had never before conducted an orchestra. Yet, as he wrote later, "One of my main impressions is that I really reached the heart of my own music." The two performances were spectacularly successful in a way Debussy had not seen since the premiere of Pelle'as. (To give credit where credit is, at least in part, due, the orchestra had been prepared by Eduard Colonne before the composer took over for the last rehearsals.) By that time Karl Muck had already led the Boston Symphony Orchestra in the American premiere, on which occasion the reactions also covered a wide gamut. Kent Perkins, in the Boston American, decided that "one can see and hear the ocean better at Nahant or Marblehead Neck." Louis C. Elson, in the Advertiser, was sarcastically nega- tive: "Frenchmen are notoriously bad sailors, and a Gallic picture of the sea is apt to run more to stewards and basins and lemons than to the wild majesty of Poseidon If this be Music we would much prefer to leave the Heavenly Maid until she has got over her

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18 Hysterics." But Philip Hale (later the BSO's program annotator), in the Sunday Herald,

though unable to "explain" the piece, found it full of fascination: "The sketches are more than a remarkable tour de force; they are something more than essays in a strange language. The hearer must cast aside all theories about how music should be written; he must listen in good faith." Certainly La Mer has never been amenable to the simple summaries of formal elements such as "sonata form" that can at least give direction to

the listener's perceptions of, say, a classical symphony. The use of orchestral color is more immediately identifiable than melodic shapes, though these play a crucial role in the work as well, and the harmonies are sui generis.

The first movement's title, "From Dawn to Noon on the Sea," is not intended to pre- scribe a particular program but merely to indicate a progression from near darkness, in which objects are indistinct, to brightness, in which they are clearly perceptible. (Debussy's friend Erik Satie, always a joker, and one who loved inventing elaborate titles for his own music, once commented to Debussy that he "particularly liked the bit at a quarter

to eleven.") Debussy's pictorialism is wonderfully evocative in its suggestion of indistinct outlines that gradually appear to view, the light evidently breaking forth in the undulat- ing tremolos of the strings just at the moment that the principal key, D-flat major, is established. The horns resound with melodic shapes using pentatonic scales over a moving cello line that is also pentatonic. Since this five-note scale is often used by composers to symbolize the orient, at least one commentator has suggested, possibly with tongue in cheek, that Debussy chose to open in this way because, of course, the sun rises in the east! A striking change comes with a new theme in the cellos, which seem at first to bring the motion to a halt and then proceed in wavelike triplets, which build to the movement's climax.

The second movement, "Play of the Waves," is a lighter scherzo, scored with extreme

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delicacy. It is a lighter interlude between the stormy and emphatic passions of the first and last movements. "Dialogue of the Wind and the Sea" begins with an evident pictorial image: the waves softly surging up in the low strings, answered by the winds—the woodwinds, in fact blowing high up in chromatic shrieks. The struggle of wind and waves is developed at length, turning to material drawn from the opening movement, and building to a brilliant sunlit conclusion. —Steven Ledbetter

Maurice Ravel (1875-1937) Bolero

First performance (as a ballet): November 22, 1928, Mme. Ida Rubinstein's ballet troupe, Paris Opera, Walter Straram cond. First concert performance: November 1929, New York Philharmonic, Arturo Toscanini cond. First BSO performance: December 1929, Serge Koussevitzky cond. First Tanglewoodperformance: August 10, 1947, Koussevitzky cond.

Most recent Tanglewoodperformance by the BSO: August 9, 1992, Charles Dutoit cond. Most recent Tanglewoodperformance: August 12, 1994, Pittsburgh Symphony Orchestra, Lorin Maazel cond.

Ida Rubinstein requested a ballet score from Ravel before he set out for America in 1928; his original plan was to orchestrate several sections of Isaac Albeniz's Iberia. It turned out, however, that this had already been done at the request of Albeniz's family and under exclusive copyright by Spanish conductor Enrique Arbos. Even when Arbos agreed to relinquish the rights, Ravel was too piqued to pur-

sue the matter, and his first thought was that he would simply orchestrate something of his own, since he did not want to take on the burden of writing something entirely original. But then an idea came to him, a theme "of insistent quality" which he would repeat numerous times "without any development, gradually increasing the orchestra" to the best of his

ability. The result was Bolero. The Paris Opera production for Mme. Rubinstein together with twenty male dancers "suggested a painting of Goya and depicted a large table in a public tavern upon which the principal dancer performed her convolutions while the men standing about the room were gradually aroused from apathy to a state of high excitement." It was a brilliant success, but Ravel thought little of his music and, as with his famous Pavane, claimed surprise at its popularity. But he was concerned that it be properly played and became furious when Arturo Toscanini, on tour with the New York Philharmonic, took a tempo that he considered much too fast. (Toscanini's response, variously recorded, included statements that Ravel didn't understand his own music, that the quick tempo was the only way to put the piece across, and that a bolero was a dance, not a funeral march.)

About the music, with its ostinato bolero rhythm and the heightening effect of the sudden pull from C onto E in the bass just before the end, just a word: those are not wrong notes you're hearing at the second return of the main theme. Ravel has here set the tune in three keys at once: one piccolo has it in E, the other in G, and horns and celesta in C. As for the rest, let Ravel have his say:

I am particulary desirous that there should be no misunderstanding as to my Bolero.

It is an experiment in a very special and limited direction, and should not be suspected

of aiming at achieving anything different from, or anything more than, it actually

20 does achieve. Before the first performance, I issued a warning to the effect that what

I had written was a piece lasting seventeen minutes and consisting wholly of orchestral tissue without music—of one long, very gradual crescendo. There are no con- trasts, and there is practically no invention except in the plan and the manner of the execution. The themes are impersonal—folk tunes of the usual Spanish-Arabian kind. Whatever may have been said to the contrary, the orchestral treatment is simple and straightforward throughout, without the slightest attempt at virtuosity— I have done exactly what I set out to do, and it is for the listeners to take it or leave it. —Marc Mandel

GUEST ARTISTS

Rafael Fruhbeck de Burgos Born in Burgos, Spain, in 1933, Rafael Fruhbeck de Burgos studied violin, piano, theory, and composition at the Conservatories of Bilbao and Madrid, followed by conducting classes at Munich's Hochschule fur Musik, where he graduated summa cum laude. He has held conducting posts with the Bilbao Orchestra, the Spanish National Orchestra, the Diisseldorf Sym- phony Orchestra, and the Montreal Symphony Orchestra. In 1998 he was named emeritus conductor of the Spanish National Orchestra. He has served as principal guest conductor of the National Symphony Orchestra in Washington, D.C., and of the Nippon Yomiuri Orchestra, becoming honorary conductor of the latter ensemble in 1991. He was also chief conductor of the Vienna Symphony Orches- tra, music director of the Deutsche Oper Berlin, and chief conductor of the Berlin Radio Symphony Orchestra. Since September 2001 he has been chief conductor of the Orchestra Sinfonica Nazionale della RAI Torino; since the 2004-05 season he has been music director of the Dresden Philharmonie orchestra. As guest conductor he has led all of the major American orchestras, the Israel Philharmonic, and, in Europe, the Berlin Philharmonic, Munich Philharmonic, the Leipzig Gewandhaus Orchestra, various German radio orchestras, and the five major London orchestras. He is also a frequent guest conductor in Italy, Switzerland, France, Sweden, Norway, Denmark, and Japan, as well as at opera houses and prestigious festivals. His discography includes more than 100 recordings, for EMI, Decca,

Columbia (Spain), and Collins Classics, including acclaimed releases of Orff 's Carmina burana, Mendelssohn's Elijah and St. Paul, and the complete works of Manuel de Falla, including L'Atlantida and La vida breve. A member of the Royal Academy of Fine Arts of San Fernando since 1975, Rafael Fruhbeck de Burgos has received many awards, including an honorary doctorate from the University of Navarra in Spain, the Gold Medal of the City of Vienna, the Bundesverdienstkreuz of the Republic of Austria and Germany, the Gold Medal from the Gustav Mahler International Society, and the prestigious Jacinto Guerrero Prize, which he received in 1997 from the Queen of Spain. Apart from his regular concerts and tours with the RAI Orchestra Torino and the Dresden Philharmonie, he appears regularly with the Boston Symphony Orchestra leading a wide range of repertoire both in Boston and at Tanglewood. His future commitments include reengagements in Los Angeles, New York, Pittsburgh, Montreal, and Paris, as well as with the Philharmonia in London, the London Symphony Orchestra, and La Scala of Milan. Rafael Fruhbeck de Burgos made his BSO debut in concerts in Providence and at Symphony Hall in January 1971. In recent years he has been a frequent podium guest in Boston and also at Tanglewood, where he has conducted both the BSO and the Tanglewood Music Center Orchestra. This past April at Symphony Hall he led an all-Mozart program and performances of Berlioz's Requiem. He leads three programs at Tanglewood this summer—two this weekend, and an all-Beethoven program next Sunday to close the BSO's 2006 Tanglewood season.

21 Ann Hobson Pilot

Ann Hobson Pilot is a graduate of the Cleveland Institute of Music. She became principal harp of the Boston Symphony Orchestra in 1980, having joined the BSO in 1969 as assistant principal harp and principal harp of the Boston Pops. Previously she was substitute second harp with the Pitts- burgh Symphony Orchestra and principal harp of the National Symphony Orchestra in Washington, D.C. Ms. Pilot also has had an extensive solo career; she has performed as a soloist with many American orchestras, as ** well as with orchestras in Europe, Haiti, New Zealand, and South Africa. She has several recordings available on the Boston Records label, as well as on the Koch

International and Denouement labels. Ms. Pilot is the recipient of a Doctor of Fine Arts degree from Bridgewater State College. In 1998 and 1999 she was featured in a video documentary sponsored by the Museum of Afro-American History and WGBH, aired nationwide on PBS, about her personal musical journey as well as her African journey to find the roots of the harp. In September 1999 she traveled to London to record, with the London Symphony Orchestra, the Harp Concerto by the young American composer Kevin Kaska, a work that she commissioned. Ms. Pilot is on the faculties of the New England Conservatory of Music, Boston University, the Tanglewood Music Center, and the Boston University Tanglewood

Institute. She is a member of the contemporary music ensemble Collage New Music and the Ritz Chamber Players, and has also performed with the Boston Symphony Chamber Players and the Marlboro, Newport, and Sarasota music festivals, among others. Her solo performances with the BSO have included her solo debut in Mozart's Concerto in C for Flute and Harp at Tanglewood in July 1972 (a work she repeated here last summer with Sir James Galway and the BSO) and Debussy's Danses sacre'e et profane with Charles Dutoit in July 1999. Her solo appearances in 2005-06 included performances with the Pro Arte Chamber Orchestra, Indian Hill Chamber Orchestra, and Boston Classical Orchestra. In March 2007 she will appear as soloist with the Symphony by the Sea.

