2017–18 Season Week 11 Webern Bartók Stravinsky

2017–18 season andris nelsons music director

week 11 webern bartók stravinsky

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 11

7 bso news 1 4 tanglewood 2018 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 23 parallel paths in early 20th-century music by jean-pascal vachon 3 2 this week’s program

Notes on the Program

34 The Program in Brief… 35 Anton Webern 43 Béla Bartók 51 Igor Stravinsky 63 To Read and Hear More…

Guest Artists

67 François-Xavier Roth 69 Pierre-Laurent Aimard

72 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

the friday preview on january 12 is given by harlow robinson of northeastern university.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org AN IMMERSIVE DISPLAY OF MASTERPIECES FROM THE NATIONAL GALLERY OF ART Mark Rothko Reflection

On view now mfa.org/rothko

Presented with generous support from the Robert and Jane Burke Fund for Exhibitions. Additional support provided by an anonymous foundation and The Bruce and Laura Monrad Fund for Exhibitions. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 137th season, 2017–2018 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Susan Bredhoff Cohen, Co-President • Robert J. Mayer, M.D., Co-President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • John M. Loder, Vice-Chair • Theresa M. Stone, Treasurer

William F. Achtmeyer • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Richard F. Connolly, Jr. • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Levi A. Garraway • Michael Gordon • Nathan Hayward, III • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Martin Levine, ex-officio • Joyce Linde • Nancy K. Lubin • Joshua A. Lutzker • Carmine A. Martignetti • Steven R. Perles • John Reed • Carol Reich • Arthur I. Segel • Wendy Shattuck • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • Gabriella Beranek • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Deborah B. Davis • Nina L. Doggett • William R. Elfers • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weber • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Eunice and Julian Cohen Managing Director • Evelyn Barnes, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc.

Tom Kuo, Co-Chair • Sarah Rainwater Ward, Co-Chair

Nathaniel Adams • Noubar Afeyan • James E. Aisner • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Alexandra J. Fuchs • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. •

week 11 trustees and overseers 3

photos by Michael Blanchard and Winslow Townson

Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Mark Jung • Karen Kaplan • Steve Kidder • John L. Klinck, Jr. • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Lina S. Plantilla, M.D. • Irving H. Plotkin • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D. • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D. • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Everett L. Jassy • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Susan Rothenberg • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

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Boston Symphony Chamber Players at Jordan Hall at the New England Conservatory Sunday afternoon, January 21, at 3 p.m. Joined by BSO Artistic Partner Thomas Adès as pianist, the Boston Symphony Chamber Players perform the second program of their four-concert Jordan Hall series on Sunday, January 21, at 3 p.m. The program includes Beethoven’s Quintet in E-flat for piano and winds, Opus 16; Schubert’s Notturno in E-flat for piano, violin, and cello, D.897; Ligeti’s Six Bagatelles for wind quintet; and Janáˇcek’s Concertino for piano, two violins, viola, clarinet, horn, and bassoon. Single tickets at $38, $29, and $22 are available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

BSO Community Chamber Concerts in January The BSO continues its series of free, hour-long Community Chamber Concerts this season in communities throughout the greater Boston area on Sunday afternoons at 3 p.m. followed by a coffee-and-dessert reception for the audience and musicians. On January 21 at Gordon College Chapel in Wenham, and on January 28 at Hibernian Hall in Roxbury, BSO string players Xin Ding, Lisa Ji Eun Kim, Daniel Getz, and Owen Young perform string quartets by Mendelssohn and Mozart. Admission is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2017-18 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s speaker on January 12 is Harlow Robinson of Northeastern University. The speakers for January, February, and March also include Marc Mandel (January 19, February 23), Robert Kirzinger (January 26, March 2), Elizabeth Seitz of The Boston Conservatory at Berklee (February 16), and composer/pianist Jeremy Gill (March 23).

week 11 bso news 7

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Saturday-night concerts are broadcast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musicians are available online at classicalwcrb.org/bso. Current and upcoming broadcasts include this Saturday’s program of Webern, Bartók, and Stravinsky with conductor François-Xavier Roth and pianist Pierre-Laurent Aimard (January 13; encore January 22); Mahler’s Symphony No. 3 led by Andris Nelsons with mezzo-soprano Susan Graham and the women of the Tanglewood Festival Chorus (January 20; encore January 29), and BSO Artistic Partner Thomas Adès’s program of Beethoven, Ligeti, Adès, and Stravinsky featuring violinist Augustin Hadelich (January 27; encore February 5). individual tickets are on sale for all concerts in the bso’s 2017-2018 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Marie L. Audet and the spring of 1987 for those who had been Fernand Gillet Concerts, attend ing BSO concerts for fifty years or January 12 and 13, 2018 more. The Tanglewood Music Cen ter was In recognition of a bequest from Marie L. very important to her; in 1983 she endowed Audet Gillet, the first pair of Friday-afternoon two Guarantor Fellowships—the Fernand and Saturday-evening Boston Symphony Gillet Fellowship for an oboe student and the concerts of the new year is dedicated to the Marie L. Audet Gillet Fellow ship for a piano mem ory of Mrs. Gillet and her husband, the student. late Fernand Gillet, who was the BSO’s prin- Born in Paris, oboist Fernand Gillet (1882- cipal oboe from 1925 to 1946. Mrs. Gillet’s 1980) performed with the Lamoureux Or- bequest endows in perpetuity two subscrip- chestra and the Paris Grand Opera before tion concerts each year, in mem ory of her Serge Koussevitzky invited him to join the and her husband. The first such concerts Boston Symphony Orchestra in 1925 as prin- were given in January 1990. cipal oboe, a position he held for twenty- Throughout her eighty-nine years, Marie one years. During the course of his seventy- Gillet was surrounded by glorious music that five-year teaching career he served on the brought her much joy and pleasure. Married faculties of the Tanglewood Music Center, to Fern and Gillet for almost fifty years, she the New England Conservatory, and Boston devoted much of her life to teaching piano University; the New England Conservatory privately and at the New England Conser- and the Eastman School of Music presented vatory of Music, and attending Boston Sym- him with honorary Doctor of Music degrees; phony concerts in Symphony Hall and at and he published several technical methods Tanglewood. She maintained a very special for oboe in his native France. Mr. Gillet was relationship with several of her pupils until awarded the Croix de Guerre for his service her death in October 1988. Mrs. Gillet’s love in the French Flying Corps during World War I. for and devotion to the Boston Symphony Orchestra span ned more than sixty years. Friday-afternoon Bus Service A faithful subscriber to the Friday-afternoon concerts through the 1987 season, she to Symphony Hall was a member of the Higginson Society If you’re tired of fighting traffic and search- from its inception and regularly attended ing for a parking space when you come to special events, including the luncheon in Friday-afternoon Boston Symphony concerts,

week 11 bso news 9 Modern luxury and waterfront living. The perfect ensemble.

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617.657.1000 • LOVEJOYBOSTON.COM why not consider taking the bus from your Orchestra, Richard Pittman, music director, community directly to Symphony Hall? The on Friday, January 26, and Saturday, January BSO is pleased to continue offering round- 27, both at 8 p.m., at the Performing Arts trip bus service on Friday afternoons at cost Center, 51 Walden Street, Concord. Also on from the following communities: Beverly, the program are Matthew Browne’s How the Canton, Cape Cod, Concord, Framingham, Solar System Was Won and Brahms’s Sym- the South Shore, Swampscott, Wellesley, phony No. 3. Tickets at $25 for adults and Weston, and Worcester in Massachusetts; seniors ($10 for those under 21) are available Nashua, New Hampshire; and Rhode Island. online at concordorchestra.com; by phone at In addition, we offer bus service for selected (978) 369-4967, or at the door. concerts from the Holyoke/Amherst area. Collage New Music, founded by former BSO Taking advantage of your area’s bus service percussionist Frank Epstein and whose mem- not only helps keep this convenient service bership includes BSO violinist Catherine French operating, but also provides opportunities and former BSO cellist Joel Moerschel, per- to spend time with your Symphony friends, forms an all-British program featuring works meet new people, and conserve energy. For by David Horne, Peter Maxwell Davies, Helen further information about bus transportation Grime, and James MacMillan on Monday, to Friday-afternoon Boston Symphony con- February 5, at 8 p.m. (pre-concert talk at certs, please call the Subscription Office at 7 p.m.) at Edward M. Pickman Concert Hall (617) 266-7575. at the Longy School of Music of Bard College, 27 Garden Street, Cambridge. Among the In Case of Snow... guest performers are soprano Tony Arnold and BSO violinist Ronan Lefkowitz. General In case of snow, BSO patrons are advised to admission tickets are $25 in advance ($30 at call the BSO Snow Line at (617) 638-9495 the door) and are discounted for seniors and for updated concert information. In the students. event of an impending or occurring storm, the Snow Line is updated frequently during The Muir String Quartet—BSO violinist Lucia the day and evening. For more information, Lin and BSO principal violist Steven Ansell, please visit the inclement weather page violinist Peter Zazofsky, and cellist Michael at bso.org, which is linked to the Snow Reynolds—plays Joan Tower’s String Quartet Line advisory under “BSO Policies and No. 1, Mozart’s D major flute quartet, K.285, Information” on the home page. The BSO with flutist Linda Toote, and Beethoven’s rarely cancels a concert due to snow or bad String Quartet No. 8 in E minor, Opus 59, weather. If a concert is canceled, the Snow No. 2, on Tuesday, February 6, at 8 p.m. at Line message is updated accordingly, and BU’s Tsai Performance Center, 685 Com- the BSO also notifies television and radio monwealth Avenue. Admission is free. stations. BSO patrons are kindly requested to check the Snow Line frequently for Join Our Community of updates during bad weather. Music Lovers— The Friends of the BSO BSO Members in Concert Attending a BSO concert at Symphony Hall The Boston Cello Quartet, founded in 2010 is a communal experience—thousands by BSO cellists Blaise Déjardin, Adam Esben- of concertgoers join together to hear 100 sen, Mihail Jojatu, and Alexandre Lecarme, musicians collaborate on each memorable performs a New England Conservatory fac- performance. Without an orchestra, there is ulty recital on Monday, January 22, at 7:30 no performance, and without an audience, p.m. at NEC’s Jordan Hall. Admission is free. it is just a rehearsal. Every single person is important to ensuring another great expe- BSO principal viola Steven Ansell is soloist in rience at Symphony Hall. There’s another Walton’s Viola Concerto with the Concord

week 11 bso news 11 AA standing standing ovationovation toto TheThe BostonBoston SymphonySymphony OrchestraOrchestra fromfrom one one masterpiecemasterpiece toto another. another.

