2004-2005 SEASON

BOSTON SYM PHONY ORCHESTRA

ES LEVI N E

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JAMES LEVINE MUSIC DIRECTOR

BERNARD HAITINK CONDUCTOR EMERITUS

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Trustees of the Boston Symphony Orchestra, Inc. Peter A. Brooke, Chairman

John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Nina L. Doggett, Vice-Chairman Roger T. Servison, Vice-Chairman Edward Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer

Harlan E. Anderson Eric D. Collins Edmund Kelly Edward I. Rudman George D. Behrakis Diddy Cullinane, George Krupp Hannah H. Schneider Gabriella Beranek ex-officio R. Willis Leith, Jr. Thomas G. Sternberg Mark G. Borden William R. Elfers Nathan R. Miller Stephen R. Weber Jan Brett Nancy J. Fitzpatrick Richard P. Morse Stephen R. Weiner Samuel B. Bruskin Charles K. Gifford Donna Riccardi, Robert C. Winters Paul Buttenwieser Thelma E. Goldberg ex-officio James F. Cleary

Life Trustees Vernon R. Alden Julian Cohen Edna S. Kalman Peter C. Read

David B. Arnold, Jr. Abram T. Collier George H. Kidder Richard A. Smith

J. P. Barger Mrs. Edith L. Dabney Harvey Chet Krentzman Ray Stata

Leo L. Beranek Nelson J. Darling, Jr. Mrs. August R. Meyer John Hoyt Stookey Deborah Davis Berman Mrs. John H. Fitzpatrick Mrs. Robert B. Newman John L. Thorndike

Jane C. Bradley Dean W. Freed William J. Poorvu Dr. Nicholas T. Zervas

Helene R. Cahners Avram J. Goldberg Irving W Rabb Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc. Diddy Cullinane, Chair

Helaine B. Allen George M. Elvin Robert J. Lepofsky Carol Reich

Joel B. Alvord John P. Eustis II Christopher J. Lindop Alan Rottenberg Marjorie Arons-Barron Pamela D. Everhart Shari Loessberg Joseph D. Roxe Diane M. Austin Judith Moss Feingold Edwin N. London Michael Ruettgers Lucille M. Batal Lawrence K. Fish Jay Marks Kenan Sahin

Maureen Scannell Myrna H. Freedman Jeffrey E. Marshall Arthur I. Segel Bateman Dr. Arthur Gelb Carmine Martignetti Ross E. Sherbrooke Milton Benjamin Stephanie Gertz Joseph B. Martin, M.D. Gilda Slifka

George W Berry Jack Gill Robert J. Mayer, M.D. Christopher Smallhorn James L. Bildner Robert P. Gittens Thomas McCann Charles A. Stakeley Bradley Bloom Paula Groves Joseph C. McNay Jacquelynne M. Alan Bressler Michael Halperson Albert Merck Stepanian

Michelle Courton Brown Ellen T Harris Dr. Martin C. Mihm, Jr. Patricia L. Tambone William Burgin Virginia S. Harris Robert Mnookin Wilmer Thomas Rena F Clark Deborah M. Hauser Paul M. Montrone Samuel Thorne

Carol Feinberg Cohen Carol Henderson Robert J. Morrissey Diana Osgood Mrs. James C. Collias Richard Higginbotham Robert T. O'Connell Tottenham Charles L. Cooney Phyllis S. Hubbard Norio Ohga Loet A. Velmans Ranny Cooper Roger Hunt Louis F. Orsatti Paul M. Verrochi Martha H.W William W Hunt Joseph Patton Matthew Walker Crowninshield Ernest Jacquet Ann M. Philbin Larry Weber Cynthia Curme Charles H. Jenkins, Jr. May H. Pierce Robert S. Weil James C. Curvey Michael Joyce Joyce L. Plotkin David C. Weinstein Tamara P. Davis Martin S. Kaplan Dr. John Thomas James Westra Mrs. Miguel de Stephen Kay Potts, Jr. Mrs. Joan D. Wheeler Braganga Cleve L. Killingsworth Dr. Tina Young Reginald H. White Disque Deane Douglas A. Kingsley Poussaint Richard Wurtman, M.D. Betsy P. Demirjian Robert Kleinberg Millard H. Pryor, Jr. Dr. Michael Zinner

