Week 21 Andris Nelsons Music Director

bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 21 andris nelsons music director

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Table of Contents | Week 21

7 bso news 13 on display in symphony hall 14 bso music director andris nelsons 16 the boston symphony orchestra 19 genius for any age: a performer’s perspective on mozart by gerald elias 30 this week’s program

Notes on the Program Wolfgang Amadè Mozart 32 The Program in Brief… 33 Introduction: Mozart’s Symphonic Summit 41 Symphony No. 39 45 Symphony No. 40 49 Symphony No. 41, “Jupiter” 55 To Read and Hear More…

Guest Artist

59 Christoph von Dohnányi

62 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information

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 • Arthur I. Segel, 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. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. 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 • 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 21 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • 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. London • 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 21 trustees and overseers 5

BSO News

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Each Saturday-night concert is broadcast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musicians are available to be heard online, along with a one-year archive of concert broadcasts. Listen- ers can also hear the BSO Concert Channel, an online radio station consisting of BSO concert performances from the previous twelve months. Visit classicalwcrb.org/bso. Current broadcasts include the Mozart/Strauss program featuring pianist Emanuel Ax with Christoph von Dohnányi conducting (Saturday, March 14; encore on Monday, March 23); Mozart’s last three symphonies led by Christoph von Dohnányi (March 21; encore on March 30); BSO Music Director Andris Nelsons leading Mahler’s Symphony No. 6 and a world premiere by Michael Gandolfi featuring organist Olivier Latry (March 28; encore on April 6), and music of Shostakovich and Beethoven with violinist Christian Tetzlaff and Andris Nelsons conducting (April 4; encore on April 13).

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 continues to offer informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall from 5:30-6:45 p.m. on selected Tuesday and Wednesday evenings throughout the season; the Wednesday sessions are also followed by a free, thirty-minute tour of Symphony Hall given by an experienced member of the Boston Symphony Association of Volunteers. This season’s remaining Tuesday “Insider’s View” session on March 24 will offer another of the popular round table discussions featuring BSO members, this time to include Stephen Lange, trombone, Wendy Putnam, violin, and Robert Sheena, English horn. The final Wednesday-evening “Are You Listening?” session, “Musical Imaginings” on April 8, will focus on music of Schuller, Ravel, Schumann, and Brahms, with BSO principal violist Steven Ansell joining BSO Director of Program Publications Marc Mandel. Since each of these sessions is self-contained, no prior musical training, or attendance at any previous session, is necessary. For further information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

BSO Community Chamber Concerts The BSO continues its series of free Community Chamber Concerts in communities throughout the greater Boston area, offering chamber music performances by BSO musicians on Sunday afternoons at 3 p.m. Each program lasts approximately one hour and is followed by a coffee-and-dessert reception for the audience and musicians. Upcoming concerts this season include string quintets of Mozart at Quincy High School (March 22) and music of Haydn and Mozart at the Colonial Theatre in Pittsfield (March 29). Admission is free, but reservations are required; please call 1-888-266-1200. The free Community Concerts are made possible by a generous grant from the Lowell Institute. For more information, please visit bso.org and go to “Education & Community” on the home page.

week 21 bso news 7 8 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 75 of this program book.

The Mary W. Nelson Memorial Go Behind the Scenes: Concert, Thursday, March 19, 2015 The Irving W. and Charlotte F. Rabb The performance on Thursday evening is Symphony Hall Tours supported by a generous gift from longtime The Irving W. and Charlotte F. Rabb Symphony BSO subscriber Jerry Nelson in memory of Hall Tours—named in honor of the Rabbs’ his late wife, Mary W. Nelson, who passed devotion to Symphony Hall with a gift from away on September 24, 2013. their children James and Melinda Rabb and Born in Washington, D.C., Mary grew up in Betty (Rabb) and Jack Schafer—provide a Baltimore, MD, where she attended the Blue- rare opportunity to go behind the scenes at bird School and Garrison Forest. After major- Symphony Hall. In these free, guided tours, ing in government at Harvard (class of 1968), experienced members of the Boston Sym- she planned to work for Robert Kennedy’s phony Association of Volunteers unfold the presidential campaign, but after his assassi- history and traditions of the Boston Symphony nation, Mary found herself turning toward a Orchestra—its musicians, conductors, and new career in teaching. She worked for two supporters—as well as offer in-depth infor- years as an elementary school teacher in East mation about the Hall itself. Tours are offered New York, Brooklyn, and for a year in Milton, most Wednesdays at 4 p.m. and two Satur- MA. Seeking to distinguish herself in a less days per month at 2 p.m. during the BSO typically female profession, Mary returned to season. Please visit bso.org/tours for more Harvard and received her law degree in 1974. information and to register. She went on to become the second female partner at Hill and Barlow in Boston, where It’s Your BSO, Play Your Part: she focused on corporate law. After nearly Become a Friend of the BSO twenty years of law practice, Mary decided to follow her heart back into the classroom, and At Symphony Hall, everyone plays their part. she returned to teaching as a volunteer read- From the musicians on stage, to the crew ing and math teacher at Tobin Elementary behind the scenes, to the ushers and box School in Cambridge, where she served until office staff, it takes hundreds of people to put 2012. At the end of each school day, Mary on a performance, and it takes the dedicated returned home to tutor neighborhood children support of thousands of Friends of the BSO for several hours each afternoon, helping to make it all possible. Every $1 the BSO countless young people learn to read and receives in ticket sales must be matched with conquer the multiplication tables. Her bound- an additional $1 of contributed support to less curiosity explored subjects from colonial cover its annual expenses. Friends of the BSO history to animal husbandry, and she shared play their part to help bridge that gap, keep- her wealth of knowledge with her students ing the music playing to the delight of audi- and family alike. When she wasn’t teaching, ences all year long. In addition to joining a Mary was a passionate gardener. She and her community of like-minded music lovers, husband have two daughters, Sarah and Anne. becoming a Friend of the BSO entitles you to benefits that bring you closer to the music The Nelsons are longtime supporters of the you cherish. Friends receive advance ticket BSO, both in Boston and Tanglewood. Jerry ordering privileges, discounts at the Symphony is a member of the Higginson Society at the Shop, and access to the BSO’s online newslet- Patron level and the Koussevitzky Society at ter InTune, as well as invitations to exclusive the Maestro level. donor events such as BSO and Pops working

week 21 bso news 9 rehearsals, and much more. Friends member- Those Electronic Devices… ships start at just $100. Contact the Friends As the presence of smartphones, tablets, and Office at (617) 638-9276, friendsofthebso@ other electronic devices used for communica- bso.org, or join online at bso.org/contribute, tion, note-taking, and photography continues to play your part with the BSO by becoming to increase, there have also been increased a Friend. expressions of concern from concertgoers and musicians who find themselves distracted BSO Members in Concert not only by the illuminated screens on these devices, but also by the physical movements BSO principal horn James Somerville and that accompany their use. For this reason, principal tuba Mike Roylance (as well as for- and as a courtesy both to those on stage and mer BSO members Norman Bolter, trombone, those around you, we respectfully request and Frank Epstein, percussion) participate in that all such electronic devices be turned New England Conservatory’s “Brass Bash,” off and kept from view while BSO perform- this year spotlighting the tuba. The event fea- ances are in progress. In addition, please tures NEC brass students performing along- also keep in mind that taking pictures of the side their teachers, as well as distinguished orchestra—whether photographs or videos— guest instrumentalists, on Sunday, March 29, is prohibited during concerts. Thank you very at 8 p.m. at NEC’s Jordan Hall. The program much for your cooperation. includes works by LoPresti, Goedicke, Tomasi, Self, Marques, Pinto-Correia, Forbes, and Strauss. Admission is free. Comings and Goings... In residence at Boston University, the Muir Please note that latecomers will be seated String Quartet—BSO violinist Lucia Lin and by the patron service staff during the first BSO principal violist Steven Ansell, violinist convenient pause in the program. In addition, Peter Zazofsky, and cellist Michael Reynolds— please also note that patrons who leave the performs Dvoˇrák’s Cypresses, Barber’s Dover hall during the performance will not be Beach featuring guest baritone James Demler, allowed to reenter until the next convenient and Smetana’s Quartet No. 1 in E minor on pause in the program, so as not to disturb the Monday, March 30, at 8 p.m. at BU’s Tsai performers or other audience members while Performance Center, 685 Commonwealth the concert is in progress. We thank you for Avenue. Admission is free. your cooperation in this matter.

