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Home , Alfredo Catalani, Andris Nelsons, Bernardino Molinari, Fausto Cleva, Hans Neuenfels, James Taylor (tenor)

’ Inaugural Concert as BSO Music Director conductor emeritus music director laureate

2014–2015 Season | Week 2 andris nelsons music director

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Table of Contents | Week 2

7 bso news 15 on display in symphony hall 16 andris nelsons’ inaugural season as music director 18 bso music director andris nelsons 20 the boston symphony orchestra 23 andris nelsons, on and off the podium 32 tonight’s program

Special Guest Artists

34 35

Notes on the Program

38 The Program in Brief… 39 53 57 61 69 73 To Read and Hear More…

76 sponsors and donors 96 future programs 98 symphony hall exit plan 99 symphony hall information

program copyright ©2014 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo of Andris Nelsons by Marco Borggreve cover design by BSO Marketing

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate 134th season, 2014–2015

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. , Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Nancy J. Fitzpatrick • Thelma E. Goldberg • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

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

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp •

week 2 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • Charles Larkin • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • John P. Eustis II † • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • 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 • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck † • Dr. Martin C. Mihm, Jr. • Robert Mnookin • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 2 trustees and overseers 5

BSO News

Boston Symphony Chamber Players 2014-15 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. at Jordan Hall The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year on October 19 with music of J.S. Bach, Nielsen, and Brahms. Complete details of this season’s programs, which span the full spectrum of chamber music repertoire and include guest appearances by pianists Emanuel Ax and Jean-Yves Thibaudet, are shown in the display ad on page 11. Subscriptions to the four-concert series are available at $132, $95, and $75; please call the Subscription Office at 1-888-266-7575. For single tickets at $38, $29, and $22, call (617) 266-1200 or visit bso.org.

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 returns in 2014-15 to heighten your enjoyment of BSO concerts. Six Wednesday- evening “Are You Listening?” sessions with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra (October 29, November 19, January 14, February 18, March 11, and April 8) are designed to enhance your listening abili- ties and appreciation of music by focusing on upcoming BSO repertoire. The specific musical works to be discussed are posted at bso.org. Since each session is self-contained, no prior musical training, or attendance at any previous session, is required. In addition, three Tuesday-evening “Insider’s View” sessions with BSO musicians and administrative staff focus on behind-the-scenes activities at Symphony Hall (September 30, January 20, and March 24). By popular demand, two of these sessions—the first and third—will again offer round-table discussions with BSO musicians. All of these sessions take place from 5:30- 6:45 p.m. at Symphony Hall, each being followed by a reception offering beverages and hors d’oeuvres. Admission to the BSO 101 sessions is free; please note, however, that there is a nominal charge to attend the receptions. Group rates (for 20 or more people) will apply to both the BSO 101 sessions and the receptions. To reserve your place for the date or dates you’d like to attend, please e-mail [email protected] or call (617) 638-9395.

Continuing a Collaboration: Free Concerts by BSO Members at Northeastern University’s Fenway Center The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free concerts by BSO members at the Fenway Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. on five Friday afternoons during the

week 2 bso news 7

2014-15 season: October 17 (string quartets of Nielsen and Schubert), November 14 (a program of Spanish and Latin American music), February 13 (music of Tchaikovsky, Sibelius, Mozart, and Brahms), March 6 (Stravinsky’s L’Histoire du soldat), and March 20 (string quintets of Mozart). Tickets are available at tickets.neu.edu and at the door. For more information, please visit northeastern.edu/camd/music.

New This Year: “Onstage at Symphony” The 2014-15 season brings the launch of the BSO’s Onstage at Symphony, a program con- vening amateur musicians of all backgrounds from across Massachusetts for a set of rehearsal and sectional experiences culminating in a performance on the Symphony Hall stage. This program celebrates the amateurs’ talent and continued commitment to music while also providing access to the resources of the Boston Symphony Orchestra and Symphony Hall. Onstage at Symphony is designed for adult amateur musicians residing in Massachusetts who have a true love for musical performance but who have pursued alternate career paths. The 2015 program activities will take place at select times from Wednesday, January 28, to Saturday, January 31. The group’s final performance will be free and open to the public. Applications must be submitted by October 17. For more informa- tion, please visit bso.org/onstageatsymphony. individual tickets are on sale for all concerts in the bso’s 2014-2015 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 99 of this program book.

BSO Season Sponsors Return: engaging programming and a history steeped Bank of America and in powerful performances,” said Bob Gallery, EMC Corporation Bank of America Massachusetts president. “It’s long been a source of pride for the Longstanding major corporate partners Bank Massachusetts arts community, and a driver of America and EMC Corporation return as of local economies from Boston to the the BSO Season Sponsors for the 2014-15 Berkshires.” season. As a company with employees and clients in more than 40 countries around the EMC is a global leader in enabling businesses world, Bank of America is committed to a and service providers to transform their oper- diverse program of cultural support, designed ations and deliver information technology as to engage individuals, organizations, commu- a service (ITaaS). Through innovative prod- nities, and cultures in creative ways to build ucts and services, EMC accelerates the jour- mutual respect and understanding of the arts. ney to cloud computing, helping IT depart- By partnering with our stakeholders, we cre- ments to store, manage, protect, and analyze ate shared value that empowers individuals their most valuable asset—information—in and communities to thrive and contributes to a more agile, trusted, and cost-efficient way. the long-term success of our business. Bank “As a Great Benefactor, EMC is proud to help of America is one of the world’s leading cor- preserve the wonderful musical heritage of porate supporters of the arts, supporting the BSO, so that it may continue to enrich thousands of arts organizations worldwide. the lives of listeners and create a new gener- For additional information, please visit ation of music lovers, not only in Boston, but museums.bankofamerica.com/arts. “The BSO around the world,” said Joe Tucci, Chairman attracts visitors from around the world with and CEO, EMC Corporation.

week 2 bso news 9 The Fairmont Copley Plaza Begins playing an active role by generously giving Its 13th Season as the Official Hotel their time and resources. “Supporting the of the BSO Symphony is easy for us,” the Lindes have said. “We think about the personal pleasure The Fairmont Copley Plaza, the Official Hotel we receive at each concert, the impact Sym- of the BSO and Boston Pops, has extended phony performances have on audiences in its unprecedented partnership with the BSO Boston, at , and around the world, through the 2016-17 season. A BSO Great and the organization’s importance to the cul- Benefactor, The Fairmont Copley Plaza has tural life of Boston, a city we love greatly.” been a symbol of the city’s history and ele- gance since 1912. To celebrate its centennial, In 2000, together with their children, Doug the landmark hotel completed a $20 million and Karen, and their spouses, Carol and Jeff, renovation and restoration, including one Joyce and Ed established the Linde Family of Boston’s hottest restaurant destinations, Foundation, which supports numerous arts, OAK Long Bar + Kitchen. education, and youth initiatives in the Boston area. The Lindes are significant contributors “The Fairmont Copley Plaza, together with to the Symphony and Tanglewood Annual Fairmont Hotels & Resorts, is proud to be the Funds as well as the BSO’s Beyond Measure Official Hotel of the BSO,” said Paul Tormey, Campaign, and they have generously given Fairmont’s regional vice-president and general to the BSO’s educational and community manager. “The BSO is a New England tradition engagement activities, believing that the arts and, like The Fairmont Copley Plaza, a symbol should be a part of every child’s life. Joyce of Boston’s rich tradition and heritage. We Linde is a trustee of the Linde Family Founda- look forward to many years of supporting this tion; an honorary trustee of the Museum of wonderful organization.” Fine Arts, Boston; a governor of the School of the Museum of Fine Arts, Boston; an over- The Linde Family Concert seer of the deCordova Sculpture Park and Saturday, September 27, 2014 Museum; and a member of the MIT Music and Theater Arts Visiting Committee and the The concert on Saturday evening is named Boston Public Schools Arts Advisory Board. for Great Benefactors Joyce and Edward Linde, and their family, in recognition of their generous gift to the Tanglewood Annual The Catherine and Paul Fund. The Family has been supporting the Buttenwieser Guest Artist Boston Symphony Orchestra since 1988. Saturday, September 27, 2014 Ed Linde, a highly respected and admired Jonas Kaufmann’s appearance in tonight’s leader within the Boston Symphony and concert is supported by a generous gift throughout the city of Boston, began as an from Great Benefactors Catherine and Paul Overseer in 1996 and was elected Trustee Buttenwieser. Paul served on the BSO Board in 1999 and Chairman of the Board in 2005. of Overseers from 1998 to 2000, when he Throughout Ed’s tenure as Chairman, he was was elected to the Board of Trustees. Paul a passionate and tireless ambassador for the currently serves as President of the Board of BSO until his death in 2010. He is greatly Trustees, having previously served as a Vice- missed. Joyce, his partner of forty-seven Chairman of the Board of Trustees from 2010 years, carries on his legacy of leadership and to 2013. generosity. Joyce was elected a Trustee in Paul’s interest in music began at a young age, September 2010 and has been an active when he studied piano, violin, clarinet, and advocate for the BSO in this capacity. as a child and teenager. Together, In 1985, the Lindes bought a home in the Paul and Katie have developed their lifelong Berkshires near Tanglewood, and it was then love of music, and have attended the BSO’s that they fell in love with the BSO and began performances at Symphony Hall and Tangle-

10 wood for more than fifty years. The Butten- honorary trustee of the Museum of Fine Arts, wiesers have generously supported numerous Boston, a member of the President’s Advisory initiatives at the BSO, including BSO commis- Council at Berklee College of Music, a mem- sions of new works, guest artist appearances ber of the Director’s Advisory Council of at Symphony Hall and Tanglewood, fellow- the Harvard University Art Museums, and a ships at the , and Fellow of the American Academy of Arts and Opening Nights at Symphony and Tanglewood. Sciences. In addition, Paul is a trustee of They also endowed a BSO first violin chair, Partners in Health and a former overseer of currently held by Aza Raykhtsaum. Paul and his alma mater, Harvard University. Katie chaired Opening Night at Symphony for In addition to supporting the arts, the the 2008-09 season, and they have served Buttenwiesers are deeply involved with the on many benefactor committees for the gala. community and social justice. In 1988, Paul Paul serves on the Executive Committee, and Katie founded the Family-to-Family Leadership Gifts Committee, and Trustees Project, an agency that works with homeless Nominating Committee, and was a member families in Eastern Massachusetts. Katie, who of the Search Committee recommending the is a social worker, spent most of her career in appointment of Andris Nelsons as the BSO’s the area of early child development before Ray and Maria Stata Music Director. moving into hospice and bereavement work. The Buttenwiesers support many arts organi- She is a graduate of Mount Holyoke College zations in Boston. Paul recently stepped down and Boston University School of Social Work. as chairman of the Institute of Contemporary Paul is a psychiatrist who specializes in chil- Art, Boston, after a decade of leading the dren and adolescents, and is also a writer. He Board of Trustees. He is a trustee and former is a graduate of Harvard College and Harvard chair of the American Repertory Theater, an Medical School.

week 2 bso news 11

Go Behind the Scenes: K.364, with the Boston Classical Orchestra The Irving W. and Charlotte F. Rabb led by music director Steven Lipsitt, on Symphony Hall Tours Sunday, October 5, at 3 p.m. at Faneuil Hall. The Irving W. and Charlotte F. Rabb Symphony Also on the program are J.S. Bach’s Branden- Hall Tours—named in honor of the Rabbs’ burg Concerto No. 2 and Beethoven’s Sym- devotion to Symphony Hall with a gift from phony No. 1. Tickets range from $37 to $74 their children James and Melinda Rabb and (discounts for students and seniors). For Betty (Rabb) and Jack Schafer—provide a further information or tickets, call (866) 811- rare opportunity to go behind the scenes at 4111 or visit bostonclassicalorchestra.org. Symphony Hall. In these free, guided tours, experienced members of the Boston Sym- Those Electronic Devices… phony Association of Volunteers unfold the As the presence of smartphones, tablets, and history and traditions of the Boston Symphony other electronic devices used for communica- Orchestra—its musicians, conductors, and tion, note-taking, and photography continues supporters—as well as offer in-depth infor- to increase, there have also been increased mation about the Hall itself. Tours are offered expressions of concern from concertgoers most Wednesdays at 4 p.m. and two Satur- and musicians who find themselves distracted days per month at 2 p.m. during the BSO not only by the illuminated screens on these season. Please visit bso.org/tours for more devices, but also by the physical movements information and to register. that accompany their use. For this reason, and as a courtesy both to those on stage and BSO Members in Concert those around you, we respectfully request that all such electronic devices be turned The Walden Chamber Players, whose mem- off and kept from view while BSO perform- bership includes BSO musicians Tatiana ances are in progress. In addition, please Dimitriades and Alexander Velinzon, violins, also keep in mind that taking pictures of the and Richard Ranti, bassoon, perform music orchestra—whether photographs or videos— of Mozart, Penderecki, Maxwell Davies, and is prohibited during concerts. Thank you very Jongen on Sunday, September 28, at noon much for your cooperation. at the Nantucket Historical Association’s Whaling Museum, 15 Broad Street, Nantucket; this concert is free with regular museum Comings and Goings... admission. On Tuesday, September 30, at Please note that latecomers will be seated 8 p.m., the ensemble performs music of by the patron service staff during the first Mozart, Brahms, and Fauré at Stonehill convenient pause in the program. In addition, College’s Martin Auditorium, 320 Washing- please also note that patrons who leave the ton Street, Easton, at 8 p.m. This perform- hall during the performance will not be ance is free and open to the public; for more allowed to reenter until the next convenient information, e-mail [email protected]. pause in the program, so as not to disturb the BSO members Lucia Lin, violin, and Cathy performers or other audience members while Basrak, assistant principal viola, are soloists the concert is in progress. We thank you for in Mozart’s Sinfonia concertante in E-flat, your cooperation in this matter.

week 2 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • marking the centennial of ’s birth, a display case in the Huntington Avenue corridor highlighting the American premiere of the composer’s War , given by and the BSO at Tanglewood in July 1963 exhibits on the first-balcony level of symphony hall include: • a display in the first-balcony corridor, audience-right, celebrating the recent 50th anniversary of the Boston Symphony Chamber Players • a display case in the first-balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrated its 75th anniversary last season

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by Erich Leinsdorf in rehearsal with the BSO and soprano Phyllis Curtin for the American premiere of Britten’s “” at Tanglewood (Heinz Weissenstein, Whitestone Photo) Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 2 on display 15 Andris Nelsons’ Inaugural Season as Music Director In his first season as the BSO’s music director, Andris Nelsons conducts ten programs at Symphony Hall beginning with a special inaugural gala on September 27.

