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Home , Henri Tomasi, Mikhail Svetlov (bass), Saito Kinen Orchestra

___B-0 SION \ P H O N Y ORCHESTRA

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9 BSO NEWS

15 ON DISPLAY IN HALL

16 THE BOSTON SYMPHONY ORCHESTRA

2i CASTS OF character: THE SYMPHONY STATUES BY CAROLINE TAYLOR

28 THIS WEEK'S PROGRAM

Notes on the Program

30 The Program in Brief

31 Aaron Copland

35 Henri Tomasi

39

45

49

61 To Read and Hear More...

Guest Artist

67 Giancarlo Guerrero

70 SPONSORS AND DONORS

80 FUTURE PROGRAMS

82 SYMPHONY HALL EXIT PLAN

83 SYMPHONY HALL INFORMATION

THE FRIDAY PREVIEW TALK ON JANUARY 20 IS GIVEN BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARC MANDEL.

program copyright ©2012 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA cover photo by Stu Rosner

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org EVERY CLOUD HAS A SILVER LINING

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EMC IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA EMC where information lives

EMC . EMC the EMC logo, and where information lives are registered trademarks or trademarks of EMC Corporation in the United States and other countries. C Copyright 2010 EMC Corporation. All rights reserved. 2187 BERNARD HAITINK, LACROIX FAMILY FUND CONDUCTOR EMERITUS, ENDOWED IN PERPETUITY

SEIJI OZAWA, MUSIC DIRECTOR LAUREATE

131st season, 2011-2012

TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O'Block, Vice-Chairman • Roger T. Servison, Vice-Chairman Stephen R. Weber, Vice-Chairman ■ Vincent M. O’Reilly, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Samuel B. Bruskin • Susan Bredhoff Cohen, ex-officio ■ Cynthia Curme • Alan J. Dworsky • William R. Elfers • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Aaron J. Nurick, ex-officio • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Sternberg • Theresa M. Stone • Caroline Taylor • Stephen R. Weiner • Robert C. Winters

LIFE TRUSTEES

Vernon R. Alden ■ Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Bela T. Kalman • George Krupp • Mrs. Henrietta N. Meyer Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • William J. Poorvu • Irving W. Rabb'i’ ■ Peter C. Read • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas t Deceased

OTHER OFFICERS OF THE CORPORATION

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

BOARD OF OVERSEERS OF THE BOSTON SYMPHONY ORCHESTRA, INC.

Susan Bredhoff Cohen, Co-Chairman • Peter Palandjian, Co-Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne Burke • Ronald G. Casty ■ Richard E. Cavanagh • Carol Feinberg Cohen • Richard F. Connolly, Jr. • Charles L. Cooney ■ Ranny Cooper • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. Peter Fiedler • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Robert P. Gittens • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. ■ Paul L. Joskow • Stephen R. Karp • Robert Kleinberg • John L. Klinck, Jr. • Faria H. Krentzman • Peter E. Lacaillade •

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Charles Larkin ■ Robert J. Lepofsky • Nancy K. Lubin • Jay Marks • Jeffrey E. Marshall • Linda A. Mason • Robert D. Matthews, Jr. ■ C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone ■ Sandra 0. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O'Donnell ■ Vincent Panetta, Jr. ■ Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Joyce L. Plotkin ■ Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut ■ Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

OVERSEERS EMERITI

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Braganca • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill ■ Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K. Kraft • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

WEEK 13 TRUSTEES AND OVERSEERS I

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Harvard University Extension School is proud to support the Boston Symphony Orchestra. ARBELLA IS PROUD TO SUPPORT THE Boston Symphony Orchestra

Arbella is committed to supporting charitable

organizations that work so hard to positively

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proud to be local and to help our neighbors,

individuals and families in our communities. new at the MFA

Gems of Rajput Painting Through September 3, 2012

Enjoy a jewel of an exhibition, the first in our newly renovated Asian Painting Gallery.

With generous support from the Jean S. and Frederic A. Sharf Exhibition Fund. DevagandhariRagini(detail), Indian, Pahari, about 1700-10. Opaque watercolor and silver on paper. Ross-Coomaraswamy Collection.

Paper Zoo February 7-September 3, 2012

Rembrandt, Audubon, Calder, and Picasso: images of the animal world delight visitors of all ages.

With support from the Benjamin A. Trustman and Julia M. Trustman Fund. Leonard Baskin, Porcupine, 1951. Woodcut. Gift of W. G. Russell Allen. © The Estate of Leonard Baskin.

Silver, Salt, and Sunlight: Early Photography in Britain and France February 7-August 19, 2012

Celebrate the golden age of early photography.

With support from the Patricia B. Jacoby Exhibition Fund. Gustave Le Gray, Cloudy Sky—The Mediterranean with Mount Agde, 1856-59. Photograph, albumen print from wet collodion glass-plate negative. Gift of Charles W. Millard III in honor of Clifford S. Ackley.

All images copyright Museum of Fine Arts Boston, unless otherwise noted © 2012 Museum of Fine Arts. Boston Museum of Fine Arts Boston mfa.org the new BSO News

Boston Symphony Chamber Players This Sunday, January 22, at 3 p.m. at Jordan Hall

The Boston Symphony Chamber Players perform the second Sunday-afternoon concert of their 2011-12 series in Jordan Hall at the New England Conservatory on Sunday, January 22, at 3 p.m. The program of serenades includes Mozart's Serenade No. 12 in C minor for winds, K.388; Beethoven's Serenade in D for , , and , Opus 25, and Brahms's Serenade No. 1 in D for winds and strings (arr. Rotter). Single tickets are $37, $28, and $21, available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street.

“Project Debussy” and Other Upcoming “Symphony*” Events

"Symphony*' is a series of pre- and post-concert events that enhance the overall concert experience by connecting food, literature, and the performing and visual arts to BSO con¬ certs at Symphony Hall. All events at Symphony Hall are free of charge for ticket holders; off-site events require an additional charge. Ticket holders for the BSO concerts on Thursday, January 19, Tuesday, February 21, and Thursday, March 29, are invited to a reception in Higginson Hall immediately after the performance. Please check bso.org for further details.