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]

week 21 bso news 11 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 • two displays in the Huntington Avenue corridor celebrating the 200th anniversary of Boston’s Handel and Haydn Society, the oldest continually operating arts organization in the United States, and which performs fourteen concerts at Symphony Hall during its 2014-2015 bicentennial season 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 soprano Kirsten Flagstad A portrait of Paul Cherkassy (BSO violinist from 1923 to 1952), a 2014 gift to the BSO from the estate of Paul and Chloe Cherkassy, part of a display of orchestra member memorabilia located at the stage-end of the first-balcony corridor, audience-right Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 21 on display 13 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 Carnegie Hall 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 opera 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 Salome. 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 Vienna’s Musikverein, the Théâtre des Champs-Élysées in Paris, the Gasteig in Munich, and Madrid’s Auditorio Nacional de Música. Mr. Nelsons made his debut in Japan on tour with the Vienna Philharmonic 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 Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw

14 Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House–Covent Garden, the Vienna State Opera, and New York’s Metro- politan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, in a production directed by Hans Neuenfels, 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 Richard Strauss, 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 ECHO Klassik 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 Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. ac Borggreve Marco

week 21 andris nelsons 15 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 Adam Esbensen* Ronald G. and Ronni J. Casty Assistant Principal Richard C. and Ellen E. Paine Malcolm Lowe chair Anne Stoneman chair, endowed chair, endowed in perpetuity Concertmaster in perpetuity Charles Munch chair, Ala Jojatu* Blaise Déjardin* endowed in perpetuity Wesley Collins Lois and Harlan Anderson chair, Tamara Smirnova second violins endowed in perpetuity basses Associate Concertmaster Haldan Martinson Edwin Barker Helen Horner McIntyre chair, Robert Barnes Principal Principal endowed in perpetuity Carl Schoenhof Family chair, Michael Zaretsky Harold D. Hodgkinson chair, endowed in perpetuity endowed in perpetuity Alexander Velinzon Mark Ludwig* Assistant Concertmaster Julianne Lee Lawrence Wolfe Robert L. Beal, Enid L., and Rachel Fagerburg* Assistant Principal Assistant Principal Bruce A. Beal chair, endowed Charlotte and Irving W. Rabb Maria Nistazos Stata chair, in perpetuity Kazuko Matsusaka* chair, endowed in perpetuity endowed in perpetuity Elita Kang Rebecca Gitter* Sheila Fiekowsky Benjamin Levy Assistant Concertmaster Shirley and J. Richard Fennell Jonathan Chu* Leith Family chair, endowed Edward and Bertha C. Rose chair, ˚ chair, endowed in perpetuity in perpetuity endowed in perpetuity Daniel Getz* Nicole Monahan Dennis Roy Bo Youp Hwang § David H. and Edith C. Howie John and Dorothy Wilson chair, cellos chair, endowed in perpetuity Joseph Hearne endowed in perpetuity Jules Eskin Ronan Lefkowitz James Orleans* Lucia Lin Principal Dorothy Q. and David B. Arnold, Vyacheslav Uritsky* Philip R. Allen chair, endowed Todd Seeber* Jr., chair, endowed in perpetuity in perpetuity Eleanor L. and Levin H. Campbell Jennie Shames* chair, endowed in perpetuity Ikuko Mizuno Martha Babcock Ruth and Carl J. Shapiro chair, Valeria Vilker Kuchment* Associate Principal John Stovall* Vernon and Marion Alden chair, endowed in perpetuity Tatiana Dimitriades* Thomas Van Dyck* endowed in perpetuity Nancy Bracken* Si-Jing Huang* Stephanie Morris Marryott and Sato Knudsen flutes Franklin J. Marryott chair Victor Romanul* Mischa Nieland chair, endowed Bessie Pappas chair in perpetuity Elizabeth Rowe Aza Raykhtsaum* Principal Catherine and Paul Buttenwieser Wendy Putnam* Mihail Jojatu Walter Piston chair, endowed chair Robert Bradford Newman chair, Sandra and David Bakalar chair in perpetuity endowed in perpetuity Bonnie Bewick* Owen Young* Clint Foreman Mary B. Saltonstall chair, Xin Ding* John F. Cogan, Jr., and Mary L. Myra and Robert Kraft chair, endowed in perpetuity Cornille chair, endowed endowed in perpetuity Glen Cherry* in perpetuity James Cooke* Elizabeth Ostling Kristin and Roger Servison chair Yuncong Zhang* Mickey Katz* Associate Principal Stephen and Dorothy Weber Marian Gray Lewis chair, Catherine French* chair, endowed in perpetuity Donald C. and Ruth Brooks violas endowed in perpetuity Heath chair, endowed Steven Ansell Alexandre Lecarme* in perpetuity Principal Nancy and Richard Lubin chair Charles S. Dana chair, endowed in perpetuity

16 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 bass 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 21 boston symphony orchestra 17

Genius for Any Age: A Performer’s Perspective on Mozart by Gerald Elias

Between now and the end of its 2014-15 season, the Boston Symphony Orchestra plays Mozart’s symphonies 35, “Haffner” (performed last week); the final three, 39, 40, and 41, “Jupiter” (this week, in a single program, with Christoph von Dohnányi conducting), and 36, “Linz” (with Bernard Haitink conducting, in April). Former BSO violinist Gerald Elias offers some thoughts on performing the symphonies of this musical master.

The proverbial question: if you had to spend the rest of your life on a desert island, and had to choose, what music would you take with you? For me, it comes down to two final- ists. Would it be the Mozart piano concertos, with their sublime wind writing, and with some of the great “Mozart pianists” like Emanuel Ax, Alfred Brendel, Alicia De Laroccha, Richard Goode, Murray Perahia, and Radu Lupu? What more could one desire?

Or would it be his symphonies? The more I play them, the more I marvel at Mozart’s insight into every subtlety of human nature, and his uncanny deftness translating it into a musical, Joycian stream of consciousness. Think about the Trio in the Jupiter Symphony, for example. Never mind that it’s a craftily disguised prequel to the finale. In this seem- ingly innocuous bit of music, barely a minute long, we go from flirtatious mischief to abject terror at the drop of a hat, and dreamily float back again to where we started.