In his first season as the BSO’s fifteenth music director, Andris Nelsons conducts ten programs at Symphony Hall, starting with a sold-out, one-night-only event to be remem- bered for years to come. Making her Symphony Hall debut, acclaimed soprano Kristine Opolais and, in his BSO debut, Jonas Kaufmann, a frequent collaborator, join Maestro Nelsons and the orchestra for an evening of arias and duets from by Wagner, Mascagni, Catalani, and Puccini. This special inaugural concert on September 27 begins with Wagner’s Tannhäuser Overture—the work that first inspired a five-year-old Nelsons to a life in music—and concludes with Respighi’s spectacular orchestral showcase, Pines of . The following week, reflecting Maestro Nelsons’ lifelong immersion in the world of symphonic as well as operatic repertoire, the BSO itself takes Andris Nelsons center stage when he leads a powerful all-orchestral program of Beethoven, Bartók, and Tchaikovsky (October 1-2-3).

In November (November 6-22), for his second group of programs, Maestro Nelsons joins forces with several longtime collaborators for music with a Scandinavian and Slavic accent, including works of Sibelius, Tchaikovsky, and Rachmaninoff, plus the world premiere (November 20-21-22) of a BSO commission for chorus and orchestra from the conductor’s compatriot, Latvian composer E¯riks Ešenvalds. Soloists for these program include the young Latvian violinist in Sofia Gubaidulina’s compelling Baiba Skride Offertorium for violin and orchestra (November 6-7-8-11); Swedish trumpeter Håkan Hardenberger in the American premiere of Australian composer Brett Dean’s Dramatis personae (November 13-14-15-18), and Yo-Yo Ma in Prokofiev’s Symphony-Concerto for cello and orchestra (November 20-21-22). On the latter program, the Tanglewood Festival Chorus is featured in the new Ešenvalds work, as well as in the Boston premiere of John Harbison’s Koussevitzky Said:, and in Rachmaninoff’s The Bells, which also introduces three debuting vocal soloists to BSO audiences.

When he returns in January for two programs (January 8-17), Maestro Nelsons focuses exclusively on Classical and Romantic repertoire. The first of these pro- grams includes Brahms’s Variations on a Theme by Haydn, Haydn’s rarely heard Symphony No. 90, and Strauss’s fantastical Don Quixote with the young French Gautier Capuçon cellist Gautier Capuçon and BSO principal violist Steven Ansell (January 8-19-10). The second pairs Mozart’s probing C minor piano concerto, K.491, featuring the exciting German pianist Lars Vogt, and Bruckner’s resounding Symphony No. 7 (January 15-16-17).

16 For the final, wide-ranging concerts of his first season as BSO music director, Andris Nelsons leads three programs (March 26-April 14) encompassing an impressive mix of repertoire and guest artists. Four major orchestral works—Mahler’s Symphony No. 6 (March 26-27-28-31); Shostakovich’s Symphony No. 10 (April 2-3-4); the Boston premiere of Gunther Schuller’s Dreamscape, commissioned originally for the Tanglewood Music Center Orchestra (April 9-10-11-14); and a beloved orchestral showpiece, Strauss’s (also April 9-10-11-14)— are juxtaposed with performances by three returning guest artists: organist Lars Vogt Olivier Latry, in the world premiere of a concerto commissioned from American composer Michael Gandolfi, to showcase Symphony Hall’s spectacular Aeolian-Skinner organ (March 26-27-28-31); violinist Christian Tetzlaff, in Beethoven’s Violin Concerto (April 2-3-4); and pianist Richard Goode, in Mozart’s elegant B-flat piano concerto, K.595, his final work in the genre (April 9-10-11-14).

Tickets for these concerts (except for the sold-out inaugural concert of September 27) are available by phone through SymphonyCharge Christian Tetzlaff at (617) 266-1200 or 1-888-266-1200; online at bso.org, or in person at the Symphony Hall box office. Please note that there is a $6.25 service fee for all tickets purchased online or through SymphonyCharge.

Richard Goode

week 2 17 ac Borggreve Marco

Andris Nelsons

Andris Nelsons begins his tenure as the BSO’s Ray and Maria Stata Music Director with the 2014-15 season, during which he leads the orchestra in ten programs at Symphony Hall, repeating three of them at New York’s in April. Mr. Nelsons made his Boston Symphony debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert subsequently issued on DVD and Blu-ray, and televised nationwide on PBS), following that the next day with a BSO program of Stravinsky and Brahms. His Sym- phony Hall and BSO subscription series debut followed in January 2013, and at Tanglewood this past summer he led three concerts with the BSO, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. His appointment as the BSO’s music director cements his reputation as one of the most renowned conductors on the international scene today, a distinguished name on both the and concert podiums. He made his first appearances as the BSO’s music director designate in October 2013 with a subscription program of Wagner, Mozart, and Brahms, and returned to Symphony Hall in March 2014 for a concert performance of Strauss’s . He is the fifteenth music director in the history of the Boston Symphony Orchestra.

Maestro Nelsons has been critically acclaimed as music director of the City of Birming- ham Symphony Orchestra since assuming that post in 2008; he remains at the helm of that orchestra until summer 2015. With the CBSO he undertakes major tours worldwide, including regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berlin Festival. Together they have toured the major European concert halls, including ’s Musikverein, the Théâtre des Champs-Élysées in Paris, the Gasteig in , and Madrid’s Auditorio Nacional de Música. Mr. Nelsons made his debut in Japan on tour with the and returned to tour Japan and the Far East with the CBSO in November 2013. Over the next few seasons he will continue collabora- tions with the , Vienna Philharmonic, the Royal Concertgebouw

18 Orchestra of Amsterdam, the Gewandhaus Orchestra of , the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at House–Covent Garden, the , and New York’s Metro- politan Opera. In summer 2014 he returned to the to conduct , in a production directed by , which Mr. Nelsons premiered at Bayreuth in 2010.

Andris Nelsons and the CBSO continue their recording collaboration with Orfeo Inter- national as they work toward releasing all of Tchaikovsky’s orchestral works and a majority of works by , including a particularly acclaimed account of Strauss’s Ein Heldenleben. Most of Mr. Nelsons’ recordings have been recognized with the Preis der Deutschen Schallplattenkritik. In October 2011 he received the prestigious of the German Phono Academy in the category “Conductor of the Year” for his CBSO recording of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release being a Dvoˇrák disc entitled “From the New World” with the Bavarian Radio Symphony Orchestra, released on DVD and Blu-ray in June 2013. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.”

Born in in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Orchestra before studying conducting. He was principal conductor of Nordwestdeutsche Philharmonie in Herford, , from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. ac Borggreve Marco

week 2 andris nelsons 19 Boston Symphony Orchestra 2014–2015

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

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

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

week 2 boston symphony orchestra 21

Andris Nelsons, On and Off the Podium As Andris Nelsons steps into the role of BSO music director this fall, his artistic gifts and passion for music have already been apparent on the podium at Symphony Hall and at Tanglewood. The BSO has asked ten people who know the conductor for their thoughts on the relationship between his unique personality and his approach to making music. Here are their responses, as compiled and edited by Boston Globe cultural correspondent Karen Campbell.

Photos of Andris Nelsons by Marco Borggreve

CORNELIA SCHMID and KAREN MCDONALD As president of Konzertdirektion Schmid, the artist management firm representing Andris Nelsons, Cornelia Schmid has had the pleasure of helping facilitate the conductor’s burgeoning career over the years. Karen McDonald, the director of the firm’s London office, is Nelsons’ manager. “We have very fond memories with Andris from his days at the Latvian National Opera, to his time with the Nordwestdeutsche Philharmonie, his acclaimed tenure with the CBSO in Birmingham, and now his bright future with the Boston Symphony and the fan- tastic journey which is about to begin! Andris is an exceptional artist in many, many ways, but something that most struck us, from our very initial meetings and in early rehearsals and performances, is his extremely collaborative and inclusive approach to music-making with an orchestra. Andris has such a deep insight into and such a human response to music, which makes every single performance so intense and heartfelt. Furthermore, his enthusiasm and joy on the podium are so contagious. He is an extremely warm and honest person, who is very sincere and loyal. These are qualities that are not so easy to come by in a musician of his stature. Boston Symphony audiences can only but look forward to a fresh and exciting journey with their new music director, who is so looking forward to getting to know his new musical home and family and becoming part of the orchestra’s rich musical tradition! We can say that Andris Nelsons will absolutely

week 2 23 encourage Boston audiences to open their hearts and minds musically—this is at the very essence of his music-making.”

STEPHEN MADDOCK As chief executive of the City of Birmingham Symphony Orchestra since 1999, Stephen Maddock was responsible for Andris Nelsons’ 2007 appointment as the CBSO’s tenth music director. (2014-15 is his final season in that role.) “Andris had a huge impact here right from the start. His rapport with the musicians of the CBSO was immediately evident to our audiences and to the critics, and has remained just as warm ever since. Andris has a really fresh approach to everything he conducts, but he is also aware that he is the servant of the music, not its master. He is scrupulous in his attention to detail, both in rehearsal and in concert, and he takes great care to follow the composer’s instructions as set down in the score. Beyond that, he has a terrific ability to inspire those around him.” Maddock says audiences have been similarly impressed. “There is always a clear con- nection between what you see and what you hear, so however extravagant his gestures, you can always see and hear the musical effect he has in mind. He is certainly the most physical conductor I know. I have lost count of the number of times he has sent his baton flying into the orchestra or knocked over a music stand in his enthusiasm during a per- formance. The front desks of BSO strings should watch out!” Maddock describes Nelsons as surprisingly humble and sometimes quite shy, but main- tains he has “a very English sense of humor, with quite a wicked sense of fun and plenty of scatological references in his rehearsal instructions, which can be very colorful! Off the podium he likes to laugh, and particularly enjoys American comedies on TV.” And what might surprise BSO audi- ences to learn about their new maestro? Maddock says, “He only rarely drinks alcohol, and he eats mountains of fresh fruit before each performance.” He adds, “He was taken to see Tannhäuser at the age of five. I think this was cruel and unusual punishment, but he says it’s what made him want to be a conductor!”

24 CHRISTOPHER MORLEY Christopher Morley, chief music critic of the Birmingham Post, first heard of Nelsons in September 2007, when, as he puts it, a “huge bubble of excitement exploded” when the conductor led a private rehearsal with the City of Birmingham Symphony Orchestra to test the acoustics of the newly refur- bished Birmingham Town Hall. The following year, Nelsons became the CBSO’s music director. Morley says, “Andris has developed such a trust in [the CBSO]—and they in him— that his conducting technique has become an unselfconscious exten- sion of himself. In most other con- ductors, his gestures would be char- latan. In him they are honest, gen- uine, and totally responsive to what the music is communicating. Andris has brought out the humanity in the [CBSO], and has allowed them to use their technical expertise to reach out to visionary musical values.” Morley cites honesty, humility, and the capacity to share as personal qualities that inform Nelsons’ artistry. “He is a man confident enough (though he still doesn't realize it) to have no preening ego...always thoughtful, always illuminating.” Morley also notes Maestro Nelsons’ huge devotion to family. “He impressed everyone so much when he abandoned everything to rush to his seriously ill baby daughter and be there with his wife. No man can be bigger than that.” He adds, “Andris is a remarkable man. He is gifted beyond dreams, but his sole desire is to use those gifts to make music with colleagues whom he brings into his ‘family.’ I just hope Boston enables him to achieve riches comparable with those he has mined with the amazing players of the City of Birmingham Symphony Orchestra.”

week 2 25 CHRISTINE LEMKE-MATWEY Prominent German music journalist and radio host Christine Lemke-Matwey has known Nelsons since 2002, when he conducted parts of Wagner's Ring cycle at the opera of his hometown Riga. “From the very first moment when he entered the pit, I knew that he is a genius—something in his musical and artistic aura. The conditions of working in Riga used to be rather bad in those days, but all this didn't matter. A bright light was shining in the pit, and this was Andris’ love for the score, for Wagner, for the audience. After- wards I got to know him personally, and I asked him how he managed to overcome all the bad conditions. He looked at me with his Baltic blue eyes, being rather emotionally and physically exhausted after five hours of conducting, and said, ‘I don't know, I'm just full of music.’ When he talks about music he talks in pictures, in metaphors, which is absolutely inspiring. He is always telling stories, and he never stops asking himself, ‘Do I know enough about life to conduct this piece or the other?’” She adds that people “definitely should not forget where he comes from. Of course Andris' career is international. But in his heart, he is Latvian. Being raised in the very last years of the Soviet Union, he learned a lot about life under oppression. From his child- hood on, Andris knew what longing for freedom meant. He found his freedom early in music and I guess still finds it there.”