"Project Debussy" is the orchestra's fourth annual fashion contest and event, following "Project Beethoven" (2011), "Project Tchaikovsky" (2010), and "Project Mozart" (2009). Being held in conjunction with the February 2 BSO concert featuring Debussy's La Mer, "Project Debussy" showcases evening wear inspired by the music of the great . Eleven finalists chosen from fashion design programs in the Boston area have created evening wear that synthesizes Debussy's musical legacy and their own aesthetic creativity. Prior to the evening concert on February 2, patrons can view the dresses and vote for their favorites. The winner of "Project Debussy" will be announced by guest judges following the performance, at a complimentary post-concert fashion event and reception in Higginson Hall.

Symphony Cafe “Celebrity Chefs Series”

Renowned Boston-area chefs bring their culinary talents to the Symphony Cafe for a "Celebrity Chefs Series." Before a BSO concert during selected subscription weeks, patrons can enjoy an entree created by one of the area's most innovative chefs, along with the con¬ venience of dining just steps from the concert hall. The following chefs will be designing a special dish for patrons who attend the corresponding concerts: Daniel Bruce of Meritage at the Boston Harbor Hotel on January 26, 27, 28, and 31; Stefan Jarausch of the Oak Room at the Fairmont Copley Plaza on February 16,17,18, and 21, and Will Gilson of the Herb

WEEK 13 BSO NEWS 9 Welcome Home!

Bob and Carol Henderson, Fox Hill Village residents

R matter how long their absence, each time the Hendersons return home from their world travels or visiting their homes in New Hampshire and Florida, they feel truly welcomed by the friendly residents and loyal staff of Fox Hill Village. Bob, the former CEO of ITEK, and Carol, mother of four sons, appreciate the availability of onsite cultural activities like college courses, movies, lectures, and concerts, the convenient fitness center, anci dependable security that means worry-free travel. Passionate supporters of the arts, Bob is an Honorary Trustee and former Chairman of the Board of the MFA and Carol is a Life Trustee of the New England Conservatory and an Overseer of the BSO. Both love living so close to Boston making it a breeze to attend functions in the city yet leave time to cheer at their grandsons’ football games in Dedham on the same day!

Superb options in dining, distinguished floor plans, Mass General associated Wellness Clinic, and most importantly, the flexibility and the accommodation afforded by resident ownership and management, help rate Fox Hill Village highest in resident satisfaction.

Like Bob and Carol, come and experience for yourself the incomparable elegance of Fox Hill Village, New England’s premiere retirement community.

To learn more, call us at 781-329-4433 or visit us on the web at: www.foxhillvillage.com

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Fox HillVillage at Westwood

10 Longvvood Drive, Westwood, MA 02090 (781) 329-4433 (Exit 16B off Route 128) Lyceum on March 27, 29, 30, and 31. The Symphony Cafe, located in the Cohen Wing, is open for lunch prior to Friday-afternoon concerts ($25, plus 18% gratuity) and for dinner prior to evening concerts ($39, plus 18% gratuity). For reservations, please call (617) 638-9328.

Upcoming “BSO ioi” Sessions

BSO 101 is a free adult education series at Symphony Hall that offers informative ses¬ sions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall. Free to all interested, the sessions take place on selected Tuesdays and Wednesdays from 5:30-6:45 p.m., followed by a reception offering food, beverages, and time to share your thoughts with others. Since each session is self-contained, attendance at any of the previous sessions is unnecessary. Though the sessions are free, we do ask that you email [email protected] to reserve your place for the date or dates you're planning to attend.

There are three remaining sessions of "BSO 101-An Insider's View.” On Tuesday, February 7, Orchestra Personnel Manager Lynn Larsen will discuss the audition process for getting into the orchestra and oversee a mock audition by way of demonstration. On Tuesday, February 28, Artistic Administrator Anthony Fogg will discuss the planning of the BSO's concert pro¬ grams. On Tuesday, April 3, Director of Concert Operations Chris Ruigomez and some of his colleagues will discuss the mechanics of getting concerts and other types of events onto the Symphony Hall stage.

There are two remaining sessions of "BSO 101-"Are You Listening," in which Director of Program Publications Marc Mandel is joined by members of the orchestra to discuss music scheduled for upcoming BSO programs: the session on Wednesday, February 15, "Two Choral Masterpieces," will focus on Beethoven's Missa Solemnis and Brahms's Ein deutsches ; and the final session on Wednesday, April 11, "Beethoven Up Close," will focus on Beethoven's 1, 6 (the Pastoral), and 9.

Free Concerts Featuring BSO Musicians at Northeastern University’s Fenway Center on St. Stephen Street

New this season, the Boston Symphony Orchestra in collaboration with Northeastern University is pleased to offer free chamber music concerts by members of the Boston Symphony Orchestra on selected Friday afternoons at 1:30 p.m. at the Fenway Center at Northeastern University, 77 St. Stephen St. (at the corner of St. Stephen and Gainsborough streets). Free general-admission tickets can be reserved at tickets.neu.edu or by calling (617) 373-4700; on the day of the performance, remaining tickets are available at the door. The next two concerts in this series take place on Friday, January 27 (Dvorak's String Quintet in G, Opus 77, and Schroeder's String Trio in E minor, Opus 14, No. 1) and Friday, February 24 (Mozart's B-flat string quartet, K.458, The Hunt, and Mendelssohn's String Quartet No. 2 in A minor, Op. 13), with further concerts scheduled for March 16 and April 13. These concerts are made possible in part by a generous grant from the Lowell Institute.

Friday Previews and Open Rehearsal Talks

The Boston Symphony Orchestra offers Friday Preview talks in Symphony Hall from 12:15- 12:45 p.m. prior to all of the BSO's Friday-afternoon subscription concerts throughout the season. Open Rehearsal Talks take place from 9:30-10 a.m. before the BSO's Thursday-

WEEK 13 BSO NEWS 11 morning Open Rehearsals, and from 6:30-7 p.m. before the BSO's Wednesday-evening Open Rehearsals. Free to ticket holders, and given primarily by BSO Director of Program Publications Marc Mandel and Assistant Director of Program Publications Robert Kirzinger, these informative half-hour talks incorporate recorded examples from the music to be performed. This week's Friday Preview (January 20) is given by BSO Director of Program Publications Marc Mandel.