With his Symphony No. 29 in A, the pinnacle of early classical style—from 1774, when he was not yet twenty!—Mozart comprehended, like an epiphany, the potential of instrumental music to probe the depths and infinite shades of human sentiments that had hardly been conceived of before him, and have been achieved only rarely since. As Mozart’s later symphonies suggest opera without words, it’s no surprise that among my

Boxwood medallion of Mozart by Leonard Posch, 1788

week 21 a performer’s perspective on mozart 19

Oil painting by Saverio dalla Rosa of Mozart in Vienna, 1770

favorite performances was the one in February 2009 when James Levine conducted the last three symphonies in a single program. One could envisage a discourse between the various stage characters: pompous, braggart, amorous, mischievous, offended, lovelorn, tragic, triumphant. I’ve always felt that the musical vision of the other two giants, Bach and Beethoven, verges on the superhuman, the distant horizon—that regardless of how personal and sublime their music may become, they view humanity on lofty spiritual and heroic planes (the way they—and we—might wish it were). With Mozart, we hear humanity as it really is, in the here and now, with all its foibles—where behind every moment of joy is a tinge of regret, and the darkest tragedy is a consoled by a smile; where weaknesses are forgiven and strengths are appreciated but not adulated.

My introduction to Mozart symphonies was in November 1964, as a twelve-year-old attending a New York Philharmonic Young People’s Concert with Leonard Bernstein. I remember the excitement of going “into the city” from my home on Long Island, and Bernstein’s inimitable genius in explaining complex concepts on an intelligent, intelligible, yet never condescending level to kids. Using the first movement of the Jupiter Symphony as a model, Bernstein told us all about sonata form. What excited me the most, though, was the music itself. Shortly thereafter, the first present I ever bought my father with my own money was an LP of the Jupiter. It was one of those classical series discount deals— the Philharmonic Family Library of Great Music—but the recording didn’t even say who was playing.

While considering what to write in this essay about five of Mozart’s greatest symphonies— numbers 35, 36, and the unsurpassed final trio of Nos. 39, 40, and 41—a few performances in which I took part with the BSO popped into my head immediately. But because the old gray matter ain’t what it used to be and there had been so many concerts span- ning so many decades, I also had a look at the BSO performance histories of each of those works.

week 21 a performer’s perspective on mozart 21

Once I saw the documentation, I said to myself, “Oh, yeah. Now I remember that one,” for many of the performances. Others, I have to confess, I have no recollection of, though I probably played in a lot of them. (I say “probably” because Mozart symphonies typically use reduced string sections to reflect the smaller orchestras that were standard during his lifetime.) Undoubtedly, many of the performances I don’t recall were excellent, and knowing the conductors involved, I can even imagine what they sounded like. So much so that I would have sworn I had played the Haffner with Sir Colin Davis—I can picture his every gesture in my mind’s eye—but it’s nowhere to be found in the BSO performance data! It’s amazing the tricks one’s mind can play; but even though that particular performance never happened, I know what Sir Colin would have done, and it gives me great joy to imagine it. I assure you, it was one of the greatest phantom performances ever. The performance of the Linz with Sir Colin on January 12, 1978, on the other hand, was not a figment of my imagination. His ability to elicit the uniquely Mozartian juxtaposition of humor and nobility, so prominent in the Linz, was second to none.

There’s an old story that a pianist performing with the Cleveland Orchestra once quipped to George Szell the old axiom, “Mozart is so difficult!” To which the maestro, renowned for his lack of subtlety, replied, “Actually, it’s quite simple. You just don’t play very well.” I don’t know if that story is true; I’d like to think it is. Nevertheless, the challenges playing Mozart can hardly be overstated. One must combine a clear, beautiful tone; immaculate intonation; precise, yet flexible rhythm; and on top of all that, communicate the com- pelling, ever-shifting narrative that makes Mozart unique. It’s no wonder that excerpts from Mozart symphonies are on the repertoire list for virtually every symphony orchestra violin audition. If the violins sound especially good in the second and fourth movements of Mozart 39, now you know why. We can play it in our sleep.

Some pundits would have us believe the only one right way to play Mozart is with kid gloves. However, when Klaus Tennstedt conducted Symphony 39 at Tanglewood on July 20, 1979, he declared it to be “the first Romantic symphony.” He didn’t explain whether that was just his personal opinion or whether there was some historical basis for the claim, but he certainly conducted it with that conviction, garnering a luscious tone of Brahmsian opulence from the orchestra, topped off by a rousingly robust finale. Just six months later, on February 7, 1980, Kurt Masur conducted a No. 39 that was Tennstedt’s polar opposite, in which he could justifiably have claimed that it was “the last Classical symphony.” All clarity and light with a more tensile energy, it reflected the Haydnesque template upon which Mozart based it. On numerous occasions when our playing got too ponderous for Masur’s taste, he would gently reprimand us (or sometimes not so gently): “Friends, why so sad?” and implore us to lighten up the texture. Though he might have been stretching the point when he said “Friends, why so sad?” for Grieg’s “Åse’s Death” and the Brahms German Requiem, the sound he was able to elicit from the orchestra was among the most golden of any maestro we’ve worked with. Both Tennstedt’s and Masur’s interpretations were a pleasure to play and to hear.

One particular performance of the Jupiter, with Christoph Eschenbach at Tanglewood on August 7, 1983, stands out in my memory. Without sacrificing energy, he achieved a

week 21 a performer’s perspective on mozart 23 24 Mozart as painted on an ivory medallion, 1773

remarkable degree of transparent clarity so that, for example, every voice of the astonishing counterpoint in the coda of the finale could be heard.

Just a few words about this term, counterpoint: It basically means two or more musical lines moving together simultaneously. In the hands of an expert, they sound independent of each other, but in reality are subject to more rules than the U.S. tax code. Two-part counterpoint is something music students assiduously sweat over. Three-part is considered laudable for composers, four-part lofty. It had been generally accepted that five-part was unachievable.

The coda of the Jupiter is not only five-part, it is a combination of all the finale’s themes that had been laid out consecutively as independent melodies. And the amazing thing is, when you hear everything assembled in the coda, it seems like a piece of cake. It has been said—though I can’t recall by which music theory professor—that the human brain cannot follow more than three lines of music simultaneously. This I believe, because as clear as Eschenbach’s performance was, Mozart’s genius was just too much for me—and still is! Yet it was a revelatory moment, because it dawned on me that this coda was Mozart’s final symphonic statement, the finale of his life’s opera. Though we know next to nothing as to the impetus for his composing the last three symphonies—he had received no commission for them and no performances were planned—it’s safe to say he intended them to be his musical legacy. I think when the thirty-two-year-old genius sat at his desk in the summer of 1788, he had already mentally planned out these three masterpieces, and with his quintessentially Mozartian ease, saved the most dazzling flourish of symphonic writing ever for the very end. He then put his pencil down with the thought, “No one is ever going to beat that.” And no one has.

Mozart symphonies have always held a prominent place in the repertoire of the BSO. On November 4, 1881, in only the third program in its history, the Boston Symphony gave its

week 21 a performer’s perspective on mozart 25 first performance of Mozart’s Symphony No. 40 in G minor, with its music director Georg Henschel on the podium. Born in 1850, Henschel was an equally famous operatic and recital baritone, concert pianist, and conductor, and was a devoted friend and colleague of Brahms, so one can imagine the richness of his Mozart. Since that 1881 concert, the BSO has performed the Symphony No. 40 no fewer than 186 times with thirty-one different conductors!

Think about the hundreds of musicians on stage with those conductors, and how collec- tive wisdom has been passed down from generation to generation. Actually, that’s not quite right, because it’s not as if one generation ends and another begins. It’s a continuum, continuously reinvented. Also, I’m not suggesting that the validity of performances in decades past is in any way diminished because of the evolution of style (except perhaps that today there are literally thousands of musicians performing at a technical level Mozart

week 21 a performer’s perspective on mozart 27 28 and Beethoven would have given their eye teeth to have had at their disposal). Georg Henschel’s No. 40 in 1881 and James Levine’s turbulently brooding No. 40 on February 19, 2009, would be strikingly different, but who’s to say one or the other was better?