CHRISTIAN French music critic/musicologist Christian Merlin first saw Andris Nelsons conduct in February 2009, during the conductor’s debut in Paris with the Orchestre National de France. The program centerpiece was Richard Strauss’s Ein Heldenleben, and Merlin says he was shocked at the level of Nelsons’ talent. “In a few years he became one of the very best in the world, both in symphonic and operatic repertoire, which is quite unique,” Merlin asserts. “He always was stunning in very spectacular or expressive works, but sometimes a little bit superficial in deep or inner pieces: one cannot reproach him for that anymore. He has a sort of animal magnetism that captivates both orchestra musicians and audience. His tremendous physical presence transmits an overwhelming energy; his music- making is more visceral than intellectual. What I particularly like is that for him technical achievement, accuracy, and precision of details are not so important as expression and emotional depth, which is an exception at a time when musicians are perfection-obsessed. He reminds me of the great maestros of the past. I was surprised by his humility.”

26 BAIBA SKRIDE World-renowned Latvian violinist Baiba Skride, who made her BSO debut with Nelsons on the podium in January 2013 and is soloist with him again this November, has known the conductor since the two were teenagers and went to the same school. They first per- formed together fourteen years ago and have since shared the stage “more times than I can count!” Skride elaborates: “We have a great chemistry since the first time, and every time it is a joy to play with him, to have that security, to know that everything is technically perfect. And the orchestras love him and want to do everything he asks.” From a soloist’s perspective, Skride says Nelsons is much more than just an accom- panist on the podium. “He also makes me inspired. It’s a give-and-take for both of us, and he makes me want to bring out my best. He’s a very passionate and inspiring person.” Skride says Nelsons also has a natural ability to bring people together. “He man- ages to get everyone on board, and his musicians notice he gives himself up completely to the music. He is intellectual and smart, but is also passionate for music, and he makes everyone love what he does. He is a lovely person, down to earth, never arrogant. He never sets himself above everyone else. He’s very humble. But offstage, he’s still a musi- cian through and through. He is always thinking of music.”

HÅKAN HARDENBERGER Swedish trumpeter Håkan Hardenberger, considered by many to be today’s preeminent soloist on the instrument, first performed with Andris Nelsons twelve years ago during a tour with Latvian orchestras. Since that time, Nelsons, a former trumpet player himself, has become one of Hardenberger’s favorite conductors. “It is easy to make music with him, very natural,” Hardenberger says. “He is very immediate, completely there, very present in the moment. I can do anything, and he will be there with me. And he likes the trum- pet and understands my mission. The music-making is from the heart. There is nothing in between the score and what happens onstage.” Hardenberger adds, “He’s a very genuine and kind person, very unaf- fected by the business.” Having appeared together at Tanglewood this past summer, Hardenberger, Nelsons, and the orchestra join forces at Symphony Hall this November for the first time.

JAMES SOMMERVILLE BSO principal horn James Sommerville is not only an award-winning solo and orchestral player but a conductor, serving as music director of the Hamilton (Ontario) Philharmonic Orchestra. “What sets Andris apart is the humanity and warmth he brings, not just to his interpretations of our repertoire, but to his interactions with us from the podium, and his general attitude toward his colleagues on the stage. He seems to me to be genuinely compassionate, thoughtful, and sincere in his wish to make the BSO an ensemble that thrives foremost on collaboration, mutual respect, and artistic inspiration. He is the kind of conductor that encourages a player to take chances, to try new things, to take risks, knowing they won't see a sour face or a

week 2 27 disapproving glance. I feel like already we are playing with a warmer, yet more varied tone palette than we were previously. One of the highlights so far with him was the Brahms Second Symphony we did at Tanglewood; there was an amazing sense of drama, a lot of fire, a lot of dark clouds and bright sunshine, just as this music should have. His approach to music-making represents the best that the BSO can strive for, in terms of freedom of expression, faithfulness to the spirit of the music that we play, and a playful yet passionate style as an artist and as a colleague.”

MALCOLM LOWE The BSO’s concertmaster since 1984, violinist Malcolm Lowe has performed with most of the world’s most esteemed conductors. He was a member of the search committee that chose Nelsons as the BSO’s next music director and was thrilled with the appoint- ment. “He’s so engaged, so positive. His desire to share the process of making music together is very strong, so one feels that you’re not just being dictated to, but trying to develop an inspiring path for both of you to follow that is inspiring to the audience as well. One of the most remarkable things about him is that he is very magnanimous and open. He’s not reluctant to tell us how he wants to do things but listens to the orchestra as well, adapting to what we might need. I think he is reaching out to everyone in the orchestra in a great way. His accessibility at breaks and in rehearsal shows that he is very open to anyone in the orchestra, and I think he is cultivating a really good relationship.”

In these days of jet-setting conductors who rarely spend enough time with one orchestra to develop a distinctive joint profile, Lowe believes that Nelsons may have the right stuff to buck the trend.

“He’s young but has a Borggreve Marco background that will support him as he grows in this position. Being young and will- ing to listen to the orchestra affords the chance to really devel- op a distinctive sound together. I think it will be an incredible adventure for him— and for the BSO.” Andris Nelsons and Malcolm Lowe during a Symphony Hall rehearsal in October 2013

karen campbell is a cultural correspondent for the Boston Globe and freelance writer/editor specializing in the arts, health, and education.

week 2 29

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 134th season, 2014–2015

Saturday, September 27, 8pm | the linde family concert

andris nelsons’ inaugural concert as bso music director

andris nelsons conducting kristine opolais, soprano jonas kaufmann, tenor

wagner overture to “tannhäuser”

wagner “in fernem land” from “lohengrin,” act iii mr. kaufmann See page 45 for text.

wagner prelude and liebestod from “” ms. opolais See page 50 for text.

{intermission} ee Vanderwarker Peter

32 mascagni “mamma, quel vino è generoso” from “” mr. kaufmann See page 55 for text. catalani “ebben? ne andrò lontana” from “,” act i ms. opolais See page 59 for text. mascagni intermezzo from “cavalleria rusticana” puccini “tu, tu, amore? tu?” from “ lescaut,” act ii ms. opolais and mr. kaufmann See page 64 for text. respighi “pines of rome” The Pines of the Villa Borghese Pines Near a Catacomb The Pines of the Janiculum The Pines of the Appian Way

the appearance by kristine opolais is supported by the alan j. and suzanne w. dworsky fund for voice and chorus. the appearance by jonas kaufmann is supported by a generous gift from catherine and paul buttenwieser. bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

Tonight’s concert will end about 10:15. Please note that tonight’s concert is being filmed for future telecast and that occasional pictures of the audience will be used. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. 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 devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 2 program 33 Very Dear Friends,

I am tremendously grateful for being given the opportunity to lead the Boston Symphony Orchestra. The quality of their musicianship is so remarkable, and the emotion that the players communicate through their performances has such depth. It is only the beginning, and the possibilities that lie ahead of us are thrilling to me!

In planning my first season as the BSO’s music director, I wanted really to concentrate on deepening my relationship with the orchestra and its wonderfully enthusiastic audience and community. It became quite clear to me that the only way to do this was to listen to my heart and share the great music and wonderful artists that have inspired my life as a musician, from my childhood in to my current good fortune in leading one of the world’s most prestigious orchestras.

For me, music is like food for our souls. We need the nourishment it gives us for our spiritual health, and it transforms our lives. I truly hope the programs I’ve chosen already convey my passion for a number of the masterpieces of the repertoire, as well as some of the most interest- ing music of our time. I am so pleased to present these in collaboration with such wonderful soloists, but above all through the amazing virtuos- ity of the Boston Symphony Orchestra.

It is an honor for me to be here, and I am so excited to be embarking on our great musical journey together.

week 2 31 Boston Symphony Orchestra 134th season, 2014–2015

Saturday, September 27, 8pm

Please note that in the second half of tonight’s concert, Kristine Opolais will sing the aria “Un bel dì” from Puccini’s in place of the originally scheduled aria from Catalani’s La Wally.

Giacomo Puccini “Un bel dì” from “Madama Butterfly,” Act II

Based on a play by the popular American dramatist David Belasco, Puccini’s Madama Butterfly (composed to a libretto by and Giuseppe Giacosa) was a notorious fiasco at its first performance in in February 1904, but just three months later a revision was a huge success in Brescia. Since then the work has remained one of the most popular of all operas, with a famously demanding soprano part for the title character, an innocent young Japanese girl married by arrangement to a thoughtless American soldier. He fails to understand the passion he has aroused in the young woman, and when he sails away, leaving her pregnant, he promises to return “when the robins nest.” But even after three years have gone by, Cio-Cio San—affectionately known as “Butterfly”—still waits, unaware that upon his return to Nagasaki he will have with him his new American wife. When her maid Suzuki laments Butterfly’s long wait, Butterfly chides her in a brief recitative that introduces one of Puccini’s most famous arias, in which Butterfly expresses with utter confidence that her husband will soon return.

Steven Ledbetter

THEONLYPREVIOUSBSOPERFORMANCESOFTHISARIA took place on July 4, 1987, at Tangle- wood, in a BSO concert featuring with Seiji Ozawa conducting, and in February 1999 at Symphony Hall, when Paula Delligatti sang the title role in complete concert performances of “Madama Butterfly” led by Seiji Ozawa and (substituting for Ozawa in the last of three performances) Federico Cortese.

Cio-Cio San Piangi? Perchè? Perchè? You weep? Why? Why? Ah la fede ti manca! Senti. Oh, you’re lacking in faith! Listen. Un bel dì vedremo One fine day we’ll see lavarsi un fil di fumo a thread of smoke rising sull’estremo confin del mare. at the farthest horizon of the sea. E poi la nave appare. And then the ship will appear. Poi la nave bianca Then the white ship entra nel porto, romba il suo saluto. enters the port, roaring its greeting. Vedi? E` venuto! See? He has come! lo non gli scendo incontro. lo no. I’ll not go down to meet him, not I. Mi metto là sul ciglio del colle e aspetto, I’ll stand there, at the brow of the hill, waiting, e aspetto gran tempo e non mi pesa, and I’ll wait a long time, and it won’t la lunga attesa. weigh on me, the long wait.

week 2 insert E uscito dalla folla cittadina Then, out of the city crowds, un uomo, un picciol punto a man, a little speck, s’avvia per la collina. starts up the hill. Chi sarà? chi sarà? Who can it be? Who can it be? E come sarà giunto And when he has arrived, che dirà? che dirà? what will he say? What will he say? Chiamerà Butterfly dalla lontana. He will call Butterfly from far off. Io senza dar risposta I, without giving an answer, me ne starò nascosta will remain partly hidden, un po’ per celia e un po’ per partly as a tease, and partly so as non morire not to die al primo incontro, ed egli alquanto at the first meeting, and he, somewhat in pena chiamerà, chiamerà: worried, will call, he’ll call: “Piccina mogliettina "Tiny little wife, olezzo di verbena,” perfume of the verbena," i nomi che mi dava al suo venire. the names he gave me when he came. (to Suzuki) Tutto questo avverrà, te lo prometto. All this will happen, I promise. Tienti la tua paura, io con sicura You can be fearful; I, secure in my fede l’aspetto. faith, await him.

week 2 insert Special Guest Artists

Kristine Opolais

Kristine Opolais is one of the most sought-after on the international scene today, appearing regularly at the , Wiener Staatsoper, Deutsche Staatsoper Berlin, Bayerische Staatsoper, Teatro alla Scala, and the , Covent Garden, working with such conductors as , , Daniel Harding, Louis Langrée, Andris Nelsons, Gianandrea Noseda, , Marc Minkowski, Marco Armiliato, , and Kazushi Ono. In the 2014-15 season Ms. Opolais continues her notable collaboration with the Metropolitan Opera, returning for scheduled appearances in La bohème. These follow her historic April 2014 Met appearances, when, within eighteen hours, she made house debuts in two roles, giving an acclaimed, scheduled performance as Cio-Cio San in Madama Butterfly, then stepping in as Mimì for a matinee performance of La bohème the very next day—a performance broadcast to cinemas around the world as part of the Met’s “Live in HD” series. Her scheduled return as Mimì comes in November 2014 and January 2015. Ms. Opolais also continues her regular association with the Bayerische Staatsoper for encore performances as Vitellia in a new production of and also returns there in February 2015 for Madama Butterfly. She also returns to the Wiener Staatsoper for one of her signature roles, the title role of Dvoˇrák‘s , and to Covent Garden as Cio-Cio San, the role she performed for her house debut in 2010-11. Highlights of recent seasons have included performances at the , Tanglewood—her BSO debut, in July 2013, as soprano soloist in Verdi’s Requiem, her only previous BSO appearance—the BBC Proms, and with the Symphonieorchester des Bayerischen Rundfunks, WDR Sinfonieorchester Köln, Tonhalle Orchester Zürich, NDR Sinfonieorchester Hamburg, and Filarmonica della Scala. This season,

34 besides her BSO subscription series debut tonight in the concert inaugurating the tenure of her husband, Andris Nelsons, as music director of the Boston Symphony Orchestra, she will also make her Royal Stockholm Philharmonic Orchestra debut, in the renowned Nobel Prize performance of 2014. Recent DVD recordings have included Deutsche Staatsoper’s production of Prokofiev’s The Gambler, in which she sang the role of Polina under the baton of Daniel Barenboim, Rusalka from the Bayerische Staatsoper production, which was released to much acclaim, Dmitri Tcherniakov’s production of Don Giovanni from the Aix-en-Provence Festival, and Tchaikovsky’s Eugene Onegin from the 2011 production at Valencia’s Palau de les Arts Reina Sofia. A recent Orfeo International CD recording with WDR Sinfonieorchester Köln of Puccini’s Suor Angelica was nominated for a BBC Music Magazine Award, and her latest release is with the Vienna Symphony on Decca. Kristine Opolais was a soloist of the Latvian National Opera from 2003 until 2007. She won the Paul Sakss Singers’ Award in 2004, the Latvian Annual Theatre Award for Best Opera Artist, and the Latvian Cultural Foundation Award in 2005. She was also awarded the Latvian Great Music Award in 2006 and 2007 for her role as Lisa in Pique Dame. Born in Latvia in 1979, Kristine Opolais studied voice at the Latvian Academy of Music and with Margreet Honig in Amsterdam.