INDIVIDUAL TICKETS ARE ON SALE FOR ALL CONCERTS IN THE BSO'S 2011-2012 SEASON. FOR SPECIFIC INFORMATION ON PURCHASING TICKETS BY PHONE, ONLINE, BY MAIL, OR IN PERSON AT THE SYMPHONY HALL BOX OFFICE, PLEASE SEE PAGE 83 OF THIS PROGRAM BOOK.

BSO Business Partner of the Month

Did you know that there are more than 400 missing heir searches. Blake & businesses and corporations that support the Blake has assisted estate attorneys, trust offi¬ Boston Symphony Orchestra, Inc.? You can cers, executors, and judges responsible for lend your support to the BSO by supporting probate research and missing heir/beneficia¬ the companies who support us. Each month, ry searches for three generations since 1929. we will spotlight one of our corporate sup¬ Blake & Blake Genealogists has proudly sup¬ porters as the BSO Business Partner of the ported the Boston Symphony Orchestra as a Month. This month's partner is Blake & Blake BSO Business Partner for twenty-five years. Genealogists. As one of the oldest and most For more information about becoming a BSO respected probate research firms in the Business Partner, contact Rich Mahoney, industry, Blake & Blake Genealogists brings Director of Boston Business Partners at (617) you many advantages over other firms for 638-9277 or at [email protected].

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3 Elm Street, Stockbridge, MA 4 13.298.3044 schantzgalleries.com White and Ocean Blue Persian Set 2011 9 x 20 x 17" photo: Scott Mitchell Leen Friday-afternoon Bus Service to cello, and piano, on Monday, January 23, at Symphony Hall 6:15 p.m. at Concord Academy Chapel, 166 Main Street, Concord. For ticket information, If you're tired of fighting traffic and search¬ call (978) 985-6872 or email info@walden- ing for a parking space when you come to chamberplayers.org. Friday-afternoon Boston Symphony concerts, why not consider taking the bus from your BSO associate concertmaster Tamara Smir¬ community directly to Symphony Hall? The nova is participating in the New England Boston Symphony Orchestra is pleased to Conservatory 2012 Anniversary continue offering round-trip bus service on extravaganza at NEC's Jordan Hall on Sunday, Friday afternoons at cost from the following January 29 at 8 p.m., celebrating anniver¬ communities: Beverly, Canton, Cape Cod, saries of Debussy (1862-1918) and Massenet Concord, Framingham, Marblehead/Swamp- (1842-1912). Ms. Smirnova will perform scott, Wellesley, Weston, the South Shore, Debussy's Clair de tune with pianist Tatyana and Worcester in Massachusetts; Nashua, Dudochkin, NEC faculty member and event New Hampshire; and Rhode Island. Taking organizer. Other guests include stars advantage of your area's bus service not only Yelena Dudochkin, Yegishe Manucharian, helps keep this convenient service operating, and Mikhail Svetlov, and the NEC Youth but also provides opportunities to spend Symphony, Steven Karidoyanes, conductor. time with your Symphony friends, meet new Tickets are $20 ($15 for students and sen¬ people, and conserve energy. If you would iors) and are available at the NEC Box Office. like further information about bus transporta¬ For further information, visit necmusic.edu/ tion to Friday-afternoon Boston Symphony debussy-and-massenet-salute. concerts, please call the Subscription Office Ronald Knudsen leads the New Philharmonia at (617) 266-7575. Orchestra in the second of their 2011-12 "Family Discovery" concerts on Sunday, BSO Members in Concert January 29, at 3 p.m. at the First Baptist Church, 848 Beacon Street, Newton Centre. Founded by BSO cellist Jonathan Miller, the The program, entitled "Winter Dreams" fea¬ Boston Artists Ensemble performs Mozart's tures a collaborative performance with the String Quartet No. 22 in B-flat, K.589, and Newton All-City Orchestra, Greg Livingston, Bartok's String Quartet No. 4, on Friday, director; the "musical adventure" How Bear January 20, at 8 p.m. at the Peabody Essex Lost His Tail by local composer Pasquale Museum in Salem and on Sunday, January Tassone and narrated by Newton North High 22, at 2:30 p.m. at Trinity Church in Newton School senior Emily Paley; and an instrument Centre. Joining Mr. Miller are violinists Bayla petting zoo. Tickets are $15, with discounts Keyes and Peter Zavorsky and violist Kathryn for seniors, students, and families. Lockwood. Tickets are $24, with discounts for seniors and students. For more information, visit bostonartistsensemble.org or call (617) Comings and Goings... 964-6553. Please note that latecomers will be seated The Walden Chamber Players, whose mem¬ by the patron service staff during the first bership includes BSO musicians Tatiana convenient pause in the program. In addition, Dimitriades and Alexander Velinzon, , please also note that patrons who leave the Thomas Martin, , and Richard Ranti, hall during the performance will not be , perform Gerhard Schedl's String allowed to reenter until the next convenient Trio and his A Cinque for clarinet, violin, viola, pause in the program, so as not to disturb the cello, and piano; Augusta Read Thomas's performers or other audience members while Silent Moon, for violin and viola, and Kaija the concert is in progress. We thank you for Saariaho's Je sens un deuxieme coeur, for viola, your cooperation in this matter.

WEEK 13 BSO NEWS 13 8uea/aMe& IR LIFE

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14 ON DISPLAY IN SYMPHONY HALL

This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of the building, displays the breadth and depth of the Archives’ holdings, which documents countless facets of the orchestra’s history—music directors, players and instrument sections, and composers, as well as the world-famous acoustics, architec¬ tural features, and multi-faceted history of Symphony Hall.