It’s also important to note that the first BSO performance of the Symphony No. 40 took place only ninety years after his death. It’s possible someone in the audience at that premiere was alive at the same time as Mozart! It’s also possible, given the BSO’s demo- graphics in those days, that some of those original BSO musicians were only a generation removed from musicians who had played with Mozart: “My teacher played the premiere of Don Giovanni!” So there’s an amazing continuity of what I think of as musical DNA.

Music is always changing, regardless of any attempt to reproduce the “authenticity” of a performance. Composers often reworked their own compositions as circumstances or their own muse dictated. Mozart reorchestrated the G minor symphony even though, as far as we know, he never had a specific occasion for it to be performed.

Further, concert halls and the cultural context of the folks inside them change dramatically: forty musicians playing Beethoven’s Fifth on Classical-era instruments are no longer going to blow you out of your seat. From night to night the performance changes: the oboist might be trying a new reed; the bass player might be stoked by a Red Sox victory. Each conductor has a unique take on Mozart. And isn’t that a wonderful thing? Isn’t one of the reasons we go to a live performance to hear what’s different?

Considering Mozart’s endless struggle to get his music performed, and that his last three masterpieces ended in his desk drawer, I think he would be bubbling over to know that almost 250 years later they are among the most beloved and oft-played works of the symphonic repertoire. Especially considering the frustratingly low quality of orchestra playing in his day, and the lack (and sometimes total absence) of rehearsals before a performance, I can’t help but believe that he would have been quite pleased with today’s performances regardless of the orchestra, or the maestro wielding the baton.

In the end, though, the only essential for a meaningful performance experience is what the listener feels in his soul upon hearing the music. I’m pretty sure Mozart would agree with that, and if that’s what you take away from these BSO performances, then the musicians will have achieved the goal that Mozart, and every other great composer, had intended. gerald elias, former violinist with the Boston Symphony and associate concertmaster of the Utah Symphony, performs with the BSO at Tanglewood and is music director of Vivaldi by Candlelight in Salt Lake City. Elias is also author of the award-winning Daniel Jacobus mystery series set in the dark corners of the classical music world. His essays and short fiction have graced many prestigious publications. For more information, visit geraldelias.com.

week 21 a performer’s perspective on mozart 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

Thursday, March 19, 8pm | the mary w. nelson memorial concert Friday, March 20, 8pm (UnderScore Friday concert, including introductory comments from the stage by BSO principal bass Edwin Barker) Saturday, March 21, 8pm | the sandy moose and eric birch concert

christoph von dohnányi conducting

all-mozart program

symphony no. 39 in e-flat, k.543 Adagio—Allegro Andante con moto Menuetto: Allegretto Finale: Allegro

Mozart’s family as painted in 1780/81 by Johann Nepomuk della Croce: Wolfgang’s sister Nannerl, Wolfgang, and Leopold, with a painting on the wall of Mozart’s mother, who had died in July 1778

30 symphony no. 40 in g minor, k.550 Allegro molto Andante Menuetto: Allegretto Allegro assai

{intermission}

symphony no. 41 in c, k.551, “jupiter” Allegro vivace Andante cantabile Menuetto: Allegretto Molto Allegro

bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

The Thursday and Saturday concerts will end about 10:10, the Friday concert about 10:15. 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 21 program 31 The Program in Brief...

Mozart’s final three symphonies, completed within the span of a few weeks in summer 1788, are rightly held up as a miraculous accomplishment in Western cultural history. It wasn’t simply that Mozart wrote three big pieces in a short span, or that they happen to be rather good: it’s that these three symphonies have come virtually to define for us that central genre in classical music, demonstrating both perfection of compositional craft and dumbfounding variety of expression. We can, and do, point to these works, along with Haydn’s contemporaneous symphonies for Paris and London, to say: “This is what a symphony is.”

Why Mozart came to write these three symphonies has remained a puzzle for historians. It’s unlikely he’d have done so without prospect of performance, yet there’s no indication that such a concert ever took place. In fact, there’s no evidence that he ever heard Nos. 39 and 41 at all. As for the G minor symphony, in 1791—the year of his death—he made some changes to its instrumentation by adding a pair of clarinets, for a concert that April at Vienna’s Burgtheater, which he may well have attended. By 1788 Mozart was in rough financial straits. Following his shift in focus to opera composition in the middle of the decade, prospects for concerts for his own benefit had waned. His operas were only moderately successful, and by the end of the decade he was borrowing money from friends.

Beethoven’s symphonies are often paired opposites; this trio of Mozart symphonies is also a study in contrasts, for all their large-scale similarity in shape (each is in the very typical four-movement form, fast-slow-minuet-fast). The Symphony No. 39 in E-flat is unique among the composer’s symphonies in omitting oboes from its orchestra, and is one of just three Mozart symphonies to have a slow introduction. This ambiguous, brief, sometimes dissonant opening foreshadows the symphony’s overall harmonic adventur- ousness, and arguably anticipates the expressive range of all three works. The loping three-beat meter of the first-movement Allegro is unusual in Mozart, as is the Haydnesque finale, with its exploration of only a single thematic idea.

No. 40, the G minor, is among Mozart’s most readily recognizable works, and with its proto-Romantic mystery and emotional agitation is one of only a few Mozart pieces to remain consistently in the repertoire through many changes in audience taste. Also a consistent favorite of orchestras but for nearly opposite reasons, the Jupiter Symphony, in C major, exemplifies Classical-era clarity and solidity of craft, but also updates learned Baroque counterpoint. Its nickname was not the composer’s but was suggested by an unidentified later listener (possibly the impresario Salomon) marveling at its majestic nobility.

Robert Kirzinger

32 Silverpoint drawing of Mozart by Doris Stock, 1789

The Final Three: Mozart’s Symphonic Summit by Michael Steinberg

There’s a not terribly good old joke about Tchaikovsky to the effect that he wrote three symphonies, but being a bit eccentric he numbered them 4, 5, and 6. As I said, not very good, but you can usually get a bit of a laugh with it at a pre-concert talk. By the same token, you could almost offer a Mozartian variation on this theme, using the numbers 39, 40, and 41. It wouldn’t work quite as well because we do get to hear the Prague (38) and the Linz (36) and the Haffner (35) quite a bit, but as the numbers get lower, the pickings get slimmer. After sixty years of going to orchestra concerts, I would still need no more than the fingers of one hand to count the occasions when, in concert, I have heard a Mozart symphony earlier than No. 25. Of course when we recall that Mozart was twenty- seven when he wrote that impressive piece, and that he was only a few months past his thirty-second birthday when he composed the great final triad, we are jolted into the realization that all his symphonies are in a sense early works. And at thirty-two, Brahms, Bruckner, Elgar, Hindemith, Martin˚u, Sibelius, and Vaughan Williams—among others— had not yet dared their first symphonies.

Of course when those 19th- and 20th-century masters were working, “symphony” signi- fied something quite different from what it was when Mozart began his career, and by the time we get to the 1780s, the decade of the Prague and the Jupiter, his symphonies were considerably different from those with Köchel numbers (from Köchel’s chronologi- cal catalogue of Mozart's works) in two digits or in the one-hundreds. The modern symphony, set on its feet principally by Haydn, Mozart’s senior by twenty-four years, took a remarkable—and prophetic—step forward in the younger composer’s Jupiter where, for the first time, you firmly get the impression that the finale is not just whatever happens to

week 21 program notes 33 come last—which can be miraculous, particularly with Haydn—but is the destination and goal of the entire work. That is the architectural, aesthetic, and emotional assumption behind the idea of “symphony” from Beethoven, who was Mozart’s and Haydn’s immedi- ate heir and successor, on through the 19th-century masters on to Shostakovich, whose work one could well understand as the culmination of this whole grand development.