Jonas Kaufmann

Since his 2006 Metropolitan Opera debut in La traviata, Jonas Kaufmann—who makes his Boston Symphony Orchestra debut this evening—has numbered among the top stars in opera. Originally from Munich, he completed his vocal studies there at the local music academy, also attending master classes with , , and Josef Metternich. During his years at the State Theatre in Saarbrücken he continued his training with Michael Rhodes in Trier. Following engagements in Stuttgart, Frankfurt, Hamburg, and Milan—in Giorgio Strehler’s production of Così fan tutte and under —Mr. Kaufmann moved to Zurich Opera in 2001. From there he began his international career, appearing at the Salzburg Festi- val and , the , and the Royal Opera House, Covent Garden; , both the Deutsche Oper and State Opera in Berlin, the Vienna State Opera, and the Metropolitan Opera. In 2010 he made his Bayreuth Festival debut as Lohengrin in a staging by

week 2 special guest artists 35

Hans Neuenfels. Equally in demand internationally in the Italian and French repertoire, he has sung Massenet’s in Paris, Vienna, and at the Met, and Cavaradossi in Puccini’s in London, at the Met, and La Scala. His portrayals of Don José in Bizet’s and Werther took opera fans throughout the world by storm, as did his 2011 role debut as Siegmund in Die Walküre at the Metropolitan Opera, transmitted worldwide on radio and in HD to cinemas, and the title role of Gounod’s Faust, also broadcast to cinemas worldwide. In Munich he has been heard as Tamino, Lohengrin, Don José, Cavaradossi, Florestan in Fidelio, and Don Carlo. In 2012 he made his debut as Bacchus in at the Salzburg Festival, where he was also heard as Don José and in Verdi’s Requiem, which he has also sung at La Scala and the Lucerne Festival. In December 2012 he opened La Scala’s season with Lohengrin. In 2013, the year of Wagner and Verdi, Mr. Kaufmann sang in the Met’s new production of and in Don Carlo at Covent Garden, Munich, and Salzburg; he undertook for the first time the Verdi roles of Manrico in and Alvaro in at the Bayerische Staatsoper. Earlier this year he sang Werther at the Met and made his debut as Des Grieux in Puccini’s at Covent Garden. His CDs and DVDs include performances of such works as Lohengrin, Die Walküre, Königskinder, Tosca, , Werther, and Carmen. His solo albums “Verismo,” “Wagner,” and “Verdi” were all bestsellers. In 2011 he was presented the coveted Award in New York and was named a Chevalier de l’Ordre des Arts et des Lettres by the French government. He has been named “Singer of the Year” by Opernwelt, Diapason, and Musical America, as well as by the juries of Echo-Klassik and the inaugural International Opera Awards (London 2013). Jonas Kaufmann is also a familiar figure on concert and recital platforms worldwide. His partnership with pianist , with whom he has worked since his student days in Munich, has proven itself in countless con- certs, including a 2011 recital on the stage of the Metropolitan Opera in New York, the first solo recital given at the Met since ’s in 1994.

week 2 special guest artists 37 The Program in Brief...

For his first concert as music director of the Boston Symphony Orchestra, Andris Nelsons is joined by two esteemed colleagues—Latvian soprano Kristine Opolais in her Symphony Hall debut, and German tenor Jonas Kaufmann in his BSO debut. Each sings selections from the Wagnerian and Italian operatic repertoires, after which they join forces for a powerful duet from Puccini’s Manon Lescaut. Framing this one-night-only event are two works for the orchestra alone: the overture to Wagner’s Tannhäuser—the music that first inspired a five-year-old Andris Nelsons to a life in music—and Ottorino Respighi’s spec- tacular orchestral showpiece The Pines of Rome.

The three Wagner excerpts on the first half of this program span twenty years of the composer’s career. When Tannhäuser had its premiere in 1845, its instantly popular overture helped convince a broad public of his merit as a composer. The overture is built on several musical ideas that encapsulate the key elements of the story—in which the minstrel Tannhäuser seeks spiritual salvation after too strongly extolling the pleasures of physical love—most recognizably the pilgrims’ march with which the piece begins and ends. In Lohengrin—premiered five years later—the title character champions the opera’s heroine on condition that she never ask who he is. But she does—and in the final scene, Lohengrin, a knight of the Holy Grail, has no choice but to reveal his name and origin, which in turn means he must depart. Premiered in 1865, Tristan und Isolde is about love: love repressed and unacknowledged, and fulfilled, after emotional torment, only through death. The Prelude to Act I is the musical expression of that unacknowledged love. Isolde’s Liebestod (“Love-death”), which closes the opera, brings spiritual transfiguration as Isolde literally wills herself out of existence to reunite with Tristan, who has died in her arms shortly before.

For the second half of the program we move from the Teutonic folklore of Wagnerian music drama to the world of late-19th-century Italian opera. First, two solo arias—one for tenor from Pietro Mascagni’s intensely dramatic Cavalleria rusticana (“Rustic Chivalry”), a tale of love, betrayal, and vengeance set in a Sicilian town square; the other—one of the best-known Italian arias for soprano—from Alfredo Catalani’s La Wally, in which the unfortunate heroine decides to leave home—a village in the Tyrolean Alps—rather than be forced by her father into a loveless marriage. Then, following an orchestral interlude— the forebodingly atmospheric Intermezzo from Cavalleria rusticana—we have an impas- sioned duet from Puccini’s first great success, Manon Lescaut, in which the title character and the young lover whom she has abandoned ardently reunite (leading to a far from happy outcome). Finally, the BSO itself again takes center stage for Ottorino Respighi’s Pines of Rome—music as close to Technicolor as music can get, and whose closing moments provide as spectacularly powerful a concert-ending as one could want.

Marc Mandel

38 Richard Wagner Overture to “Tannhäuser”

WILHELM RICHARD WAGNER was born in Leipzig, Saxony, on May 22, 1813, and died in Venice on February 13, 1883. His initial plans and musical sketches (including the theme of the Pilgrims’ March) for “Tannhäuser” stem from the summer of 1842; having completed the poem by April 7 that year, he composed the music between July 1843 and January 1845, completed the scoring on April 13, 1845, and conducted the first performance on October 19 that year in .

THE SCORE OF THE OVERTURE calls for two flutes, piccolo, two oboes, two clarinets, two bas- soons, four horns, three trumpets, three trombones, tuba, timpani, triangle, cymbals, tambourine, and strings.

Wagner’s overture to Tannhäuser never failed to please. Though the music was not entirely understood when the opera had its 1845 premiere in Dresden, the overture was instantly popular. It was the Tannhäuser Overture that began convincing the wider public of Wagner’s merit as a composer; and it was an 1851 concert performance led by the composer that made an ardent Wagner devotee of Mathilde Wesendonck, at whose instigation Wagner and his first wife, Minna, were later provided lodging on the Wesendonck estate near Zurich, where the relationship between Wagner and Mathilde fanned the flames that produced Tristan und Isolde.

In his libretto, Wagner seized upon a theme that would remain one of his overriding con- cerns: the redemption of man by woman. The minstrel Tannhäuser rejects the revelries of Venus’s domain and rejoins his Minnesinger comrades at the court of the Landgrave of Thuringia, whose niece Elisabeth has been pining for Tannhäuser’s return. During a song contest on the theme of love—first prize being Elisabeth’s hand in marriage—Tannhäuser, still in Venus’s sway, extols the virtues of physical love. Only Elisabeth’s intervention saves him from death at the hands of his outraged comrades, and he joins a band of trav- eling pilgrims to seek Papal absolution in Rome. The Pope refuses him, but Elisabeth’s

week 2 program notes 39 Program page from the first Boston Symphony performance of the overture to “Tannhäuser,” with Georg Henschel conducting on December 16, 1882, during the orchestra’s second season (BSO Archives)

40 prayers and self-willed death win his salvation, and Tannhäuser, following a last struggle with the forces of Venus, dies, redeemed, on Elisabeth’s bier.

Wagner constructed the overture according to principles he himself set out in his January 1841 essay “On the Overture,” shaping several musical ideas from the opera into a symmetrical scheme to produce “a musical artwork entire in itself” and in which “the characteristic theme of the drama” reaches “a conclusion in anticipatory agreement with the solution of the problem in the scenic play” through the interweaving of appropriate thematic materials from the opera to follow. The solemnly intoned Pilgrims’ March gives way to the music of the Venusberg, which is followed by Tannhäuser’s hymn to Venus in praise of love. A central, seductive Venusberg episode with solo clarinet and violins in eight parts leads to another stanza of Tannhäuser’s hymn and the reiteration of the fren- zied Venusberg music, but the Pilgrims’ March makes a triumphant and overwhelming return.

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

THEBSO’SFIRSTPERFORMANCEOFTHEOVERTURETO“TANNHÄUSER” was on December 16, 1882, with Georg Henschel conducting (see opposite page). The BSO’s most recent performances were given by Asher Fisch at Tanglewood on July 21, 2012, and by at Symphony Hall and Carnegie Hall in March/April 2013.

week 2 program notes 41

Richard Wagner “In fernem Land” from “Lohengrin,” Act III

WAGNER wrote the prose sketch for “Lohengrin” on August 3, 1845, completed the poem on November 27 that year, sketched the music of the opera between May 1846 and August 29, 1847, and completed the autograph score on January 28, 1848. The first performance took place at Weimar on August 28, 1850, with Franz Liszt conducting.

THE SCORE OF “IN FERNEM LAND” (Lohengrin’s third-act narrative) calls for an orchestra of three flutes, two oboes, two clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, cymbals, and strings.

In 1843, after the success of Rienzi and The Flying Dutchman in Dresden, Wagner was appointed conductor of the Royal Saxon Court. He remained there until his involvement in the May 1849 insurrection in Dresden resulted in his flight to Switzerland and political exile from Germany. During that exile, in 1850, Franz Liszt—who twenty years later would become Wagner’s father-in-law—conducted the premiere of Lohengrin in Weimar. Wagner did not see a performance of the opera until May 15, 1861, in Vienna, by which time , Die Walküre, much of , and all of Tristan und Isolde had been completed.

In an 1852 essay, Liszt made an observation that still resonates: “Wagner has always mixed a different palette for each of his main characters. The more attentively you study [his] latest score, the more you realize what an interdependence he has created between his text and his orchestra. Not only has he personified in his melodies the feelings and passions that he has set in train... but it was also his wish that their basic features should be underlined by a corresponding orchestral coloring, and as he creates rhythms and melodies to fit the character of the people he portrays, so also he chooses the right kinds of sounds to go with them.”

Lohengrin is one of Wagner’s two important operas-cum-swan. In Lohengrin , the first, the hero arrives and departs via a swan-drawn boat. In Parsifal, the second, the swan’s role is

week 2 program notes 43 considerably less plummy, being killed early in Act I by the foolish young hero destined to become a Knight of the Grail and, ultimately, Lohengrin’s father. In the opera that bears his name, Lohengrin champions the heroine, Elsa of Brabant—whom the opera’s evildoers have accused of murdering her brother, the heir to the dukedom—on the condi- tion that she never ask his name; but in the final act she asks the forbidden question. In the last scene, it is to a reworking of music from the Act I Prelude that Lohengrin reveals his identity—as a Knight of the Grail who happens also to be Parsifal’s son.

Marc Mandel

BSOPERFORMANCESOF“INFERNEMLAND” date back to October 14, 1882, when Charles A. Adams was soloist with Georg Henschel conducting. Until tonight, the only BSO performance since one given by with soloist Paul Althouse on a Pension Fund concert in January 1933 took place on August 22, 1965, as part of a complete Tanglewood performance of “Lohengrin” given one act at a time that weekend (August 20-21-22) with Erich Leinsdorf conducting and Sándor Konya in the title role, the entire opera then being recorded by RCA at Symphony Hall in the week immediately following. On that occasion, and in the recording, Leinsdorf employed a longer version of Lohengrin’s narrative that was subsequently shortened by Wagner to the version used nowadays (including the present performance).