HIGHLIGHTS OF THIS YEAR'S EXHIBIT INCLUDE, ON THE ORCHESTRA LEVEL OF SYMPHONY HALL:

• display cases in the Hatch Corridor spotlighting two works commissioned by the BSO in conjunction with its 50th anniversary during the 1930-31 season, Stravinsky’s “Symphony of Psalms” and Prokofiev’s Symphony No. 4

• display cases in the Massachusetts Avenue corridor focusing on BSO founder Henry Lee Higginson and the formation of the BSO’s first Board of Trustees in 1918

• also in the Massachusetts Avenue corridor, a display case focusing on the architec¬ tural details of the clerestory windows in Symphony Hall that were refurbished and reopened in 2009

EXHIBITS ON THE FIRST-BALCONY LEVEL OF SYMPHONY HALL INCLUDE:

• a display case focusing on the history and membership of the BSO’s section

• a display case focusing on the history and membership of the BSO’s flute section

• a display case focusing on the search for a new music director in 1918, leading to the appointment of the BSO’s first French conductor, Henri Rabaud

• a display in the Cabot-Cahners Room on the history of outside events at Symphony Hall, focusing particularly on dance performances, musical recitals, and travelogues

TOP OF PAGE, LEFT TO RIGHT: Roy Harris with members of the BSO's trombone section in February 1943, when the BSO premiered his Symphony No. S (photograph by Elizabeth Timberman)

Record cover for the BSO's 1950 RCA Victor commercial recording of Prokofiev's "Peter and the Wolf" featuring Eleanor Roosevelt as narrator

Publicity photo for a Symphony Hall appearance by Russian ballerina Anna Pavlova, c.1920-21

WEEK 13 ON DISPLAY BOSTON SYMPHONY Boston Symphony Orchestra ORCHESTRA 2011-2012

FIRST VIOLINS Xin Ding* Cathy Basrak Adam Esbensen* Donald C. and Ruth Brooks Heath Assistant Principal Blaise Dejardin* Malcolm Lowe chair, endowed in perpetuity Anne Stoneman chair, Concertmaster endowed in perpetuity Charles Munch chair, Glen Cherry* BASSES endowed in perpetuity Edward Gazouleas Yuncong Zhang* Lois and Harlan Anderson chair, Edwin Barker Tamara Smirnova endowed in perpetuity Principal Associate Concertmaster SECOND VIOLINS Harold D. Hodgkinson chair, Helen Horner McIntyre chair, Robert Barnes endowed in perpetuity endowed in perpetuity Haldan Martinson Michael Zaretsky Principal Lawrence Wolfe Alexander Velinzon Carl Schoenhof Family chair, Marc Jeanneret Assistant Principal Assistant Concertmaster endowed in perpetuity Maria Nistazos Stata chair, Robert L. Beal, Enid L, and Mark Ludwig* endowed in perpetuity Bruce A. Beal chair, endowed Vyacheslav Uritsky Rachel Fagerburg* in perpetuity Assistant Principal Benjamin Levy Charlotte and Irving W. Rabb Kazuko Matsusaka* Leith Family chair, endowed Elita Kang chair, endowed in perpetuity in perpetuity Assistant Concertmaster Rebecca Gitter* Edward and Bertha C. Rose chair, Sheila Fiekowsky Dennis Roy endowed in perpetuity Shirley and J. Richard Fennell Joseph and Jan Brett Hearne CELLOS chair, endowed in perpetuity chair Bo Youp Hwang Jules Eskin John and Dorothy Wilson chair, Ronald Knudsen Joseph Hearne Principal endowed in perpetuity David H. and Edith C. Howie Philip R. Allen chair, James Orleans* chair, endowed in perpetuity Lucia Lin endowed in perpetuity Todd Seeber* Dorothy Q. and David B. Arnold, Jr., Ronan Lefkowitz chair, endowed in perpetuity Martha Babcock Eleanor L. and Levin H. Campbell Nancy Bracken* Assistant Principal chair, endowed in perpetuity Ikuko Mizuno Vernon and Marion Alden chair, Muriel C. Kasdon and Marjorie C. Aza Raykhtsaum* John Stovall * endowed in perpetuity Paley chair Robert Bradford Newman chair, endowed in perpetuity Sato Knudsen Jennie Shames* Mischa Nieland chair, Ruth and Carl J. Shapiro chair, Bonnie Bewick*5 endowed in perpetuity Elizabeth Rowe endowed in perpetuity James Cooke* Mihail Jojatu Principal Valeria Vilker Kuchment* Walter Piston chair, endowed Victor Romanul*5 Sandra and David Bakalar chair Theodore W. and Evelyn in perpetuity Bessie Pappas chair Berenson Family chair Jonathan Miller* Clint Foreman Catherine French* Richard C. and Ellen E. Paine Tatiana Dimitriades* chair, endowed in perpetuity Myra and Robert Kraft chair, Stephanie Morris Marryott and Jason Horowitz* endowed in perpetuity Franklin J. Marryott chair Owen Young* Julianne Lee* John F. Cogan, Jr., and Mary L Elizabeth Ostling Si-Jing Huang* Cornille chair, endowed in Associate Principal Ala Jojatu* Catherine and Paul Buttenwieser Marian Gray Lewis chair, perpetuity chair endowed in perpetuity Mickey Katz* Nicole Monahan* \ Stephen and Dorothy Weber A/lory B. Saltonstall chair, Steven Ansell chair, endowed in perpetuity endowed in perpetuity Principal Alexandre Lecarme* Wendy Putnam* Charles S. Dana chair, endowed Kristin and Roger Servison chair in perpetuity

BERNARD HAITINK MUSIC DIRECTOR THOMAS WILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Foundation Conductor Emeritus Music Director Youth and Family Concerts endowed in perpetuity endowed in perpetuity Conductor endowed in perpetuity photos by Michael J. Lutch

PICCOLO Suzanne Nelsen Thomas Siders HARP John D. and Vera M. MacDonald Assistant Principal Cynthia Meyers chair Kathryn H. and Edward M. Jessica Zhou Evelyn and C. Charles Morran Lupean chair Nicholas and Thalia Zen/as chair, Richard Ranti chair, endowed in perpetuity endowed in perpetuity by Associate Principal Michael Martin Sophia and Bernard Gordon Diana Osgood Tottenham/ Ford H. Cooper chair Hamilton Osgood chair, endowed in perpetuity endowed in perpetuity VOICE AND CHORUS John Ferrillo Principal John Oliver Mildred B. Remis chair, CONTRABASSOON Tanglewood Festival Chorus endowed in perpetuity Toby Oft Conductor Gregg Henegar Principal Alan J. and Suzanne W. Dworsky Mark McEwen Helen Rand Thayer chair J.P. and Mary B. Barger chair chair, endowed in perpetuity James and Tina Collias chair endowed in perpetuity