61 STORIES. BOSTON’S PREMIER ADDRESS. 61 STORIES. BOSTON’S PREMIER ADDRESS. community that helps to make it all possible, Society—named for Pulitzer Prize-winning one that you might not notice while enjoying composer and noted musician Walter Piston, a concert—the Friends of the BSO. Every $1 who endowed the Principal Flute Chair with the BSO receives through ticket sales must a bequest—are recognized in several of our be matched by an additional $1 of contribut- publications and offered a variety of exclu- ed support to cover annual expenses. Friends sive benefits, including invitations to various of the BSO help bridge that gap, keeping the events in Boston and at Tanglewood. If you music playing to the delight of audiences all would like more information about planned year long. In addition to joining a commu- gift options and how to join the Walter Pis- nity of like-minded music lovers, becoming ton Society, please contact Jill Ng, Director a Friend of the BSO entitles you to benefits of Planned Giving and Senior Major Gifts that bring you closer to the music you cher- Officer, at (617) 638-9274 or [email protected]. ish. Friends receive advance ticket ordering We would be delighted to help you orches- privileges, discounts at the Symphony Shop, trate your legacy with the BSO. and access to the BSO’s online newsletter InTune, as well as invitations to exclusive donor events such as BSO and Pops working Those Electronic Devices… rehearsals, and much more. Friends member- As the presence of smartphones, tablets, ships start at just $100. To join our commu- and other electronic devices used for com- nity of music lovers in the Friends of the BSO, munication, note-taking, and photography contact the Friends Office at (617) 638-9276 has increased, there have also been continu- or [email protected], or join online at ing expressions of concern from concertgoers bso.org/contribute. and musicians who find themselves distracted not only by the illuminated screens on these devices, but also by the physical movements Planned Gifts for the BSO: that accompany their use. For this reason, Orchestrate Your Legacy and as a courtesy both to those on stage and There are many creative ways that you can those around you, we respectfully request support the BSO over the long term. Planned that all such electronic devices be completely gifts such as bequest intentions (through turned off and kept from view while BSO per- your will, personal trust, IRA, or insurance formances are in progress. In addition, please policy), charitable trusts, and gift annuities also keep in mind that taking pictures of the can generate significant benefits for you orchestra—whether photographs or videos— now while enabling you to make a larger gift is prohibited during concerts. Thank you very to the BSO than you may have otherwise much for your cooperation. thought possible. In many cases, you could realize significant tax savings and secure Comings and Goings... an attractive income stream for yourself and/or a loved one, all while providing valu- Please note that latecomers will be seated able future support for the performances by the patron service staff during the first and programs you care about. When you convenient pause in the program. In addition, establish and notify us of your planned please also note that patrons who leave the gift for the Boston Symphony Orchestra, auditorium during the performance will not you will become a member of the Walter be allowed to reenter until the next conve- Piston Society, joining a group of the BSO’s nientpause in the program, so as not to dis- most loyal supporters who are helping to turb the performers or other audience mem- ensure the future of the BSO’s extraordi- bers while the music is in progress. We thank nary performances. Members of the Piston you for your cooperation in this matter.

week 11 bso news 13 Hilary Scott

Tanglewood 2018 Public Sale Begins Sunday, January 28, 2018

Throughout the summer of 2018, Tanglewood celebrates the centennial of Lawrence- born, Boston-bred conductor-composer Leonard Bernstein’s birth. Bernstein’s close relationship with the BSO spanned a half-century, from the time he became a protégé of legendary BSO conductor Serge Koussevitzky as a member of the first Tanglewood Music Center class in 1940 until the final concerts he ever conducted, with the BSO and Tanglewood Music Center Orchestra at Tanglewood in 1990. Besides concert works including his Chichester Psalms, · Halil for flute and orchestra,Songfest , the Serenade (after Plato’s “Symposium”), and the BSO-commissioned Divertimento for Orchestra, performances also include the operas Trouble in Leonard Bernstein Tahiti and A Quiet Place; the Broadway hit On the Town; Candide; the ballet Fancy Free to be performed in collaboration with Boston Ballet, and the Oscar-winning film version ofWest Side Story with the BSO playing the score live as the movie is shown on large screens in high definition with the original vocals and dialogue intact. On Andris Nelsons August 25, Bernstein’s birth-date, “The Bernstein Centennial Celebration at Tanglewood,” to be conducted by BSO Music Director Andris Nelsons, Christoph Eschenbach, Keith Lockhart, Michael Tilson Thomas, and John Williams, will feature an extraordinary array of guest artists, among them Audra McDonald, Midori, Yo-Yo Ma, Susan Graham, and Thomas Hampson. The BSO will also be joined for this very special occasion by members of numerous other orchestras with which Bernstein Kristine Opolais maintained close associations, including the New York Philhar- monic, Vienna Philharmonic, Israel Philharmonic, Tanglewood Music Center Orchestra, Pacific Music Festival, and Schleswig-Holstein Music Festival. Besides his participation in “The Bernstein Centennial Celebration at Yo-Yo Ma Tanglewood” and performances with the Tanglewood Music Center Orchestra (TMCO), Andris Nelsons conducts the BSO in concerts featuring pianists Lang Lang, Rudolf Buchbinder, Yuja Wang, and Yefim Bronfman; a complete, semi-staged performance of Puccini’s La bohème with soprano Kristine Opolais and

14 tenor Piotr Beczala; a special Young People’s Concert evoking those led by Bernstein himself, with Bernstein’s daughter Jamie Bernstein as host; an all-Bernstein program featuring violinist Baiba Skride in the Serenade (after Plato’s “Symposium”), and Mahler’s Third Sym- phony with soloist Susan Graham. Maestro Nelsons also leads the TMCO’s annual Leonard Bernstein Memorial Concert, this year with Yo-Yo Ma as soloist, and joins John Williams on the Pamela Frank podium for “John Williams’ Film Night.” Also leading BSO concerts will be BSO Artistic Partner Thomas Adès, BSO

Thomas Adès Assistant Conductor Moritz Gnann, and guest conductors Herbert Blomstedt, Christoph Eschenbach, Juanjo Mena, David Newman, Michael Tilson Thomas, and Bramwell Tovey. Soloists with the BSO also include pianists Emanuel Ax, 2018 Koussevitzky Artist Kirill Gerstein, Igor Levit, Paul Lewis, and Garrick Ohlsson; BSO principal fluteElizabeth Rowe; and violinists Joshua Bell, Gil Shaham, and Christian Tetzlaff. Thomas Adès will also direct Tanglewood’s 2018 Festival of Contemporary Music and perform an evening of two-piano music in Ozawa Hall with Kirill Gerstein—who is also soloist in this year’s gala Tanglewood on Parade concert. Paul Lewis’s Ozawa Hall recital launches a multi-year survey at Tangle- wood featuring him in piano works by Haydn, Beethoven, and Paul Lewis Brahms. The 2018 Ozawa Hall line-up also includes the Boston Kirill Gerstein Symphony Chamber Players with Rudolf Buchbinder; a duo appearance by Pamela Frank and Emanuel Ax; The Fleisher-Jacobson Piano Duo in a recital marking Leon Fleisher’s 90th birthday; the Emerson Quartet performing Beethoven’s late string quartets; Igor Levit with the JACK Quartet; and the Skride Quartet in a program of piano quartets. Boston Pops events this summer include star vocalist Audra McDonald as soloist with musical director Andy Einhorn; Keith Lockhart leading the Boston Pops Orchestra in On the Town and as part of Tanglewood on Parade; and “John Williams’ Film Night.” Other surefire crowd-pleasers include the returns to Tanglewood of Wait Wait...Don’t Tell Me! and Live from Here, now with new host Chris Thile, as well as James Taylor for two shows with Joshua Bell his all-star band. As usual, the summer also offers a full schedule of concerts spotlighting the accomplished young musicians of the Tanglewood Music Audra McDonald Center; the weekly Friday-evening and Saturday-evening Prelude Concerts in Ozawa Hall featuring BSO members on Fridays and TMC Fellows on Saturdays; Saturday-morning rehearsals; the lifelong learning series “One Day University”; and “Summer Sundays,” offering pre-concert events for all ages each Sunday starting at noon, prior to the afternoon’s 2:30pm BSO concert. Tickets to all Tanglewood events go on sale to the general public on Sunday, January 28. For further details, please visit tanglewood.org.

week 11 tanglewood preview 15 YOUR GATEWAY TO THE INTERNATIONAL AUCTION MARKETPLACE

Announcing our Winter Fine Art & Jewelry Appraisal Events Boston - Wednesday January 31 Wellesley - Thursday February 1

For more information or to schedule an appointment: Amy Corcoran Director, New England +1 617 742 0909 [email protected]

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A MAGNIFICENT DIAMOND RIVIÈRE NECKLACE Harry Winston, 1964 Sold for $1,272,500

bonhams.com/boston Prices shown include buyer’s premium. Details can be found at bonhams.com © 2017 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Principal Auctioneer: Matthew Girling, NYC License No. 1236798-DCA on display in symphony hall Using archival materials displayed on the orchestra and first-balcony evelsl of Symphony Hall, this season’s BSO Archives exhibit recognizes three significant anniversaries. celebrating the bernstein centennial Anticipating the 100th anniversary on August 25, 2018, next summer of Leonard Bernstein’s birth, the Archives has assembled materials documenting Bernstein’s Boston roots and his deep, lifelong connection with the BSO, Tanglewood, and the Tanglewood Music Center. • An exhibit in the Brooke Corridor focuses on Bernstein’s early connections with Boston and the BSO. • An exhibit case on the first balcony, audience-right, is devoted to the world premiere of Bernstein’s opera Trouble in Tahiti on June 12, 1952, as part of a Creative Arts Festival at Brandeis University in which many BSO members performed. • An exhibit case on the first balcony, audience-left, documents BSO performances of Bee- thoven’s Missa Solemnis at Tanglewood in 1951, 1955, and 1971 led by Leonard Bernstein in memory of his mentor, BSO conductor Serge Koussevitzky. • A display in the Cabot-Cahners Room of photographs, musical scores, and memorabilia documents the BSO premieres of works by Leonard Bernstein and BSO-commissioned works by Bernstein himself. marking the 100th anniversary of the bso’s first recordings in 1917 One hundred years ago the BSO traveled to Camden, New Jersey, to make its very first recordings for the Victor Talking Machine Co. (later RCA Victor). • An exhibit near the backstage door in the Brooke Corridor focuses on the turbulent World War I era during which the BSO’s first recordings were made. • A display on the first balcony, audience-left, documents the BSO’s first recording sessions of October 2-5, 1917. marking the 60th anniversary of the boston youth symphony orchestras (byso) • In the Hatch Corridor, material on loan from the BYSO Archives documents both its own history and its ongoing partnership with the BSO.

TOP OF PAGE, LEFT TO RIGHT: Leonard Bernstein and his mentor Serge Koussevitzky at Tanglewood, c.1946 (photo by Heinz H. Weissen- stein, Whitestone Photo) Label from one of the BSO’s first commercial recordings, the Prelude to Act III of “Lohengrin” led by Karl Muck BYSO’s founding music director, Dr. Marvin J. Rabin, with members of the orchestra, c.1960 (courtesy BYSO)

week 11 on display 17 Marco Borggreve

Andris Nelsons

In October 2017, BSO Music Director Andris Nelsons was named Musical America’s 2018 Artist of the Year. In 2017-18, his fourth season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in twelve wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in March. Also this season, in November, he and the orchestra toured Japan together for the first time, playing concerts in Nagoya, Osaka, Kawasaki, and Tokyo. In addition, in February 2018 Maestro Nelsons becomes Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he will bring both orchestras together for a unique multi-dimensional alliance; under his direction, the BSO celebrates its first “Leipzig Week in Boston” that same month. In the summer of 2015, following his first season as music director, his contract with the Bos- ton Symphony Orchestra was extended through the 2021-22 season. Following the 2015 Tanglewood season, he and the BSO undertook a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany, Austria, and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Sym- phony No. 2—was released in November 2014 on BSO Classics. April 2017 brought the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting, recorded live at Symphony Hall in November 2016. In an ongoing, multi- year collaboration with Deutsche Grammophon initiated in 2014-15, he and the BSO are making live recordings of Shostakovich’s complete symphonies, the opera Lady

18 Macbeth of Mtsensk, and other works by the composer. The first release in this series (the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk) won the 2016 Grammy Award for Best Orchestral Performance and Gramophone Magazine’s Orchestral Award. The second release (symphonies 5, 8, and 9, plus excerpts from Shostakovich’s 1932 incidental music to Hamlet) won the 2017 Grammy for Best Orchestral Performance. Also for Deutsche Grammophon, Andris Nelsons is recording the Bruckner symphonies with the Gewandhausorchester Leipzig and the Beetho- ven symphonies with the Vienna Philharmonic.

In 2017-18, Andris Nelsons is artist-in-residence at the Konzerthaus Dortmund and continues his regular collaboration with the Vienna Philharmonic, leading that orchestra on tour to China. He also maintains regular collaborations with the Royal Concert- gebouw Orchestra of Amsterdam, the Berlin Philharmonic, the Bavarian Radio Sym- phony Orchestra, and the Philharmonia Orchestra. Maestro Nelsons has also been a regular guest at the Bayreuth Festival and at the Royal Opera House, Covent Garden, where he conducts a new David Alden production of Lohengrin this season.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 11 andris nelsons 19 Boston Symphony Orchestra 2017–2018

andris nelsons bernard haitink seiji ozawa thomas adès Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Edmundson Music Director Conductor Emeritus Artistic Partner endowed in perpetuity endowed in perpetuity thomas wilkins Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

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

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

week 11 boston symphony orchestra 21

Parallel Paths in Early 20th-Century Music by Jean-Pascal Vachon

Canadian-born musicologist Jean-Pascal Vachon discusses five early 20th-century works being performed by the BSO this season—Strauss’s “Alpine Symphony” (November 30-December 2), Webern’s Passacaglia (January 11-13), Stravinsky’s “Firebird” (also January 11-13), Ravel’s “Daphnis et Chloé” (February 15-17), and Debussy’s “Jeux” (March 1-3).