Listeners learned through the course of the 19th and 20th centuries to think of symphonies as big works, even monumental ones—allowing for the occasional odd exception such as Webern’s Symphony, Opus 21. Now we sometimes forget that the late Haydn and Mozart symphonies, which today seem almost dainty compared to the productions of Bruckner and Mahler, were the big works of their day. Conductors contribute to this bit of historic amnesia whenever they use a Haydn or Mozart symphony as a concert-opener: it is amazing how different an impression one of those symphonies makes when it appears elsewhere on a program, even as a closer.

In the early part of the 18th century, an orchestral piece called symphony—or sinfonia— was likely to be an instrumental movement that was part of a larger vocal work such as an opera or oratorio: the so-called “Pastoral Symphony” in Handel’s Messiah and the orchestral movements with which Bach opened many of his church cantatas are typical examples. Note, by the way, that sinfonia is a four-syllable word with the stress on the “i”—sinfonia, not sinfonia. Then, roughly around the middle of the century, the sinfonia—

week 21 program notes 35

The Mozart memorial in Vienna

sometimes in three movements, sometimes four—began to be emancipated and to exist as a genre in its own right. It was, however, not yet the significant and central form that it became by the end of the century, and the term carried little suggestion of weight or ambition. The very young Mozart was able to learn at home in Salzburg the basics of what symphonies were all about, not least because his own father and first teacher, Leopold Mozart, composed many of them. As the years went by, experience piled up in the form of acquaintance with the growing symphonic repertoire, particularly the works of Johann Christian Bach and Carl Friedrich Abel (both of whom Wolfgang came to know as a very young boy in London), the Mannheim master Johann Stamitz, and probably Joseph Haydn as well.

The very perfection of Mozart’s last three symphonies—No. 39 in E-ﬂat, the great G minor, and the Jupiter—is miraculous, and the more so given how quickly they were composed. No less impressive is their diversity, and the clarity with which, in three quite different directions, they define the possibilities of Mozart’s art. Eric Blom puts it thus: “It is as though the same man had written Shakespeare’s Twelfth Night, Racine’s Phèdre, and Goethe’s Iphigenie within whatever period may be equivalent for the rapid execution of three plays as compared to three symphonies.”

In view of how much Mozart’s compositions are as a rule bound to particular occasions, commissions, or concerts, another wonder is that these symphonies exist at all. They were completed respectively on June 26, July 25, and August 10, 1788. By then Mozart’s public career had begun to go badly. There had been a time when he could report, as he did in a letter to his father on March 3, 1784, that he had had twenty-two concerts in thirty-eight days: “I don’t think that in this way I can possibly get out of practice.” A few

week 21 program notes 37 weeks later he wrote that for his own series of concerts he had a bigger subscription list than two other performers put together.

Not many years later all this had changed. Figaro, new in 1786, was popular in Vienna, but not more so than other operas by lesser composers, and certainly not sufficiently to buoy up Mozart’s fortunes for long. Don Giovanni, first given in Vienna on May 7, 1788, failed to repeat the enormous success it had enjoyed in Prague, and the performance on December 15 of that year was the last one in the capital in the composer’s lifetime. By then, Mozart was in catastrophic financial straits. In June 1788 he wrote the first of the agonizing letters in which he entreated his brother Mason, Michael Puchberg, for help. He mentions a series of concerts about to begin at the Casino “next week” and encloses a pair of tickets. There is no evidence in newspapers or anywhere else that these concerts ever took place: this time, perhaps, the subscribers were too few. Nor did Mozart give other concerts of his own in Vienna after that.

It seems reasonable to connect Mozart’s last three symphonies with the projected Casino concerts. Little is known about their early history. Orchestra parts for them were printed by Johann André in Offenbach, Hesse, two years after Mozart’s death, but various libraries have also yielded manuscript copies, some of which certainly date to the composer’s lifetime. The G minor symphony was played in its revised version with added clarinets in April 1791, but whether Mozart ever heard the Jupiter or the E-ﬂat we do not know.

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

week 21 program notes 39

Wolfgang Amadè Mozart Symphony No. 39 in E-flat, K.543 Symphony No. 40 in G minor, K.550 Symphony No. 41 in C, K.551, “Jupiter”

JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART, who began calling himself Wolfgango Amadeo around 1770 during his first trip to Italy and switched to Wolfgang Amadè in 1777, but who never used Amadeus except in jest, was born in Salzburg, Austria, on January 27, 1756, and died in Vienna on December 5, 1791. He completed all of his three last symphonies in the summer of 1788, perhaps for a series of subscription concerts that seem not to have taken place. The Symphony No. 39 is dated June 26, 1788; Mozart entered No. 40 into his own catalogue on July 25; and the “Jupiter” was completed on August 10. Nothing is known about the early performance history of No. 39 or the “Jupiter.” The date given for No. 40 refers to Mozart’s original version; the version of Symphony No. 40 most frequently heard, which adds a pair of clarinets, was probably made for concerts in Vienna on April 16 and 17, 1791, conducted by Antonio Salieri (most apt to be remembered today, ironically, for the libel that he poisoned Mozart).

SYMPHONY NO. 39 calls for one flute, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings.

SYMPHONY NO. 40 calls for one flute, two oboes, two clarinets (though not, as noted above, in the original version), two bassoons, two horns, and strings. It is the version with clarinets that will be played in these concerts.

SYMPHONY NO. 41 calls for one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

symphony no. 39 in e-ﬂat, k.543 Mozart entered the opening measures of the Symphony No. 39 into his thematic catalogue on June 26, 1788; on the same day he entered “a little march,” the famous C major piano sonata “for beginners,” and an adagio introduction for string quartet to precede the C minor fugue that he had already composed. The last entry before June 26 in the

Unfinished portrait of Mozart (1782/83) by his brother-in-law Joseph Lange

week 21 program notes 41 Program page from the first Boston Symphony performance of Mozart's Symphony No. 39 on January 26, 1884, with Georg Henschel conducting (BSO Archives)

42 thematic catalogue is that of a piano trio in E major (K.542) noted on June 22. It seems hardly likely that even Mozart composed an entire large symphony plus other tidbits in just four days. More likely, all the works had been in progress for some time and were simply ﬁnished more or less together.

Clarinets were relatively new in the symphony orchestra (although long since a standard component of Mozart’s opera orchestra), and it was by no means a foregone conclusion that they would be included. Mozart’s conscious choice of clarinets instead of oboes produces a gentler woodwind sonority especially appropriate to the rather autumnal lyricism of the Symphony No. 39.

The first movement opens with a stately slow introduction with dotted rhythms provid- ing a nervous background for scale figures (which recur in the body of the movement), culminating in a grindingly dissonant appoggiatura. Just as we seem about to settle onto the dominant, ready to begin the Allegro, the activity decelerates and we are confronted with a stark, hushed chromatic figure recalling some of the “uncanny” moments in Don Giovanni. The melodic line of the introduction only comes to a close in the opening phrase of the smiling Allegro theme in the violins (with echoes in horns and bassoons), a calm pastoral scene following the tension of the preceding passage. The development section is one of the shortest in any Mozart symphony, never moving far afield harmonically. Following a passage on the nearby key of A-flat, a vigorous modulation seems to be leading to C minor, but at the last moment a wonderful woodwind extension brings it around to the home key and ushers in the recapitulation.