Paul F. Deninger Dr. Arthur R. Kravitz Patrick J. Purcell D. Brooks Zug Alan Dynner Overseers Emeriti

Caroline Dwight Bain Mrs. James Garivaltis Mrs. Gordon F. Robert E. Remis Sandra Bakalar Mrs. Kenneth J. Kingsley Mrs. Peter van S. Rice William M. Bulger Germeshausen David I. Kosowsky John Ex Rodgers Mrs. Levin H. Campbell Jordan Golding Robert K. Kraft Mrs. Jerome Rosenfeld Earle M. Chiles Mark R. Goldweitz Benjamin H. Lacy Roger A. Saunders Joan P. Curhan Mrs. Haskell R. Mrs. William D. Larkin Lynda Anne Schubert Phyllis Curtin Gordon Hart D. Leavitt Mrs. Carl Shapiro JoAnne Walton Susan D. Hall Frederick H. L. Scott Singleton Dickinson John Hamill Lovejoy, Jr. Mrs. Micho Spring

Phyllis Dohanian Mrs. Richard D. Hill Diane H. Lupean Mrs. Arthur I. Strang Goetz B. Eaton Glen H. Hiner Mrs. Charles P. Lyman Robert A. Wells Harriett Eckstein Marilyn Brachman Mrs. Harry L. Marks Mrs. Thomas H.P Edward Eskandarian Hoffman C. Charles Marran Whitney

J. Richard Fennell Lola Jaffe Barbara Maze Margaret Williams- Peter H.B. H. Eugene Jones Hanae Mori DeCelles Frelinghuysen Mrs. S. Charles Kasdon Mrs. Hiroshi H. Nishino Mrs. Donald B. Wilson

Mrs. Thomas Richard L. Kaye John A. Perkins Mrs. John J. Wilson Galligan, Jr. Daphne Brooks Prout

Officers of the Boston Symphony Association of Volunteers Donna Riccardi, President Ursula Ehret-Dichter, Executive Vice-President/ Ann M. Philbin, President-Elect Tanglewood Olga Turcotte, Executive Vice-President/ Patricia A. Kavanagh, Secretary Administration William A. Along, Treasurer Linda M. Sperandio, Executive Vice-President/ Judy Barr, Nominating Chair Fundraising

William S. Ballen, Tanglewood Audley H. Fuller, Membership Lisa A. Mafrici, Public Relations Melinda Brown, Resource Lillian Katz, Hall Services Leah Weisse, Symphony Shop Development James M. Labraico, Special Staffing Jerry Dreher, Education and Projects Outreach

Table of Contents

BSO News 5 On Display at Symphony Hall 7 New to the BSO 11 BSO Music Director James Levine 15 The Boston Symphony Orchestra 18 This Week's Boston Symphony Orchestra Program 21 From the Music Director 22 Notes on the Program 23 Future Programs 68 Symphony Hall Exit Plan 70 Symphony Hall Information 71

This week's Pre-Concert Talks are given by BSO Director of Program Publications Marc Mandel and BSO Publications Associate Robert Kirzinger.

Program copyright ©2005 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston Cover photograph by Michael Lutch Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity Tony Beadle, Manager, Boston Pops Peter Minichiello, Director of Development Anthony Fogg, Artistic Administrator Kim Noltemy, Director of Sales and Marketing Marion Gardner-Saxe, Director of Human Resources Caroline Taylor, Senior Advisor to the Ellen Highstein, Director of Tanglewood Music Center Managing Director Thomas D. May, Chief Financial Officer Ray F. Wellbaum, Orchestra Manager ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Archivist-Position endowed by Caroline Dwight Bain • Karen Leopardi, Artist Assistant • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander Steinbeis, Assistant Artistic Administrator ADMINISTRATIVE STAFF/PRODUCTION Christopher W. Ruigomez, Operations Manager Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coordinator • Jake Moerschel, Stage Technician • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Anna Stowe, Assistant Chorus Manager • Timothy Tsukamoto, Orchestra Personnel Coordinator

BOSTON POPS Dennis Alves, Director of Artistic Programming Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Julie Knippa, Administration Coordinator • Margo Saulnier, Artistic Coordinator