All the signs were there: after ruling Western music for centuries, tonality—a harmonic system that organizes musical compositions around a central pitch—was showing signs of fatigue, the Austro-German musical tradition was no longer considered as the only valid one, traditional musical forms seemed ready to burst at the seams.... As the Paris-born American composer Edgard Varèse put it: “composers could not live much longer by tradition. The world was changing and they had to change with it.” Béla Bartók also captured the feeling shared by several of his contemporaries: “[T]he excesses of the Romanticists began to be unbearable for many. There were composers who felt: ‘this road does not lead us anywhere; there is no other solution but a complete break with the 19th century.’” Obviously, this new century needed new music.

RICHARD STRAUSS embodies the conflicts faced by a composer of the 19th century facing the world in the 20th century. While admittedly one of the forefathers of modernism—the depiction, for example, of sadistic and decadent characters in his opera Elektra was translated into harsh dissonances and vocal outbursts verging on cries that stretched tonality to its utter limits—Strauss owed his reputation to the essentially 19th-century genres of the tone poem—he composed six between 1888 and 1898—and opera, of which he composed a dozen between 1905 and the early 1940s.

A “symphony” in name only, “An Alpine Symphony,” Opus 64 (1911-15) is a tone poem made up of twenty-two continuous sections of music evoking the climb and descent of an Alpine mountain, from daybreak to dusk. Nothing is missing in this quasi- cinematographic evocation of nature, from the pasture to the glacier, from the waterfall to the storm. Completed in 1915, when the musical landscape now included Schoenberg, Stravinsky, and Bartók with jazz not too far away, this tone poem, the archetypal romantic form, seems like an anachronistic anomaly, albeit a glorious one. And Strauss knew it better than any other: An Alpine Symphony would be his last work in the genre.

Meanwhile, around the same time, Europe’s culture was dominated by two intellectual centers—Paris and Vienna. The latter, the capital of the Austro-Hungarian empire, was from a musical vantage point equidistant to the North and the South, where, to quote historian Eric Salzman: “the contrapuntal and instrumental techniques from the German mingled with the operatic and instrumental styles of Italy.” Vienna, whose musical life included Gustav Mahler at the head of the Court Opera, was enjoying a cultural and intellectual golden age, unaware that in only a few years Berlin would oust it as the Germanic musical capital. Despite the weight of conservatism intrinsic to turn-of-the

week 11 parallel paths 23

Richard Strauss (1864-1949) Anton Webern (1883-1945)

century Viennese society, a new generation of composers, headed by Arnold Schoen- berg, was determined to shake things up. And while Mahler became their hero in his fight against adversity, his conception of “symphony as world” was nevertheless rejected: music didn’t have to be “expressive” of, or reduced merely to serve, a narrative, but should, rather, become self-sufficient and claim its autonomy.ANTON WEBERN, especially, adopted this stance.

Webern’s Passacaglia, Opus 1 (1908) plays a dual role in his evolution as a composer: a “passing examination” after four years of studying with Schoenberg, and the first step of a body of works characterized by musical integrity and technical fastidiousness. On the surface, the Passacaglia may seem to stand quite apart from the rest of his production. After all, Webern’s music is known for its extreme concision and concentration while the Passacaglia shows him at his most expansively romantic. Yet the individuality of the timbres, the refined sound, the care given to the structure, the scrupulous placement of each note, the use of silence—all are unmistakably “Webernian.” Composed in the aftermath of Webern’s mother’s passing, the Passacaglia, his longest continuous movement, is also his last piece for standard orchestra used in a conventional way.

Almost 800 miles to the west of Vienna, in Paris, literature and visual arts were flourishing and music was about to join them. While Gabriel Fauré, Erik Satie, laudeC Debussy, and Maurice Ravel had already contributed in making Paris a mainstay of musical modernism, a visionary Russian impresario—Sergei Diaghilev—was about to cause one of the biggest earthquakes in the history of music. Sensing the interest of the Parisian public for novelty and the spectacular following an exhibition and concert series dedicated to Russian art between 1906 and 1908, Diaghilev founded the Ballets Russes. But Diaghilev wanted more than mere ballets. With groundbreaking artistic collaborations among young choreographers, composers, designers, and dancers, Diaghilev and his Ballets Russes (who would never perform in Russia) became a not- to-be-missed attraction for Parisian art-lovers. Moreover, rather than banking on mere

week 11 early 20th-century music 25

Igor Stravinsky (1882-1971)

exoticism à la russe, Diaghilev understood that in order to keep his company at Paris’s artistic epicenter, he had to look constantly for something new and exciting. Guided by an extraordinary flair, he didn’t hesitate to commission music scores from well-known composers who had never written a ballet before, or from lesser-known composers. This is how, on the basis of two short—but spectacular—orchestral works heard in St. Petersburg in February 1909, he requested from an unknown student of Nikolai Rimsky-Korsakov a “long” ballet based on the Russian legend of the firebird for the opening of the 1910 season. How could twenty-seven-year-old IGOR STRAVINSKY refuse?

Stravinsky’s “The Firebird” (1909-10), not unlike Webern’s Passacaglia, is similarly both a conclusion and a beginning. Here, in a spectacular way, Stravinsky ends his appren- ticeship and makes his entrance on the international musical scene. Accustomed to the lavishness of Diaghilev’s productions, the Parisian public received its money’s worth

This season we celebrate Richard Pittman’s 20th Anniversary as the NEP’s Music Director and his 2O17 Arts Fuse Award for Outstanding Contributions to the Arts NEPHILHARMONIC.ORG

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with the lush and spectacular Firebird. And while certain aspects of Stravinsky’s music here clearly allude to Rimsky-Korsakov’s training, especially in the association of supernatural elements with chromaticism and human elements with diatonic themes, and in the traditionally tonal language as well as the adhesion to the 19th-century conceptions of melodic development, others point to the Stravinsky to come: sudden melodic shifts, the rhythmical ferocity of certain numbers, and the modernity of the orchestration. His ballets Petrushka (1912) and The Rite of Spring (1913) further developed and expanded on the embryonic ideas and concepts present in The Firebird, and contributed to make Stravinsky one of the most celebrated composers of the 20th century.

Even though the two best-known French composers of the period 1900-1920, CLAUDE DEBUSSY and MAURICE RAVEL, are often referred to as examples of “impressionism” in music, they take different approaches to their musical aesthetics. While Debussy constantly looked forward, Ravel, the younger of the two, was more conservative. Admittedly, Ravel was not interested in being at the forefront of modernism and rather preferred to remain true to the purity of line, the clarity of architecture, the sense of proportion, the transparency, and grace of style found in the classical forms. Valuing economy and objectivity, Ravel was an expert craftsman—“a Swiss watch-maker” said Stravinsky—who adopted François Couperin’s dictum that “I love rather what touches me than what surprises me.” Ravel’s harmonic language and precise articulation of transitions makes his music seem more “solid” and “grounded” than Debussy’s. And his quiet legacy may be found in the importance, not so frequent among his contemporaries, given to specific timbres and their combinations.

Ravel’s “Daphnis et Chloé” (1909-12), composed for the Ballets Russes, displays an orchestral refinement that recalls Debussy in its handling of colors, a combination of impassioned lyricism combined with typically “Ravelian” modesty, an infinite rhythmic variety, and an extraordinary lush orchestration typical of the impressionist movement. While these characteristics can be found in other works by Ravel, nowhere do

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30 they appear with such warmth and virtuosity. With its intoxicating colors and its unre- strained rhythms, the concluding Bacchanale seems like a reply to the works of Stravin- sky himself, who, incidentally, regarded Daphnis et Chloé as “not only Ravel’s best work, but one of the most beautiful products of all French music.” He was absolutely right. All of Ravel’s artistry is here, brilliantly encapsulated.

Debussy was one of music’s great innovators, attempting to incorporate and synthe- size an astonishing range of influences, from exotic scales to ideas from impressionist painting and symbolist literature, from 18th-century composers like Rameau to ragtime! While his orchestral music constantly evolved during his career, he always treated chords as individual sounds rather than parts of a functional harmonic progression. Furthermore, he vehemently rejected melodic development and despised such techniques inherited from previous centuries as variation form, classic harmonic progression, and modula- tion, and considered timbre an essential element of his musical language.

In this regard, “Jeux” (1912-13) is a manifesto of Debussy’s principles. Here, melody, which had dominated music for three centuries, steps back, making way for instrumental color, and rhythm liberates itself from the traditional shapes. The work thus becomes an organic whole, unstable and elusive; its balance no longer depends on pre-established forms within which a composition develops. French composer Jean Barraqué also said: “The structures of... Jeux are based upon the superposition and jux- taposition of independent patterns which he subjected, both in their rhythmic texture and melodic outline, to a very free process of variation. Debussy split up the orchestra into single cells and used polyphony to outline them.”

After a lukewarm reception at its premiere—two weeks before the legendary and [in]famous premiere of The Rite of Spring—the misunderstood Jeux was relegated to oblivion until the mid-1950s, when composers of the “Darmstadt generation,” Pierre Boulez at their head, reappraised the work and found in it not only an important example of musical modernism, but also a link to Anton Webern’s intricate serial works in its use of a new musical material: the tone itself. The orchestra can thus take an active and functional role, creating, as Boulez put it, “a more delicate, more austere art, freer of immediate seductions but unequaled in richness of inspiration.” That generation’s linking of Debussy and Webern produced an apt posthumous reunion of two kindred musical minds unified in their efforts to create a new musical order seeking to celebrate the human imagination, far from preconceived hierarchies and outdated forms. Their combined influence continues to resonate today.

A freelance musicologist based in Vienna, Canadian-born jean-pascal vachon writes liner notes for BIS records and gives music history courses and lectures in Europe and North America at various institutions, including Webster University (in Saint Louis and Vienna) and the Donau-Universität in Krems, Austria. Essay ©2017 Jean-Pascal Vachon.

week 11 parallel paths 31 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 137th season, 2017–2018

Thursday, January 11, 8pm | the alan j. and suzanne w. dworsky concert Friday, January 12, 1:30pm | the marie l. audet gillet concert Saturday, January 13, 8pm | the fernand gillet concert

françois-xavier roth conducting

webern passacaglia for orchestra, opus 1

bartók piano concerto no. 1, opus 83 Allegro moderato Andante— Allegro molto pierre-laurent aimard

{intermission} Marco Borggreve

32 stravinsky “the firebird” (complete)

INTRODUCTION SCENE I: Kashchei’s Enchanted Garden Appearance of the Firebird Pursued by Ivan Tsarevich Dance of the Firebird Ivan Tsarevich Captures the Firebird Supplication of the Firebird Appearance of Thirteen Enchanted Princesses The Princesses’ Game with the Golden Apples (Scherzo) Sudden Appearance of Ivan Tsarevich The Princesses’ Khorovod (Round Dance) Daybreak Ivan Tsarevich Penetrates the Palace of Kashchei Magic Carillon: Appearance of Kashchei’s Guardian Monsters; Capture of Ivan Tsarevich Arrival of Kashchei the Immortal; His Dialogue with Ivan Tsarevich; Intercession of the Princesses Appearance of the Firebird Dance of Kashchei’s Retinue under the Firebird’s Spell Infernal Dance of all Kashchei’s Subjects Lullaby (Firebird) Kashchei’s Death SCENE II: Disappearance of the Palace and Dissolution of Kashchei’s Enchantments; Animation of the Petrified Warriors General Thanksgiving

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2017-18 season.

The evening concerts will end about 9:55, the afternoon concert about 3:25. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Limousine. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 11 program 33 The Program in Brief...

Born within three years of one another, the Austrian Anton Webern, the Hungarian Béla Bartók, and the Russian-born Igor Stravinsky would go on to become three of the most significant and individual artists of the 20th century. Pushing beyond Romanticism and into new musical realms, they each used the orchestra in different, innovative ways even as their compositional styles evolved throughout their careers.