The slow movement, in A-flat, opens with deceptive simplicity; it is, in fact, a richly detailed movement, with progressive elaborations of the material throughout. Among these delicious moments are the woodwind additions to the main material in the strings at the recapitulation of the opening theme. The main theme ends with a momentary turn to the minor just before the cadence; at the corresponding point in the recapitulation,

week 21 program notes 43

A ticket for a Mozart-Akademie, a concert self-produced by the composer for his own financial benefit

this generates a surprising but completely logical passage in C-ﬂat minor (written, however, as B minor) before the imitative woodwind theme returns in the tonic. The hearty minuet provides a strong contrast to the delicacies of the Andante; its Trio features a clarinet solo with little echoes from the ﬂute.

The ﬁnale is often called the most Haydnesque movement Mozart ever wrote, largely because it is nearly monothematic. The principal theme, beginning with a group of scurrying sixteenth-notes followed by a hiccup, produces a series of motives that carry the bulk of the discourse. The scurrying turn reappears alone or in combinations, turning to unexpected keys after a sudden silence; the “hiccup” often comes as a separate response from the woodwinds to the rushing ﬁgure in the strings.

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

symphony no. 40 in g minor, k.550 Mozart reinforced the striking differences in mood within his last three symphonies— from mellow lyricism to darkly tragic grace to festive formality—with simple but signiﬁ- cant differences in the instrumentation of the three pieces. In Symphony No. 39 he employed clarinets instead of oboes, whereas in No. 40 he preferred the sharper “bite” of the oboes but completely omitted trumpets and timpani, since their heroic gestures could play no role in so dark a work. Then in No. 41 he returned to the normal comple- ment of brass, as in No. 39, while again including oboes rather than clarinets.

Following the summer of 1788, Mozart gave no more “academies” (as concerts were called). In fact, he almost totally gave up taking part in the concert life of Vienna; only once more did he have occasion to write another concert piece for himself, the B-flat

week 21 program notes 45 Program page from the first Boston Symphony performance of Mozart's Symphony No. 40 on November 5, 1881, during the BSO's inaugural season, with Georg Henschel conducting (BSO Archives)

46 piano concerto, K.595, which he played in 1791. But his last symphonies, along with those of Haydn, highlight a miraculous decade of accomplishment between 1785 and 1795. Among the works that appeared in this period are Haydn’s six Paris symphonies (Nos. 82-87; 1785-86), Mozart’s Prague Symphony (1786), the two symphonies Haydn wrote for Johann Tost (Nos. 88-89; 1788), Mozart’s last three symphonies (1788), Haydn’s symphonies for Count d’Ogny (Nos. 90-92; 1788-89), and the twelve that Haydn wrote for London (Nos. 93-104; 1791-95). After 1795, Haydn, too, left off composing symphonies, and the monument that was the Viennese classical symphony was fully established.

After ﬁnishing the E-ﬂat symphony, K.543, on June 26, Mozart composed a few small pieces early in July: a little violin sonata in F “for beginners,” K.547, on July 10; a trio in C for piano, violin, and cello, K.548, on the 14th, and a vocal trio to an Italian text, K.549, on the 16th. But the main composition of the month, completed on the 25th, was the symphony destined to become Mozart’s most famous, the G minor (called this despite

week 21 program notes 47 the fact that he had written an earlier symphony in this key more than a decade before).

The unrelieved “minorness” of the symphony, without even so much as a major-key coda at the very end, gives it a feeling of passionate violence that recommended the work to early 20th-century audiences, when so many of Mozart’s compositions were considered mere decorative playthings. But tastes and perceptions change. Astonishing as it may be to us, Robert Schumann failed to ﬁnd any pathos in this symphony. The extravagant Romantic heights from which he viewed Mozart’s work had the effect of foreshortening the peaks and valleys of the earlier composer’s expression, with the result that Schumann was able to perceive only grace and charm. In any case, minor keys were a serious business to Mozart, and when he chose to end the work still in the minor, that was the most serious of all.

The slow movement is in the related major key of E-flat, but passing chromatic figures and a surprising turn of modulation show that it comes from the same expressive world as the first movement. The minuet, in G minor, is much too severe a piece to suggest dancing at all, but the Trio, in G major, provides a brief welcome respite. In the finale, Mozart avoids the complexities of phrasing that were characteristic of the opening movement since he wants to bring the work to a stable conclusion, even though he intends to remain steadfastly in the minor, which, to 18th-century ears, was less final than the major. But the balance in the phrase articulation brings effective closure to this symphony that ranks as richest in pathos of all forty-one, and to some minds richest of all Mozart’s works in any medium.

Steven Ledbetter symphony no. 41 in c, k.551, “jupiter” A word, ﬁrst, about the symphony’s name. It is not Mozart’s, but it is old and perhaps the brainchild of Johann Peter Salomon, the German-born violinist and impresario most

week 21 program notes 49 Program page from the first Boston Symphony performance of Mozart’s “Jupiter” Symphony on February 7, 1885, with Wilhelm Gericke conducting (BSO Archives)

50 A 1777 portrait of Mozart wearing the Papal Order of the Golden Spur, presented to him in 1770 in Rome by the Pope

famous for having twice enticed Haydn to London. At any rate, in 1829, thirty-eight years after Mozart’s death and fourteen after Salomon’s, the English composer, organist, and publisher Vincent Novello and his wife Mary visited the Continent and spent a few summer days in Salzburg with Mozart’s widow and son. The Novellos kept separate journals, and in Vincent’s, on August 7, 1829, we may read the following: “Mozart’s son said he considered the Finale to his father’s Sinfonia in C—which Salomon christened the Jupiter—to be the highest triumph of Instrumental Composition, and I agree with him.”

In terms of Eric Blom’s literary comparison (see page 37), the Jupiter is Iphigenie: noble, at once subtle and grand, “classical.” The fences so recklessly torn down in the G minor Phèdre are restored. The opening gestures, with their orderly contrasts and symmetries, are more formal, indeed more formulaic, than anything else in the last three symphonies. But whatever Mozart touches becomes personal utterance. After an impressive drawing up to a halt, the opening music reappears, but what was assertive before is now quiet and enriched by softly radiant commentary from the flute and the oboe. Another cadence of extreme formality, and a new theme appears. This, too, being full of gentle, unobtrusive complexities, is not so innocent as at ﬁrst it seems.

When he comes to his Andante—the strings are muted now—Mozart becomes more overtly personal, writing music saturated in pathos and offering one rhythmic surprise after another. The coda, which adds miracles at a point when we can hardly believe more miracles are possible, was an afterthought appended by Mozart on an extra leaf. The minuet, aside from having the proper meter and speed, is not particularly minuet-like. It is fascinating what a wide-ranging category “minuet” is for Mozart. The Jupiter minuet is wonderful in a quiet way: here is music that constantly blossoms into richesses Mozart carefully leads us not to expect. The Trio is, for the most part, an enchanting dialogue of ever so slightly coquettish strings and winds so soberly reticent that they seem able to do no more than make little cadences. There is one forte outburst lasting just a few sec-

week 21 program notes 51 onds: here the orchestra sounds a new and brief phrase of striking proﬁle. It demands attention, and, although just then it seems to pass without consequence, we shall soon discover why.

That happens the moment the finale begins. Here Mozart picks up the four-note idea that had made such a startlingly forceful appearance in the Trio of the third movement. When first we heard it, it was on an odd harmonic slant; now it is set firmly in C major. This idea is in fact part of the common stock of the 18th-century vocabulary; Mozart himself had used it before on several occasions—in Masses, in the Symphony No. 33 in B-flat, in the great E-flat sonata for piano and violin, K.481—and as he is quick to remind us, it lends itself to contrapuntal elaboration. The music moves at a tempo swifter than any we have yet heard in this symphony. All the themes in this finale are short: they are material to work with more than objects presented for the sake of their intrinsic charm, and Mozart whirls them by us with a fierce energy that is rooted in his dazzling polyphony. Especially when the development gets going, the expressive intensity generated by that energy is exhilarating, shocking, uplifting all at once.