Keisuke Wakao Stephen Lange HORNS LIBRARIANS Assistant Principal Faria and Harvey Chet Krentzman James Sommerville Marshall Burlingame chair, endowed in perpetuity Principal TROMBONE Principal Helen Sagoff Slosberg/Edna S. Lia and William Poorvu chair, Douglas Yeo Kalman chair, endowed in endowed in perpetuity John Moors Cabot chair, ENGLISH HORN perpetuity endowed in perpetuity William Shisler Robert Sheena Richard Sebring Beranek chair, endowed in Associate Principal John Perkel perpetuity Margaret Andersen Congleton chair, endowed in perpetuity Mike Roylance ASSISTANT Rachel Childers Principal CONDUCTORS John P. II and Nancy S. Eustis Margaret and William C. William R. Hudgins Marcelo Lehninger chair, endowed in perpetuity Rousseau chair, endowed Principal in perpetuity Anna E. Finnerty chair, Ann S.M. Banks chair, (position vacant) endowed in perpetuity endowed in perpetuity Elizabeth B. Storer chair, Sean Newhouse endowed in perpetuity Michael Wayne Jason Snider Timothy Genis Thomas Martin Sylvia Shippen Wells chair, PERSONNEL Associate Principal & Jonathan Menkis endowed in perpetuity MANAGERS E-flat clarinet Jean-Noel and Mona N. Tariot Stanton W. and Elisabeth K. chair Lynn G. Larsen Davis chair, endowed in PERCUSSION Bruce M. Creditor perpetuity J. William Hudgins Assistant Personnel Manager Peter and Anne Brooke chair, Thomas Rolfs BASS CLARINET endowed in perpetuity Principal STAGE MANAGER Craig Nordstrom Roger Louis Voisin chair, Daniel Bauch John Demick endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Linde Benjamin Wright chair Arthur and Linda Gelb chair Richard Svoboda (position vacant) Principal Peter Andrew Lurie chair Edward A. Taft chair, endowed in perpetuity * participating in a system endowed in perpetuity of rotated seating (position vacant) § on sabbatical leave Barbara Lee chair BMW TT II m III 1 !|f}j \ ]l'|Ill,, Ua r ] 1 Wp* "■,1 ^■IEkF^ Y| rr Commonwealth Worldwide is honored to be the Official Chauffeured Transportation of the Boston Symphony Orchestra and Boston Pops.

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This essay is taken from “Symphony Hall: The First ioo Years,” a large-format book including photographs, commentary, and essays tracing the more than hundred-year history of Symphony Hall. Published by the Boston Symphony Orchestra, “Symphony Hall: The First ioo Years” is available in the Symphony Shop.

Stare out into the vastness of an empty Symphony Hall. Who stares back? A satyr—a dancing one—as well as Sophocles, Euripides, Demosthenes, and Apollo.

These "casts of character" are among the sixteen mythological deities and legendary fig¬ ures of antiquity who continually survey Symphony Hall. Striking elegantly languid poses from their second-balcony niches, they surely have the best "seats" in the house. These statues—all plaster casts of Old World originals—have been ensconced in their niches since the early 1900s, when a generous group of Symphony Friends selected and donated them to the hall.

The idea for the statues originated with the hall's architects, McKim, Mead & White, and its acoustical adviser, Wallace Clement Sabine. Sabine saw the statuary as the solution to two problems confronting them at the time: the beautiful casts could embellish large wall surfaces in the hall while providing places where acoustical adjustments could be made. If the hall's acoustics needed to be altered, fabric or felt could be placed behind the statues without disturbing the decor. As it turned out, Symphony Hall was so master¬ fully designed that it was never necessary to change the acoustics in a significant way.

Florence Wolsky, a former member of the Museum of Fine Arts Ancient Arts Department and one of the original Symphony Hall tour guides, has thoroughly researched the statues and their history. After more than thirty years of familiarity, her passion and affection for them remain undimmed.

Apollo Belvedere (Rome)

WEEK 13 CASTS OF CHARACTER 21 02009 Bose Corporation. C 005116 We inviteyoutoexperiencewhatour passion bringstotheperformance we're proudtosupporttheperformers you'relisteningtotoday. we loveaboutmusic.Andit'swhatinspires allwedoatBose.That'swhy artistry totheperformance.It'stheir passion thatcreatesmuchofwhat of ourproducts.Pleasecallorvisit websitetolearnmore-including how youcanhearBose®soundforyourself. Each musicianreadsfromthesamescore,buteachbringshisorherown It's attheheartoftheirperformance.Andours. 1 -800-444-BOSE PASSION Better sound through research > www.Bose.com left, Apollo Citharoedus (Rome) right, Diana of Versailles (Paris)

The use of reproductions, explains Mrs. Wolsky, was extremely popular in the nineteenth century. At the Paris Exposition of 1867, a resolution was passed that everyone in the world had the right to be exposed to quality reproductions of the great statues of Greece and Rome.

Mrs. Wolsky explains: "There were very strong feelings of cultural uplift at the time, much the same feeling that was behind Major Higginson's impulse to found the Boston Symphony after he had traveled to Europe, had heard the great symphonies there, and seen the great art. People in Boston had a strong desire to bring great art to this country, since they believed it brought out the noblest instincts in man, and therefore created a better democracy.

"Since most Greek sculpture was rendered in bronze, not marble, most statuary was melted down. The Romans, however, adored Greek sculpture and made numerous copies, in mar¬ ble, of Greek statues, which have survived."

Roman marbles, like their Greek predecessors, were rarely available for purchase. As a result, American specialists like Pietro Caproni and his brother—whose studios were at the corner of Washington and Newcomb streets in Roxbury—traveled to Europe, copying the originals with precision, grace, and plaster.

According to Mrs. Wolsky, the actual selection of the Caproni plaster casts was entrusted to Mrs. John W. Elliot and a committee of about two hundred Friends of Symphony. The group pored over the Caproni brothers' catalogues, eventually choosing the sixteen statues now in the hall.