Anton Webern composed his Passacaglia in 1908, just after his formal studies with Arnold Schoenberg ended. This single-movement work recalls Richard Strauss or even Brahms, with hints of the intricacy of instrumental color that would later be part of Webern’s signature in the exquisite, immensely influential miniatures of his twelve-tone period. At ten minutes in length, the Passacaglia is one of the longest single spans of music he ever wrote; only the earlier, equally Romantic tone poem Im Sommerwind is longer. The Passacaglia moves from restrained and mysterious to heights of emotional turbulence and back again, using all the resources of the late-Romantic orchestra.

Béla Bartók is recognized as Hungary’s most important composer, along with the more cosmopolitan Franz Liszt and the avant-garde György Ligeti. Through the collection, thorough study, and assimilation of Hungarian and other Central European folk music, Bartók developed a style that makes his music stand out among the many great voices of the early 20th century. He was an outstanding pianist, with a body of solo work for the instrument as well as four concertos featuring the piano. He wrote his Piano Con- certo No. 1 in 1926 as a vehicle for his own concert tours, and played it himself with the BSO and Serge Koussevitzky at Symphony Hall soon after giving the American premiere with the Cincinnati Symphony Orchestra at Carnegie Hall in February 1928. In this three-movement work, Bartók deliberately makes the case for the piano as a percussion instrument, an idea he would expand upon with the Sonata for two pianos and two percussion ten years later.

Igor Stravinsky’s 1910 score to the ballet The Firebird was his first major commission for Serge Diaghilev’s Ballets Russes. His study with the Russian composer Nikolai Rimsky-Korsakov, one of the great orchestrators of all time, gave the younger composer confidence in creating brilliant and unusual orchestral sounds, ideal for the exotic theme of the ballet. The scenario tells of Prince Ivan, who captures the magical Firebird but releases her in exchange for a feather. The prince then encounters thirteen enchanted princesses held captive in a garden by the ogre Kashchei. Entrusting a young and relatively inexperienced twenty-seven-year-old composer with setting a Russian folk tale to music turned out to be one of the best moves Diaghilev ever made. Following The Firebird’s great success were the equally startling Petrushka and The Rite of Spring, which helped make the Ballets Russes the most significant ballet company in Europe and Stravinsky himself the household name he is today.

Robert Kirzinger

34 Anton Webern Passacaglia for Orchestra, Opus 1

ANTON WEBERN was born—as Anton von Webern (his father, Dr. Karl von Webern, dropped the “von” at the collapse of the Austro-Hungarian Empire in 1918)—in Vienna on December 2, 1883, and died on September 15, 1945, when he was accidentally shot and killed at Mittersill, in the province of Salzburg, under circumstances described below. Webern composed his Passacaglia in 1908 and conducted the first performance that year, in Vienna.

THE SCORE OF WEBERN’S PASSACAGLIA calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, cymbals, bass drum, triangle, tam-tam, harp, and strings.

The Passacaglia, Opus 1, and the a cappella choral setting of Stefan George’s “Entflieht auf leichten Kähnen” (“Flee in fragile skiffs”), Opus 2, were Webern’s declaration of independence. Their completion in 1908 marked the end of the formal pupil-teacher relationship that had existed between himself and Schoenberg for the past four years. Many of Webern’s student works are attractive, and all are of interest to the professional, but without exception, they lack the combination of originality and assurance to be found in the Passacaglia and that led him, as it were, to celebrate in that work the prop- er beginning of his career as a composer.

He had gone to Schoenberg in 1904, the contact having probably been established by Mahler, who was a friend of Guido Adler’s, with whom Webern worked in musicology in Vienna. Lessons with Schoenberg stopped in 1908, but the friendship was for life. In the lecture “How One Becomes Lonely,” which Schoenberg delivered at the Denver Art Museum in 1937, Webern is described as “the spiritual leader of the group [of Schoen- berg’s pupils], a very Hotspur in his principles, a real fighter, a friend whose faithfulness can never be surpassed, and a real genius as a composer.”

Beginning 1908, Webern held a series of conducting posts in Bad Ischl, Vienna, Teplitz, Danzig, Stettin, and Prague, with a brief interruption for military service in 1915-16. From

week 11 program notes 35 Program page for the first Boston Symphony performances of Webern’s Passacaglia on April 17 and 18, 1964, with Erich Leinsdorf conducting (BSO Archives)

36 1920 on, he lived in the Viennese suburb of Mödling for all but the last few months of his life. Admired as a conductor—his Mahler performances became touchstones for those who heard him—he was ignored as a composer. After 1934, when the swing to the right in Austrian politics put an end to his conducting, the circumstances of his life were hard. With the Anschluss in 1938, his position as a consultant at the radio was liquidated, and after that he put together a precarious living as a private teacher, and as a proofreader and arranger of piano reductions of orchestral scores for his own publish- er, Universal. As the war approached its end, Webern and his family moved to Mittersill near Salzburg. One of his sons-in-law was a black-marketeer, and it was there, during an operation to trap this man as he offered to buy sugar, coffee, and dollars, that the gentle composer met his tragic and unnecessary death when, in a bizarre accident, he was shot and killed by Pfc. Raymond N. Bell of the 242nd Infantry Regiment, U.S. Army.

2017-18

Our upcoming MARCH concerts Salem Giants of Romanticism Friday Evenings at 8:00 Salem Fri. March 9, 8:00 Brookline Sun. March 11, 3:00 in historic Hamilton Hall Mar 9 | Apr 20 Schumann Quartet in A minor, Opus 41, No. 1 Clarinet Quintet in B minor, Brookline Brahms Opus 115

Thomas Martin – clarinet, Tatiana Dimitriades, Bayla Keyes – violins, Rebecca Gitter – viola, Jonathan Miller – cello Sunday Afternoons at 3:00 in beautiful St. Paul’s Church Mar 11 | Apr 22

You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

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A 1927 photograph of Anton Webern ENGLAND FAMILIES and Arnold Schoenberg WITH THE SALE OF Webern, a deeply religious man, will not have imagined that the 117th Psalm—“The THEIR FINE JEWELRY stone which the builders rejected; the same is become the head stone of the corner”— applied to him, yet not many years after his death, his work was recognized as one of the central facts of our musical life. In 1955, Igor Stravinsky wrote: “We must hail not AND PAINTINGS only this great composer but also a real hero. Doomed to total failure in a deaf world of ignorance and indifference, he inexorably kept on cutting out his diamonds, his dazzling SINCE 1987. diamonds, the mines of which he had such perfect knowledge.” The turning point came with the appearance in 1957 of Columbia’s four-record album containing Webern’s complete published works. The conductor was Stravinsky’s amanuensis and friend, Robert Craft, and many of the hours in the studio for what must have seemed the ulti- mately quixotic project were taken, with the composer’s connivance, a few minutes here, a few minutes there, from Stravinsky’s own sessions.

A passacaglia, in the 17th century, was a dance in a fairly slow triple meter, and composed as a set of variations over a repeated bass line. “Modern” examples, that is, those from the middle of the 19th century on (exemplified famously by Brahms, Britten, and Shostakovich), are always variations over a repeated bass, but they are not necessarily in triple meter (Webern’s is in 2/4), nor need they have anything of dance character (Webern’s does not). Here is Webern’s bass:

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Webern begins with a plain statement of the bass, makes twenty-three variations on it, and follows them with a coda the equivalent in length of another nine or ten varia- GROGANCO.COM 617.720.2020 20 CHARLES STREET, BOSTON, MA 02114 week 11 program notes 39 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. tions. The variations themselves fall into groups of, respectively, eleven, four, and eight variations.

One of the most characteristic features of Webern’s later music is the way the tempo is constantly modified: you might find nine indications for accelerations or retardations in fifteen measures, so that the music seems to be not so much in a tempo as always en route from one tempo to another. The use of changing speeds for expressive and structural purposes is an important feature as well of this early Passacaglia, which Webern organizes about three main tempi. Tempo I, at which we hear the bass at the beginning, is the slowest; Tempo II, which arrives with variation 2, is a little quicker; Tempo III, reached in variation 7 after a gradual acceleration that began in variation 4, is the quickest of all. That the metronome mark for III is the sum of those for I and II is a typical Webernian arithmetical neatness. Moreover, Webern tends to associate speed and dynamics, so that the quickest music is apt also to be the loudest (only variations 7 and 8, for example, have a fortissimo for full orchestra). Variation 11 is not only back at Tempo I, but also returns to the pianissimo marking of the opening measures.

Though it stands at the beginning of his real work, the Passacaglia is Webern’s last piece written for conventional orchestra in a conventional way. The scoring is of won- derful delicacy, and Webern’s fondness for muted sounds and for solo instruments is already in evidence. Climaxes are few and brief. The piece is in the tradition of chamber music for large orchestra as invented by Berlioz, continued in the “Gretchen” movement of Liszt’s Faust-Symphony, as we find it surprisingly often in Wagner and constantly in Mahler (to whom Webern felt very close). As so many details show, Webern at twenty-five was uncannily masterful at placing single notes. In a word, he was already Webern.

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

THE FIRST AMERICAN PERFORMANCE of Webern’s Passacaglia was given by Leopold Stokowski with the Philadelphia Orchestra on March 8, 1927.

THE FIRST BOSTON SYMPHONY PERFORMANCES of Webern’s Passacaglia were given by Erich Leindorf on April 17 and 18, 1964, subsequent BSO performances being given by Max Rudolf, Carlo Maria Giulini, Klaus Tennstedt, and, most recently, Leinsdorf again (subscription performances in December 1980, followed immediately by performances at Carnegie Hall in New York). The BSO has never played the work at Tanglewood, though Max Rudolf’s run of performances in November/ December 1971 included performances in Brooklyn and at C.W. Post College on Long Island as well as in Boston.

week 11 program notes 41

Béla Bartók Piano Concerto No. 1, Opus 83

BÉLA BARTÓK was born in the village of Nagyszentmiklós, Transylvania (then part of Hungary but now part of Romania), on March 25, 1881, and died in New York on September 26, 1945. He began composing his Piano Concerto No. 1 in August 1926 and completed the score on November 12. The first performance took place in Frankfurt, Germany, on July 1, 1927, at the festival of the International Society for Contemporary Music, with Wilhelm Furtwängler conducting and the composer as soloist.

IN ADDITION TO THE SOLO PIANO, the score of the concerto calls for two flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, two trumpets, three trombones, timpani, two side drums (one with and one without snares), triangle, four cymbals, bass drum, tam-tam, and strings.

For most of his career, Béla Bartók had to divide his time between four professions—as composer, pianist, folklorist, and teacher. Each activity required many hours of quiet, concentrated work, but each nurtured the others in innumerable ways, sometimes hidden, sometimes obvious, and nowhere more evident than in his music for piano solo and his three piano concertos. Of the four professions, playing the piano was the one that provided the best means of making a living, but it necessitated making foreign tours and also required a useful body of his own music to play. His situation in the early 1920s forced him to perform regularly both in Hungary and abroad, and although this did not stop him from producing an amazing quantity of ethnographic work at this time—recording and analyzing the folk music of many countries—he composed less. Partly too he was discouraged by the poor reception of his groundbreaking stage works, Bluebeard’s Castle, The Wooden Prince, and The Miraculous Mandarin, all composed between 1911 and 1919. By 1926, Bartók realized that he needed more piano music for his concerts, and although he had composed a great quantity for solo piano in his early years, there had been nothing new since 1918, and a concerto with orchestra was obviously required.

1926 thus saw the production of a string of new piano works: the Sonata, Opus 80; the

week 11 program notes 43 Program page for the first Boston Symphony performances of Bartók’s Piano Concerto No. 1 on February 17 and 18, 1928, with Bartók himself as soloist and Serge Koussevitzky conducting (BSO Archives)

44 suite Out of Doors, Opus 81; Nine Little Pieces, Opus 82, and Three Rondos on Slovak Folk Tunes, Opus 84. In the midst of these (as the opus numbers show) also came the largest and most important of the year’s compositions, the First Piano Concerto, Opus 83. This was performed the following year at the festival of the International Society for Contemporary Music in Frankfurt with the revered Wilhelm Furtwängler conducting and Bartók himself as soloist. Bartók then took it abroad with a performance in London on October 28, followed by a tour of the United States, the occasion for his American debut. The concerto was scheduled for its American premiere that December with Mengelberg and the New York Philharmonic, but due to insufficient rehearsal time, Bartók’s earlier Rhapsody for Piano and Orchestra was substituted instead. As a result, the composer’s compatriot Fritz (originally Frigyes) Reiner, then music director of the Cincinnati Symphony, gave the American premiere with that ensemble at Carnegie Hall in February, the first Boston Symphony performances following under Koussevitzky less than a week later. These were much better performances, Bartók later reported, than subsequent appearances in Budapest, Berlin (under Kleiber), and Amsterdam (under Monteux).