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22 Josep Colom Born in Barcelona, pianist Josep Colom—who makes his BSO debut with this concert—was awarded the Premio Nacional de Miisica by the Spanish Ministry of Culture in 1998. Earlier in his career he won first prizes in the Paloma O'Shea International Competition of Santander (1978) and the International Competitions ofJaen and Epinal (France), as well as the Beethoven and Scriabin competitions organized by Spanish National Radio. He made his Paris debut in the Theatre des Champs-Elysees in 1979 and has been a jury member for many international competitions, including the Chopin Competition in Warsaw. His recent engagements include a tour with the National Orchestra of Spain to Switzerland, Germany, and South America, concerts with the Bamberger Symphony under Rafael Fruhbeck de Burgos, and concerts with the RAI in Turin, Orchestra of Bordeaux, Zagreb Philharmonic Orchestra, and Orchestra of Strasbourg, as well as a tour to Japan that included recitals and concerts with various orchestras. He performs with all the Spanish orchestras—the National Orchestra, Radio and Television Orches- tra, Real Orquesta de Sevilla, Orquesta Filarmonica de Malaga, Sinfonica de Galicia, Princi- pado de Asturias, Castilla-Leon, Euskadi, and Valencia—and has also appeared with the English Chamber Orchestra and orchestras of Maastricht, Bucharest, RAI Naples, Gulben- kian, and Oporto, with such conductors as Bragado Darman, Edmon Colomer, Sergiu Comis- siona, F. Paul Decker, Garcia Asensio, Sir Alexander Gibson, Eliahu Inbal, Arpad Joo, Kiril Kondrashin, Salvador Mas, Victor Pablo, Josep Pons, Alexander Rahbari, Antonio Ros Marba, Antoni Witt, and Michail Jurowsky. He has participated in the Festival Pablo Casals in Puerto Rico, at the invitation of Krzysztof Penderecki; opened the 2001 Festival of Granada with the National Orchestra under Fruhbeck de Burgos, and appeared under Alain Lombard to open the Orchestra of Sevilla's 2002-03 season. Mr. Colom performs regularly throughout Europe in recitals and concerts as well as in such festivals as La Roque d'Antheron, Chateau ofJoiville, and Bagatelle in Paris and the Chopin Festival in Duszniki, Poland, among others. With the Orchestra Ciudad de Barcelona and Edmon Colomer, he has toured Austria, Switzerland, and Germany (1994) and Japan (1995). His award-winning recordings include the complete sonatas of the 18th-century composer Blasco de Nebra (Etnos), the complete piano works of Manuel de Falla (Circe), Brahms's complete piano works for two pianos and piano four hands with Carmen Deleito (Chant du Monde), and the two Brahms piano concertos with the Radio of Prague Symphony Orchestra. Mr. Colom has given many recitals with the cellist Lluis Claret, including the complete Beethoven piano-and-cello works in the Palau de la Miisica in Barcelona and Madrid. His discography, distributed by Harmonia Mundi, also includes music of Franck and Mompou as well as Nights in the Gardens of Spain with the Orchestra of Granada.

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24 2006. Tanglewood, BOSTON SYMPHONY ORCHESTRA 125th Season, 2005-2006

Saturday, August 19, at 8:30

HERBERT BLOMSTEDT conducting

DVORAK Violin Concerto in A minor, Opus 53 Allegro ma non troppo Adagio ma non troppo Allegro giocoso, ma non troppo HILARY HAHN

INTERMISSION

BEETHOVEN Symphony No. 3 in E-flat, Opus 55> Eroica Allegro con brio Marcia funebre. Adagio assai Scherzo: Allegro vivace Finale: Allegro molto

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NOTES ON THE PROGRAM

Antonin Dvorak (1841-1904) Violin Concerto in A minor, Opus 53

First performance: October 14, 1883, Prague, Dvorak cond., Frantisek Ondricek, soloist. First BSO performances: November 1900, Wilhelm Gericke cond.,Timothee Adamow-

ski, soloist. First Tang/ezuoodperformance: July 18, 1963, Erich Leinsdorf cond., Isaac Stern, soloist. Most recent Tang/ewoodperformance: July 18, 2003, Robert Spano cond., Midori, soloist.

On January 1, 1879, Joseph Joachim gave the first performance of the Brahms Violin Concerto. Brahms was one of the most important influences on the career of Antonin

Dvorak, and it was for Joachim that Dvorak wrote his own Violin Concerto six months later. The Austro-Hungarian Joachim (1831-1907) was a composer, conductor, and teacher, as well as one of the most important violinists of his day. He made his debut at eight, was sent to study in Vienna several months after that, and in 1843 went to Leipzig to learn from Mendelssohn at the new conservatory there, making his Gew- andhaus debut that August. On May 27, 1844, Mendelssohn conducted the Beethoven Violin Concerto in London with the thirteen-year-old Joachim as soloist; the enthusiastic audience was so taken with the blond youngster's performance that

the first movement was several times interrupted by applause. Six years later, Joachim was concertmaster under Franz Liszt at Weimar for the first production of Wagner's Lohengrin. He became an intimate of Robert and Clara Schumann, and in 1853 he met Brahms, who benefited from Joachim's advice on orchestration (Tovey reports that the

latter's skill in this area was considered "as on a level with his mastery of the violin") and from hearing Joachim's quartet perform his early chamber music. It soon became typical for Brahms to seek Joachim's suggestions regarding works-in-progress, and in 1877 Joachim conducted the first English performance, at Cambridge, of Brahms's First Symphony. It was Brahms who introduced Dvorak to Joachim, and Joachim got to know Dvorak's A major string sextet, Opus 48, and E-flat string quartet, Opus 51, both of which were performed at Joachim's house in Berlin on July 29, 1879, with the composer present.

By this time, and with encouragement from Joachim, who had recently given the first performance of Brahms's Violin Concerto, Dvorak was at work on a violin concerto of his own. In January 1880 he reported that Joachim had promised to play the concerto as

soon as it was published, and on May 9, 1880, after Joachim had suggested a thorough revision, the composer wrote to Simrock that he had reworked the entire score, " without missing a single bar." Dvorak again gave the score to Joachim, who now took two years to respond, finally making alterations to the solo part in the summer of 1882 and suggesting that the composer lighten the instrumentation. In November the composer and Joachim read through the concerto with the orchestra of the Berlin Hochschule. The next month Dvorak held fast against criticism from Simrock's adviser Robert

". Keller regarding the lack of a break before the Adagio: . . the first two movements can or must—remain as they are." Simrock published the score in 1883, but for the first performance the soloist was not Joachim but the twenty-three-year-old, Prague-born

"Brahms and Joachim remained very close until the end ofJoachim's marriage in 1884 found Brahms siding with Amalie Joachim. He wrote his Double Concerto as something of a peace offering to Joachim in 1887; Joachim and his quartet cellist, Robert Hausmann, were the first soloists.

27 Week 7 Frantisek Ondficek, who was already famous enough by this time to be receiving invita- tions to play throughout Europe, in the United States, and in eastern Russia. Joachim himself never performed Dvorak's concerto—though he almost did so in London during the composer's first visit there in 1884 —and it has been suggested that the violinist- composer may not have been able to reconcile his own conservatism vis-a-vis musical form with respect to Dvorak's bold experimentation in the first movement. Even today, this neglected masterpiece has had comparatively few advocates, but probably for yet another reason: it is fiendishly difficult. Dvorak wastes no time in alerting us to the fact that he will adhere to no prescribed formal scheme in his first movement, by dispensing entirely with an orchestral exposition. Instead, a bold, unison forte with a suggestion of triple-time furiant rhythm serves to introduce the soloist before even five measures have gone by, the warmly melodic theme giving way to cadenza-like figuration (already!) before the orchestra reenters. The next important idea, a woodwind cantilena to be developed in short order by the soloist, grows naturally from the contours of the preceding orchestral material. What might be identified as the movement's "real" second theme by virtue of its placement in C, the relative major of A minor, will appear in the solo violin only much later, and very briefly at that, against a sort of free echo in the solo oboe. But note that the idea here is not so much to identify individual themes as to observe that Dvorak has created material so constantly ripe for elaboration that applying the terms "exposition" and "development"

* August Manns, on whose concert series Joachim was appearing at the Crystal Palace, would have programmed the work had the composer been allowed to conduct, but Dvorak was in England under the auspices of the Philharmonic Society, which would not let him appear with the rival organization—especially since the Crystal Palace concert was to happen before the Philharmonic's own!

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to this movement is almost meaningless. Ultimately, since so much has already happened, the "big" return to the main theme—the "recapitulation" if you must—really has nowhere to go, and Dvorak accordingly cuts things short with the suggestion of a brief cadenza (over forceful horn calls which appear in varying guises throughout the concerto) and then a contemplative bridge passage for winds and low strings—the soloist giving out one of many variants of the main theme heard during the movement—leading directly to the wonderfully expansive and beautiful F major Adagio. The length of the second movement is supported not only by Dvorak's ability to create long-breathed arcs of melody, but also by his skill in juxtaposing areas of contrasting

key and character as the movement proceeds. The concerto's rondo finale is unflaggingly energetic, tuneful, and, to quote Michael Steinberg, "unabashedly Czech," exploiting the

folk-dance rhythms of the furiant in its A major main theme and the duple-time dumka in the D minor central episode. Dvorak is particularly inventive in his presentations of

the main theme: it is heard first over high strings, with the second violins sustaining a

tonic A; it returns against a crashing open fifth in the timpani and the simulation of

Czech bagpipes in the open fifth of violins and cellos; and for its third appearance it sounds against a rush of upper-string activity with off-beat accents in the cellos and basses. For the dumka episode, Dvorak asks the timpanist to retune his E to D (other briefer instances of returning occur occasionally in this score); this episode also stresses two-against-three cross-rhythms, particularly via the triplets of the horns heard against

the steady 2/4 of the dumka theme. Near the end, there is a striking change of color when the solo flute brings back the main theme beginning on A-flat, and then a brief reference to the dumka prepares the exuberant final pages, a sudden accelerando and four brilliantly boisterous chords bringing this marvelous movement to a close. —Marc Mandel

Ludwig van Beethoven ( 1 770- 1 827) Symphony No. 3 in E-flat, Opus 55, Eroica

First public performance: April 7, 1805, Vienna, Theater-an-der-Wien, Beethoven cond. First BSO performance: November 1881, Georg Henschel cond. First Tanglewoodper- formance: August 7, 1941, Serge Koussevitzky cond. Most recent BSO performance at Tanglewood: August 16, 1996, Christoph Eschenbach cond. Most recent Tanglewood performance: August 21, 2005, Orchestra of St. Luke's, Peter Oundjian cond.