Six years earlier, Mozart had come to know the music of J.S. Bach. Having begun by tran- scribing and imitating, Mozart has now achieved a complete and easy integration of Baroque polyphony with the galant language that was his most direct inheritance, which he had learned at the knee of Sebastian Bach’s youngest son, Johann Christian. In his exuberantly energetic coda, Mozart unfurls a dazzling glory of polyphony to cap, in one of music’s truly sublime pages, a movement that is one of the most splendid manifesta- tions of that rich gathering-in we call the classical style.

Michael Steinberg

Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance ononHuntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

52 symphony no. 39 had its American premiere on January 9, 1847, with Henry C. Timm conducting the Philharmonic Society of New York. The symphony reached Boston five years later, in a performance by the Germania Musical Society under Carl Bergmann on February 7, 1852, at the Melodeon. symphony no. 40 had its American premiere on April 25, 1846, also with Henry C. Timm conducting the Philharmonic Society of New York. Using a manuscript copy of the score, George J. Webb led the Musical Fund Society in the first Boston performance on December 21, 1850, at the Tremont Temple. symphony no. 41 was given its American premiere by Henry Schmidt with the Academy of Music on January 7, 1843, in Boston, at the Odeon. the first boston symphony performance of the symphony no. 39 was given by Georg Henschel on January 26, 1884, subsequent BSO performances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Max Fiedler, Karl Muck, Ernst Schmidt, Pierre Monteux, Michael Press (who led the third and fourth movements in “Young People’s Concerts” in 1926), Richard Burgin (who did likewise in 1928 but had a chance to lead the whole thing much later, in 1960), Serge Koussevitzky, Victor de Sabata, Charles Munch, Erich Leinsdorf, Adrian Boult, Colin Davis, Stanislaw Skrowaczewski, Eduardo Mata, Klaus Tennstedt, Kurt Masur, André Previn, James Conlon, Peter Oundjian, Sir Neville Marriner, Rafael Frühbeck de Burgos, Sir Andrew Davis, and James Levine (the most recent subscription performances, in February 2009, and the most recent Tanglewood performance, on July 19, 2009, when he on both occasions led Mozart's last three symphonies in a single program). the first boston symphony performance of the symphony no. 40 was given by Georg Henschel on November 5, 1881, early in the BSO’s first season, subsequent performances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Alfredo Casella, Bruno Walter, Charles Munch, Ernest Ansermet, Erich Leinsdorf, Leonard Bernstein, William Steinberg, Joseph Silverstein, Seiji Ozawa, Neville Marriner, Kurt Masur, Christoph Eschenbach, Edo de Waart, Jesús López-Cobos, Peter Maxwell Davies, André Previn, Bernard Haitink, James Conlon, Daniele Gatti, and James Levine (the most recent subscription performances, in February 2009, and the most recent Tanglewood performance, on July 19, 2009, when he on both occasions led Mozart's last three symphonies in a single program). the first boston symphony performance of the symphony no. 41 was given by Wilhelm Gericke on February 7, 1885, subsequent performances being given by Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Vladimir Golschmann, Charles Munch, Ernest Ansermet, Erich Leinsdorf, Jerzy Semkow, Jorge Mester, Bruno Maderna, Eugen Jochum, Seiji Ozawa, Roger Norrington, Hans Graf, Robert Spano, James DePreist, David Robertson, Christof Perick, Christoph von Dohnányi, James Levine, Bernard Labadie, Christoph Eschenbach (the most recent subscription performances, in March 2013), and Edo de Waart (the most recent Tanglewood performance, on July 26, 2013).

week 21 program notes 53

To Read and Hear More...

The important modern biography of Mozart is Maynard Solomon’s Mozart: A Life (Harper- Perennial paperback). Peter Gay’s wonderfully readable Mozart is a concise, straightforward introduction to the composer’s life, reputation, and artistry (Penguin paperback). John Rosselli’s The life of Mozart is one of the compact composer biographies in the series “Musical Lives” (Cambridge paperback). For deeper delving, there are Stanley Sadie’s Mozart: The Early Years, 1756-1781 (Oxford); Volkmar Braunbehrens’s Mozart in Vienna, 1781-1791, which provides a full picture of the composer’s final decade (HarperPerennial paperback); Julian Rushton’s Mozart: His Life and Work, in the “Master Musicians” series (Oxford), and Robert Gutman’s Mozart: A Cultural Biography (Harcourt Brace Jovanovich/ Harvest paperback). Peter Clive’s Mozart and his Circle: A Biographical Dictionary is a handy reference work with entries on virtually anyone you can think of who figured in Mozart’s

week 21 read and hear more 55 life (Yale University Press). Neal Zaslaw’s Mozart’s Symphonies: Context, Performance Practice, Reception provides a detailed survey of Mozart’s works in the genre (Oxford paperback). The Mozart Compendium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon, includes an entry by Cliff Eisen on the symphonies (Schirmer). A Guide to the Symphony, edited by Robert Layton, includes a chapter by H.C. Robbins Landon on “The Symphonies of Mozart” (Oxford paperback). Alfred Einstein’s Mozart: The Man, the Music is a classic older study (Oxford paperback). Michael Steinberg’s program notes on Mozart’s last three symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s essays on Mozart’s last three symphonies are among his Essays in Musical Analysis. (Oxford).

The Boston Symphony Orchestra has issued recordings of Mozart’s symphonies 39 and 41, Jupiter, with James Levine conducting (BSO Classics, taken from live performances of February 2009). Earlier BSO recordings of Mozart’s last three symphonies included No. 39 under Serge Koussevitzky in 1945 and under Erich Leinsdorf in 1969 (both for RCA), and the Jupiter led by Leinsdorf in 1963 (RCA) and Eugen Jochum in 1973 (Deutsche Grammophon). Christoph von Dohnányi recorded Mozart’s last three symphonies with the Cleveland Orchestra (Decca). James Levine recorded all of Mozart’s symphonies with the Vienna Philharmonic between 1981 and 1989 (Deutsche Grammophon), though his live performance of No. 39 with the Munich Philharmonic from 2000 (Oehms Classics), and his recordings with the Chicago Symphony Orchestra of No. 40 and the Jupiter, from 1981 (RCA), are easier to come by. Other noteworthy recordings of symphonies 39, 40, and 41 include George Szell’s with the Cleveland Orchestra (Sony) and Colin Davis’s with the Dresden Staatskapelle (RCA). Sir Charles Mackerras’s excellent complete traversal of the Mozart symphonies with the Prague Chamber Orchestra is available at bargain- basement price (Telarc, ten discs). The very many choices for the individual symphonies also include recordings led by Daniel Barenboim, Benjamin Britten, Hans Graf, Nikolaus Harnoncourt, Neville Marriner, Donald Runnicles, and Günther Wand, to name just a handful of the many conductors represented in the catalogue, as well as historic recordings led by Wilhelm Furtwängler, Arturo Toscanini, and Bruno Walter.