The composer (and later his second wife, Ditta Pásztory) was the principal exponent of his own music, and it was as much the brazen virtuosity of his playing as the strident modernity of the music itself that excited the public in all these cities. But the critics, lagging behind as usual, were mostly appalled. Many of them at that time regarded Bartók’s music as the ultimate suicide note of classical music, so dissonant, noisy, and

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Founded in 1964, the Boston Symphony Chamber sunday, january 21, 3pm Players combine the talents of BSO principal players and renowned guest artists to explore the full spectrum with Thomas Adès, piano of chamber music repertoire. The ensemble’s typically BEETHOVEN Quintet in E-flat for piano and wide-ranging programs for 2017–18 are distinguished winds, Op. 16 Notturno by the presence of BSO Artistic Partner Thomas Adès as SCHUBERT in E-flat for piano, violin, pianist in January and BSO Artist-in-Residence, pianist and cello, D.897 LIGETI Six Bagatelles, for wind quintet Jean-Yves Thibaudet, in March. The ensemble’s four- JANÁČEK Concertino for piano, two violins, concert series takes place on four Sunday afternoons at viola, clarinet, horn, and bassoon New England Conservatory’s Jordan Hall. #BSO1718 Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

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46 Béla Bartók in 1942 with conductor Fritz Reiner, who led the American premiere of Bartók’s Piano Concerto No. 1 in 1928

uncivilized as to be offensive to intelligent human beings. What they did not see or hear was the extremely sensitive musician who lay behind the crackling brass and thumping piano, with an ear for the tiniest detail in the world around him and an artistic integrity from which he never wavered. Bartók was deeply wounded by the critics’ habitual incomprehension.

The opening of the concerto’s first movement provided Bartók’s enemieswith all the ammunition they needed, since drums and low brass introduce a loud, dissonant chord that includes B-flat, A, and G-sharp, three notes that could scarcely ever be superimposed in classical tonality. Having thrown out this challenge, the music speeds up and proceeds to introduce fragmentary themes that usually stay close to the first note and are always hotly pursued by the same theme in canon or upside down in other instruments, always tightly rhythmic even when the tempo accelerates or slows down. The piano is treated as a percussion instrument and is never given a legato melody. The habit of Bartók’s melodies of circling around their first note has deep roots, being related both to plainchant and to folk song. He ascribed his sharp rhythmic sense to folk sources too, even though it was the mood of the moment at a time when Stravinskian neo-Baroque styles were all the rage.

The importance of percussion in this score is obvious too, with the timpani treated as a chromatic instrument able to retune quickly to any note of the scale, and an array of different drums and cymbals given an exposed role in the slow movement. With his finely tuned ear, Bartók specifies different sizes of drum and different sticks, with percussion as the piano’s only accompaniment in the first part of this movement. Eventually an oboe joins them, then a clarinet, then a flute, and the woodwinds are finally given a smooth melody with the kind of romantic expression entirely missing from the concerto so far, while the piano provides an ostinato of harsh, low, clustered chords to prevent any suggestion of warm harmony in support. The strings are silent in this movement.

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www.naejuilliard.com/bisboston The music suddenly speeds up and to no one’s surprise the finale is even more rhyth- mically alive than the first movement. The constant interplay of fragmentary themes is even more intense too, while the demands on the soloist are extended in every measure. The tempo can occasionally relax, but never for long; the propulsion is strong to the very end, generating a sheer excitement equaled by very few works of the 20th century.

Two more piano concertos were to follow. The Second, completed in 1931, Bartók performed more than twenty times before leaving Europe for America in 1940. At the time of his death in September 1945 he had almost completed a Third, along with a Viola Concerto still in sketch form. His friend Tibor Serly completed both works, so that the Third Piano Concerto was performed for the first time, after the composer’s death, on February 8, 1946, by György Sándor and the Philadelphia Orchestra under Eugene Ormandy. Its mildness and reflective, even nostalgic, character make striking contrast with the dissonance and aggression of Bartók’s first two concertos.

Hugh Macdonald hugh macdonald was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he was general editor of the New Berlioz Edition, has written extensively on music from Mozart to Shostakovich, including biographies of Berlioz, Bizet, and Scriabin, and is currently writing a book on the operas of Saint-Saëns.

THE FIRST UNITED STATES PERFORMANCE of Bartók’s Piano Concerto No. 1 was scheduled for December 22, 1927, with the composer as soloist and Willem Mengelberg conducting the New York Philharmonic at Carnegie Hall, but due to inadequate rehearsal time, Bartók’s Rhapsody for Piano and Orchestra, Opus 1, from 1905, was performed instead. As a result, the first American performance, still with Bartók as soloist, took place on February 13, 1928, at Carnegie Hall with Fritz Reiner conducting the Cincinnati Symphony Orchestra.

THE FIRST BOSTON SYMPHONY PERFORMANCES of Bartók’s Piano Concerto No.1 took place on February 17 and 18, 1928, with the composer as soloist and Serge Koussevitzky conducting. The BSO did not play the concerto again until March 1981, with pianist Maurizio Pollini under the direction of Sir Colin Davis, followed by two Carnegie Hall performances that April. Subsequent BSO performances featured Zoltán Kocsis (March 1992, with Marek Janowski conducting), Krystian Zimerman (October 1993, in Boston and at Carnegie Hall, with Seiji Ozawa), and Peter Donohoe (the BSO’s most recent performances, in February 2000 with Simon Rattle).

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BostonSymphony 2017-18 Dorrance ND2017.indd 1 7/21/17 4:02 PM Igor Stravinsky “The Firebird” (complete)

IGOR FEDOROVICH STRAVINSKY was born at Oranienbaum, Russia, on June 17, 1882, and died in New York on April 6, 1971. He began composition of “The Firebird” in early November 1909, at a country house of the Rimsky-Korsakov family near St. Petersburg. He completed the score in the city, finishing the actual composition in March and the full score a month later. The final score, somewhat further retouched, bears the date May 18, 1910. Commissioned by Diaghilev as a ballet in two scenes, the work was first performed on June 25, 1910, by the Ballets Russes at the Paris Opéra, with a cast including Tamara Karsavina (the Firebird), Michel Fokine (Prince Ivan), Vera Fokina (the Tsarevna), and Alexis Bulgakov (Kashchei); Gabriel Pierné conducted. The scenario was by Fokine in collaboration with Diaghilev and his staff. Fokine also created the choreography. Alexandre Golovine designed the settings, Golovine and Léon Bakst the costumes. The score is dedicated to Andrei Rimsky-Korsakov, the son of the composer Nikolai, who had been Stravinsky’s teacher. Stravinsky made orchestral suites from the ballet on three occasions, the first in 1911 (employing virtually the original instrumentation), the second in 1919 (for a much smaller orchestra), and the third in 1945 (using the same orchestra as the second, but containing more music).

THE SCORE OF “THE FIREBIRD”—the instrumentation being precisely specified by Stravinsky in the original score, including even exact numbers for the string instruments—calls for two pic- colos (second doubling third flute), two flutes, three oboes and English horn, three clarinets (third doubling clarinet in D) and bass clarinet, three bassoons (third doubling second contrabassoon) and contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, triangle, tambou- rine, cymbals, bass drum, tam-tam, bells, xylophone, celesta, piano, three harps, sixteen first violins, sixteen second violins, fourteen violas, eight cellos, and six double basses, plus an ensemble behind the scenes consisting of three trumpets, two tenor tubas, two bass tubas, and bells.

The Firebird may be the only case of a major Stravinsky ballet that was not the composer’s own idea, at least in its original germ. The Russian legend of the Firebird had been dis- cussed as a possible subject for a ballet by Diaghilev and his staff early in 1909, and Michel Fokine, who was to create the choreography, worked out the scenario combining several Russian fairy tales. The choice of composer was problematic; Diaghilev wanted his old harmony teacher Liadov, but the latter was notoriously slow about finishing

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52 A 1916 photograph of Serge Diaghilev

scores. So in the fall of 1909, the impresario approached the twenty-seven-year-old Stravinsky, whose Fireworks he had heard earlier in the year. Stravinsky was then deeply engrossed in his opera The Nightingale, having just completed the first of two acts, but he naturally recognized at once the extraordinary opportunity that a Ballets Russes commission represented, and he was excited about the possibility of writing the big, formal dance numbers. He did have reservations about the necessity of writing gestural music to fit the dramatic passages of mime that related the story (in the style derided as “Mickey Mousing” when used to reflect the action in animated cartoons). In fact, much later, in Expositions and Developments, one of his series of published “conversations” with Robert Craft, he claimed, “The Firebird did not attract me as a subject. Like all story ballets, it demanded descriptive music of a kind I did not want to write.” Nonetheless, given the likely boost to his career from such a commission, he was prepared to drop work on the opera and take up The Firebird at once. So willing was he, in fact, that he began the composition in November, six weeks before Diaghilev was able to offer a definite commission. He composed the opening pages at a dacha (cottage) belonging to the Rimsky-Korskov family about seventy miles south of St. Petersburg. Returning to the city in December, he continued quickly with his work, finishing the composition by March and the full score by the following month. The final date on the manuscript, May 18, 1910, reflects a lastperiod of refinements of detail.

The premiere of the lavishly colorful score marked a signal triumph for the Ballets Russes and put the name of Stravinsky on the map. Diaghilev could hardly wait to get another work from him, and in the ensuing years he quickly turned out Petrushka and the epoch- making Rite of Spring—all this before having time to return to his unfinished opera. When he finally did get back toThe Nightingale, Stravinsky was already among the most famous and influential composers of the century, but he was a vastly different composer from the one who had written the first act of that oddly divergent work.

week 11 program notes 53 Program page for the first Boston Symphony Orchestra performances of music from “The Firebird”: performances of the suite on October 31 and November 1, 1919, with Pierre Monteux conducting (BSO Archives)

54 Michel Fokine and Tamara Karsavina in the first performance of “The Firebird,” Paris, 1910

For much of the rest of his life Stravinsky claimed a cordial dislike for The Firebird, calling it “too long and patchy in quality.” But even if we acknowledge that there is some truth in his self-criticism, we must also recognize that his irritation stems partly from the fact that one of his most popular scores remained completely unprotected by copyright in the United States (this cost him a fortune in potential royalties) and partly from his frus- tration with listeners who were willing to follow him through Firebird to Petrushka and perhaps even to The Rite of Spring—but no farther. Stravinsky is by no means the first composer to denigrate a popular early work in the hope of attracting attention to his more recent music.

The scenario of The Firebird involves the interaction of human characters with two supernatural figures, the magic Firebird, a sort of good fairy, and the evil sorcerer Kash chei, a green-taloned ogre who cannot be killed except by destroying his soul, which is pre- served in a casket in the form of an egg. Stravinsky needed to find a way to distinguish musically between the human and the supernatural elements of the story, and he used the same means employed by Rimsky-Korsakov in his last (and best-known) opera, The Golden Cockerel (which had not yet been performed when Stravinsky started work, though he certainly knew it in score): the humans are represented by diatonic, often folklike, melodies, the supernatural figures by chromatic ideas, slithery for Kashchei and his realm or shimmering arabesques for the Firebird (whose music is largely derived from a single motive).

The Firebird is most often heard in one or another of Stravinsky’s suites. But this narrative ballet is really a danced opera, with “recitative” (the gestural music) and “arias” (the set

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56 Program page for the first Boston Symphony Orchestra performances of “The Firebird” complete, on March 15 and 16, 1974, with Seiji Ozawa conducting (BSO Archives)

pieces). Stravinsky claimed—late in life—that he had not wanted to write gestural music, yet there is no question that while he was actually composing, he shaped his music to follow Fokine’s scenario in elaborate and effective detail. Thus, hearing only the suite is like listening to a record of the favorite arias from a popular opera without ever hearing the dramatic links. The full score allows the set dances a chance to “breathe,” to grow out of something and find their motivation. The full score of the ballet is thus a much more satisfying artistic experience than simply hearing the suite of popular dances. Only in a hearing of the complete music is it possible to appreciate the confidence and imagination of the young composer writing his first ballet score, which showed at once that he was born to the field. His music reflects—and creates—the motion and the emotions of the characters on the stage in all their color and variety.