These statues were an appropriate addition to the neoclassical design of Symphony Hall, since the ancient Romans often decorated their odeons or theaters with such objects of art. The Caproni casts were not in place for the hall's opening concert, but were added one at a time as they emerged from the Caproni studios.

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\ A DAY IN Pompeii

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Get a sneak peek of the Exhibit! 617-723-2500, 61 7-589-041 7 (TTY) mos.org Museum of Science. These statues, in Mrs. Wolsky's opinion, may well have been chosen with an eye toward beauty, as well as for their relevance to music, art, literature, and oratory. Two of the stat¬ ues depict Apollo, the god of music and poetry. The first—set second from the right as you face the stage—is known as Apollo Citharoedus (pictured on page 31). Copied from the original in the Palazzo dei Conservatori in Rome and based on a Greek statue from about 430 B.C., it shows Apollo in the long robes of a musician. He is accompanying his songs and poetry on a cithara, an instrument similar to a lyre he is credited with invent¬ ing. On his head is a laurel wreath—the symbol of triumph in Greece and Rome—which was given to victors in the games and contests sacred to Apollo.

The second statue of Apollo—to the right, as you face the back of the hall—is the Apollo Belvedere (pictured on page 21), credited for generations as the highest ideal of male beauty. The original, in the Vatican Museum, is thought to be a Roman copy of a 4th- century B.C. work by Leochares, the court sculptor to Alexander the Great. Here, Apollo is shown as a divine hero, wearing a chlamys, or short cloak, and holding a bow in his left hand. A spray of the sacred laurel plant may once have rested in his other hand. A crea¬ ture of earth and the underworld, the snake, is coiled around the tree stump, symbolizing Apollo's role as a god of prophecy.

To the left of this statue stands Diana of Versailles (see page 23), currently in the Louvre and also a copy of a 4th-century B.C. work by Leochares. Diana—known to the Greeks as Artemis, goddess of the chase and the forests—is shown here in the woods, flanked by a small stag. Wearing her hunting costume, a short tunic, she once readied a bow in her left hand. Like her brother Apollo, Diana was a musician who often led her choir of muses and graces at Delphi on returning from the hunt.

Three statues represent satyrs, or fauns—mythological creatures human in form, with the ears and tail of a goat. Satyrs were followers of Dionysus, the god of drama and music. The first satyr—first to the right, as you face the stage—has the infant Bacchus, or Dionysus, riding on his shoulders, grasping a bunch of grapes. The satyr holds a pair of cymbals. On the stump beside him is a panther skin, sacred to Dionysus, as well as Pan¬ pipes, grapes, and vine leaves.

The second satyr—fourth on the right, facing the stage—is known as The Dancing Faun. The original is currently in the Villa Borghese in Rome. This satyr, older and bearded, plays the cymbals while dancing, as he would in a procession honoring Dionysus. Another panther skin is draped on the stump behind him, his body twisted in the vigorous "con- trapposto" typical of late Hellenistic art.

The third satyr—first on the left, as you face the stage—originated with Praxiteles, one of the three greatest sculptors of the fourth century B.C. As Mrs. Wolsky points out, Praxiteles was a virtuoso in stone sculpture and gave marble a translucent, soft surface that conveys the impression of human skin. A marvelous example of the characteristic grace of a Praxitelean statue, this one shows a languid, dreamy satyr leaning against a tree stump. It is often called The Marble Faun, from the book by Nathaniel Hawthorne it reportedly inspired.

WEEK 13 CASTS OF CHARACTER 25 Also represented in Symphony Hall are Demosthenes (fifth from the right as you face the stage); two statues of the Greek poet Anacreon (sixth from the right and sixth from the left, the former—the "Seated Anacreon"—shown opposite); Euripides (seventh from the right); Hermes (third from the left); Athena (fourth from the left); Sophocles (fifth from the left); and the Greek orator Aeschines (seventh from the left).

One statue that has an indirect connection to the arts, at best, is that of the Amazon (second from the left), thought to be a copy of a work by Polycleitus from the fifth century B.C. The Amazon was probably chosen since it is one of the most famous statues of antiquity. Amazons were followers of the musician Diana. Mrs. Wolsky suspects that there may have been a desire to represent another woman in the statuary, in addition to Diana, Athena, and the so-called Woman from Herculaneum (third from the right), one of the statues buried by the eruption of Mount Vesuvius in 79 A.D. and listed in an old Caproni catalogue as Mnemosyne, Mother of the Muses.

As beautiful as they are, the statues of Symphony Hall have not always been hailed as noble additions to the architecture. Since their installation, letters and comments have been registered from concertgoers concerned with the statues' state of dishabille. As late as 1947, one gentleman wrote to the former Board president Henry B. Cabot:

I dare say no two cocktail bars in Boston are as seductive a medium and raise so much havoc with virgins as does Symphony Hall by means of its suggestive display of male privates.... Symphony Hall is one of the remaining symbols of Boston culture. Let us keep it serene. I do not know how art would be affected if the privates on the statues should be covered. All these figures have some sort of scarf about the shoul¬ ders, might it not be brought down lower?

Responded Mr. Cabot:

I am afraid that were we to take your advice, somebody might quote to us a stanza from the old rhyme by Anthony Comstock which, as I remember, is:

So keep your temper, Anthony. Don't mind the people's roars. We'll drape the tables' dainty legs In cotton flannel drawers. We'll cover all those nudities That your pure nature fret, And put a bustle on the nag s To hide her red rosette. \

Caroline tavlor was on the staff of the Boston Symphony Orchestra for more than twenty-five years and is currently a BSO Trustee.