44 Lohengrin In fernem Land, unnahbar euren Schritten, In a far-off land, inaccessible to your steps, liegt eine Burg, die Montsalvat genannt; there is a castle by the name of Montsalvat; ein lichter Tempel stehet dort inmitten, a light-filled temple stands within it, so kostbar, als auf Erden nichts bekannt; more beautiful than anything on earth; drin ein Gefäss von wundertät'gem Segen therein is a vessel of wondrous blessing wird dort als höchstes Heiligtum bewacht: that is watched over as a sacred relic: es ward, dass sein der Menschen reinste so that the purest of men might guard it, pflegen, herab von einer Engelschar gebracht; it was brought down by a host of angels; alljährlich naht vom Himmel eine Taube, every year a dove descends from Heaven um neu zu stärken seine Wunderkraft: to fortify its wondrous power: es heisst der Gral, und selig reinster Glaube it is called the Grail, and the purest, most blessed faith erteilt durch ihn sich seiner Ritterschaft. is imparted through it to the Brotherhood of Knights. Wer nun dem Gral zu dienen ist erkoren, Whosoever is chosen to serve the Grail den rüstet er mit überirdischer Macht; is armed by it with heavenly power; an dem ist jedes Bösen Trug verloren, the darts of evil prove powerless against him; wenn ihn er sieht, weicht dem des Todes once he has seen it, the shadow of death flees Nacht. him. Selbst wer von ihm in ferne Land entsendet, Even he who is sent by it to a distant land, zum Streiter für der Tugend Recht ernannt, appointed as a champion of virtue, dem wird nicht seine heil’ge Kraft entwendet, will not be robbed of its holy power, bleibt als sein Ritter dort er unerkannt; provided that he, as its knight, remains unrecognized there. so hehrer Art doch ist des Grales Segen, For so wondrous is the blessing of the Grail enthüllt muss er that when it is revealed, des Laien Auge fliehn; it shuns the eye of the uninitiated; des Ritters drum sollt Zweifel ihr nicht hegen, thus no man should doubt the knight, erkennt ihr ihn, dann muss er von euch ziehn. for if he is recognized, he must leave you. Nun hört, wie ich verbotner Frage lohne! Hear how I reward the forbidden question! Vom Gral ward ich zu euch daher gesandt: I was sent to you by the Grail: mein Vater Parzival trägt seine Krone, my father Parsifal wears its crown, sein Ritter ich—bin Lohengrin genannt. I, its knight—am called Lohengrin.

Richard Wagner

week 2 text and translation 45

Richard Wagner Prelude and Liebestod from “Tristan und Isolde”

WAGNER began his prose sketch for “Tristan und Isolde” on August 28, 1857, completed the poem that September 18, sketched the music between October 1857 and July 1859, and completed the autograph score in August 1859. The opera had its first performance on June 10, 1865, in Munich, with Hans von Bülow conducting. The Prelude alone had already been performed at a concert in Prague on March 12, 1859, under von Bülow. The first performance of the Prelude and Liebestod (“Love-death”), also before the premiere of the complete opera, and without soprano, was conducted by Wagner in Vienna on December 27, 1863.

THE PRELUDE AND LIEBESTOD calls for an orchestra of three flutes, two oboes and English horn, two clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, harp, and strings.

Wagner typically took years bringing the subject matter of his operas to final shape, the most striking example being the chronology of his mammoth, four-opera : following his readings of the Norse and Teutonic legends in the early 1840s, he produced his initial prose sketch for a drama based on the Nibelung myth in October 1848; but the final pages of Götterdämmerung, which closes the Ring cycle, were completed only in November 1874. Tristan und Isolde was composed (as was Die Meistersinger von Nürnberg) during the years following Wagner’s break from his work on the Ring, which occurred in July 1857, after he had reached the end of Siegfried, Act II. By that summer, hopes for the production of his Ring-in-progress were all but gone, and negotiations with his publishers were getting nowhere. There was no regular source of income, he had had no new work staged since the premiere of Lohengrin under Liszt at Weimar in 1850, and so it was obviously time for something more likely to be produced than the Ring. This he thought he had found in the story of Tristan and Isolde. As early as December 1854 he had written to Liszt that “since never in my whole life have I tasted the real happiness of love, I mean to raise a monument to that most beautiful of dreams.... I have in my mind a plan for Tristan und Isolde, the simplest but most full-blooded conception.... ” Now he

week 2 program notes 47 wrote Liszt of his determination to finish Tristan “at once, on a moderate scale, which will make its performance easier.... For so much I may assume that a thoroughly practicable work, such as Tristan is to be, will quickly bring me a good income and keep me afloat for a time.” (Even when this proved not to be the case, Wagner expressed naively similar sentiments as he turned to Die Meistersinger, assuring his publisher Schott that it would be “light, popular, easy to produce.”)

Another incentive to Wagner’s work on Tristan was his move to a cottage on the estate in Zurich of his friends Otto and Mathilde Wesendonck. Mathilde, in particular, had become an ardent Wagner devotee following a concert performance of the Tannhäuser Overture led by the composer in 1851. Otto was a successful German businessman and partner in a New York silk company. The Wesendoncks settled in Zurich in 1851, and it was at Mathilde’s instigation that Wagner and his wife Minna (whom he had married in 1836) were later provided lodging in a cottage on the Wesendonck estate. Here Wagner and Mathilde were drawn intimately together, and there is no question that the intensity of their relationship is to be felt in the music Wagner composed during that time.

Tristan und Isolde is about love: love repressed and unacknowledged, then helplessly and haplessly expressed, and fulfilled, after emotional torment, only through death. The Prelude is the musical expression of that unacknowledged love, and the opening phrases recur during Wagner’s opera when the love between Tristan and Isolde is unleashed by the dramatic device of the love potion, and, finally, when Tristan dies in Isolde’s arms.

week 2 program notes 49 Nor is it unreasonable to suggest that Tristan und Isolde represents the product of Wagner’s spiritual and emotional union with Mathilde Wesendonck through the channeling of his creative energies into music unlike any that had ever been heard before. In fact, Wagner’s use of dissonance in Tristan was startlingly new; the emphasis on unresolved dissonance and intense chromaticism was perfectly suited to that work’s depiction of heightened longing, and his music came to represent a turning point in the 19th century’s treatment of tonality.

When Tristan is staged, the Prelude dies away, leading after a moment of silence to the unaccompanied sailor’s song that opens the first scene. In the concert hall, however, it is frequently followed (either with or without soprano) by Isolde’s “Liebestod” (“Love- death”), which closes the opera. If the Prelude represents earthbound passion, the “Love-death” is spiritual transfiguration. In fact, Wagner himself referred to what we call the Prelude and Liebestod as, respectively, Liebestod and “Verklärung”—“transfiguration.” Here, Isolde literally wills herself out of existence, Tristan, her “death-devoted” lover, having died in her arms a short while earlier. Musically the Liebestod recapitulates and completes the second act’s interrupted “Liebesnacht” (“night of love”), wherein Tristan and Isolde’s tryst was abruptly ended by the sudden arrival of Isolde’s husband King Marke. As in the Prelude, the music begins softly and builds, almost in a single breath, to a thunderous climax. In the end, music and text, sound and sense, are one.

Marc Mandel

THEFIRSTBSOPERFORMANCEOFTHE“TRISTAN”PRELUDE was led by Georg Henschel on February 17, 1883. The orchestra’s first performance of the combined Prelude and Liebestod (minus soprano) was on January 10, 1885, under , who also led the BSO’s first performance of the paired Prelude and Liebestod with soprano, featuring Lilli Lehmann, on May 19, 1886. The most recent BSO performances of the Prelude and Liebestod with soprano featured with Klaus Tennstedt conducting on July 21, 1979, at Tanglewood, and (mezzo-soprano) Michelle DeYoung with Daniele Gatti conducting in Symphony Hall and Carnegie Hall in March/April 2013.

Isolde’s Liebestod from “Tristan und Isolde,” Act III Mild und leise Softly, calmly, wie er lächelt, how he’s smiling, wie das Auge how his eyes are hold er öffnet— gently opening— seht ihr’s, Freunde? See this, friends? Seht ihr’s nicht? Don’t you see? Immer lichter Ever brighter, wie er leuchtet, how he’s shining, stern-umstrahlet star-illumined, hoch sich hebt? nobly rising? Seht ihr’s nicht? Don’t you see?

50 Wie das Herz ihm How his heart, mutig schwillt, with courage swelling, voll und hehr fills his breast im Busen ihm quillt? with noble splendor; Wie den Lippen, how from lips, wonnig mild, all blissful, tender, süsser Atem freshened breath sanft entweht— is softly stealing— Freunde! Seht! Friends! Look! Fühlt und seht ihr’s nicht? Don’t you see and feel this? Höre ich nur Can no others diese Weise, hear this strain die so wunder- which, full of wonder voll und leise, and so gentle, Wonne klagend, rapture-toning, alles sagend, all things telling, mild versöhnend reconciling, aus ihm tönend, from him sounding, in mich dringet, urged upon me, auf sich schwinget, self-ascending, hold erhallend gently echoing, um mich klinget? rings all round me? Heller schallend, Brightly sounding, mich umwallend, drifting round me, sind es Wellen are these wafts sanfter Lüfte? of gentle breezes? Sind es Wogen Are they waves wonniger Düfte? of rapturous vapors? Wie sie schwellen, As they swell mich umrauschen, and roar about me, soll ich atmen, shall I breathe them, soll ich lauschen? shall I heed them, Soll ich schlürfen, shall I drain them, untertauchen? plunge beneath them Süss in Düften sweet with life-end’s mich verhauchen? fragrance scented? In dem wogenden Schwall, In the billowing swell, in dem tönenden Schall, in the all-sounding Knell, in des Welt-Atems in the world-breath’s wehendem All— encompassing All— ertrinken, imbibing, versinken— subsiding— unbewusst— freed from sense— höchste Lust! utmost bliss!

Richard Wagner Translation © Marc Mandel

week 2 text and translation 51

Pietro Mascagni “Mamma, quel vino è generoso” and Intermezzo from “Cavalleria rusticana”

PIETRO MASCAGNI was born in Livorno, Italy, on December 7, 1863, and died in Rome on August 2, 1945. He composed “Cavalleria rusticana” to a libretto by Giovanni Targioni-Tozzetti and Guido Menasci after a play by Giovanni Verga based on the playwright’s own story. The opera had its premiere in Rome on May 17, 1890, at the Teatro Costanzi.

THE SCORE OF THE ARIA calls for an orchestra of two flutes, two piccolos, two oboes, two clar- inets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings. THE ORCHESTRA FOR THE INTERMEZZO consists of one flute, two piccolos, one oboe, two clarinets, harp, organ, and strings.

Though Pietro Mascagni composed an additional fourteen operas over a long career that stretched until his death just after the end of the Second World War, none achieved the popular, critical, or enduring success of his first, the tightly-wound verismo smash-hit Cavalleria rusticana (“Rustic Chivalry”). Composed at a feverish pace over a period of six months, it was written as the twenty-six-year-old Mascagni’s submission for a one-act opera competition organized by the Milanese publishing firm Casa Sonzogno. Of seventy- three entries, three, including Mascagni’s, were chosen as finalists and scheduled for performances at Rome’s Teatro Costanzi in May 1890. The resulting premiere of Cavalleria rusticana on May 17 of that year—just eleven days after it was shortlisted by the prize committee—caused a sensation, the composer and performers receiving some thirty curtain calls. Mascagni was awarded first prize in the competition and became an instant celebrity, and Cavalleria rusticana was immediately in demand across Europe and in the New World. By the time the composer died in 1945, the opera had received nearly 15,000 performances in his native Italy alone, and it has enjoyed a comfortable place in the standard repertoire ever since.

The first major opera to draw upon the Italian verismo (“realism”) literary movement of the late 19th century—itself influenced by the earlier French naturalists such as Zola and

week 2 program notes 53 Maupassant—which incorporated contemporary, working-class characters, familiar set- tings, and realistic, fast-moving, but often melodramatic plotlines, Cavalleria rusticana takes its story from a play of the same name by Giovanni Verga. The setting is a Sicilian town square, and the action takes place over the course of a single morning, that of Easter Sunday. Prior to the curtain going up, Turiddu, a soldier, has returned home to find that his sweetheart, Lola, has married another man, Alfio. Anguished, he has seduced the peasant girl Santuzza, but has subsequently abandoned her to secretly rekindle his romance with Lola.

As the opera begins, Santuzza comes looking for Turiddu at the tavern operated by his mother, Lucia, but he is not there. While the townspeople go into church for Easter Mass, Santuzza details the sad state of affairs to a horrified Lucia. Turiddu arrives, and Santuzza confronts him, but he scoffs at her jealousy and her rebukes. As they are arguing, Lola appears, and the two women exchange angry words. Turiddu throws Santuzza to the ground and goes into Mass with Lola. Just then, Alfio turns up, and Santuzza reveals to him his wife’s betrayal. Alfio swears revenge, and he and Santuzza leave the stage.

It is at this climactic moment that, paradoxically and ingeniously, Mascagni brings the previously hurtling action to a standstill. The famous symphonic Intermezzo, which the orchestra plays to an empty stage while the townspeople are still in church, is the musi- cal calm before the storm, its melody based on a plaintive church hymn heard earlier and its passionate expressivity mirroring that of the characters. As it works itself into a full- throated, tragic lamentation, one can hear that their fates are sealed.

After church lets out, Turiddu offers the townsfolk wine in his mother’s tavern and leads them in a toast. Alfio, who has come to find Turiddu, refuses the wine and insults his rival, who, seeing that his affair with Lola has been discovered, challenges Alfio to a duel. Alfio accepts and vows to wait for Turiddu in the orchard. In the opera’s final number, “Mamma, quel vino è generoso” (“Mama, that wine is strong”), a frantic, fatalistic Turiddu begs his mother’s blessing, and asks that, should he not return, she take care of Santuzza, whom he had promised and failed to marry. Leaving Lucia hysterical, Turiddu goes out to meet Alfio and, with him, his own demise.