A short, hushed prologue creates a mood of magical awe. The double basses present a melodic figure (two semitones and a major third) that lies behind all the music ofThe

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Client - Team One Job # - 144448 Ver. - AD01 Cyan Magenta Yellow Black Firebird. Following a culminating shower of brilliant harmonics on the violins (played with a new technique discovered by Stravinsky for this passage), a muted horn call sig- nals the rise of the curtain on a nocturnal scene in the “Enchanted Garden of Kashchei,” which continues the mysterious music of the opening (a chromatic bassoon phrase foreshadows the sorcerer). Suddenly the Firebird appears (shimmering strings and woodwinds), pursued by a young prince, Ivan Tsarevich. The Firebird performs a lively dance, all shot through with brilliant high interjections from the upper woodwinds. But Ivan Tsarevich captures the magic bird (horn chords sforzando) as it flutters around a tree bear ing golden apples. The Firebird appears to be freed in an extended solo dance, but Ivan takes one of its feathers—a magic feather—before allowing it to depart. Ivan is left alone in the garden, though the unseen presence of Kashchei is still recalled by the bassoon.

Thirteen enchanted princesses, the captives of Kashchei, are allowed into the garden only at night. They appear—tentatively at first—and shake the apple tree. At the second try some golden apples come tumbling down (this is evident in the music), and they begin to play a game of catch. Ivan Tsarevich rudely interrupts the lively game they are playing, for he has fallen in love with one of them. They dance a khorovod (a stately slow round dance) to one of the favorite passages of the score, a melody first introduced by the solo oboe (this is an actual folk song). As day breaks (cock-crow being represented by solo trumpets with an augmented fourth), he learns that they are under the ogre’s spell and must return to his castle. In pursuit of them, Ivan Tsarevich penetrates into the palace, but a magic carillon (a masterfully scored series of superimposed ostinatos) warns the monsters that serve as Kashchei’s guards of the stranger’s approach, and they capture the prince.

All the tintinnabulation brings the immortal Kashchei himself for a fierce encounter with the prince. He begins an interrogation of ever-changing moods (bringing back several themes from earlier in the ballet). The princesses attempt to intercede, but in vain. Kashchei begins to turn Ivan into stone, making a series of magic gestures: one— two—... But before he can make the third and final gesture, Ivan Tsarevich remembers the Firebird’s feather; he waves it, summoning the Firebird to his aid. Kashchei’s followers are enchanted by the magic bird, who sets them dancing to an “infernal dance” of wild syncopation and striking energy. The Firebird, in a slow gentle dance like a lullaby, reveals Kashchei’s secret to the prince who, as the ogre wakes up from his enchant- ment, finds the casket and smashes the egg, destroying the monster’s soul. A profound darkness yields to the dawn of a new day; the palace and the followers of Kashchei have disappeared. All the knights that had earlier been turned to stone come back to life (in a sweetly descending phrase of folklike character) and all take part in a dance of general happiness (a more energetic version of the same phrase). The Firebird has disappeared, but her music, now rendered more “human” in triadic harmony, sounds in the orchestra as the curtain falls.

Though much of the matter is of a piece with Rimsky-Korsakov’s fairy tale opera composed only a short time previously, there are things in the manner of The Firebird that

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Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

THE FIRST AMERICAN PERFORMANCE OF THE BALLET “THE FIREBIRD” was given by the Ballets Russes at the Century Theatre in New York on January 17, 1916.

THE BOSTON SYMPHONY ORCHESTRA’S FIRST PERFORMANCES OF MUSIC FROM “THE FIREBIRD” were of the suite, conducted by Pierre Monteux on October 31 and November 1, 1919 (see image on page 54), followed by performances in Philadelphia, Baltimore, New York, and Detroit. Though the suite, or music from it, has been played frequently by the BSO since that time (Stravinsky himself introduced the 1919 version to BSO audiences in March 1935), the complete ballet had its first BSO performances only in March and April 1974 (see image on page 57), when Seiji Ozawa led it in Boston, Washington, D.C., New York, and Philadelphia. Ozawa subsequently led numerous BSO performances of the complete score between 1976 (including performances that year in Providence, Boston, and on tour in Brussels, Vienna, Munich, Berlin, Bonn, Hannover, and Paris) and 1983 (including performances that year in Boston, Cleveland, Ann Arbor, Cincinnati, Lexington [KY], New Haven, and Washington, as well as recording it for EMI that April), other BSO performances being conducted by Joseph Silverstein (substituting for Ozawa in March 1983), Charles Dutoit (July 1989), Richard Westerfield (October/November 1997), Hans Graf (the BSO's most recent Tanglewood performance, on July 29, 2006), and Esa-Pekka Salonen (the most recent subscription performances, in April 2012). More recently, Charles Dutoit led a complete Tanglewood performance on August 17, 2014, with the Tanglewood Music Center Orchestra, to conclude that summer's Leonard Bernstein Memorial Concert.

week 11 program notes 61 “boston symphony orchestra: complete recordings on deutsche grammophon” limited edition, 57-cd set now available

• The BSO’s recorded legacy on Deutsche Grammophon, reflecting its spirit and character over nearly 50 years, from 1969–2017 • Conducted by William Steinberg, Seiji Ozawa, and Andris Nelsons, as well as Claudio Abbado, Leonard Bernstein, Charles Dutoit, Eugen Jochum, Rafael Kubelik, André Previn, Michael Tilson Thomas, and John Williams • Soloists including Christoph Eschenbach, Gidon Kremer, Anne-Sophie Mutter, Itzhak Perlman, Mstislav Rostropovich, Gil Shaham, and Krystian Zimerman, among others • Six discs of recordings by the Boston Symphony Chamber Players • Previously unreleased recordings led by Andris Nelsons and Seiji Ozawa • Contains a lavishly illustrated booklet, plus individual CD sleeves reproducing the cover artwork of the original releases

Available for $199.95 in the Symphony Shop and at bso.org To Read and Hear More...

English-language biographies of Webern include Anton von Webern by Malcolm Hayes, in the copiously illustrated series “20th-Century Composers” (Phaidon paperback), and the considerably heftier Anton von Webern: A Chronicle of his Life and Work by Hans Moldenhauer (Knopf). Walter Kolneder’s Anton Webern: An Introduction to his Works, translated by Humphrey Searle, is more purely and heavily analytical (University of California). The article in the 2001 New Grove Dictionary of Music and Musicians is by Kathryn Bailey. Paul Griffiths’s article from the 1980 edition of Grove was reprinted in The New Grove Second Viennese School: Berg, Webern, Schoenberg (Norton paperback).

Recordings of Webern’s Passacaglia include Claudio Abbado’s with the Vienna Philhar- monic (Deutsche Grammophon), Pierre Boulez’s with the Berlin Philharmonic (Deutsche Grammophon), Riccardo Chailly’s with the Royal Concertgebouw Orchestra of Amster- dam (Decca), Christoph von Dohnányi’s with the Cleveland Orchestra (Decca), and Herbert von Karajan’s with the Berlin Philharmonic (Deutsche Grammophon).

Paul Griffiths’sBartók in the Master Musicians series (Dent paperback) is a useful supplement to Halsey Stevens’s The Life and Music of Béla Bartók, which has long been the standard biography of the composer (Oxford paperback). Béla Bartók by Kenneth Chalmers is a volume in the lavishly illustrated series “20th-Century Composers” (Phaidon paperback). Three relatively recent books offer wide-ranging consideration of Bartók’s life, music, critical reception, and milieu: Bartók and his World, edited by Peter Laki (Princeton University Press); The Bartók Companion, edited by Malcolm Gillies (Amadeus paperback), and David E. Schneider’s Bartók, Hungary, and the Renewal of a Tradition: Case Studies in the Intersection of Modernity and Nationality (University of Cali- fornia Press). Bartók’s concertos are included in Arnold Whittall’s discussion of “The Concerto in Modern Times: Central Europe in the Twentieth Century” in A Guide to the Concerto, edited by Robert Layton (Oxford paperback). Michael Steinberg’s The Concerto– A Listener’s Guide includes program notes on his three piano concertos and Violin Con- certo No. 2 (Oxford paperback). Agatha Fassett’s personal account of the composer’s last years has been reprinted as The Naked Face of Genius: Béla Bartók’s American Years (Dover paperback). Béla Bartók: His Life in Pictures and Documents by Ferenc Bónis is a fascinating compendium well worth seeking from secondhand book dealers (Corvino).

Complete sets of the three Bartók piano concertos include Géza Anda’s with Ferenc Fricsay and the Berlin Radio Symphony (Deutsche Grammophon), Jean-Efflam Bavouzet’s

week 11 read and hear more 63 with Gianandrea Noseda and the BBC Philharmonic (Chandos), Yefim Bronfman’s with Esa-Pekka Salonen and the Los Angeles Philharmonic (Sony), Jenö Jandó’s with András Ligeti and the Budapest Symphony Orchestra (Naxos), Stephen Kovacevich’s with Colin Davis and the London Symphony Orchestra (Philips), and Zoltán Kocsis’s with Iván Fischer and the Budapest Festival Orchestra (Philips). Conductor Pierre Boulez’s disc of the three concertos features different pianists and orchestras in each: Krystian Zimerman and the Chicago Symphony in No. 1, Leif Ove Andsnes and the Berlin Phil- harmonic in No. 2, and Hélène Grimaud and the London Symphony Orchestra in No. 3 (Deutsche Grammophon). Pianist György Sándor, a pupil and friend of Bartók’s, recorded two cycles of the piano concertos, one with Michael Gielen leading the Vienna and Bamberg symphony orchestras (Vox), the other with Adám Fischer and the Hungarian State Orchestra (Sony).

Stephen Walsh, who wrote the Stravinsky article in the 2001 Grove Dictionary of Music and Musicians, is also author of a two-volume Stravinsky biography: Stravinsky–A Creative Spring: Russia and France, 1882-1934 and Stravinsky–The Second Exile: France and America, 1934-1971 (Norton). The 1980 Grove entry was by Eric Walter White, author of the crucial reference volume Stravinsky: The Composer and his Works (University of Cal- ifornia). Other useful books include Stravinsky and his World, a collection of essays and documents edited by Tamara Levitz (Princeton University Press); The Cambridge Com- panion to Stravinsky, edited by Jonathan Cross, which includes a variety of essays on the

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64 composer’s life and works (Cambridge University Press); Michael Oliver’s Igor Stravinsky in the wonderfully illustrated series “20th-Century Composers” (Phaidon paperback), and Francis Routh’s Stravinsky in the “Master Musicians” series (Littlefield paperback). If you can find a used copy,Stravinsky in Pictures and Documents by Vera Stravinsky and Robert Craft offers a fascinating overview of the composer’s life (Simon and Schuster). Craft, who worked closely with Stravinsky for many years, has also written and com- piled numerous other books on the composer. Charles M. Joseph’s Stravinsky Inside Out challenges some of the popular myths surrounding the composer (Yale University Press). Noteworthy among the many specialist publications are Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler (California), and Richard Taruskin’s two-volume, 1700-page Stravinsky and the Russian Traditions: A Biography of the Works through “Mavra,” which treats Stravinsky’s career through the early 1920s (University of California).

Seiji Ozawa and the Boston Symphony Orchestra recorded Stravinsky’s complete Firebird in 1983 (EMI). François-Xavier Roth has recorded the complete Firebird with his ensemble Les Siècles (Actes Sud). Other recordings of the complete score include Pierre Boulez’s with the Chicago Symphony Orchestra (Deutsche Grammophon), Thierry Fischer’s with the BBC National Orchestra of Wales (Signum Classics), Valery Gergiev’s with the Kirov Theater Orchestra (Philips), Bernard Haitink’s with the Lon- don Philharmonic and the Berlin Philharmonic (both on Philips), Andris Nelsons’ with the City of Birmingham Symphony Orchestra (Orfeo), Esa-Pekka Salonen’s with the Philharmonia Orchestra of London (Sony), and the composer’s own, with the Columbia Symphony Orchestra (Sony). For a recording of the Firebird Suite, the BSO recorded the 1919 version under Seiji Ozawa in 1969 (RCA), and the version using Stravinsky’s original, larger 1911 instrumentation under Erich Leinsdorf in 1964 (also RCA). Other choices for the 1919 version include Pierre Boulez’s with the BBC Symphony (Sony Classical), Leonard Bernstein’s with either the New York Philharmonic (Sony Classical) or the Israel Philharmonic (Deutsche Grammophon), Riccardo Chailly’s with the Concertgebouw Orchestra of Amsterdam (London/Decca), and Carlo Maria Giulini’s with the Philhar- monia Orchestra (EMI). Stravinsky himself made recordings of the Firebird Suite (1945 version) with the New York Philharmonic (Pearl) and (later) the Columbia Symphony Orchestra (Sony Classical).