26 Seated Anacreon (Copenhagen)

LIST OF CASTS IN SYMPHONY HALL

As you face the stage, the casts on the right, beginning with the one nearest the stage, are Faun with Infant Bacchus (Naples) Apollo Citharoedus (Rome) Girl of Herculaneum (Dresden) Dancing Faun (Rome) Demosthenes (Rome) Seated Anacreon (Copenhagen) Euripedes (Rome) Diana of Versailles (Paris)

The casts on the left, beginning from nearest the stage, are: Resting Satyr of Praxiteles (Rome) Amazon (Berlin) Hermes Logios (Paris) Lemnian Athena (Dresden; head in Bologna) Sophocles (Rome) Standing Anacreon (Copenhagen) Aeschines (Naples) Apollo Belvedere (Rome)

WEEK 13 CASTS OF CHARACTER 27 BERNARD HAITINK, CONDUCTOR EMERITUS SEIJI OZAWA, MUSIC DIRECTOR LAUREATE BOSTON SYMPHONY k ORCHESTRA, K, Boston Symphony Orchestra 131st season, 2011-2012

Thursday, January 19, 8pm Friday, January 20,1:30pm Saturday, January 21, 8pm Tuesday, January 24, 8pm

Please note that Riccardo Chailly, who was to have conducted the BSO's concerts this week and next, has unfortunately had to cancel his appearances for health-related reasons. Replacing the works by Prokofiev and Debussy originally scheduled for the first half of this program is music spotlighting the brass, winds, and strings of the BSO, to be played by the orchestra with¬ out a conductor. The program concludes as originally scheduled with Stravinsky's "Le Sacre du printemps"; we are grateful that Giancarlo Guerrero was available to conduct this work in place of Riccardo Chailly.

BRASS, WINDS, AND STRINGS OF THE BOSTON SYMPHONY ORCHESTRA

COPLAND "FANFARE FOR THE COMMON MAN”

TOMASI "GOOD FRIDAY PROCESSION," FOR BRASS AND PERCUSSION, FROM "FANFARES LITURGIQUES"

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28 STRAUSS SERENADE IN E-FLAT FOR THIRTEEN WIND INSTRUMENTS, OPUS 7

TCHAIKOVSKY SERENADE IN C FOR STRINGS, OPUS 48

Pezzo in forma di Sonatina: Andante non troppo—Allegro moderato Valse: Moderato, tempo di valse Elegia: Larghetto elegiac Finale, Tema Russo: Andante—Allegro con spirito

{INTERMISSION}

GIANCARLO GUERRERO conducting

STRAVINSKY "LE SACRE DU PRINTEMPS," PICTURES FROM PAGAN

Part I: The Ado ration of the Earth Introduction—Auguries of spring (Dances of the young girls)—Mock abduction—Spring Khorovod (Round Dance)—Games of the rival clans—Procession of the wise elder—Adoration of the earth (The wise elder)—Dance of the earth

Part II: The Sacrifice Introduction—Mystical circles of the young girls—Glorification of the chosen victim—The summoning of the ancients—Ritual of the ancients—Sacrificial dance (The chosen victim)

UBS IS PROUD TO SPONSOR THE BSO'S 2011-2012 SEASON.

The evening concerts will end about 10:05 and the afternoon concert about 3:35. 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. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

WEEK 13 PROGRAM The Program in Brief...

On the first half of this concert, the different instrumental sections of the BSO are featured in works being performed without a conductor. After intermission, Stravinsky's orchestral tour de force, The Rite of Spring, will be conducted by Giancarlo Guerrero in his BSO sub¬ scription series debut.

Aaron Copland's iconic and stirring Fanfare for the Common Man, which later became the basis for the finale of his Third Symphony, was written in 1942 to acknowledge the sacrifices made by the unsung soldiers fighting in World War II. Premiered in 1943, the piece was one of eighteen fanfares commissioned by the conductor Eugene Goossens for his concerts with the Cincinnati Symphony to help showcase contemporary American composers.

Henri Tomasi was a well-regarded French conductor and composer aligned with such musicians as Poulenc and Milhaud. His "Procession du Vendredi-Saint" ("Good Friday Procession") is one of four Fanfares liturgiques for brass and percussion drawn from the score of his 1944 opera Miguel Mahara. In the opera, the appropriately somber march music accompanies a Holy Week religious procession.

The precocious Richard Strauss was still a teenager when he wrote his Serenade in E-flat for thirteen winds, a single-movement work exhibiting a mastery beyond his years. The earliest of his ensemble pieces that remains in the standard repertoire, the Serenade was premiered in 1882 and brought Strauss's music to the attention of the conductor Hans von Bulow, who helped significantly in forwarding Strauss's career. Like the Tchaikovsky Serenade for Strings, this attractive work lives up to the tradition of the serenade genre in being designed to entertain lightly, but not superficially.

Tchaikovsky wrote his Serenade in C concurrently with the 1812 Overture in the fall of 1880, countering the dramatic and boisterous overture with the Serenade’s relaxed but somewhat formal moods. Tchaikovsky was fond of it, writing, "This is a piece from the heart and so, I venture to say, it does not lack artistic worth." The four-movement Serenade, of which the Waltz movement is probably the most immediately recognizable, was pre¬ miered in St. Petersburg in October 1881.

By his late twenties, Igor Stravinsky was already making waves as a composer of scores for Serge Diaghilev and the Ballets Russes, which had taken up residence in Paris late in the first decade of the 1900s. No one could have predicted the absolutely seismic effect The Rite of Spring would have on the course of music almost from the start, even with the great success of the earlier ballets Firebird and Petrushka. Putting aside the infamous riot that greeted The Rite's premiere in Paris in spring 1913, it immediately gained a strong following as a concert piece. In the promethean strangeness of its music, from the high bassoon solo of the opening to the stomping, irregular orchestral fury evoking the primi¬ tive ritual dance, The Rite remains a crucial touchstone in the history of Western art.

30 Aaron Copland “Fanfare for the Common Man”

AARON COPLAND was bom in Brooklyn, New York, on November 14,1900, and died in Peekskill, New York, on December 2, 1990. As detailed below, Copland composed his “Fanfare for the Common Man” in 1942 at the request of the conductor Eugene Goossens for performance by the Cincinnati Symphony Orchestra, the first performance being given by that conductor and orches¬ tra on March 14, 1943.

THE SCORE OF THE “FANFARE FOR THE COMMON MAN” calls for four horns, three trumpets, three trombones, and tuba, plus timpani, bass drum, and tam-tam.