Marc Mandel

week 21 read and hear more 57

Guest Artist

Christoph von Dohnányi

Christoph von Dohnányi is recognized as one of the world’s preeminent orchestral and opera conductors. He started his career as assistant to Sir Georg Solti in Frankfurt and, after four years, became the youngest general music director in Germany, in Lübeck in 1957. Besides guest engagements with the major opera houses and orchestras of Europe and North America, his appointments have included opera directorships in Frankfurt and Hamburg, principal orchestral conducting posts in Germany, London, and Paris, and his leg- endary twenty-year tenure as music director of the Cleveland Orchestra, which in 2002 named him its first Music Director Laureate. In 2014-15 he conducts the Israel Philhar- monic, the La Scala Orchestra in Milan, the Gewandhaus Orchestra in Leipzig, the Zurich Tonhalle, and the Orchestre de Paris. In this country he leads a two-week Dvoˇrák Festival with the New York Philharmonic and two subscription weeks with the Boston Symphony Orchestra. Last season he led the BSO’s all-Brahms opening concert and the first subscription week featuring Mahler’s Symphony No. 2, returning later for a complete Beethoven piano concerto cycle with Yefim Bronfman. The season also included subscription weeks with the Cleveland Orchestra, Philadelphia Orchestra, New York Philharmonic, and Chicago Symphony, and a pair of gala concerts with the San Diego Symphony, honoring a promise to Jahja Ling, his former conductor-in-residence in Cleveland and current music director in San Diego. Since ending his tenure in Cleveland, Christoph von Dohnányi has been a regular guest conductor with the Boston Symphony, New York Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony, Chicago Symphony, and Los Angeles Philharmonic, as well as the Cleveland Orchestra. Herbert von Karajan invited him regularly to lead the

week 21 guest artist 59

Berlin Philharmonic. He and the Philharmonia Orchestra, of which he is Honorary Conductor for Life, have performed in Europe’s musical centers and for several seasons were in residence at the Théâtre du Châtelet in Paris. In summer seasons, he is a frequent guest at Tanglewood, leading concerts with the Boston Symphony Orchestra including, among many others, the opening concert of Tanglewood’s 75th Anniversary Season. He conducted the Tanglewood Music Center’s 2010 production of Ariadne auf Naxos and in 2013 a performance with the Tanglewood Music Center Orchestra of Mahler’s Symphony No. 1. He also conducts frequently at the world’s great opera houses, including Covent Garden, La Scala, the Vienna State Opera, Berlin, and Paris, and has been a frequent guest with the Vienna Philharmonic at the Salzburg Festival. With Zurich Opera he has led works by Strauss, Stravinsky, Bartók, Mozart, Verdi, Berg, Schoenberg, and Wagner. In this country he has been a guest conductor at the Metropolitan Opera, San Francisco Opera, and Lyric Opera of Chicago. He has made many critically acclaimed recordings with both the Cleveland Orchestra and the Vienna Philharmonic. With Vienna he recorded a variety of symphonic works and a number of operas. His large and varied Cleveland Orchestra discography includes, among many other things, Wagner’s Die Walküre and Das Rheingold, the complete symphonies of Beethoven, Brahms, and Schumann, and a commemorative box set celebrating his twenty years there. An alumnus of the Tanglewood Music Center, Christoph von Dohnányi made his BSO subscription series debut in February 1989 and has been a frequent guest with the orchestra at Symphony Hall and Tanglewood since his BSO subscription concerts of November 2002.

week 21 guest artist 61 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 Alli and Bill Achtmeyer • Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • 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 • Gabriella and Leo Beranek • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (2)

62 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • 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 ‡ • Bob and Happy Doran • 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 • 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 • 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 • 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 • 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 21 the great benefactors 63

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 • Anna Le Tiec, Assistant to the Artistic Administrator • 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 • Nick Squire, Recording Engineer 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 • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 21 administration 65 66 development

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 Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Nadine Biss, Assistant Manager, Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Thomas Linehan, Beranek Room Host • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Amanda Roosevelt, Assistant Manager, Planned Giving • Alexandria Sieja, Manager, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement 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, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician 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 21 administration 67 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

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 • Karen Cubides, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager, Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • 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 • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box ofﬁce Jason Lyon, Manager • Nicholas Vincent, Assistant Manager box ofﬁce representatives Jane Esterquest • Arthur Ryan event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration 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 21 administration 69

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood/Chair-Elect, 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, Matthew Hott

week 21 administration 71 Next Program…

Thursday, March 26, 8pm Friday, March 27, 1:30pm Saturday, March 28, 8pm Tuesday, March 31, 8pm

andris nelsons conducting

gandolfi “ascending light,” for organ and orchestra (world premiere; bso commission) I. Vis Vitalis— II. Lullaby of Tigranakert/Variations—Reverie— Avarot lousaber (Ascending light) olivier latry, organ

{intermission}

mahler symphony no. 6 Allegro energico, ma non troppo Scherzo (Wuchtig) [Weighty] Andante moderato Finale. Allegro moderato

Music Director Andris Nelsons returns for the final three of his ten enormously wide-ranging 2014-15 programs. Here he conducts the BSO’s second world premiere of the season, a concerto written by Boston-based composer Michael Gandolfi for Symphony Hall’s remarkable, recently restored Aeolian-Skinner organ. Gandolfi’s dynamic, pattern-infused, colorful works include the earlier BSO commissions The Garden of Cosmic Speculation (premiered by the Tanglewood Music Center Orchestra) and Night Train to Perugia (premiered by the BSO in 2012). Gandolfi’s new work shares a program with Gustav Mahler’s powerful Symphony No. 6, arguably Mahler’s most heart- felt symphonic statement—his wife Alma called it “the most completely personal of his works.”

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.

72 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.

Thursday ‘A’ March 26, 8-10:20 Thursday ‘D” April 9, 8-10 Friday ‘B’ March 27, 1:30-3:50 UnderScore Friday April 10, 8-10:10 Saturday ‘B’ March 28, 8-10:20 (includes comments from the stage) Tuesday ‘B’ March 31, 8-10:20 Saturday ‘A’ April 11, 8-10 ANDRISNELSONS, conductor Tuesday ‘C’ April 14, 8-10 OLIVIER LATRY, organ ANDRISNELSONS, conductor RICHARDGOODE GANDOLFI Ascending Light for organ and , piano orchestra (world premiere; SCHULLER Dreamscape BSO commission) MOZART Piano Concerto No. 27 MAHLER Symphony No. 6 in B-flat, K.595 STRAUSS Ein Heldenleben

Thursday, April 2, 10:30am (Open Rehearsal) Thursday April 2, 8-10:20 Thursday ‘A’ April 23, 8-10:15 (non-subscription) Friday ‘B’ April 24, 1:30-3:45 Friday ‘A’ April 3, 1:30-3:50 Saturday ‘A’ April 25, 8-10:15 Saturday ‘B’ April 4, 8-10:20 Tuesday ‘B’ April 28, 8-10:15 ANDRISNELSONS, conductor BERNARDHAITINK, conductor CHRISTIANTETZLAFF, violin JEAN-YVESTHIBAUDET, piano SHOSTAKOVICH Passacaglia from the opera RAVEL Mother Goose (complete) Lady Macbeth of Mtsensk RAVEL Piano Concerto in G BEETHOVEN Violin Concerto ADÈS Three Studies from Couperin SHOSTAKOVICH Symphony No. 10 MOZART Symphony No. 36, Linz

Sunday, April 26, 3pm Jordan Hall, New England Conservatory BOSTONSYMPHONYCHAMBERPLAYERS with JEAN-YVESTHIBAUDET, piano FRANÇAIX Dixtuor, for wind quintet and string quintet POULENC Sextet for piano and winds FAURÉ Piano Quartet No. 1 in C minor, Op. 15

Programs and artists subject to change.

week 21 coming concerts 73 Symphony Hall Exit PlanPlanSymphony

74 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 information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for 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 available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building.

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 21 symphony hall information 75 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. 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 concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 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 information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open 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.