With Beethoven's Third Symphony, as Maynard Solomon observes, "we know that we have crossed irrevocably a major boundary in Beethoven's development and in musi-

cal history as well." In its size and shape, in the density and

complexity of its musical ideas, in its overall scope, in its psy-

chologically complex link to extramusical associations (i.e.,

"the Napoleon connection"), it was worlds apart from any

symphony written before it. The first movement alone, when

the exposition repeat is included, runs half the length of an entire late Mozart or Haydn symphony. The funeral march represented an unprecedented novelty and was frequently

mentioned along with the title; in February 1814, for a performance by the Philharmonic Society in London, the symphony was announced quite specifically as Beethoven's "Sin-

fonia Eroica (containing the Funeral March)." Of the third movement, with its bustling

energy, beginning sempre pianissimo staccato" George Grove wrote that "before this. . . the

Scherzo, in its full sense, was unknown to music." Also in the Eroica Beethoven introduced

29 Week 7 a third horn to the symphony orchestra for the first time; the third-movement Trio takes full advantage of the added sonority. The theme-and-variations finale—based on a musical idea encountered first in a Beethoven contradance for piano, then in his ballet music to The Creatures ofPrometheus, and again in his Opus 35 piano variations of 1802 (retroactively christened the Eroica Variations)—can still seem curious, a source of puz- zlement; one commentator has even described it as "perhaps a little naive," given the weight of what precedes. Beethoven was aware of the strain the Eroica would have placed on listeners in his day. A note in the first printed edition stated that "This Symphony, being purposely written at greater length than usual, should be played nearer the beginning than the end

of a concert. . . lest, if it be heard too late, when the audience is fatigued by the previous

pieces, it should lose its proper and intended effect." At one point he considered elimi- nating the exposition repeat in the first movement—presumably in the hope that such shortening would encourage more frequent performance, although the inclusion of the

repeat could only have helped early audiences to make sense of the first movement's musical argument. An early review, of a semi-public performance in January 1805 (the

first public performance was conducted by Beethoven himself on April 7 that year) commented on the symphony's "inordinate length and extreme difficulty of execution"

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30 and observed that "the work seems often to lose itself in utter confusion." Yet also in early 1805, when the works dedicatee, Beethoven's patron, Prince Joseph von Lobkowitz, who had purchased personal rights to performance of the symphony for a six-month period, arranged a hearing for an esteemed guest, Prince Louis Ferdinand of Prussia, the latter was so fascinated by the new work that it was played through a second and third time that same evening! In January 1807, when the Eroica was first heard at the concerts of the —Leipzig Gewandhaus, the distribution of a program intended to assist comprehension "A fiery and splendid Allegro; (2) a sublime and solemn Funeral March;

(3) an impetuous Scherzando\ (4) a grand Finale in the strict style" (this referring to the last movement's theme-and-variations structure)—not only helped ensure a receptive audience but even led to requests for further performances. The following anecdote, recorded by Beethoven's friend Ferdinand Ries, has become crucial to any consideration of the Eroica Symphony:

In this symphony Beethoven had Buonaparte in mind, but as he was when he was First Consul. Beethoven esteemed him greatly at the time and likened him to the

greatest Roman consuls. I as well as several of his more intimate friends saw a copy of the score lying upon his table with the word "Buonaparte" at the extreme top of

the title page, and at the extreme bottom "Luigi van Beethoven," but not another word. Whether and with what the space between was to be filled out, I do not know.

I was the first to bring him the intelligence that Buonaparte had proclaimed himself emperor, whereupon he flew into a rage and cried out: "Is he then, too, nothing more

than an ordinary human being? Now he, too, will trample on all the rights of man and indulge only his ambition. He will exalt himself above all others, become a

tyrant!" Beethoven went to the table, took hold of the title page by the top, tore it in

two, and threw it on the floor. The first page was rewritten and only then did the

symphony receive the title Sinfonia eroica.

Happiness is like a butterfly which, when pursued,

is always beyond our grasp, but, if you will sit down quietly, may alight upon you. Nathaniel Hawthorne

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31 —^ • g i mi 2006 Season Days in the Arts

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

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

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

The William E. and Bertha E. Schrafft Fidelity Investments Charitable Trust Fisher Scientific International Inc. Suffolk Construction Company, Inc. Granite Telecommunications The Hanover Insurance Group Foundation, Inc. $10,000 - $24,999 Helen G. Hauben Foundation Associated Grantmakers of Massachusetts John Hancock Financial Services Summer Fund Leonard Kaplan and Marcia Simon Kaplan Boulder Capital The Kingsbury Road Charitable Foundation Citizens Bank of Massachusetts and The Krentzman Family Citizens Financial Group Liberty Mutual Group Dick and Ann Marie Connolly The Lynch Foundation Daniel Freed, in memory of Shirlee Cohen Freed The McGrath Family

Stephen B. Kay and Lisbeth Tarlow Mellon Financial Corporation The Roger and Myrna Landay NSTAR Charitable Foundation Mr. and Mrs. Kevin C. Phelan Thomas A. Pappas Charitable Foundation Premier Capital Red Sox Foundation $5,000 - $9,999 The Mabel Louise Riley Foundation Sydelle and Lee Blatt S & F Concrete Contractors, Inc.

Irene E. and George A. Davis Foundation The Richard and Susan Smith Family Foundation Intercontinental Real Estate Corporation Sullivan & McLaughlin Companies, Inc. Abraham Perlman Foundation Edward A. Taft Trust Anonymous Roberta and Stephen R. Weiner Williams Scotsman Inc. $2,000 - $4,999 Anonymous Analog Devices, Inc. Anglo Irish Bank Group DARTS Endowment Funds Aon Elizabeth A. Baldwin DARTS Fund Arbella Insurance Group George and Kathleen Clear DARTS CRT Bank of America Paul D. and Lori A. Deninger Blue Cross Blue Shield of Massachusetts DARTS Scholarship Fund The Boston Foundation Gordon/Rousmaniere/Roberts Fund Boston Properties, Inc. Renee Rapaporte DARTS Scholarship Fund Brooke Private Equity Advisors Jerome Zipkin DARTS Fund Capone Iron Corporation Charles George Trucking Co., Inc. *asofJulyl5, 2006

32 : —

While the intent of this account is clear, the actual details cannot be substantiated. Beethoven composed his Third Symphony between May and November 1803, complet- ing the work with some final polishing early in 1804.* But the title Eroica seems not to have been used until the parts were first published, in October 1806, with the heading "Sinfonia Eroica composta perfestigiare il Souvenire di un grand' Uomo" ("Heroic Symphony composed to celebrate the memory of a great man"). The autograph of the symphony which may have been the score mentioned by Ries—is lost. A surviving manuscript, written out by a copyist and headed "Sinfonia Grande Intitulata Bonaparte" has the last two of these words energetically crossed out on the title page—but the words "Geschrieben aufBonaparte" ("written on Bonaparte"), added in Beethoven's own hand, remain. In October 1803, Ries wrote to the publisher Simrock in Bonn that Beethoven wanted very much to dedicate the new symphony to Napoleon, but that, on the other hand, Prince Lobkowitz was interested in purchasing the performing rights—under which cir- cumstance the latter would become dedicatee, and Beethoven would simply name the work after Napoleon. A practical consideration was that Beethoven, frequently ambiva- lent toward Vienna, and himself considering a move to Paris, would have found a symphony named for or dedicated to Napoleon a useful calling card. Napoleon declared himself Emperor on May 18, 1804; yet even on August 26 that year, Beethoven wrote to the publisher Breitkopf &c Hartel that "The title of the symphony is really Bonaparte" But Beethoven's apparent need somehow to express his political and ideological beliefs

* Sketches for the first three movements of a symphony in E-flat (rather different in outline from the Eroica itself) actually date back to the summer or fall of 1802, in a sketchbook also including notations for the Opus 35 piano variations. The musicologist Lewis Lockwood has gone so far as to suggest that Beethoven may already have had a theme-and-variations finale in mind at this point, and that no sketches for the finale appear because the idea may be inferred from the proximity of the symphony sketches to those for Opus 35.

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33 at this particular time—whether in the dedication of the symphony or perhaps even in the language of the music itself—had also to be tempered by realistic concerns, especially given the strained relations between France and Austria at the time. Ultimately, the

music must speak for itself; indeed, as Basil Lam has written, "the greatest human hero would be unworthy of the Eroica."

Some things worthy of particular attention in the first movement: 1) those two slashing initial chords, which define the home key, serve as a springboard for the rhythmic energy of the entire movement, and are perceptible even in the movement's closing

cadence*; 2) the harmonically intrusive C-sharp with which the first statement of the main theme ends, and which sets up a harmonic tension to be felt throughout the movement as a whole; 3) the increased proportions of the development and coda sections in this gigantically expanded sonata-form structure; 4) the complex network of thematic materials, not one of them a real "tune"; 5) the famous appearance of the so-called "new theme" in the development section; and 6) the "overeager" horn entrance (over a "wrong" harmony) that ushers in the recapitulation.

The funeral march, with its integral use of silence and sound, and the energetic third- movement scherzo—the first symphonic "scherzo" actually to be so named—need no further comment. But the finale requires at least a little space, if only because of its rather unusual structure (the "strict style" mentioned in the 1807 program quoted earlier), its basis—at least to begin—in a clearly defined, purely musical technique (theme and variations) quite different from the more extroverted, even revolutionary musical expres-

sion of the first movement, and from the more explicitly personal utterance of the sec-

Beethoven's first two symphonies had begun with slow introductions, as would the Fourth and Seventh.

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heart to the Shakers' commitment to peace. ond. An awareness of Beethoven's tempo designation is particularly important here: when this movement is treated as a real "Allegro molto," its astonishing musical craftsmanship becomes all the more apparent. At the same time, a quick tempo helps speed the musical argument to its intended conclusion. The fugal section brings a new character, suggesting a grander mode of expression, and music that becomes increasingly forceful.