During his lifetime, Aaron Copland was well-known as composer, writer on music, lecturer, pianist, conductor, and teacher. The first appearance of his name in a Boston Symphony program came in 1925, when his own composition teacher, Nadia Boulanger, was the featured soloist in performances led by Serge Koussevitzky of Copland's Symphony for Organ and Orchestra. Koussevitzky immediately became a champion of Copland's music and in 1940 invited him to join the faculty for the first session of the Berkshire Music Center (now the Tanglewood Music Center), where he taught for decades.

Copland's music is distinctively American, drawing frequently upon cowboy songs, Mexican tunes, Shaker hymns, and jazz. Among his most popular scores are the ballets Appalachian Spring, Rodeo, and Billy the Kid; the Lincoln Portrait, which provides evocative musical background to a reading of Lincoln texts culminating with words from the Gettysburg Address; and the Fanfare for the Common Man, which The New Grove Dictionary of Ameri¬ can Music described as being "better known than [Copland's] name."

The Fanfare dates from 1942 and was written for Eugene Goossens and the Cincinnati Symphony, who gave the first performance on March 14,1943. The circumstances of its composition were described by Goossens himself:

In the summer of 1942 I decided to carry out an experiment at our Cincinnati concerts similar to one I had previously essayed with some success at my concerts of contempo-

WEEK 13 PROGRAM NOTES 31 * 1980

BOSTON SYMPHONY ORCHESTRA Seiji Ozawa, Music Director Sir Colin Davis, Principal Guest Conductor Joseph Silverstein, Assistant Conductor

Saturday, 5 July at 8:30

AARON COPLAND conducting

Celebrating the 40th Anniversary of the Berkshire Music Center

COPLAND Fanfare for the Common Man

El Salon Mexico

Clarinet Slowly and expressively— — Rather fast

HAROLD WRIGHT

INTERMISSION

COPLAND Suite from The Tender Land

Four Dance Episodes from Rodeo Buckaroo Holiday Corral Nocturne Saturday Night Waltz Hoe-Down

\

Deutsche Grammophon, Philips, and RCA records

Baldwin piano

49

Program page for the first performance in a Boston Symphony concert of Copland's "Fanfare for the Common Man," with the composer conducting on July 5, 1980 (BSO Archives)

32 rary music at Queens Hall, London, in 1921. I therefore wrote to a number of American composers of repute requesting them to compose patriotic fanfares for performances at the concerts of the Cincinnati Symphony Orchestra during the season of 1942-43. No fewer than eighteen composers immediately responded with fanfares for different combinations of instruments....

In 1944, Copland's fanfare was one of ten collected by Goossens into a volume of those pieces composed for brass and percussion, by composers also including Henry Cowell (Fanfare for the Forces of our Latin American Allies), Paul Creston (Fanfare for Paratroopers), Anis Fuleihan (Fanfare for the Medical Corps), Goossens himself (Fanfare for the Merchant Marine), Howard Hanson (Fanfare for the Signal Corps), Walter Piston (Fanfare for the Fighting French), Deems Taylor (Fanfare for Russia), Virgil Thomson (Fanfare for France), and Bernard Wagenaar (Fanfare for Airmen).

Given the patriotic sentiment required, Copland strove for what he himself described as "a certain nobility of tone, which suggested slow rather than fast music." The title followed from the composer's reaction to that of Piston's Fanfare for the Fighting French. As Copland recalled, "It seemed to me that if the fighting French got a fanfare, so should the common man, since, after all, it was he who was doing the dirty work in the war." A few years later, feeling it to be "worth further development," Copland used the Fanfare for the Common Man in the finale of his Third Symphony, which was premiered by Serge Koussevitzky and the Boston Symphony Orchestra in October 1946.

Marc Mandel

THE FIRST PERFORMANCE IN A BOSTON SYMPHONY CONCERT of Copland's "Fanfare for the Common Man" opened an all-Copland program led by the composer himself on July 5, 1980, at Tanglewood, to celebrate the fortieth anniversary of the Berkshire Music Center. Subsequent BSO performances were given by Seiji Ozawa (July 7, 7989, at Tanglewood; September 29, 1994, on the Opening Night concert of the BSO’s 1994-95 season, followed by two Carnegie Hall performances that October); John Williams (July 6, 1997, at Tanglewood), and Ozawa again (July 7, 2000, at Tanglewood, to mark the centennial of Copland's birth).

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"Procession du Vendredi-Saint, ” from ".Fanfares liturgiques"

HENRI TOMASI was born in , France, on August 17, 1901, and died in Paris on January 13, 1971. He wrote the four “Fanfares liturgiques” (originally called “Fanfares concertantes”; see below) as part of his opera “Don Juan de Manara.” They were premiered as a concert work in Monte Carlo in 1947 and published in 1952. (The opera itself wasn’t premiered until 1956, in Munich.) “Procession du Vendredi-Saint” (“Good Friday Procession”) is the fourth of the four fanfares.

THE SCORE FOR “PROCESSION DU VENDREDI-SAINT” calls for four horns, three trumpets, three trombones, tuba, timpani, and percussion (two snare drums, tam-tam, suspended cymbal).

Henri Tomasi was a well-known and well-regarded French composer, conductor, and pianist with a significant catalogue of works, the best-known of which are and other pieces for winds. He was born in Marseilles to Corsican parents and quickly demonstrated musical precociousness. His father encouraged his talent, sending him to the Marseilles Conservatoire, and when the child gained enough skill began presenting him for fees in the homes of the rich. Henri Tomasi was a natural, brilliant, and imagina¬ tive pianist, and as a teenager was able to earn a living playing in a variety of settings, including cafes and movie theaters. Eventually he won a scholarship from the city of Marseilles itself to travel to Paris for further study. He continued his performing activity in Paris, but was a successful scholar, winning a prize for his first composition, a , as well as a first prize for conducting and, in 1927, the prestigious .

By the late 1920s Tomasi was active as a conductor, and he was soon embarked on a thriving career. He also associated with many of Paris's leading musical lights, forming with Prokofiev and Milhaud the "Triton" group for new music. His compositions increas¬ ingly received recognition. His work was noticed by Charles Munch, who premiered the Symphony in C and later introduced his music to the repertoire of the Boston Symphony Orchestra, conducting Tomasi's Ballade for alto and orchestra in February 1958 with soloist . Tomasi tended generally toward picturesque inspiration

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