Jay Goodwin

jay goodwin has written for the Metropolitan Opera, Boston Symphony Orchestra, St. Louis Symphony, Juilliard School, and Australian Chamber Orchestra. Currently on the editorial staff at Carnegie Hall, he was the 2009 Publications Fellow at the Tanglewood Music Center.

THEBSOHASPREVIOUSLYPLAYEDMUSICBYMASCAGNIONJUSTTWOOCCASIONS, BOTHTIMESFROM“CAVALLERIARUSTICANA”: in October 1891 in Boston, when led what was billed as the Prelude to the opera, with tenor William J. Winch singing Turiddu’s harp-accompanied serenade; and the following month, in Providence, when Nikisch led the Intermezzo.

54 Turiddu Turiddu Mamma, Mama, Quel vino è generoso, That wine is strong, e certo oggi troppi bicchieri and I know I’ve had too many ne ho tracannati... glasses of it today... Vado fuori all’aperto. I’m going out for some fresh air. Ma prima voglio But first, give me che mi benedite your blessing come quel giorno as you did on the day che partii soldato. I went off to be a soldier. E poi... mamma... sentite... And then... mama... listen... S’io... non tornassi... If I... don’t come back... Voi dovrete fare You must be da madre a Santa, a mother to Santuzza, ch’io le avea giurato whom I promised di condurla all’altare. to lead to the altar.

[ Mamma Lucia [ Mama Lucia Perché parli così, figliuolo mio? ] What are you saying, my son? ]

Turiddu Turiddu Oh! nulla! Oh, nothing! È il vino che mi ha suggerito! It’s just the wine talking! Per me pregate Iddio! Pray to God for me! Un bacio, mamma... A kiss, mama... Un altro bacio... addio! One more kiss... farewell! S’io non tornassi fate da madre a Santa. If I don’t come back, be a mother to Santuzza. Un baccio, mamma—addio! A kiss, mama—farewell!

week 2 text and translation 55

Alfredo Catalani “Ebben? Ne andrò lontana” from “La Wally,” Act I

ALFREDO CATALANI was born in Lucca, Italy, on June 19, 1854, and died in Milan on August 7, 1893. He composed his opera “La Wally,” to a libretto by Luigi Illica after Wilhelmine von Hillern’s story “Die Geyer-Wally, eine Geschichte aus den Tyroler Alpen” (“The Vulture-Wally, a story from the Tyrolean Alps”); “Wally” is short for the heroine’s family name Wallburga; the “vulture” attri- bution refers to her having once stolen a newly hatched vulture from its nest. The opera had its premiere on January 20, 1892, at La Scala in Milan.

THE SCORE OF THIS ARIA calls for an orchestra of two flutes, one piccolo, two oboes, two clarinets, one bassoon, three horns, two trumpets, timpani, harp, and strings.

From the fiery passion of Mascagni’s sun-drenched Sicily in Cavalleria rusticana, we move to the starkly beautiful, snowy slopes of the Swiss Alps for Alfredo Catalani’s La Wally, an entirely different sort of opera despite having its premiere just two years after that of Cavalleria. While Mascagni favored the streamlined earthiness of the verismo writers, Catalani’s chief influence was the earlier scapigliatura (from the word for “disheveled,” but better translated as “bohemianism”) movement, represented by a group of vehe- mently non-conformist Italian authors, artists, and composers who took their inspiration from German Romanticism, the French Symbolists, Baudelaire, and Edgar Allan Poe. The scapigliaturi, especially the composers and dramatists, were also captivated by Wagner and played an important role in introducing his music to Italy. In its choice of a pictur- esque locale and prominent focus on nature, its movement away from clearly delineated set numbers toward an organic fluidity of scene progression and ensemble groupings, and its evocative and atmospheric orchestral writing, La Wally encapsulates these influ- ences and represents the diverse stylistic milieu of turn-of-the-century Italian opera.

In four acts and set in the fictional Alpine village of Hochstoff, La Wally is the story of the eponymous tomboyish, free-spirited landowner’s daughter, who falls in love with Hagenbach, a huntsman from a neighboring town. Wally’s father, however, demands that

week 2 program notes 57 she instead marry Gellner, his bailiff, whom she does not love, or else be expelled from his house. In her aria “Ebben... Ne andrò lontana” (“Very well... I will go far away”), just before the conclusion of Act I, the melancholy but resolute Wally vows that she will leave her father and her home to go live alone in the mountains rather than marry against her will. Though La Wally is rarely produced in the United States, this beautiful aria, with its supple scoring and ravishing, memorable melody, has become a popular excerpt for the concert hall, and also figured prominently in Jean-Jacques Beineix’s 1981 movie Diva.

Jay Goodwin

THEBSO’SONLYPREVIOUSPERFORMANCESOFTHISARIA—in April 1911 in Providence and Boston, with soloist Carolina White under the direction of ; and on July 24, 2004, at Tanglewood, featuring Renée Fleming with Patrick Summers conducting—were also the only previous BSO performances of any music by Alfredo Catalani.

Wally Wally Ebben?... Ne andrò lontana, Well, then... I will go far away, come va l’eco della pia campana, as far as the echo of the church bell, là, fra la neve bianca, up there, amid the white snow, là, fra le nubi d’ôr, there, among the golden clouds, laddóve la speranza there, where hope è rimpianto è dolor! is regret and sorrow! O della madre mia casa gioconda, O happy house of my mother, la Wally ne andrà da te lontana assai Wally will go far away from you e forse a te non farà mai più ritorno, and perhaps will never return to you; nè più la rivedrai! no more to return, Mai più, mai più! never again, never again! Ne andrò sola e lontana, Alone, I will go far away, come l’eco è della pia campana, as far as the echo of the church bell, là, fra la neve bianca, up there, amid the white snow, ne andrò sola e lontana, alone, I will go far away, e fra le nubi d’ôr! among the golden clouds!

week 2 program notes 59

Giacomo Puccini “Tu, tu, amore? Tu?” from “Manon Lescaut,” Act II

GIACOMO PUCCINI was born in Lucca, Italy, on December 22, 1858, and died in on November 29, 1924. He composed “Manon Lescaut” to a libretto based on Antoine-François Prévost’s novel “L’Histoire du chevalier des Grieux et de Manon Lescaut” (see below). The opera had its premiere on February 1, 1893, at the Teatro Regio in Turin, followed a year later, on February 7, 1894, by the premiere of a revised version at La Scala in Milan.

THE SCORE OF THIS DUET calls for an orchestra of three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, harp, and strings.

Though Puccini would later immortalize a romanticized version of the Bohemians (the French equivalent of the scapigliatura), and though Manon Lescaut was composed con- temporaneously with Catalani’s La Wally, Puccini was himself no scapigliaturo. This opera, Puccini’s third overall but his first massive success, is, rather, a pronouncement of his own unique style, a sort of elevated verismo that shares the immediacy and grit of that genre—which soon came to dominate Italian opera—but greatly increases its artistic ambition and musical sophistication. To contemporary audiences, Manon Lescaut has slipped down the ladder of Puccini’s catalogue to occupy a rung below the later master- pieces La bohème, Tosca, Madama Butterfly, and the like—largely due to a troublesome libretto stitched together by no fewer than seven different contributors—but in his own day, this early burst of genius was regarded as every bit their equal.

Puccini’s publisher, , was less than enthusiastic when, in 1889, the composer proposed an opera based on the Abbé Prévost’s popular but controversial 1731 novel L’Histoire du chevalier des Grieux et de Manon Lescaut and its materialistic, promiscuous, and ultimately doomed heroine. Ricordi’s main concern was that the story had already been given two operatic treatments, the second of which was Massenet’s very successful and well-known Manon. But Puccini was undeterred. “Why shouldn’t there be two operas

week 2 program notes 61 62 about Manon? A woman like Manon can have more than one lover,” he wrote.“Massenet feels it as a Frenchman, with powder and minuets. I shall feel it as an Italian, with a desperate passion.” And, luckily for both him and Ricordi, he did exactly that. Puccini’s Italianate Manon Lescaut premiered at the Teatro Regio in Turin on February 1, 1893, and the response was sufficiently rapturous that by the time the seventy-nine-year-old Verdi— the undisputed king of Italian opera for almost half a century—bid farewell with the premiere of his valedictory just over a week later, the succession was already secured.

There is no better representative example of Puccini’s “desperate passion” than the duet “Tu, tu, amore? Tu?” (“You, you, my love? You?”) from near the end of Act II. Manon has left her young lover from Act I, Des Grieux, as his money has run out, and taken up instead with the wealthy, much older Geronte. Though she revels in her newfound riches, bedecking herself in jewels and fine clothing, she misses the ardor of her previous affair. As she sits alone in her room in Geronte’s mansion, Des Grieux arrives—having been sent for by Manon’s brother, who sensed her unhappiness—and begins to berate Manon for her faithlessness. But Manon’s charms have not lost their power, and Des Grieux soon finds himself in her arms, embroiled in a smoldering duet and drunk on Manon’s love, which she vows is his alone.

Jay Goodwin

THEONLYMUSICFROM“MANONLESCAUT”PREVIOUSLYPLAYEDBYTHE BSO was the Intermezzo that links acts III and IV, as part of an Opera Gala featuring soprano Mirella Freni and tenor Peter Dworsky in February 1990, with John Fiore conducting. The BSO has previously played vocal excerpts from Puccini’s “La bohème,” “Gianni Schicchi,” “Girl of the Golden West,” “Madama Butterfly,” “,” “Tosca,” and “Turandot,” as well as complete performances of “Tosca” (at Tanglewood on July 26, 1980, with Seiji Ozawa conducting) and “Madama Butterfly” (in February 1999, with Ozawa conducting two performances and Federico Cortese substituting as conductor for the last of three).

week 2 program notes 63 “Tu, tu, amore? Tu?” from “Manon Lescaut” Manon Manon (corre a prendere un piccolo specchio sul tavolo, (runs to pick up a small mirror from the table, e si guarda contenta) then regards herself contentedly) Oh, sarò la più bella! Oh, I shall be the most beautiful!... Dunque questa lettiga? Is the sedan-chair here?

(Des Grieux appare alla porta. Manon gli corre (Des Grieux appears at the door. Manon runs incontro in preda a grande emozione) to him, overwhelmed by emotion.)

Manon Manon Tu, tu, amore? Tu? You, you, my love! You? Ah, mio immenso amore! Dio! Ah, my supreme love! Oh, heaven!

Des Grieux (con tono di rimprovero) Des Grieux (reproachfully) Ah, Manon! Ah, Manon!

Manon Manon Tu non m’ami dunque più? Then you no longer love me? M’amavi tanto! You used to love me so! Oh, i lunghi baci! Oh, those long kisses! Oh, il lungo incanto! Oh, the lingering enchantment! La dolce amica d’un tempo Your former sweetheart aspetta la tua vendetta. awaits your vengeance. Oh, non guardarmi così; Oh, don’t look at me like that; non era la tua papilla tanto severa! you never looked so severe before!

Des Grieux Des Grieux Sì, sciagurata, la mia vendetta— Yes, wretched girl, my vengeance—

Manon Manon Ah! La mia colpa! È vero! Oh, the fault is mine! It’s true!

Des Grieux Des Grieux Ah! sciagurata, la mia vendetta— Ah! Wretched girl, my vengeance—

Manon Manon Ah, è vero! Non m’ami più— Oh, it’s true! You no longer love me— Ah, è vero! Non m’ami dunque più? Ah, it’s true! So you no longer love me? M’amavi tanto— You used to love me so— Non m’ami più! you no longer love me!

Des Grieux Des Grieux Taci, taci, tu il cor mi frangi! Be quiet, my heart is breaking! Tu non sai le giornate You do not understand che buie desolata son piombate su me! the despair and desolation I’ve suffered!

64 Manon Manon Io voglio il tuo perdono. I beg your forgiveness. Vedi? Son ricca— You see? I’m rich—

Des Grieux Des Grieux Taci! Be quiet!

Manon Manon Questa non ti sembra una festa Doesn’t this seem like a feast d’ori e di colori? of gold and color? Tutto è per te. It’s all for you.

Des Grieux Des Grieux Deh, taci! Ah, be quiet!

Manon Manon Pensavo a un avvenir di luce; I imagined a radiant future; amor qui ti conduce. love has brought you here. T’ho tradito, è ver! It’s true, I betrayed you! (S’inginocchia.) (She kneels.) Ai tuoi piedi son! I throw myself at your feet! T’ho tradito—sciagurata dimmi— I betrayed you—call me wretched— ai tuoi piedi son. I throw myself at your feet. Ah, voglio il tuo perdono, Oh, I beg your forgiveness, ah, non lo negar! ah, do not deny it! Son forse della Manon d’un giorno Perhaps I am less beautiful meno piacente e bella? and charming than the Manon you once loved?

Des Grieux Des Grieux O tentatrice! O temptress! È questo l’antico fascino che m’accieca! The old spell comes over me once again!

Manon Manon È fascino d’amore; cedi, son tua! It is the magic of love; give in, I am yours!

Des Grieux Des Grieux Più non posso lottar! Son vinto! I can struggle no more! I am defeated!

Manon Manon Cedi, son tua! Give in, I am yours! Ah, vieni! Ah vien! Ah come, come! Colle tue braccia stringi Manon che t’ama... Wrap in your arms Manon who loves you...

Des Grieux Des Grieux Non posso lottar, o tentatrice! I cannot escape, o temptress!

week 2 text and translation 65 Manon Manon Stretta al tuo sen m’allaccia! Hold me close to your heart! Manon te solo, te solo brama! Manon longs for you alone, for you alone!