Then, with the Poco Andante, there is a humanizing quality, a poignancy, and, to quote Tovey, "a mood we have not found before in the whole symphony." This transfiguring and humanizing element is clearly the key to the finale, and provides the subliminal link to the Eroicds first two movements. Once regained, this element of personalization demands a triumphant close, and the music speeds to its end in joyful celebration of its newly restored humanity. —Marc Mandel

GUEST ARTISTS

Herbert Blomstedt Herbert Blomstedt recently concluded his tenure as music director of the Gewandhaus Orchestra of Leipzig after seven seasons. His collaboration with that orchestra produced a number of important and highly praised recordings, including Brahms's Fourth Symphony and the Bruckner Ninth on Decca). In addition, he introduced numerous Scandinavian works and compositions from the early classical and baroque periods into the orches-

tra's programming. Born in Springfield, Massachusetts, in 1927, Herbert Blomstedt moved with his family to Sweden in 1929. He studied at the Royal College of Music in Stockholm and the University of Uppsala, and studied conducting with the legendary Igor Markevitch, with Jean Morel at the Juilliard School, and with Leonard Bernstein at Tanglewood, where he received the Koussevitzky Conducting Prize in 1953. The following year he made his conducting debut with the Stockholm Philharmonic and was appointed music director of the Norrkoping (Sweden) Symphony. In 1955 he took first prize at the Salzburg conducting competition. Mr. Blomstedt has been music director of the Oslo Philharmonic, Danish Radio Symphony, and the Swedish Radio Symphony, and chief conductor of Hamburg's North German Radio Symphony Orchestra. In 1975 the musicians of the Dresden Staatskapelle invited him to become music director; during his decade with that orchestra he led them on major international tours, including their first visit to the United States. Following his San Francisco Symphony debut in February 1984, he was immediately appointed music director. In his decade at the helm, he led that orchestra to worldwide recognition, with tours of Europe, Asia, and the United States, and concerts at major festivals including Salzburg, Edinburgh, and Lucerne. He is now the San Francisco Symphony's Con- ductor Laureate. His recordings with the San Francisco Symphony on London/Decca have received such prestigious awards as France's Grand Prix du Disque for Nielsen's Fourth and Fifth symphonies, Britain's Gramophone Award for Nielsen's Second and Third symphonies,

Japan's Record Academy Award for Grieg's Peer Gynt and Grammy awards for Orff s Carmina y burana and Brahms's German Requiem. Their Grammy-nominated recording of Mahler's Symphony No. 2 received the Prize of the German Record Critics for Best Recording in 1995. Mr. Blomstedt has received Columbia University's Ditson Award for distinguished service to American Music, the Anton Bruckner Prize in Linz, and the Carl-Nielsen-Prize in Copenhagen. His numerous distinctions include membership in the Royal Musical Acad- emy of Stockholm. He is a Knight of the North Star, Stockholm, and a Knight of the Danne- brogen Copenhagen. During 2006 his guest appearances in the United States include the San Francisco Symphony, Los Angeles Philharmonic, Boston Symphony, Philadelphia Orches- tra, and his debut with the Cleveland Orchestra. Herbert Blomstedt made his Boston Sym-

35 Week 7 phony Orchestra debut at Tanglewood in August 1980 and his BSO subscription series debut in February 2004. He made his first appearance with the Tanglewood Music Center Orchestra earlier this summer and also leads two programs (this week and next) with the Boston Symphony this month.

Hilary Hahn Grammy Award-winning violinist Hilary Hahn was named "America's Best" young classical musician by Time magazine in 2001. Ms. Hahn appears regularly with the world's great orchestras in Europe, Asia, and North America. Highlights of the 2005-06 season include recital tours in the United States, Europe, and Asia, and performances with the Los Angeles Philharmonic, Luxembourg Philharmonic, the National Arts Centre Orchestra, the New York String Seminar; the Colorado, Barcelona, BBC, WDR, and Montreal symphony orchestras; the National Philhar- monic Orchestra of Russia, and the radio orchestras of Frankfurt and Sweden. Ms. Hahn's 2004-05 season was equally diverse, taking her to Cambodia, Vietnam, Japan, China, Taiwan, Singapore, Thailand, Russia, Germany, Austria, Switzerland, France, Italy, the Netherlands, Belgium, Sweden, Denmark, Norway, England, Ireland, and fifteen states within the U.S. Hilary Hahn records exclusively for Deutsche Grammophon. Her most recent album features four Mozart sonatas played with her longtime recital partner Natalie Zhu. Ms. Hahn's 2004 recording of the Elgar Violin Concerto and Vaughan Williams's The Lark Ascending won the Preis der Deutschen Schallplattenkritik. Also for DG she has recorded Bach's solo concertos in A minor and E major, the D minor concerto for two violins (with Margaret Batjer), and the C minor concerto for violin and oboe in C minor (with Allan Vogel). Ms. Hahn was featured soloist on the soundtrack to M. Night Shyamalan's film The Village and guest artist on the newest album by Austin alt-rockers, "... And You Will Know Us By the Trail of Dead." Admitted to Philadelphia's Curtis Institute of Music in 1990 at the age often, Hilary Hahn MUSEUMSMITH COLLEGE m -ART American and European masterworks Art from diverse cultures

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36 made her major orchestra debut a year-and-a-half later with the Baltimore Symphony Orchestra. She made her German debut at fifteen playing the Beethoven Violin Concerto with Lorin Maazel and the Bavarian Radio Symphony Orchestra, in a concert broadcast on radio and television throughout Europe. Two months later she received the Avery Fisher Career Grant. In 1996 Ms. Hahn signed an exclusive recording contract with Sony Classical, eventually recording five albums for that label. Also in 1996 she made her Carnegie Hall debut, as soloist with the Philadelphia Orchestra. Also a dedicated chamber musician, Ms. Hahn has performed nearly every summer since 1992 at the Skaneateles Chamber Music Festival. Between 1995 and 2000, she spent four summers at the Marlboro Music Festival in Vermont. From 1996 to 1998 she was an artist-member of the chamber music mentoring program of the Chamber Music Society of Lincoln Center. Born in Lexington, Virginia, Hilary Hahn moved at the age of three to Baltimore, where she studied with Klara Berkovich, a native of Odessa who taught for twenty-five years at the Leningrad School for the Musically Gifted. From ten until she was seventeen she studied at Curtis with the legendary Jascha Brodsky—the last surviving student of the great Belgian violinist Eugene Ysaye—working closely with him until his death at age eighty-nine. Though she completed the Curtis Insti- tute's university requirements at sixteen, Ms. Hahn deferred graduation and remained at the school for several more years, taking additional elective courses in languages and literature, coaching regularly with Jaime Laredo, and studying chamber music with Felix Galimir and Gary Graffman, graduating from Curtis in May 1999 at nineteen with a bachelor of music degree. Tonight's concert marks Hilary Hahn's Tanglewood debut; she made her BSO debut in February 2002, as soloist in Edgar Meyer's Violin Concerto.

Tanglewood BOSTON THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestra's

official home page (http://www.bso.org). The BSO web site not only provides up-to-the-

minute information about all of the orchestra's activities, but also allows you to buy tickets

to BSO and Pops concerts online. In addition to program listings and ticket prices, the web

site offers a wide range of information on other BSO activities, biographies of BSO musicians and guest artists, current press releases, historical facts and figures, helpful telephone

numbers, and information on auditions and job openings. Since the BSO web site is updated on a regular basis, we invite you to check in frequently.

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38 2006 Tanglewood BOSTON SYMPHONY ORCHESTRA 2005-2006 125th Season, &°^±

Sunday, August 20, at 2:30

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ALL-BRAHMS PROGRAM

Piano Concerto No. 2 in B-flat, Opus 83

Allegro non troppo Allegro appassionato Andante Allegro grazioso PETER SERKIN

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40 NOTES ON THE PROGRAM

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

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

Henschel cond., B.J. Lang, soloist. First Tang/ewoodperformance: August 9, 1941, Serge Koussevitzky cond., Leonard Shure, soloist. Most recent Tang/ewoodperformance: August 6, 2004, Christoph von Dohnanyi cond., Yefim Bronfman, soloist.

". . .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 settled 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 Nanie. He was resigned to bachelorhood 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 Beethoven whose thunderous

footsteps made life terribly difficult for later composers. To the young Brahms, Bee- thoven 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 pecu- liarly 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 n musicae severioris in Germania nunc princeps 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 settled in Vienna, Theodor Billroth, an accomplished and knowledgeable amateur musician, and by profession a surgeon, a field in which he was even more unambiguously u 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, he made a set-

41 Week 7 ting of Schiller's Nanie, 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 Herzogenberg, perhaps his closest musical confidante of those years, that he had finished 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 dedication "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 Sonata was widely performed in the nineteenth century. Brahms's devotion

The Tanglewood Association of the Boston SymphonyAssociation of Volunteers and The Berkshire Museum present THE JOYS OF TANGLEWOOD with host/commentator Martin Bookspan

Tuesday mornings from 10 a.m. to 12 noon at the Berkshire Museum, 39 South Street (Rte. 7) in Pittsfield

July 11: "A Tanglewood 2006 Season Overview" with BSO Artistic Administrator Anthony Fogg, Tanglewood Music Center Director Ellen Highstein. and BSO Managing Director Mark Volpe

July 18: "Perspectives (through Historic Recordings) on Don Giovanni" with Boston Globe Music Critic Richard Dyer and BSO Director of Program Publications Marc Mandel July 25: BSO Assistant Conductor Ludovic Morlot on "The Joys and Hazards of Being an Assistant Conductor" and guitarist David Starobin on "The Guitar, From Classics to Rock and Back"

August 1: "A Salute to Tanglewood's Festival of Contemporary Music and to Milton Babbitt" with Milton Babbitt and Tanglewood Music Center Director Ellen Highstein

August 8: "Televising the BSO in Concert" with television director William Cosel and violinist/conductor Joseph Silverstein

August 15: BSO Artistic Administrator Anthony Fogg on "The Thrills and Chills of the Artistic Aa^ninistrator"

August 22: "Conducting Beethoven" with special guests Herbert Blomstedt and Rafael Friihbeck de Burgos

Tickets available by calling The Berkshire Museum at (413) 443-7171, ext. 10. Series subscriptions: $65 (available through July 11) • Single tickets (space permitting): $12 ($10 for Tanglewood Friends and Berkshire Museum members)

42 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 concerto, namely the perfect fusion of inspirational fire with that encompassing technique 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 prepared to draw more imagina- tive 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 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" function is to introduce, as dramatically as possible, an expansive and absolutely formal orchestral exposition. Perhaps the great-

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43 est 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 continuous and flowing texture, an effect that suggests that the opening of the movement 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 "do/ce" (followed in frequency by "feggiero"l). Beethoven had to answer tiresome questions about why there were only two movements in his last piano sonata, and now Brahms was constantly asked to explain the pres- ence 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 contrast, in any event, is welcome, and the movement, in which one can still sense the biting double-stops of Joachim's violin, goes brilliantiy. 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 custom 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 solois- tic). 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 within the piece are bold and remarkable in their

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

You are invited to take 2006. ~ _ Tanglewood Guided Tours of Tanglewood

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

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

Tours continue through Sunday, August 2j.