Marc Mandel

week 11 read and hear more 65

Guest Artists

François-Xavier Roth

Born in Paris in 1971, François-Xavier Roth has been general music director of the City of Cologne, leading both the Gürzenich Orchestra and the Opera, since 2015. At the beginning of this season he took up the position of principal guest conductor of the London Symphony Orchestra. He has worked with many leading orchestras, including the Boston Symphony Orchestra, Berlin Philharmonic, Berlin Staatskapelle, Royal Concertgebouw, Munich Philharmonic, and Zurich Tonhalle. In 2003 he founded Les Siècles, an orchestra that performs contrasting and colorful programs on modern and period instruments, often within the same concert. With Les Siècles he has given concerts in France, Italy, Germany, the Netherlands, Belgium, England, and Japan. They gave centenary performances of The Rite of Spring, on original instruments, at the BBC Proms and the Alte Oper, Frankfurt, and subsequent performances with the Pina Bausch and Dominique Brun dance companies. Following the success of their two-season “After Romanticism” series, Mr. Roth and the London Symphony Orchestra now embark on an exploration of Debussy’s legacy, marking the 100th anniversary of the composer’s death. His third Cologne opera season has featured Wagner’s Tannhäuser and Zimmermann’s Die Soldaten, honoring the latter’s centenary. With the Gürzenich Orchestra, he continues a focus on Philippe Manoury, from whom the orchestra has commissioned a trilogy of works, the second of which, a flute concerto, will be premiered with Emmanuel Pahud. As principal conductor of SWR Sinfonieorchester Baden-Baden und Freiburg from 2011 to 2016, Mr. Roth recorded a cycle of Strauss symphonic poems. His recordings with Les Siècles of The Firebird, Petrushka, and The Rite of Spring have been widely acclaimed, the latter earning a German Record Critics’ Prize. Their

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Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! first recording in an ongoing complete Ravel cycle for Harmonia Mundi, Daphnis and Chloé, was a Gramophone Editor’s Choice and Rondo Magazine’s CD of the Month. Engagement with new audiences and new music is essential to Mr. Roth, who, with the Festival Berlioz and Les Siècles, founded the Jeune Orchestre Européen Hector Berlioz, an orchestra-academy with its own collection of period instruments. Mr. Roth and Les Siècles devised “Presto!,” a television series for France 2, attracting weekly audiences of over three million. The Gürzenich Orchestra’s “Ohrenauf!” youth program received a Junge Ohren Produktion Award in February 2017. A tireless champion of contemporary music, Mr. Roth is conductor of the groundbreaking LSO Panufnik Composers Scheme. He has premiered works by Yann Robin, Georg-Friedrich Haas, and Simon Steen-Anderson and collaborated with composers Pierre Boulez, Wolfgang Rihm, Jörg Widmann, and Helmut Lachenmann. On Bastille Day 2017, François-Xavier Roth was named a Chevalier of France’s Légion d’honneur. Visit francoisxavierroth.fr for more information. François-Xavier Roth made his Boston Symphony debut in April 2014 with a subscription program of Bach, Stravinsky, and Beethoven, subsequently returning in January 2016 for two weeks of subscription concerts (music of Gossec, Mozart, Beethoven, Debussy, Dutilleux, Canteloube, and Stravinsky), and most recently, prior to this season, for a March 2017 subscription program including the world premiere of Matthias Pintscher’s BSO-commissioned un desparter for cello and orchestra, plus music of Berlioz and Beethoven. Marco Borggreve

Pierre-Laurent Aimard

Widely acclaimed as a key figure in the music of our time and a leading interpreter of piano repertoire from every age, Pierre-Laurent Aimard has been awarded the 2017 International Ernest von Siemens Music Prize in recognition of a life devoted to the service of music. Each season he performs worldwide with major orchestras and conductors. His many res- idencies have included projects at Carnegie Hall, Lincoln Center, Vienna’s Konzerthaus, Berlin’s Philharmonie, Frankfurt’s Alte Oper, the Lucerne Festival, Mozarteum Salzburg, Cité de la Musique in Paris, Tanglewood (as director of the 2013 Festival of Contemporary Music), and London’s Southbank Centre. His final season as artistic director (2009 to

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*May temporarily relieve common mild snoring in otherwise healthy adults. Partner Snore™ technology is available with Split King and FlexTop® King mattresses on FlexFit™ adjustable bases. †2-Year Limited Warranty on SleepIQ® technology. Warranties available at sleepnumber.com. ‡Results from a 2015 Sleep Number survey of 1,797 customers asked about their likelihood to recommend Sleep Number to a friend, family member, or colleague. SLEEP NUMBER, SELECT COMFORT, SLEEPIQ and the Double Arrow Design are registered trademarks and IT is a trademark of Select Comfort Corporation. ©2017 Select Comfort Corporation. 2016) of the Aldeburgh Festival was marked by a performance of Messiaen’s Catalogue d’oiseaux in concerts programmed from dawn to midnight. The 2017-18 season marks the beginning of his three-year tenure as artist-in-residence at Southbank Centre, where during this first year he performs Messiaen with the Aurora Orchestra, Mozart with the Australian Chamber Orchestra, and Ravel with the Philharmonia Orchestra, also curating a weekend of performances dedicated to the music of Ligeti, with whom he has a long association. Other highlights include recitals in Tokyo, Beijing, Moscow, St. Petersburg, Paris, Vienna, New York, and at the new Pierre Boulez Saal in Berlin. Orchestral performances take him to Boston and Berlin, on a European tour with the Gustav Mahler Youth Orchestra, and to Hamburg for a Stockhausen project. Born in Lyon in 1957, Pierre-Laurent Aimard studied at the Paris Conservatoire with Yvonne Loriod and in London with Maria Curcio. He won first prize in the 1973 Messiaen Competition at sixteen and three years later was appointed by Pierre Boulez as the Ensemble InterContemporain’s first solo pianist. He has had close collaborations with such composers as Kurtág, Stockhausen, Carter, Boulez, and Benjamin. Recent seasons have included the world premieres of Birtwistle’s piano concerto Responses: Sweet Disorder and the Carefully Careless (a BSO co-commission), and of Carter’s last piece, Epigrams for piano, cello, and violin, which was written for him. Through his professorship at the Hochschule Köln and numerous concert lectures and workshops worldwide, he sheds an inspiring and very personal light on music of all periods. He was an associate professor at the College de France, Paris, during the 2008-09 season, and is a member of the Bayerische Akademie der Schönen Künste. Recipient of the Royal Philharmonic Society’s Instrumentalist Award in 2005, Mr. Aimard was Musical America’s 2007 Instrumentalist of the Year. In 2015 he launched a major online resource (explorethescore.org) in collaboration with Klavier-Festival Ruhr, centered on the performance and teaching of Ligeti’s piano music. Among his highly successful recordings is his first Deutsche Grammophon release, Bach’s Art of Fugue, as well as “Hommage à Messiaen,” Ives’s Concord Sonata and songs, “The Liszt Project,” Debussy’s Préludes, and a new recording of Bach’s Well-Tempered Clavier, Book I. Under a new exclusive contract with Pentatone, his recording of the complete Catalogue d’oiseaux will be released in spring 2018. Pierre-Laurent Aimard made his BSO debut at Tanglewood in July 1981 with Mozart’s Piano Concerto No. 14 in E-flat, K.449. Since his subscription series debut in April 2000, his BSO appearances have included performances in Boston, Tanglewood, Carnegie Hall, and Europe (Paris and Cologne in 2000 in Messiaen’s Turangalîla-symphonie; Lucerne and Berlin in 2007 in Ravel’s Piano Concerto in G). His most recent BSO performances were in February 2015 as soloist in Birtwistle’s BSO-commissioned Responses: Sweet Disorder and the Carefully Careless, and at Tanglewood in July 2017 as soloist in Ravel’s Piano Concerto for the Left Hand. Also last summer he performed a 7 a.m. recital of selections from Messiaen’s Catalogue d’oiseaux at Pleasant Valley Wildlife Sanctuary and an Ozawa Hall recital entitled “Birds in Music,” both as part of “Tanglewood Takes Flight: A Celebration of Birds and Music with Mass Audubon.”

week 11 guest artists 71 The Great Benefactors

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

ten million and above

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

seven and one half million

Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

five million

Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million

Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ •

Eaton Vance Corporation • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

72 one million

Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Chauffeured Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney •

Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ •

Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (13)

‡ Deceased

week 11 the great benefactors 73 Your Winter Wonderland

A SERVICE OF WGBH

Download the App Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2016-17 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above Bloomberg • Eaton Vance Corp., Thomas E. Faust, Jr. • Fidelity Investments

$250,000 - $499,999 Arbella Insurance Foundation and Arbella Insurance Group, John F. Donohue • Bank of America, Anne M. Finucane, Miceal Chamberlain • EMC Corporation, William J. Teuber, Jr. • Fairmont Copley Plaza, George Terpilowski • Massachusetts Cultural Council and Mass Development

$100,000 - $249,999 American Airlines, Jim Carter • Commonwealth Worldwide Executive Transportation, Dawson Rutter • Delta Air Lines, Charlie Schewe • League of American Orchestras • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts • Anonymous

$50,000 - $99,999 Adage Capital Management, Michelle and Bob Atchinson • Citizens Bank, Stephen T. Gannon • Dick and Ann Marie Connolly • Fromm Music Foundation • Steve and Betty Gannon • The Geoffrey C. Hughes Foundation • The Ann and Gordon Getty Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • The Lynch Foundation, Peter Lynch • Miriam Shaw Fund • National Endowment for the Humanities • The New England Foundation, Joseph C. McNay • Parthenon-EY, Bill Achtmeyer • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Suffolk, John F. Fish

$25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Anbaric Holding LLC, Edward N. Krapels • Josh and Anita Bekenstein • The Boston Foundation •

week 11 corporate, foundation, and government contributors 75 If you have an opinion, make sure it’s well-informed.