Des Grieux Des Grieux Più non posso lottar! I can struggle no more!

Manon Manon Cedi, son tua! Give in, I am yours!

Des Grieux Des Grieux Son vinto: io t’amo!— I am defeated: I love you!—

Manon Manon Ah! vien! Ah, come!

Des Grieux Des Grieux —t’amo! —I love you!

66 Manon Manon Ah, vien! Ah, come! Manon te solo brama, te solo brama! Manon longs for you alone, for you alone!

Des Grieux Des Grieux Più non posso lottar! I can struggle no more! Son vinto: io t’amo! I am defeated: I love you!

Manon Manon Vieni! Come! Colle tue braccia stringi Manon che t’ama! Wrap in your arms Manon who loves you!

Des Grieux Des Grieux Nell’occhio tuo profondo In the depths of your eyes io leggo il mio destin; I read my destiny; tutti i tesor del mondo all the world’s treasures ha il tuo labbro divin! can be found in your divine lips!

Manon Manon Ah! Manon te solo brama— Ah! Manon longs for you alone— stretta al tuo sen m’allaccia. hold me close to your heart. Alle mie brame torna, deh, torna ancor, Return to me, I beg you, alle mie ebbrezze, return to the ecstasy, ai baci lunghi d’amor! to the long kisses love! Vivi e t’inebria sovra il mio cor— Live in rapture close to my heart— deh, torna ancor! ecc. oh, come back to me! etc. La bocca mia è un altare My mouth is an altar dove il bacio è Dio! where your kiss is God!

Des Grieux Des Grieux I baci tuoi son questi! These are your kisses! Questo è il tuo amor! This is your love! M’arde il tuo bacio, dolce tesor! Your kiss, sweet treasure, sets me afire! In te m’inebrio ancor! ecc. In you I am drunk again with passion! etc. Nelle tue braccia care In your arms v’è l’ebbrezza, l’oblio! there is rapture, oblivion!

Manon Manon Labbra adorate e care! Lips adored and tender!

Des Grieux Des Grieux Manon, mi fai morire! Manon, I’m going to die!

Manon Manon Labbra dolci a baciare! Lips sweet to kiss!

Manon e Des Grieux Manon and Des Grieux Dolcissimo soffrir! Sweetest suffering!

week 2 text and translation 67

Ottorino Respighi “Pines of Rome”

OTTORINO RESPIGHI was born in Bologna on July 9, 1879, and died in Rome on April 18, 1936. “Pines of Rome” was completed in 1924 and first performed on December 14 that year by the Augusteo Orchestra in Rome with conducting.

“PINES OF ROME” is scored for three flutes (one doubling piccolo), two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, four trombones, timpani, triangle, two small cymbals, tambourine, rattle, cymbals, bass drum, tam-tam, bells, harp, celesta, a recorded nightingale (Respighi specified record R6105 of the Concert Record Gramophone Company), piano, organ, and strings, plus one trumpet and six buccine (Roman trumpets) offstage.

Respighi was a minor master, but a master surely. He began as a pianist, violinist, and violist, and in 1900 became principal violist in the opera orchestra at St. Petersburg. There he had the opportunity of taking some lessons with Rimsky-Korsakov, which accounts in part for his dazzling brilliance as an orchestrator. He soon returned to Italy,

Symphony Shopping

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week 2 program notes 69 Program page from the first Boston Symphony performances of “Pines of Rome,” with Serge Koussevitzky conducting on February 12 and 13, 1926 (BSO Archives)

70 leaning more toward composition, but still active as a performer, particularly as violist in the Mugellini Quartet. In 1913 he settled in Rome, teaching at and later presiding over the St. Cecilia Academy. He was a cultivated amateur of what was then called “ancient music,” a taste that led him to composing a piano concerto in the mixolydian mode and a Concerto gregoriano for violin, as well as, more famously, making the transcriptions of lute and keyboard pieces he published as three suites of Ancient Airs and Dances and as The Birds. He was one of the composers commissioned by Serge Koussevitzky to mark the BSO’s 50th season, for which occasion he produced his Metamorphoseon modi XII, intro- duced in Boston in November 1930. But what brought Respighi most of the fame and fortune he so thoroughly enjoyed was his trilogy of Roman symphonic poems (Fontane di Roma, Pini di Roma, and Feste romane): the Fountains of 1916, the Pines (above all) of 1924, and the Festivals of 1928-29. Each of these scores has a brief descriptive preface, the one for Pines of Rome being given below.

Michael Steinberg michael steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and .

“Pines of Rome” The Pines of the Villa Borghese—Children are at play in the pine groves of the Villa Borghese. They dance round in circles; they play at soldiers, marching and fighting; they are intoxicated by their own cries like swallows at evening; they rush about. Suddenly the scene changes...

Pines Near a Catacomb—We see the shades of the pines fringing the entrance to a cata- comb. From the depths rises the sound of mournful psalms, floating through the air like a solemn hymn and mysteriously dispersing.

The Pines of the Janiculum—A shudder runs through the air: The pines on the Janiculum stand distinctly outlined in the clear light of a full moon. A nightingale sings.

The Pines of the Appian Way—Misty dawn on the Appian Way; solitary pine trees guarding the tragic landscape; the muffled, ceaseless rhythm of unending footsteps. The poet has a fantastic vision of bygone glories: trumpets sound and, in the brilliance of the newly risen sun, a consular army bursts forth toward the Via Sacra, mounting in triumph to the Capitol.

THEBSO’SFIRSTPERFORMANCESOF“PINESOFROME” were given on February 12 and 13, 1926, by Serge Koussevitzky (see opposite page), subsequent BSO performances being given by Koussevitzky, , Guido Cantelli, Charles Munch, Arthur Fiedler, Seiji Ozawa, Joseph Silverstein, Carl St. Clair, , Alan Gilbert, Rafael Frühbeck de Burgos (including the most recent subscription performances, in May 2005), and (including the most recent Tanglewood performance on August 23, 2014).

week 2 program notes 71

To Read and Hear More...

The most useful books on Wagner remain generally available, either new or used, even as they go in and out of print. Ernest Newman’s The Wagner Operas offers detailed histor- ical and musical analysis of the operas from The Flying Dutchman through Parsifal (Princeton University paperback). Newman’s equally indispensable Life of Richard Wagner has been reprinted in paperback (Cambridge University Press; four volumes). Several intriguing shorter books may be more readily digestible for many readers: Thomas May’s Decoding Wagner: An Invitation to his World of Music Drama (Amadeus paperback, including two CDs of excerpts from the operas, beginning with The Flying Dutchman); Michael Tanner’s Wagner (Princeton University paperback), and Bryan Magee’s Aspects of Wagner (Oxford paperback). Wagner: A Documentary Study, compiled and edited by Herbert Barth, Dietrich Mack, and Egon Voss, is an absorbing and fascinating collection of pictures, facsimiles, and prose, the latter drawn from the writings and correspondence of Wagner and his contemporaries (Oxford University Press; out of print, but well worth seeking).

Wagner of course intended his operas to be heard whole, so the following will point you toward some time-honored accounts of the operas excerpted in tonight’s concert. Though he never sang the role onstage, Plácido Domingo recorded an impressive complete Tannhäuser with Giuseppe Sinopoli conducting (Deutsche Grammophon); an older but entirely competitive complete recording has René Kollo in the title role with Sir conducting (Decca). Both these recordings are of the revised "Paris version" of Tannhäuser produced at the Opéra in 1861 (but also incorporating some revisions made by Wagner even later than that). For the original Dresden version (which will give you the overture as played here tonight), a good recording from the late 1960s has Wolfgang Windgassen in the title role, with a supporting cast that includes and Dietrich Fischer-Dieskau, with Otto Gerdes conducting (Deutsche Grammophon). Hans Neuenfels’s recent Bayreuth Festival production of Lohengrin with Andris Nelsons con- ducting and Klaus Florian Vogt in the title role is available on DVD and Blu-ray (Opus Arte). For a complete Lohengrin on CD, solid choices include Sir Georg Solti’s with Plácido Domingo and Jessye Norman from the mid-1980s (Decca) and the mid-’60s recording led by Rudolf Kempe with Jess Thomas in the title role (EMI). Erich Leinsdorf’s complete 1965 Boston Symphony Lohengrin with Sándor Konya in the title role has been reissued on compact disc (RCA). “In fernem Land” as sung by Jonas Kaufmann is included in his “Wagner” CD with conducting the orchestra of (Decca), and also in his new four-disc set of “50 Great Arias,” there with conducting the (Decca). For a complete Tristan und Isolde, a live Bayreuth recording from the mid-1960s led by Karl Böhm with soprano Birgit

week 2 read and hear more 73 74 Nilsson and tenor Wolfgang Windgassen in leading roles remains a first-rate starting point (Deutsche Grammophon).

For biographies of Mascagni, Catalani, and Puccini, there are Mascagni: An Autobiography Compiled, Edited, and Translated from Original Sources by the late David Stivender, who was conductor of the Metropolitan Opera Chorus for many years (Pro Am Music Resources); Alfredo Catalani: Composer of Lucca by Domenico Luigi Pardini, translated from the Italian by Valentina Relton and edited by David Chandler (Durrant); and these two on Puccini: Julian Budden’s Puccini: His Life and Works in the “Master Musicians” series (Oxford University Press) and the standard older biography, Mosco Carner’s Puccini: A Critical Biography (Knopf). There are also two good choices for detailed consideration of the Puccini operas: William Ashbrook’s The Operas of Puccini, with a foreword by Roger Parker (Cornell) and Charles Osborne’s The Complete Operas of Puccini (Da Capo).

As to recordings of the operas by these composers excerpted in this concert, there are numerous tried-and-true choices of widely varying vintage—for Cavalleria rusticana, listen to and Plácido Domingo with conducting (RCA), Fiorenza Cossotto and with (Deutsche Grammophon), or and Giuseppe di Stefano with Tullio Serafin (EMI); for La Wally, listen to and Mario del Monaco under (London); and for Manon Lescaut, go to Mirella Freni and Luciano Pavarotti with Levine (London), Montserrat Caballé and Domingo with Bruno Bartoletti (EMI), or Licia Albanese and Jussi Björling with Jonel Perlea (RCA).

There’s little to read in English about Respighi. The article in the 2001 revised Grove is by Janet Waterhouse and John C.G. Waterhouse. A biography by Elsa Respighi, the com- poser’s wife—Ottorino Respighi, dati biografici ordinate—was published by Ricordi in 1954 with copious photographs; Ricordi came out with a much-abbreviated English translation by Gwyn Morris in 1962, but this omitted much documentation and all of the photos. Now nearly a decade old, Ottorino Respighi (1879-1936): An Annotated Bibliography by Lee G. Barrow provides a still useful survey of the Respighi bibliography (Scarecrow Press).

The Boston Symphony Orchestra under Seiji Ozawa recorded Respighi’s “Rome trilogy”— Pines of Rome, Roman Festivals, and Fountains of Rome in 1977 (Deutsche Grammophon). Guido Cantelli’s BSO broadcast of Pines of Rome from December 24, 1954, is in the twelve-disc box “Boston Symphony Orchestra, Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000” (available at the Symphony Shop). Other recordings of Pines include (alphabetically by conductor) Antal Doráti’s with the Minne- apolis Symphony Orchestra (Mercury), Charles Dutoit’s with the Montreal Symphony (London/Decca), Daniele Gatti’s with the Santa Cecilia Academy Orchestra of Roma (RCA), Riccardo Muti’s with the (EMI), ’s with the Chicago Symphony (RCA “Living Stereo”), and ’s with the NBC Symphony (RCA, monaural, but still well worth seeking).