All tours last one hour, beginning at the Tanglewood Visitor Center. Please arrive at the Visitor Center five minutes before the starting time of each tour. Croup tours may be scheduled at other times by calling the Tanglewood Volunteer Office at (413) 637-5393. A contribution of $6 per person is requestedfor scheduled commercial tour groups (minimum $60 per tour).

44 effect. For an example, it is its placement in the distant key of F-sharp that gives the

return of the cello solo its wonderfully 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

Johannes Brahms Symphony No. 2 in D, Opus 73

First performance: December 30, 1877, Vienna, Hans Richter cond. First BSO performance: February 1882, Georg Henschel cond. First BSO Berkshire Festivalperformance: August 15, 1936, Serge Koussevitzky cond. First Tanglewoodperformance: August 14, 1938, Koussevitzky cond. Most recent Tanglewoodperformance: July 23, 2005, James Levine cond.

In a letter to Clara Schumann, Johannes Brahms offhandedly revealed something

fundamental about himself: "I always write only half-sentences, and the reader. . . must supply the other half." He was talking about his letters, which were often misread, and were often intended to be. In person and on the page, Brahms was chronically given to the oblique, the ironic, the unspoken. Likewise in some of his music we find an ironic play of surface appearance and hidden import; but in his art the irony was no joke, rather a symptom of his own thickly shrouded inner world.

Another example is the celebrated Brahmsian lyricism. When we think of his warmly lyrical moments we usually think of his instrumental works, rather than where we would expect to find that warmth, in his songs. When Brahms was setting words

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45 with their inescapable emotions, he pulled back; he only warmed fully within the abstractions of instrumental music. Yet despite his historical reputation as a creator of "pure" music, his life and feelings always went into his work, where they could at once

lie hidden and sing for all the world. Perhaps the most regularly misread of Brahms's major

works is his Second Symphony. From the beginning, critics

hailed it as a sunny and halcyon vacation from the turbulent

First Symphony. The Second, everybody said, is Brahms's counterpart to Beethoven's Pastoral, and looks back further to Haydn and Mozart at their most congenial.

^A *KJ53 ' But if the Second paints an idyll, it is a lost idyll. Brahms

R I himself hinted at its tangled import. To friend and critic Hanslick "It'll so cheerful lovely s! Eduard he wrote, sound and

Wk. w . Jyfli that you will think I wrote it specially for you or even your young lady." He cited the benevolent influence of his composing spot on the Worther- see: "[there are] so many melodies flying around that you have to be careful not to step on them." Meanwhile, having just finished the First Symphony after some fifteen years of wrestling with it, Brahms completed the Second—and several smaller works—during one delightful four- month working vacation in the summer of 1877. To Clara Schumann, however, Brahms described the symphony as "elegiac." To his publisher he wrote, "The new symphony is so melancholy that you won't be able to stand it. I've never written anything so sad The score must appear with a black border."

There the presumable joke is that the symphony usually strikes listeners as suave and enchanting. After all, every movement is in a major key.

The deeper irony hidden in Brahms's words is that the elegiac black border is as much

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46 a part of the symphony as its more explicit cheeriness. Brahms's Second is like a vision of nature and youth troubled by shadows that come and go like dark clouds in a summer sky. In his book on the Second Symphony, Late Idyll, Harvard scholar Reinhold Brinkmann

calls this supposed hymn to nature and serenity a "questioning of the pastoral world, a

firm denial of the possibility of pure serenity." Brahms's testament to the past is haunted by a skepticism and foreboding that seem prophetic. The questioning begins within the gentle opening. We hear a little three- note turn in the basses (D-C-sharp-D), a melodic shape that will pervade the symphony. The basses are answered by an elegant wind phrase that at once suggests a Strauss waltz (Brahms admired the Waltz King) and the hunting horns of a Haydn symphony or divertimento.

But all this gracious simplicity is deceptive. Anyone trying to waltz to this opening will fall on his face: the phrasing of the basses and the answering winds are offset by one measure, with neither predominating. At times the movement falls into tumultuous

stretches where the meter is dismantled. The breezy and beautiful first theme is followed by a fervent second theme that, in itself, is in A major—but harmonized in F-sharp minor. Throughout the symphony, the brightness of major keys will be touched by darker minor-key tints. The more salient voices disturbing the placid surface are the trombones and tuba. After the balmy opening, the music seems to stop in its tracks; there is a rumble of timpani like distant thunder, and the trombones and tuba whisper a shadowy chorale, in cryptic

harmonies. That shadow touches the whole symphony. Later, the development section is intensified by braying brasses—startling for Brahms, more startling in this halcyon work. From the beginning of the symphony's career there were some who saw the shadows. One of them, conductor and Brahms acquaintance Vincenz Lachner, complained to the composer about "the gloomy lugubrious tones of the trombones" intruding on the tranquility. Brahms replied with one of the most revealing statements he ever made about his music or about himself:

I very much wanted to manage in that first movement without using trombones,

. . . But their first entrance, that's mine, and I can't get along without it, and thus the trombones.

I would have to confess that I am. . . a severely melancholic person, that black wings are constantly flapping above us, and that in my output—perhaps not entirely by

chance—that symphony is followed by a little essay about the great "Why". . . It casts the necessary shadow on this serene symphony and perhaps accounts for those timpani and trombones.

The "little essay" Brahms mentions is another product of the same summer, the motet

"Warum ist das Licht gegeben" (Opus 74, No. 1: "Wherefore is the light given to them that toil?") in which the chorus proclaims Job's anguished question, "Why? Why?" Thus the trombones, the necessary shadow, the great "Why." The second movement begins with a sighing high-Brahmsian cello theme. While the

tone throughout is passionate and Romantic, the movement's languid beauties are un- settled by rhythmic and harmonic ambiguity. It ends with a chromatic haze like an expansion of the first movement's trombone chorale—and underneath, the relentless strokes of timpani that for Brahms were an image of fate, and the thought of fate always

ominous. The final sustained chord sounds remarkably frail and uncertain for B major.

If the keynote of the first two movements is tranquility compromised, in the last two movements gaiety and frivolity break out. Brahms was generally influenced by the vacation spots where he composed, for example the cliffs and crashing seas of Riigen that helped complete the stormy First Symphony. This time the pleasures of the Worthersee

47 Week 7 have the last word. The third movement unfolds as a charming and jocular scherzo marked by sudden shifts of rhythm and meter: an elegant Allegretto grazioso leaping into a skittering Presto.

The finale is a romp, with one droll and delicious theme after another, ending unfor- gettably with a triumphant D major blaze of trombones. Here Brahms does something he was not supposed to know how to do—make an instrument the bearer of meaning. The trombones as harbingers of fate have become the heralds of joy; avant-gardists of the next century would call that "tone-color composition." If the great "Why" is ultimately unanswerable, this time Brahms was happy to lay aside the question in favor ofjoie de vivre, flourishing his trombones like a wineglass. Of Brahms's four symphonies the Second often seems the most atavistic, the least ponderous and self-conscious. Yet in its pensive irony as in its masterful craftsmanship, in its dark moments as in its jubilation, the Second is essentially Brahms. He was a composer who looked back to the giants of the past as an unreachable summit, and who looked to the future of music and civilization with increasing alarm. He was a man who felt spurned by his beloved hometown of Hamburg, who called himself a vagabond in the wilderness of the world. So midway through his journey as a symphonist, Brahms wrote a serenely beautiful masterpiece whose secret message is that you can't go home again. —Jan Swafford

GUEST ARTISTS

For a biography of Rafael Friihbeck de Burgos, see page 21.

Peter Serkin American pianist Peter Serkin has successfully conveyed the essence of five centuries of repertoire; his performances with symphony orchestras, recital appearances, chamber music collaborations, and recordings are respected worldwide. Peter Serkin's rich musical heritage extends back several generations: his grandfather was the violinist and composer Adolf Busch and his father the pianist Rudolf Serkin. In 1958, at age eleven, he entered the Curtis Institute of Music in Philadelphia, where he was a student of Lee Luvisi, Mieczyslaw Horszowski, and Rudolf Serkin. He later continued his studies with Ernst Oster, Marcel Moyse, and Karl Ulrich Schnabel. Following his Marlboro Music Festival and New York City debuts with conductor Alexander Schneider in 1959, he performed with the Cleveland Orchestra and George Szell in Cleveland and Carnegie Hall and with the Philadelphia Orchestra and Eugene Ormandy in Philadelphia and Carnegie Hall. He has since performed with the world's major symphony orchestras under such eminent conductors as Seiji Ozawa, Pierre Boulez, Daniel Barenboim, Claudio Abbado, Simon Rattle, James Levine, Herbert Blomstedt, and Christoph Eschenbach. Also a dedicated chamber musician, Mr. Serkin has collaborated with Alexander Schneider, Pamela Frank, and Yo-Yo Ma, with the Budapest, Guarneri, and Orion string quartets, and with TASHI, of which he was a founding member. He has premiered numerous works by Torn Takemitsu, Peter Lieberson, Oliver Knussen, and Alexander Goehr, all of which were written for him. During the 2005-06 season, Mr. Serkin performed the world premieres of Charles Wuorinen's Flying to Kahani for piano and orchestra (with the Orchestra of St. Luke's at Carnegie Hall) and Elliott Carter's Intermittences for solo piano (in his Carnegie Hall recital and at the Gilmore Keyboard Festival). He also appears with the San Francisco, Detroit, St. Louis, and Toronto symphonies, gives recitals in Chicago's Orchestra Hall, at Aspen, and at the Casals Festival, and performs at Tanglewood and Caramoor. During the 2004-05 season

48 he gave the world premiere of Wuorinen's Piano Concerto No. 4 with the Boston Symphony and James Levine in Boston followed by the New York premiere at Carnegie Hall, and the New York premiere of Lieberson's Piano Concerto No. 2, Red Garuda, with the New York Philharmonic under James Conlon. Mr. Serkin's recent recordings include "The Ocean that has no West and no East" (Koch Records) featuring compositions by Webern, Wolpe, Mes- siaen, Takemitsu, Knussen, Lieberson, and Wuorinen; three Beethoven sonatas (BMG), and the complete works for piano by Arnold Schoenberg (Arcana). The recipient of an honorary doctorate from the New England Conservatory of Music, he was the first pianist to receive the Premio Internazionale Musicale Chigiana in recognition of his outstanding artistic achievement. Mr. Serkin resides in Massachusetts with his wife Regina and is the father of five children. A frequent guest soloist with the BSO both at Symphony Hall and at Tanglewood, he appeared most recently with the orchestra at Symphony Hall and Carnegie Hall in April 2005 (playing Stravinsky's Movements and the premiere performances of Charles Wuorinen's Fourth Piano Concerto, a BSO 125th Anniversary Commission) and at Tanglewood in July 2005 (for the Tanglewood premiere of the new Wuorinen concerto).