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wgbhnews.org Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • Connell Limited Partnership, Frank A. Doyle, Margot C. Connell • Eileen and Jack Connors, Jr. • Cooperative Credit Union Association, Paul Gentile • Deutsch Family Wine & Spirits • Elizabeth Taylor Fessenden Foundation • Eversource Energy, James J. Judge • Farley White Interests, Roger W. Altreuter, John F. Power • Gerondelis Foundation • Goodwin, Regina M. Pisa • Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Hendrick’s Gin • The Highland Street Foundation/Holly and David Bruce/Sean McGrath • Houghton Mifflin Harcourt • Hunton & Williams LLP • John Moriarty & Associates, Inc., John Moriarty, David Leathers • Jerry and Darlene Jordan • Ted and Debbie Kelly/The Kelly Family Foundation • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • Martignetti Companies • Mastercard • Jim and Lisa Mooney • Waters Corporation, Chris O’Connell • Edwin S. Webster Foundation • Wilmington Trust, Part of the M&T Bank Family, Christopher T. Casey • Wynn Boston Harbor, Bob DeSalvio • Yawkey Foundation

$15,000 - $24,999 Alli and Bill Achtmeyer • Analog Devices, Inc., Vince Roche • Arthur J. Hurley Company, Inc., Matthew Hurley • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • Boston Private, Clayton G. Deutsch • Boston Seed Capital, LLC, Nicole Maria Stata • Charles Schwab & Co., Inc. • John and Diddy Cullinane • Debevoise & Plimpton LLP, Gregory J. Lyons • Flex Pharma, Christoph Westphal • Greenberg Traurig, LLP, Pete S. Michaels • High Output, Inc. • Hill Holliday, Karen Kaplan • J.P. Marvel Wealth Management, Joseph F. Patton, Jr. • Macy’s • Carmine and Beth Martignetti • Medical Information Technology, Inc., Howard Messing • Neighborhood Health Plan, Dave Segal • New Balance Foundation, Anne and Jim Davis • New England Patriots Charitable Foundation • The Alice Ward Fund of The Rhode Island Foundation • Saquish Foundation • The Carl & Ruth Shapiro Family Foundation • Ray and Maria Stata • Katherine Chapman Stemberg • The Summer Fund • Vertex Pharmaceuticals, Jeffrey Leiden • Anonymous

$10,000 - $14,999 Abrams Capital, David Abrams • Advent International, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht, Sr. • Arthur J. Gallagher & Co., Patrick Veale • Billy Rose Foundation • Cabot Corporation, Martin O’Neill • Charles River Laboratories, Inc., James C. Foster • Chubb, Mitchell Schmidt • Clough Capital Partners, LP, Charles I. Clough, Jr. • Crane Currency, Stephen DeFalco • Elliott Management Corporation, Paul E. Singer • EY, Jane C. Steinmetz • FTI Consulting, Stephen J. Burlone • Granite Telecommunications, Rob Hale • H. Carr & Sons, Inc., James L. Carr, Jr. • Herald Media, Inc., Patrick J. Purcell • Ironshore, Kevin H. Kelley • John Hancock Financial, Marianne Harrison • Kaufman & Company, LLC, Sumner Kaufman • Roger and Myrna Landay Charitable Foundation • Mr. and Mrs. Donald H. McCree • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. •

week 11 corporate, foundation, and government contributors 77 BEETHOVEN HANDEL MESSIAH BACH MASS SYMPHONY NO. 9 Dec 1 + 2 + 3 IN B MINOR Oct 6 + 8 Mar 23 + 25 BACH CHRISTMAS MOZART + Dec 14 + 17 PURCELL BEETHOVEN THE FAIRY QUEEN Oct 27 + 29 MOZART + HAYDN Apr 6 + 8 Jan 26 + 28 AMADEUS LIVE HANDEL HERCULES Nov 10 + 11 + 12 BACH BRANDENBURG May 4 + 6 CONCERTOS Complete film with soundtrack Feb 16 + 18 performed live by the H+H Orchestra and Chorus.

HANDELANDHAYDN.ORG 617.266.3605

78 Morgan, Lewis & Bockius LLP, Catherine Curtin • Natixis Global Asset Management, John T. Hailer • Navigator Management, Thomas M. O’Neill • Northwood Investors, John Z. Kukral • Joe and Kathy O’Donnell • Steve and Judy Pagliuca • Raytheon Company • Peter and Catherine Smyth • TA Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The TJX Companies, Inc. • Wayne J. Griffin Electric, Inc., Wayne J. Griffin • Willis Towers Watson, Michael A. McShane

$5,000 - $9,999 Abbot and Dorothy H. Stevens Foundation • Abraham Perlman Foundation • Accenture • Adelaide Breed Bayrd Foundation • Adler Pollock & Sheehan P.C. • The Amphion Foundation, Inc. • Amuleto Mexican Table • Atlantic Trust Private Wealth Management • Berkshire Bank • Berkshire Partners LLC • The Beveridge Family Foundation, Inc. • Biogen Inc. • Blake & Blake Genealogists • The Boston Globe • The Cambridge Homes • Century-TyWood Manufacturing Inc. • Chadwick Martin Bailey • The Cleary Family • RoAnn Costin • Cushman & Wakefield • Cutler Associates, Inc. • DB Sterlin Consultants, Inc. • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Deloitte & Touche LLP • Demoulas Foundation • Edelstein & Company LLP • Edward A. Taft Trust • The Fallon Company • The Fuller Foundation • Gregory J. and Loretta H. Gailius; James D. Blue, II; and James W. Moriarty • Gaston Dufresne Foundation • Greater Boston Chamber of Commerce • IBM • Irene E. and George A. Davis Foundation • Jack Madden Ford • Jacobs • Kronos Incorporated • Locke Lord LLP • Lucia B. Morrill Charitable Foundation • John and Rose Mahoney • Morgan Stanley • Mungo Creative Group • New England Development • New Music USA • Nutter McClennen & Fish LLP • OvaScience, Inc. • PwC • Quanta Services • Riemer & Braunstein LLP • Thomas A. and Georgina T. Russo Family Fund • SBLI • William E. and Bertha E. Schrafft Charitable Trust • Senator Investment Group • Shawmut Design and Construction • Signature Printing & Consulting, Woburn, MA • Stetson Whitcher Fund • The Studley Press, Inc. • Bill and Ann Marie Teuber • Transwestern • Treviicos Corporation • Trianz Consulting Inc. • Tufts Health Plan • WBZ-TV/CBS Boston • Walsh Brothers • Wilmer Cutler Pickering Hale and Dorr LLP • Wolf, Greenfield & Sacks, P.C. • Anonymous

$2,500 - $4,999 Allied Printing Services, Inc. • Allied Universal • Anne and Roger Berman • Brookline Youth Concerts Fund • Cambridge Community Foundation • Carleton-Willard Village • Carson Limited Partnership • Complete Staffing Solutions, Inc. • Consigli Construction Co., Inc. • The Alice M. Ditson Fund of Columbia University • Elizabeth Grant Fund • Fire Equipment, Inc. • Fowler Printing & Graphics • Hoche-Scofield Foundation • Jackson and Irene Golden 1989 Charitable Trust • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • Murtha Cullina • Norbella • Oxford Fund • Republic Services • Rockland Trust • Sametz Blackstone Associates • Maurice and Luly Samuels • P.J. Spillane Company • Vedder Price • Verrill Dana • Welch & Forbes, LLC • Anonymous (2)

week 11 corporate, foundation, and government contributors 79 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

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We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. Administration

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

Bridget P. Carr, Director of Archives and Digital Collections • Jennifer Dilzell, Chorus Manager • Sarah Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Management Assistant • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Interim Director of Planning and Budgeting • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Kwan Pak, Payroll Specialist • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 11 administration 81 40th Anniversary Season

g o u n o d Petite Symphonie in Bb for 9 wind instruments g i s è l e b e n - d o r e wa z e n Conductor Concerto for Trumpet and Strings j e f f r e y w o r k Trumpet b e e t h o v e n Symphony No. 5 www.proarte.org january 21 617-779-0900 Sunday | 3 pm First Baptist Church 848 Beacon Street Newton

82 development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Susan Grosel, Director of Annual Funds and Donor Relations • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lydia Buchanan, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Laura Sancken, Assistant Director of Board Engagement • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Zakiya Thomas, Helaine B. Allen Executive Officer for Education, Community Engagement, and Inclusion Claire Carr, Associate Director of Education and Community Engagement • Elizabeth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 11 administration 83 information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Lead • Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Systems Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, Publicist • Samuel Brewer, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Senior Director of Marketing and Branding • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Hester C.G. Breen, Corporate Partnerships Coordinator • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Leslie Wu Foley, Associate Director of Audience Development • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Manager of Digital Marketing and Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Digital Media Manager • Greg Ragnio, Subscriptions Representative • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 11 administration 85

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Chair-Elect, Gerald L. Dreher Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Nancy Finn • Gabriel Kosakoff • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2017-18

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Connie Hill • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

week 11 administration 87 Next Program…

Thursday, January 18, 8pm Friday, January 19, 1:30pm (Friday Preview at 12:15pm in Symphony Hall] Saturday, January 20, 8pm

andris nelsons conducting

mahler symphony no. 3 First Part I. Kräftig. Entschieden. [Forceful. Decisive.]

Second Part II. Tempo di Menuetto. Sehr mäßig. Ja nicht eilen! Grazioso. [In minuet tempo. Very moderate. Don’t hurry! Graceful.] III. Comodo. Scherzando. Ohne Hast. [Easygoing. Jesting. Without haste.] IV. Sehr langsam. Misterioso. Durchaus ppp. [Very slow. Mysterious. ppp throughout.] Words by Nietzsche V. Lustig im Tempo und keck im Ausdruck. [Cheerful in tempo and jaunty in expression.] VI. Langsam. Ruhevoll. Empfunden. [Slow. Peaceful. Deeply felt.] susan graham, mezzo-soprano women of the tanglewood festival chorus and children’s chorus, james burton, conductor

Please note that there is no intermission in this concert.

Andris Nelsons and the BSO are joined by American mezzo-soprano Susan Graham and the women of the Tanglewood Festival Chorus for Mahler’s Third Symphony, which, like his Symphony No. 2, exemplifies the composer’s ambitious expansion of the symphonic genre. This is the second of Mahler’s three “Wunderhorn” symphonies (Nos. 2-4) employing text from the folk- poetry collection Des Knaben Wunderhorn (“Youth’s Magic Horn”). Composed mostly in 1895-96, the six-movement work is divided into two parts—Part I a massive half-hour movement representing a Bacchic procession celebrating the arrival of summer; Part II a series of character pieces representing responses from, in turn, wild flowers, forest animals, mankind, angels, and the spirit of love. The fourth movement sets Nietzsche’s “O Mensch! Gib Acht!” for mezzo- soprano; the fifth is theWunderhorn poem “Es sungen drei Engel” (“Three angels were singing”) for children’s chorus and women’s chorus. Across its 100-minute length, this broad musical canvas incorporates a full range of musical and emotional expression, moving through rousing fanfares, tender lyricism, and melancholy to the height of exaltation.

88 Coming Concerts… friday previews and pre-rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Thursday ‘A’ January 18, 8-9:45 Thursday ‘C’ February 1, 8-10 Friday ‘A’ January 19, 1:30-3:15 Friday Evening February 2, 8-10 Saturday ‘B’ January 20, 8-9:45 Saturday ‘A’ February 3, 8-10 ANDRIS NELSONS, conductor ANDRIS NELSONS, conductor SUSAN GRAHAM, mezzo-soprano KRISTINE OPOLAIS, soprano WOMEN OF THE TANGLEWOOD FESTIVAL ALEXANDER TSYMBALYUK, bass CHORUS, JAMES BURTON, conductor MOZART Serenade No. 10 in B-flat for CHILDREN’S CHORUS winds, K.361, Gran Partita MAHLER Symphony No. 3 SHOSTAKOVICH Symphony No. 14 for soprano, bass, and chamber orchestra

Sunday, January 21, 3pm Jordan Hall, New England Conservatory Thursday, February 8, 10:30am (Open Rehearsal) Thursday ‘D’ February 8, 8-10:10 BOSTON SYMPHONY CHAMBER PLAYERS with THOMAS ADÈS, piano Friday Evening February 9, 8-9:25 (Casual Friday, with introductory comments BEETHOVEN Quintet in E-flat for piano by a BSO member and no intermission) and winds, Op. 16 Saturday ‘B’ February 10, 8-10:10 SCHUBERT Notturno in E-flat for piano, ANDRIS NELSONS, conductor violin, and cello, D.897 THOMAS ADÈS, piano LIGETI Six Bagatelles, for wind quintet KIRILL GERSTEIN, piano JANÁCˇEK Concertino for piano, two violins, viola, clarinet, horn, JEAN-YVES THIBAUDET, piano and bassoon TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, conductor “Leipzig Week in Boston” Thursday ‘B’ January 25, 8-10:25 J.S. BACH Concerto in D minor for three Friday ‘B’ January 26, 1:30-3:55 pianos, BWV 1063 Saturday ‘B’ January 27, 8-10:25 SCHUMANN Nachtlied and Neujahrslied for THOMAS ADÈS, conductor chorus and orchestra AUGUSTIN HADELICH, violin (February 8 and 10 only) SEAN SHEPHERD Express Abstractionism BEETHOVEN Symphony No. 8 (world premiere; BSO LIGETI Violin Concerto, with cadenza co-commission) by Thomas Adès MENDELSSOHN Symphony No. 3, Scottish ADÈS Suite from Powder Her Face STRAVINSKY Divertimento from The Fairy’s Kiss The BSO’s 2017-18 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Programs and artists subject to change. Endowment for the Arts.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200; or at the Symphony Hall box office, Monday through Friday from 10 a.m. to 6 p.m. (Saturdays from 4-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 11 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Office at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 11 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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