Marc Mandel

week 2 read and hear more 75 The Great Benefactors

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

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

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

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

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

76 one million Alli and Bill Achtmeyer • 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 • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • 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 ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The 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 • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • Carol and Joe Reich • 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 • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • 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 • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8)

‡ Deceased

week 2 the great benefactors 77

Maestro Circle

Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Chiles Foundation • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky • Fidelity Investments • Michael L. Gordon • Mr. and Mrs. Ulf B. Heide • Mr. and Mrs. Amos B. Hostetter, Jr. • Stephen Kay and Lisbeth Tarlow • Ted and Debbie Kelly • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • Commonwealth of Massachusetts • National Endowment for the Arts • Megan and Robert O’Block • John S. and Cynthia Reed • Carol and Joe Reich • Susan and Dan ‡ Rothenberg • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds committee peter c. andersen, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $4 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by August 31, 2014. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor. founders $100,000+ Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block •

weeks 2 maestro circle 79

William and Lia Poorvu • John S. and Cynthia Reed • Susan and Dan ‡ Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2) encore $25,000 to $49,999 Jim and Virginia Aisner • Joan and John Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Katherine Chapman and Thomas Stemberg • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • Josh and Jessica Lutzker • Henrietta N. Meyer • Sandra Moose and Eric Birch • Louise C. Riemer • Richard and Susan Smith Family Foundation • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron $10,000 to $24,999 Amy and David Abrams • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David Arnold • Marjorie Arons-Barron and James H. Barron • Lloyd Axelrod, M.D. • Judith and Harry Barr • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Mr. and Mrs. John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • James Catterton ‡ and Lois Wasoff • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Deborah and Philip Edmundson • Roger and Judith Feingold • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Laurel E. Friedman • Jody and Tom Gill • Barbara and Robert Glauber • Thelma and Ray Goldberg • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Mr. and Mrs. Brent L. Henry • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Paul L. King • Mr. John L. Klinck, Jr. • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • John F. Magee • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Jerry and Mary ‡ Nelson • Mary S. Newman • Peter Palandjian • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Debora and Alan Rottenberg • Cynthia and Grant Schaumburg • Benjamin Schore • Arthur and Linda Schwartz • Ron and Diana Scott • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Dr. and Mrs. Phillip Sharp • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mr. and Mrs. David Weinstein • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (5)

weeks 2 maestro circle 81 82 sponsor $5,000 to $9,999 Noubar and Anna Afeyan • Helaine B. Allen • Shirley and Walter Amory • Dr. Ronald Arky • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • John and Molly Beard • Deborah Davis Berman and William H. Berman • Roz and Wally Bernheimer • Jim and Nancy Bildner • Mrs. Linda Cabot Black • Brad and Terrie Bloom • Mark G. and Linda Borden • Mr. and Mrs. Stephen P. Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Ms. Carol Feinberg Cohen • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Mr. Jeff Conklin • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Dr. Ronald A. and Dr. Betty Neal Crutcher • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • Gene and Lloyd Dahmen • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Dr. Ronald F. Dixon and Mrs. Elizabeth Ohashi • Phyllis Dohanian • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Shirley and Richard Fennell • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • Mr. David Fromm • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Jane ‡ and Jim Garrett • Mr. and Mrs. Paul B. Gilbert • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Holly and Bruce Johnstone • Joan Bennett Kennedy • Mrs. Thomas P. King • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Dr. and Mrs. Jeffrey M. Leiden • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Kyra and Jean Montagu • Mrs. Peggy P. O’Connor • Mr. and Mrs. Joseph M. Paresky • Mr. and Mrs. Michael Payne • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Rita and Norton Reamer • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Dr. Robin S. Richman and Dr. Bruce Auerbach • Allan Rodgers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • and Roger A. Saunders • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Ms. Nancy F. Smith • John and Katherine Stookey • Patricia L. Tambone • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (7)

weeks 2 the higginson society 83 member $3,000 to $4,999 Mrs. Sonia Abrams • Joel and Lisa Alvord • Mrs. Mary R. Anderson • Ms. Eleanor Andrews • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Donald P. Barker, M.D. • Mr. and Mrs. Eugene F. Barnes III • Hanna and James Bartlett • Mr. and Mrs. Clark L. Bernard • Leonard and Jane Bernstein • Bob and Karen Bettacchi • Marion and Philip Bianchi • Annabelle and Benjamin Bierbaum • Mrs. Stanton L. Black • Partha and Vinita Bose • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Gertrude S. Brown • Elise R. Browne • Matthew Budd and Rosalind Gorin • Assunta H. and George Y. Cha • Yi-Hsin Chang and Eliot Morgan • Mr. and Mrs. Dan Ciampa • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Ernest Cravalho and Ruth Tuomala • Robert and Sarah Croce • Joanna Inches Cunningham • Pat and John Deutch • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. William V. Ellis • Elizabeth and Frederic Eustis • Ziggy Ezekiel and Suzanne Courtright Ezekiel • Mr. and Mrs. Andrew J. Ferrara • Mr. and Mrs. Peter Fiedler • Barbie and Reg Foster • Velma Frank • Myrna H. and Eugene M. Freedman • Dozier and Sandy Gardner • Rose and Spyros Gavris • Arthur and Linda Gelb • Dr. and Mrs. Zoher and Tasneem Ghogawala • Mr. David Gifford • Mr. Nelson S. Gifford • Roberta Goldman • Adele C. Goldstein • Phyllis and Robert Green • Harriet and George Greenfield • Ms. Paula Greenman • Madeline L. Gregory • Marjorie and Nicholas Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mary and Harry Hintlian • Pat and Paul Hogan • Albert A. Holman III and Susan P. Stickells • G. Lee and Diana Y. Humphrey • Cerise Lim Jacobs, for Charles • Dr. and Mrs. G. Timothy Johnson • Susan Johnston • Barbara and Leo Karas • Elizabeth Kent • Mary S. Kingsbery • Mason J. O. Klinck • Margaret and Joseph Koerner • Susan G. Kohn • Anna and Peter Kolchinsky • Dr. and Mrs. David Kosowsky • Mr. Andrew Kotsatos and Ms. Heather Parsons • Mr. and Mrs. ‡ Benjamin H. Lacy • Mrs. Saundra B. Lane • Robert A. and Patricia P. Lawrence • Ms. Alexandra Leake • Mr. and Mrs. William Leatherman • Emily Lewis • Dagmar K. Liles • Thomas and Adrienne Linnell • Mr. and Mrs. Francis V. Lloyd III • Marcia Marcus Klein and J. Richard Klein • David Margolin and Nancy Bernhard • Takako Masamune • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse • Anne J. Neilson • Avi Nelson • Cornelia G. Nichols • Hon. Arthur L. Nims III • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Jan Nyquist and David Harding • Bob and Kathryn O’Connell • John O’Leary • Dr. Christine Olsen and Mr. Robert J. Small • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Jon and Deborah Papps • Kitty Pechet • Dr. Alan Penzias • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Mr. and Mrs. Randy Pierce • Elizabeth F. Potter and Joseph L. Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Helen C. Powell • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Douglas Reeves and Amy Feind Reeves • John Sherburne Reidy • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Mrs. Nancy Riegel • Dorothy B. and Owen W. Robbins • Dr. and Mrs. Michael Ronthal •

84 Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene Rubin • Jordan S. Ruboy, M.D. ‡ and Richard S. Milstein, Esq. • Marjorie and Walter Salmon • The Sattley Family • Betty and Pieter Schiller • Mr. and Mrs. William Schmidt • Mr. and Mrs. Marvin G. Schorr • Dan Schrager and Ellen Gaies • David and Marie Louise Scudder • Eleanor and Richard Seamans • Carol Searle and Andrew Ley • The Shane Foundation • Betsy and Will Shields • Maggie and Jack Skenyon • Kitte ‡ and Michael Sporn • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Sharon Stanfill • Sharon and David Steadman • Nancy F. Steinmann • Valerie and John Stelling • Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Galen and Anne Stone • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Richard S. Taylor • Nick and Joan Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham • Philip C. Trackman • Mr. and Mrs. John H. Valentine • Matthew and Susan Weatherbie • Sally and Dudley Willis • Albert O. Wilson, Jr. • Elizabeth H. Wilson • Chip and Jean Wood • Donald Workman • Jean Yeager • Dr. and Mrs. Bernard S. Yudowitz • Dr. Xiaohua Zhang and Dr. Quan Zhou • Anonymous (13)

weeks 2 the higginson society 85 BSO Season Sponsors 2014–15 Season

Bank of America’s support of the arts reflects our belief that the arts are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. As an American company, our program has supported the arts sector in our nation while acting as a cultural diplomat through global programs such as international tours of the Chicago Symphony Orchestra and the Alvin Ailey American Dance Theater, support of museums, theater, Bob Gallery and dance worldwide, and our flagship Art Conservation Project, which Massachusetts President, conserves the art of many nations and cultures. Bank of America

EMC is pleased to continue our longstanding partnership with the Boston Symphony Orchestra. EMC is a global leader in enabling businesses and service providers to transform their operations and deliver information technology as a service (ITaaS). Fundamental to this transformation is cloud computing. Through innovative products and services, EMC acceler- ates the journey to cloud computing, helping IT departments to store, manage, protect, and analyze their most valuable asset—information—in Joe Tucci a more agile, trusted, and cost-efficient way. Chairman, President, and CEO “As a Great Benefactor, EMC is proud to help preserve the wonderful musical heritage of the BSO, so that it may continue to enrich the lives of listeners and create a new generation of music lovers,” said Joe Tucci, Chairman and CEO, EMC Corporation.

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reflect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the companies listed above and gratefully acknowledges their partnership. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

86 BSO Season Supporting Sponsors

The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to support the Boston Symphony Orchestra through sponsorship John Donohue of the BSO’s Youth & Family Concerts and College Card program. These Chairman, President outreach programs give both area students and students from around and CEO the globe the opportunity to experience great classical music performed by one of the world’s leading orchestras in one of the world’s greatest concert halls. Through the Foundation, Arbella helps support organizations like the Boston Symphony Orchestra that work so hard to positively impact the lives of those around them. We’re proud to be local, and our passion for everything that is New England helps us better meet all the unique insurance needs of our neighbors.

The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud to be the official hotel of the BSO. We look forward to Paul Tormey many years of supporting this wonderful organization. For more than Regional Vice President a century Fairmont Hotels & Resorts and the BSO have graced their and General Manager communities with timeless elegance and enriching experiences. The BSO is a New England tradition and like The Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

Commonwealth Worldwide Chauffeured Transportation is proud to be the Official Chauffeured Transportation of the Boston Symphony Orchestra Dawson Rutter and Boston Pops. The BSO has delighted and enriched the Boston com- President and CEO munity for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come.

weeks 2 bso season sponsors and season supporting sponsors 87

Administration

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

Bridget P. Carr, Senior Archivist • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

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

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • , Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 2 administration 89 For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected] ee Vanderwarker Peter

90 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Nadine Biss, Assistant Manager of Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Thomas Linehan, Beranek Room Host • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • 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 2 administration 91 information technology Timothy James, Director of Information Technology

Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

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

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

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

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator box office representatives Jane Esterquest • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

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

week 2 administration 93

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2014-15

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Christine Watson • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, George Mellman • Membership Table/Hall Greeters, Melissa Riesgo • Newsletter, Richard Pokorny • Recruitment/Retention/Reward, Rosemary Noren • Symphony Shop, Karen Brown • Tour Guides, Paul Dunlap

week 2 administration 95 Next Program…

Wednesday, October 1, 8pm Thursday, October 2, 8pm Friday, October 3, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall)

andris nelsons conducting

beethoven symphony no. 8 in f, opus 93 Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace

bartók suite from the one-act pantomime “the miraculous mandarin,” opus 19

{intermission}

tchaikovsky symphony no. 6 in b minor, opus 74, “pathétique” Adagio—Allegro non troppo Allegro con grazia Allegro molto vivace Adagio lamentoso—Andante

For his second program of 2014-15, Andris Nelsons leads three great works reflecting his lifelong immersion in the world of symphonic repertoire—works that also demonstrate the commanding stylistic range of the Boston Symphony Orchestra. Beethoven’s Symphony No. 8, premiered in 1814, is as consistently high-spirited and jolly as anything the composer ever wrote. The contrastingly aggressive and lurid Suite from Bartók’s 1918 pantomime The Miraculous Mandarin captures the urban tension of post-World War I Europe. Tchaikovsky’s final work, the Pathétique Symphony, is noteworthy for its melodic warmth and the composer’s intricate, magical orchestrations. Pre- miered shortly before his death, the Sixth ends unusually, and emotionally powerfully, with a slow, mournful movement rather than a triumphant finale.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, 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. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

96 Coming Concerts… friday previews and 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.

Tuesday ‘C’ Wednesday, October 1, 8-10:05 Sunday, October 19, 3pm Thursday ‘C’ October 2, 8-10:05 Jordan Hall, New England Conservatory Friday ‘B’ October 3, 1:30-3:35 BOSTONSYMPHONYCHAMBERPLAYERS ANDRISNELSONS , conductor J.S.BACH Trio Sonata in G for flute, violin, BEETHOVEN Symphony No. 8 and continuo, BWV 1038 BARTÓK Suite from The Miraculous NIELSEN Wind Quintet, Opus 43 Mandarin BRAHMS Serenade No. 1 in D TCHAIKOVSKY Symphony No. 6, Pathétique (ARR. BOUSTEAD)

Thursday, October 9, 10:30am (Open Rehearsal) Thursday ‘A’ October 23, 8-10:15 Thursday ‘B’ October 9, 8-10 Friday ‘B’ October 24, 1:30-3:45 Friday ‘A’ October 10, 1:30-3:30 Saturday ‘B’ October 25, 8-10:15 Saturday ‘A’ October 11, 8-10 BRAMWELLTOVEY, conductor CHRISTIANZACHARIAS, conductor and piano ROSEMARYJOSHUA, soprano BRYNTERFEL, bass- SCHUBERT Excerpts from Rosamunde TANGLEWOOD FESTIVAL CHORUS, MOZART Piano Concerto No. 17 in G, JOHNOLIVER, conductor K.453 SCHUBERT Symphony in B minor, J.S.BACH Cantata No. 82, Ich habe genug Unfinished BRAHMS A German Requiem

Thursday ‘D’ October 16, 8-10 Thursday ‘C’ October 30, 8-10 UnderScore Friday October 17, 8-10:10 Friday ‘A’ October 31, 1:30-3:30 (includes comments from the stage) Saturday ‘A’ November 1, 8-10 Saturday ‘B’ October 18, 8-10 Tuesday ‘B’ November 4, 8-10 Tuesday ‘B’ October 21, 8-10 JUANJOMENA, conductor THIERRYFISCHER, conductor FRANKPETERZIMMERMANN, violin RUDOLFBUCHBINDER , piano SIBELIUS Violin Concerto BRAHMS Piano Concerto No. 1 SCHUBERT Symphony in C, The Great NIELSEN Symphony No. 4, The Inextinguishable

Programs and artists subject to change.

week 2 coming concerts 97 Symphony Hall Exit PlanPlanSymphony

98 Symphony Hall InformationInformationSymphony

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 infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able 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.

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 2 symphony hall information 99 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 pro- gram pieces in order not to disturb other patrons. 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, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. 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 bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. 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 infor- mation, 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 Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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