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

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

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

To support these new approaches, the Trustees of the Boston Symphony Orchestra have established The Artistic Initiative, an effort to raise new endowment funds to create a revenue stream that will support these activities for years to come. More immediately, the Initiative also seeks directed grants to provide immediate revenue for artistic expenses while endowment funds are being raised. THE ARTISTIC INITIATIVE (continued) Donors to The Artistic Initiative at the $250,000 level and higher are recognized as members of The James Levine Circle. The BSO gratefully acknowledges each of the following donors for their generous leadership level support. This list reflects gifts received as of July 20, 2006. THE JAMES LEVINE CIRCLE $2.000.000 and up

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

$1.000.000 - $1.999.999

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

$500.000 - $999.999

Advent International Corporation Carole and Edward I. Rudman

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

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

Richard P. and Claire W Morse Foundation

$250.000 - $499.999

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

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

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

51 ngfewood Major Corporate Sponsors, 2006 Season

Tanglewood corporate sponsors reflect the increasing importance of partnership between business and the arts. Tanglewood is honored to be associated with the following companies as major corporate sponsors and gratefully acknowledges their contributions during the 2006 season.

For information regarding Tanglewood, BSO, and/or Boston Pops sponsorship opportunities, contact Alyson Bristol, Director of Corporate Sponsorships, at (617) 638-9279 or at [email protected].

State Street Global Advisors OOj£LJ\$

As Tanglewood's 2006 season sponsor, State Street Global

Advisors is honored to be associated with the world's most prestigious summer music festival. We are proud to be

Tanglewood's first season sponsor, and proud to take a cor- William Hunt porate leadership position with this extraordinary institution President and CEO that magically combines the beauty and tranquility of nature with the power and emotion of great classical music—the "Tanglewood experience," as defined by hundreds of thou- sands of patrons who make Tanglewood an annual destina- tion. As one of the world's largest investment managers, with a longstanding history in the community, State Street

Global Advisors is pleased to support Tanglewood and its invaluable contributions to the community

OMMONWEALTH WORLDWIDE CHAUFFEURED TRANSPORTATION

Commonwealth Worldwide Chauffeured Transportation is proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and the Boston Pops and has provided ground transportation to hundreds of guest artists Dawson Rutter President and CEO and conductors who have appeared with the BSO and Boston Pops at Symphony Hall, as well as providing chauffeured transportation from Boston and New York to Tanglewood. For 125 years the BSO has enriched the community and

Commonwealth is honored to be part of such an important heritage. We are excited to be part of the BSO's continued growth and look forward to many spectacular seasons. (^unt^CurtainsfSS AT THE RED LION INN - STOCKBRIDGE - MASSACHUSETTS

vokuityro ^SITheRedLenInn

Country Curtains, The Red Lion Inn, Blantyre, and the Fitzpatrick family have been a special part of Boston Symphony Orchestra's family for over thirty years. From accompanying the BSO on world tours,

The Fitzpatrick Family to helping build Ozawa Hall, to supporting young upcoming professional musicians at the Tanglewood Music Center, the Fitzpatrick companies have created a unique legacy integral to Tanglewood and the BSO.

A Delta

Delta Air Lines is pleased to support Tanglewood in its second season as the Official Airline of the Boston Symphony Orchestra. We look forward to an outstanding summer with guest appearances by today's most celebrated artists from around the world. Joanne Smith At Delta, we have been a longtime supporter of the Boston and Vice President, Marketing New York metropolitan areas, at the airport and beyond. This commitment to the BSO builds upon Delta's global support of

the arts.

STEINWAY & SONS

Steinway 6c Sons is proud to be the piano selected exclusively at Symphony Hall and Tanglewood. Since 1853, Steinway pianos have been handmade to an uncompromising standard, and Bruce Stevens applauded by artists and audiences alike for their rich, expres- President sive sound. It's no wonder that, for 98% of today's concert pianists,

the choice is Steinway.

53 THE KOUSSEVITZKY SOCIETY

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

VIRTUOSO $50,000 to $99,999

George and Roberta Berry Country Curtains, Inc. Carol and Joseph Reich in memory of Nan Kay

ENCORE $25,000 to $49,999

Linda J.L. Becker Dorothy and Charlie Jenkins Susan and Dan Rothenberg Ginger and George Eivin Joyce and Edward Linde Mr. and Mrs. James V. Taylor Mr. and Mrs. Michael L. Gordon Mrs. Evelyn Nef Stephen and Dorothy Weber

MAESTRO $15,000 to $24,999

BSO Members' Association The Frelinghuysen Foundation Mrs. Clarice Neumann

Canyon Ranch in the Berkshires Dr. and Mrs. Allen Hyman Irene and Abe Pollin Mr. and Mrs. Joseph L. Cohen Leslie and Stephen Jerome The Red Lion Inn

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

BENEFACTORS $10,000 to $14,999

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

Jan Brett and Joseph Hearne Mr. and Mrs. Everett Jassy Mrs. Millard H. Pryor, Jr.

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

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

SPONSORS $5,000 to $9,999

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

Berkshire Bank Mr. and Mrs. William E Cruger Mr. and Mrs. Francis W. Hatch, Jr.

Ann and Alan H. Bernstein Mr. and Mrs. Clive S. Cummis Mrs. Paul J. Henegan Mr. and Mrs. Lee N. Blatt Ursula Ehret-Dichter and Mr. and Mrs. Stuart Hirshfield Broadway Manufacturing Supply Channing Dichter Dr. and Mrs. Edwin H. Hopton LLC Mr. and Mrs. Dale E. Fowler Mr. and Mrs. Lawrence S. Horn Ann Fitzpatrick Brown Herb and Barbara Franklin Inland Management Corporation

Mr. John F. Cogan, Jr., and The Hon. Peter H.B. Frelinghuysen Stephen and Michele Jackman Ms. Mary L. Cornille Cora and Ted Ginsberg Prof, and Mrs. Paul Joskow James and Tina Collias Roberta and Macey Goldman Mr. and Mrs. Louis Kaitz Dr. Charles L. Cooney and Mr. and Mrs. Robert A. Goodman Martin and Wendy Kaplan Ms. Peggy Reiser Corinne and Jerry Gorelick Natalie Katz in memory of Ranny Cooper and David Smith John and Chara Haas Murray S. Katz Handler Mr. and Mrs. Michael Kittredge Mr. and Mrs. Herbert J. Coyne Joseph K. and Mary Jane

54 SPONSORS $5,000 to $9,999 (continued)

Mr. and Mrs. Jacques Kohn Claudio and Penny Pincus Jerry and Nancy Straus Koppers Chocolate The Charles L. Read Foundation Marjorie and Sherwood Sumner

Liz and George Krupp Robert and Ruth Remis Mr. and Mrs. George A. Suter, Jr. William and Marilyn Larkin Barbara and Michael Rosenbaum Mr. Aso Tavitian Legacy Banks The Roxe Foundation, Maureen TD Banknorth

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

Open Rehearsal (Pre-Rehearsal Talk at 9:30) Friday, August 4, at 6 (Prelude)

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

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

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

BSO—SEIJI OZAWA, conductor Tuesday, August 15, at 8:30 HEIDI GRANT MURPHY, soprano NATHALIE STUTZMANN, contralto BOSTON SYMPHONY CHAMBER TANGLEWOOD FESTIVAL CHORUS, PLAYERS JOHN OLIVER, conductor MOZART Divertimento No. 14 in B-flat for winds, K.270 MAHLER Symphony No. 2, Resurrection GANDOLFI Plain Song, Fantastic Dances

Sunday, August 6, at 2:30 SCHUBERT String Quintet in C, D.956 BSO—DONALD RUNNICLES, conductor Thursday, August 17, at 8:30 LARS VOGT, piano THETALLIS SCHOLARS MOZART Symphony No. 38, Prague "From Dresden to Innsbruck" STRAUSS Suite from Der Rosenkavalier To include music by Isaac, Schiitz, and Hassler, BEETHOVEN Piano Concerto No. 5, Emperor plus the Miserere by Allegri Concert Association of Florida

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

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

f)sjjJ?Jjiy

2006-2007 Sanford L. Ziff Prestige Series

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

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

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

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

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

Saturday, August 19, at 10:30 a.m. Saturday, August 26, at 10:30 a.m. Open Rehearsal (Pre-Rehearsal Talk at 9:30) BSO program of Sunday, August 20 Open Rehearsal (Pre-Rehearsal Talk at 9:30) BSO program of Sunday, August 27 Saturday, August 19, at 8:30 Saturday, August 26, at 8:30 BSO—HERBERT BLOMSTEDT, conductor conductor HILARY HAHN, violin BSO—HERBERT BLOMSTEDT, EMANUEL AX, piano DVORAK Violin Concerto Piano Concerto No. 2 BEETHOVEN Symphony No. 3, Eroica BEETHOVEN BRUCKNER Symphony No. 7 Sunday, August 20, at 2:30 Sunday, August at 2:30 BSO—RAFAEL FRUHBECK DE BURGOS, 27, conductor BSO—RAFAEL FRUHBECK DE BURGOS, PETER SERKIN, piano conductor YEFIM BRONFMAN, piano ALL-BRAHMS PROGRAM Piano Concerto No. 2 ALL-BEETHOVEN PROGRAM Symphony No. 2 Piano Concerto No. 4 Symphony No. 7 Sunday, August 20, at 8:30 BOSTON POPS ESPLANADE Programs and artists subject to change. ORCHESTRA KEITH LOCKHART, conductor ROCKAPELLA

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FRIENDS OF Tanglewood Music Center

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

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

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

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

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

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

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

perpetuity by Dr. Raymond and Hannah H. Saturday, August 5, at 6 p.m. J> Schneider, and Diane H. Lupean. Prelude Concert

TMC ORCHESTRA Sunday, August 6, at 10 a.m. JAMES LEVINE, conductor Chamber Music Concert VOCAL SOLOISTS Sunday, August 6, at 6 p.m. STRAUSS Elektra J> Prelude Concert QUjUdigital difference Digital television means that WGBY can WGBYfor BE MORE to viewers like you. WEEKDAYS, 6AM - 8PM Investigative reporting, trustworthy voices, and thought- provoking stories about history, science and natural wonders. TIME WARNER CABLE 1898

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Partners HEALTHCARE

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

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

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

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

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

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

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

Berkshire Cultural Calendar Berkshire South Regional August 1-31, 2006 Community Center Great Barrington, 413-528-2810 "Animagic" ofAnimation, Museum www.berkshiresouth.org Special Effects and Art Feng ShuiTea 8/13 3:00-4:30pm; Lee, 413-841-6679 Bridge Social 8/13 l:00-3:00pm. www.mambor.com/animagic Make your own Animation movie Berkshire Theatre Festival in 2 hr workshop. Guided tours. Stockbridge, 413-298-5576 Every day by reservation. www.berkshiretheatre.org Wendy Wasserstein's The Heidi Chronicles Becket Arts Center of The Hilltowns with Kate Jennings Grant, Becket, 413-623-6635 August 15-September 2. www.becketartscenter.org Lectures, exhibits, arts, astronomy, craft The Bidwell House Museum workshops, children theatre camps, road Monterey, 413-528-6888 show 5c more. 8/5 Sing-along 1:00-2 :00pm; Wild Edible Plants 2:30-4:00pm. 9/2 Robert Berkshire Botanical Garden Thorson, Stone by Stone 10:00am. Stockbridge, 413-298-3926 www.berkshirebotanical.org The Colonial Beautiful display gardens open daily 10-5. Pittsfield, 413-997-4444

Flower Show 8/5-6, Fete des Fleurs 8/19. www. thecolonialtheatre . org Broadway's smash hit musical Rent Berkshire Choral Festival is coming to Pittsfield 8/29-9/3. Sheffield, 413-229-1999 Call for tickets! www.choralfest.org Choral masterpieces-225 voices, Frelinghuysen Morris House & Studio Springfield Symphony. August 5, 12. Lenox, 413-637-0166 Concerts at 8pm. www.frelinghuysen.org Modernist house and masterpieces next Berkshire Museum to Tanglewood. Hourly guided tours Pittsfield, 413-443-7171 Thursday- Sunday 10am to 3pm. www.berkshiremuseum.org Baseball thru October 29, celebrates Hancock Shaker Village Red Sox/Yankee rivalry with memorabilia Pittsfield, 413-443-0188 & photographs. www.hancockshakervillage.org Shaker Family Picnics-Shaker-inspired Berkshire Opera Company picnics 8/5, 12 & 19 4:30pm. Pittsfield, 413-442-9955 www.berkshireopera.org Jacob's Pillow Dance Festival Madama Butterfly by Puccini, Becket, 413-243-0745 August 17-29 at the Koussevitsky www.jacobspillow.org Arts Center, Pittsfield. Striking international dance, archives and exhibits, community dance classes, diverse dining.

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

The Mac-Haydn Theatre Sheffield Historical Society Chatham, NY, 518-392-9292 Sheffield, 413-229-2694 www. machaydntheatre .org www.sheffieldhistory.org Cats, Guys and Dolls, Gigi and children's Historic house tours Thur-Sat 11-4. theatre shows in theatre-in-the-round. Changing exhibits. Old Stone Store. Spit Roast 8/26. Mahaiwe Performing Arts Center Great Barrington, 413-528-0100 The Theater Barn 518-794-8989 www.mahaiwe . org New Lebanon, NY, Glenn Gould Film 6c Music August 4, www.theaterbarn.com WAMC Live August 12, Professional theater in the country. Juilliard Jazz August 26. Only minutes from the Berkshires. Shows June - October. MASS MoCA North Adams, 413-MOCA-lll Ventfort Hall Mansion 6c www.massmoca.org Gilded Age Museum Galleries open daily 10-6. Lenox, 413-637-3206

Hear Jim Carroll August 19, www.gildedage . org Holmes Brothers August 26. Tours, exhibits, summer play, lectures, teas, performances, private rentals, Music 6c More kid's programs. New Marlboro, 413-229-2785 Williams College Museum ofArt www. newmarlborough . org New Marlboro Meeting House Williamstown, 413-597-2429 8/12 Gregory Whitehead, 8/19 Burning www.wcma. org Wall - film, 8/26 Berkshire Writers. Jackson Pollock at Williams College: A Tribute to Kirk Varnedoe '67 Norman Rockwell Museum on view through 10/1. Stockbridge, 413-298-4100 www.nrm.org Williamstown Theatre Festival A Rockwell Rediscovered 6c Frederic Williamstown, 413-597-3400 Remington and the American Civil War: www.wtfestival.org A Ghost Story - 10/29. Romeo &Juliet, Double Double, A Nervous Smile, The Opposite ofSex 6c Cabaret in Aug. North Adams Museum of History 8c Science While you're in the Berkshires, be 413-664-4700 North Adams, sure to come see the Berkshire Visitors

wwwgeocities . com/northadamshistory tn Bureaus "Discover the Berkshires" 260 Anniversary Siege of Visitor in and Ft. Massachusetts August 19-20. Centers Adams Programs at site 6c museum. Call us. Pittsfield. Enjoy displays, multimedia presentations and grab the latest Pleasant Valley Wildlife Sanctuary Lenox, 413-637-0320 information on Berkshire attractions. www.massaudubon.org 1,300 acres, 7 miles of well-marked trails. Open daily, dawn to dusk. 472 W. Mountain Rd. ERKSHIRES

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

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The BSO gratefully acknowledges the following for their generous contributions of $650

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

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

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

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

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

92 Hawthorne Street Lenox, MA 413.637.0166 www.frelinghuysen.org Thursday-Sunday Guided Tours LODGING/ Berkshire Mortgage Company Windy Hill Farm WHERE TO STAY (CONT.) j^BUDCO Management Co. R.W. Wise, Goldsmiths, Inc. jGohen & White Associates JCliffwood Inn ERSKINE PARK LLC SCIENCE/MEDICAL jGomfort Inn and Suites Hotel CRANWELL RESORT, SPA Evergreen Buyer Brokers of the 510 Medical Walk-In & GOLF CLUB Berkshires Audrey T Shulman, PhD Speech THE FEDER GROUP, LLC Language Associates JOevonfield Franz Forster Real Estate Berkshire Health Systems ^Federal House Inn J. Wakefern Food Corp. Carol Kolton, jThe Gables Inn LCSW The Havers J>Lewis R. Dan, The Garden Gables Inn M.D. jHffl Realty, LLC Dr. and Mrs. Ellman Gateways Inn 8c Restaurant Jesse INLAND MANAGEMENT Irving Fish, M.D. jThe Inn at Stockbridge CORPORATION One Main B8cB Ellen H. Frankel, M.D. THE PORCHES INN AT J>L. V. Toole Insurance GTL Incorporated - Link to Life MASSMOCA j^P & L Realty J>Leon Harris, M.D. THE RED LION INN Roberts 8c Associates Realty, Inc. Stuart E. Hirsch, M.D. Stone House Properties, LLC Mark Albertson, PA J>Rookwood Inn J. DMD, Michael Sucoff Real Estate JWilliam Knight, Spencertown Country House M.D. Wheeler 8c Taylor Inc. Long Island Eye Physicians and jToole Companies - Hospitality Surgeons 8c Real Estate RESTAURANTS/ JWalker House WHERETO EAT Northeast Urogynecology The Weathervane Inn Philadelphia Eye Associates STONOVER FARM Arcadian Shop Donald Wm. Putnoi, M.D. jAster's Steak 8c Bar Robert K. Rosenthal, M.D., PC. WHEATLEIGH HOTEL 8c Raw RESTAURANT jGafe Lucia J'Royal Home Health Care Castle Street Services of York Whistler's Inn Cafe New Chez Nous SERVICES MANUFACTURING/ Church Street Cafe INDUSTRIAL Cork *N Hearth ABBOTT'S LIMOUSINE 8c ANONYMOUS Firefly LIVERY SERVICE Gateways Inn 6c Restaurant Alarms of Berkshire County «hBarry L. Beyer BROADWAY MANUFACTUR- THE RED LION INN Boulderwood Group ING SUPPLY LLC WHEATLEIGH HOTEL 8c Dery Funeral Home RESTAURANT CRANE & COMPANY, INC. Flowers by Tabitha Kimball Farms Lifecare Harris Steel Group, Inc. RETAIL/ HOUSATONIC CURTAIN WHERETO SHOP Retirement Community COMPANY, INC. KRIPALU CENTER FOR JTKG Arcadian Shop YOGA 8c HEALTH KOPPERS CHOCOLATE Bare Necessities Fine Lingerie New England Dynamark Security PLASTICS TECHNOLOGY jGarr Hardware Center LABORATORIES, INC. CASABLANCA S 8c K Design - Interior Design ^Security Self Storage J>Ray Murray, Inc. COUNTRY CURTAINS CRANE & COMPANY, INC. SHEFFIELD PLASTICS, INC. STORAGE .PSpaceNow! Corporation Flowers by Tabitha Gatsbys ^Security Self Storage PRINTING/PUBLISHING GOSHEN WINE 8c SPIRITS, i'SpaceNow! Corporation ANONYMOUS INC. INITIALLY - TOURISM/RESORTS The Berkshire Eagle YOURS QUALITY PRINTING MONOGRAMMING 8c CANYON RANCH COMPANY, INC. ENGRAVING CRANWELL RESORT, SPA THE STUDLEY PRESS, INC. Limited Edition Lighting 8c GOLF CLUB Mary Stuart Collections Jiminy Peak REAL ESTATE Nejaime's Wine Cellars Orchids, Etc. of Lee TRAVEL 8c Barb Hassan Realty Inc. Paul Rich 8c Sons Home TRANSPORTATION Barbara K. Greenfeld Furnishings 8c Design J^Barrington Associates Realty ABBOTT'S LIMOUSINE 8c Talbots Trust LIVERY SERVICE Ward's Nursery 8c Garden Center Benchmark Real Estate

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

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

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

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

Sana H. and Hasib J. Sabbagh Master Teacher Dr. John Knowles Fellowship Chair Fund Naomi and Philip Kruvant Family Fellowship Surdna Foundation Master Teacher Chair Fund Donald Law Fellowship Stephen and Dorothy Weber Artist-In-Residence Fund Barbara Lee/Raymond E. Lee Foundation Fellowship Bill and Barbara Leith Fellowship ENDOWED FULL FELLOWSHIPS Edward H. and Joyce Linde Fellowship Jane W. Bancroft Fellowship Edwin and Elaine London Family Fellowship Bay Bank/BankBoston Fellowship Stephanie Morris Marryott 8c Leonard Bernstein Fellowships Franklin J. Marryott Fellowship

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

Tappan Dixey Brooks Memorial Fellowship Ruth S. Morse Fellowship

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

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

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

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5 2006 Coldwell Banker Real Estate Corporation. Coldwell Banker* is a registered trademark licensed to Coldwell Banker Real Estate Corporation. An Equal Opportunity Company. Equal Housing Opportunity. Owned and Operated by NRT Incorporated. James and Caroline Taylor Fellowship Aaron Copland Fund for Music William F. and Juliana W. Thompson Fellowship Margaret Lee Crofts Concert Fund Ushers/Programmers Instrumental Fellowship Margaret Lee Crofts TMC Fund in honor of Bob Rosenblatt Paul F. and Lori A. Deninger DARTS Ushers/Programmers Harry Stedman Vocal Fellowship Scholarship Fund Wallace-Reader's Digest Fund Fellowship Alice Willard Dorr Foundation Fund Max Winder Memorial Fellowship Carlotta M. Dreyfus Fund

Jerome Zipkin Fellowship Raymond J. Dulye Berkshire Music Education Fund Virginia Howard and Richard A. Ehrlich Fund ENDOWED HALF FELLOWSHIPS Selly A. Eisemann Memorial Fund

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

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

William E. Crofut Family Scholarship Lenore S. and Alan Sagner Fund Ethel Barber Eno Scholarship Renee D. Sanft Fund for the TMC Richard F. Gold Memorial Scholarship Hannah and Ray Schneider TMCO Concert Fund* Leah Jansizian Memorial Scholarship Maurice Schwartz Prize Fund by Marion E. Dubbs Miriam Ann Kenner Memorial Scholarship Ruth Shapiro Scholarship Fund Andrall and Joanne Pearson Scholarship Dorothy Troupin Shimler Fund Mary H. Smith Scholarship Asher J. Shuffer Fund Cynthia L. Spark Scholarship Evian Simcovitz Fund Tisch Foundation Scholarship Albert Spaulding Fund Jason Starr Fund ENDOWED FUNDS SUPPORTING THE Tanglewood Music Center Composition TEACHING AND PERFORMANCE PROGRAMS Program Fund George W. and Florence N. Adams Concert Fund Tanglewood Music Center Opera Fund Eunice Alberts and Adelle Alberts Vocal Studies Fund* TMC General Scholarship Fund Elizabeth A. Baldwin DARTS Fund Denis and Diana Osgood Tottenham Fund Bernard and Harriet Bernstein Fund The Helen F. Whitaker Fund George & Roberta Berry Fund for Tanglewood Gottfried Wilfinger Fund for the TMC Peter A. Berton (Class of '52) Fund John Williams Fund Donald C. Bowersock Tanglewood Fund Karl Zeise Memorial Cello Award Fund Gino B. Cioffi Memorial Prize Fund Jerome Zipkin DARTS Fund

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

Phyllis and Lee Coffey Memorial Concert Fund *Deferred gifts

Listed as ofJune 2, 2006 .

CAPITAL AND ENDOWMENT CONTRIBUTORS

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

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

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

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

Robinson, Jr.

$250,000 -$499,999

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

$100,000 -$249,999

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

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

$50,000-599,999 Harlan and Lois Anderson Fish Family Foundation Mark G. and Linda Borden Chad and Anne Gifford Douglas R. Brown Clint and Meg Harris Samuel B. and Deborah D. Bruskin Estate of Francis Lee Higginson Michael and Renee Child George H. Kidder Estate of Aina M. Conklin Harvey Chet and Farla Krentzman Brian and Karen Conway Estate of Katharine P. Lanctot Mr. and Mrs. Michael F. Cronin Stamps Family Charitable Foundation Cynthia and Oliver Curme/The Lost Richard and Donna Tadler

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

$25,000-549,999 Estate of Frances Fahnestock Joseph J. O'Donnell Estate of Marie Gillet Mrs. Lauren Spitz

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

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

$10,000 -$14,999

Estate of Mrs. Karl Burack Elizabeth F. Potter Rick and Lisa Frisbie Mr. Edward G. Shufro Victor K. Fung Mrs. Joseph P. Solomon Deborah Hauser St. Botolph Club Edna S. and Bela T Kalman Chip and Jean Wood

Estates of Robert J. and Jane Kaufmann Estates of Mr. and Estate of Mr. Richard C. Lord Mrs. John D. Woodberry Estate of Mrs. George Nassau Anonymous Favorite Restaurants of the Berkshires

r^ MAIN STREET HONEST FOOD LENOX 218 RESTAURANT HOUSATONIC SATISFACTION 218 Main Street MASS. 01236 GUARANTEED # 6374218 j|M5l*V» ll f iMl'll'illh Lunch- Dinner-7 Days Best Darn Pot Roast in New England! j LENOX ]1218 CafeMenu Recommended by Yankee Magazine Italian 41 3.274. 1 000 www.jacksgrill.com Northern and American

"Comparable to the Best in NYC" Zagat 1004 The Lenox Shops Route 7. Lenox, MA 1U*EN (J mill- North of Historic Lenox \ Wage) Gourmet Japanese Cuisine 6c Sushi Bar (413) 637-9820 17 Railroad, Great Barrington, MA 413-528-4343 WWW.CHOCOLATESPRINGS.COM Tatami Rooms Kaiseki Robata Bar

La 5ruschetta / oeno THE BEST OF Food & Wine To Go restaurant fine picnic fare, fine dining and more!

1 Harris Street, West Stockbridge BOTH WORLDS. 413-232-7141 yi I La Terrazza. A distinct Bar and Lounge in down- f Wf^ 'Wm ** ^3| town Lenox. Open daily I until midnight. Serving

Ws^~ -sii I light fare, self-indulgent desserts and the largest selection of single malts in Berkshire County.

The Gateways Inn and Restaurant.

Old world charm at its best. Exceptional

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

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

Sunday Brunch lOflfl - 2PM

Vottd "t>td> t>\uricL Lrv ike tc^JvUU^"

sli Reservations (413) 499-7900 1035 South Street, Pittsfield, MA 01201 51 Walker Street, Lenox, MA www.DakotaRestaurant.com Call for Reservations: 413-637-2532 i

Favorite Restaurants of the Berkshires

BOMBAY classic indian cuisine 'Enjoy Authentic Italian LUNCH • DINNER • WEEKEND BRUNCH 'food in the 'Berf^hires _&SKL_ EXCELLENT BY ZAGAT 2005-06 www.trattona-vesuvio.cotn

435 LAUREL STREET (AT BEST WESTERN), LEE, MA 'm^.TTO'RJA "IL VESWVlO" www.pappadums.com www.karavallilatham.com •H0UTES7&2O, Lau^SKH 01240 (413)637-4304 SO ce j i n e o re a n i c fo o d Open late weekends Fin Lunch, dinner and live 413.637.8022 Sushi • Japanese Cuisine • Sake Bar entertainment Luncrt Wed-Sun • Dinner Every Night • Take Out (413) 637-9171 Aspinwell, Route 7, Lenox 27 Housatonic Street. Lenox. MA

PRIME Dine different.

Late Night

ITALIAN STEAKHOUSE a BAR PRIME ITALIAN STEAKHOUSE & BAR Join us for lunch or dinner, or "late night fare" after the concert.

• Full bar • Weekend music

• Terrace dining • Extensive wine list • Glass enclosed dining

15 Franklin Street, Lenox, MA (413) 637-2998 Open seven days. Reservations suggested. www.primelenox.com SPICE familiarfood with a twist

297 North Street Pittsfield, MA 413.443.1234 www.spice-restaurant.com PRESENTS W Lion King BROADWAY'S AWARD-WINNING BEST MUSICAL

"A gorgeous, gasp-inducing spectacle THE LION KING appeals to our primal excitement in the power of theatre to make us see things afresh!" -Time Magazine

disneyonbroadway.com This Spring & Summer, MuseumsIO invites you to

Celebrate Dutch Art, Culture, and Horticulture in the Pioneer Valley, one of New England's most vibrant cultural destinations! www.valleyvisitor.com/GoDutch

Hampshire College Art G; Mead Art Museum at Amherst College Mount Holyoke College Art Museum National Yiddish Book Center The Amherst College Natural History Museum Smith College Museum of Art University Gallery of UMass Amherst

Dutch! is also sponsored by: Greater Springfield Convention and Visitors Bureau ross-Culture Journeys, Consulate General of The Netherlands in New York, Valley Advocate. WFCR-88.5 FM, and WGBY-TV.

THE PINES at "Bousquet ^Mountain

This new luxury townhome community — currently under construction — is comfortably nestled at the foot of the historic Bousquet Mountain Ski Resort. t

Yovid be surprised what we're up to.

Mention the name Bose® and peo-

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to aircraft and even the space shuttle.

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"Bose breaks the mold ... said Who products, visit us on the Web at American companies can't innovate?" www.bose.com/cm 1 - Rich Warren Or call us at 1-800-444 -BOSE.

Captivated by the City of Light

They were all entranced

by Paris. Sargent, Cassatt,

Homer, Whistler, and

dozens of other American

artists. They came to

learn, to paint, to prove

themselves. What they experienced changed

their lives and their work.

What they brought home

changed American art. i

June 25-

September 24, 2006

TSTJ? BOSTON

Bank of America For tickets: 866-319-4658

!» 11. >• 1 1 1 1 . 1 1 M< 1 1 1IA11 \i « Muse or www.mfa.org Lino Tagliapietra

HOLSTEN GALLERIES CONTEMPORARY GLASS SCULPTURE Elm Street, Stockbridge MA 413.298.3044 www.holstengalleries.com 2006 Tanglewood BOSTON SYMPHONY ORCHESTRA 125th Season, 2005-2006

Friday, August 18, at 8:30

Please note that Rafael Fruhbeck de Burgos has regretfidly had to withdraw from conduct^ this weekend's Friday-night and Sunday-afternoon Boston Symphony concerts because of dlness, mough we do anticipate that he will be here to close me BSol Tanl wood season next Sunday afternoon, August 27, as scheduled. BSO Assistant Conductor

Ludovic Morlot The French musician Ludovic Morlot has been assistant conductor of the bo ton Symphony Orchestra since the fall of 2004. Mr. Morlot made acclaimed his subscription series debut with the BSO in April 2005 at Sym- phony Hall, with a program of Messiaen, Saint-Saens, and Franck He made his first Tanglewood appearance with the BSO last month, leading eetWn Perk and RaTCl (°nce more ' ' *> ^ence Id c^/critical acclaim),, TVhaying previously made his Tanglewood debut in 2001

y contemporary music and theXhestte S!^ ^o^V" series "Music Now"),

°Z3Wa FeUowshi Conductor at the Center n 2001 a! u 7 P Tanglewood Music e estra m pubKc concerts his - work - *£* S^L^-iS^o"*r f °f - ^r.^Jrutdt e B r„^^ alsoassIsted Schoenberg's w"h the Paris production of Erwartum and pZt r i, \* wW violinist, " ""*, > Norman. Trained as a LudovirCfot IdLd \ , W Pierre Monteux Ms *™k the Schoo in SStf&T SFfJ* 'T «

.-residence ^^SS^^^^^^™ ^

Week 7