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, Staff Accountant • Michelle Green, Executive Assistant to the Chief Financial Officer • Minnie Kwon, Payroll Assistant • Y. Georges Minyayluk, Senior Investment Accountant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Andrew Swartz, Budget Assistant • Teresa Wang, Staff Accountant DEVELOPMENT Rebecca R. Crawford, Director of Development Communications Sally Dale, Director of Stewardship and Development Administration Alexandra Fuchs, Director ofAnnual Funds Jo Frances Kaplan, Director of Institutional Giving Robert Meya, Acting Director of Major and Planned Giving Mia Schultz, Director of Development Operations

Rachel Arthur, Major and Planned Giving Coordinator • Maureen Barry, Executive Assistant to the Director of Development • Claire Carr, Administrative Assistant, Corporate Programs • Diane Cataudella, Associ- ate Director of Stewardship • Amy Concannon, Annual Fund Committee Coordinator • Joanna N. Drake, Assistant Manager, Annual Fund Events • Stacey Elwood, Special Events Manager • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Allison Howe, Gift Processing and Donor Records Coordinator • Justin Kelly, Assistant Manager of Gift Processing and Donor Records • Brian Kern, Senior Major Gifts Officer • Katherine M. Krupanski, Assistant Manager, Higginson and Fiedler Societies • Mary MacFar- lane, Manager, Friends Membership • Tanya Melanson, Development Communications Project Manager • Susan Olson, Stewardship Coordinator • Cristina Perdoni, Gift Processing and Donor Records Coordina- tor • Gerrit Petersen, Director of Foundation Support • Jennifer Raymond, Associate Director, Friends Membership • Phoebe Slanetz, Director of Development Research • Elizabeth Stevens, Assistant Manager of Planned Giving • Mary E. Thomson, Program Manager, Corporate Programs • Hadley Wright, Founda- tion and Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS Myran Parker-Brass, Director of Education and Community Programs Gabriel Cobas, Manager of Education Programs • Elisabeth Alleyne Dorsey, Curriculum Specialist/ Library Assistant • Leslie Wu Foley, Associate Director of Education and Community Programs • Zakiya Thomas, Coordinator of Community Projects/Research • Darlene White, Manager, Berkshire Education and Community Programs • Leah Wilson-Velasco, Education and Community Programs Assistant EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director of Event Services • Emma-Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES Dorothy DeYoung, Benefits Manager Sarah Nicoson, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology

Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User Support Specialist • Timothy James, Applications Support Specialist • John Lindberg, System and Network Administrator • Brian Van Sickle, User Support Administrator PUBLIC RELATIONS Bernadette M. Horgan, Director of Media Relations

Meryl Atlas, Media Relations Assistant • Kelly Davis Isenor, Media Relations Associate Sean J. Kerrigan, Associate Director of Media Relations • Amy Rowen, Media Relations Associate PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING Amy Aldrich, Manager, Subscription Office Leslie Bissaillon, Manager, Glass Houses • Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front of House Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Symphony Shop Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Kenneth Agabian, Marketing Coordinator, Print Production • Rich Bradway, Manager of Internet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager • Ricardo DeLima, Senior Web Developer • John Dorgan, Group Sales Coordinator • Peter Grimm, Tanglewood Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Julie Kleinhans, Senior Subscription Representative • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Subscription Representative • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Web Content Editor • Lee Paradis, Assistant Manager, Symphony Shop • MarcyKate Perkins, SymphonyCharge Representative • Kristen Powich, Coordinator, Corporate Sponsorships • Doreen Reis, Marketing Coordinator for Advertising • Caroline Rizzo, SymphonyCharge Representative • Megan E. Sullivan, Access Services Coordinator • Sandra Swanson, Manager, Corporate Sponsorships

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

Box Office Representatives Mary J. Broussard • Cary Eyges • Lawrence Fraher • Arthur Ryan SYMPHONY HALL OPERATIONS Robert L. Gleason, Director of Hall Facilities Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services • Catherine Lawlor, Administrative Assistant • John MacMinn, Manager of Hall Facilities • Shawn Wilder, Mailroom Clerk

House Crew Charles Bent, Jr. • Charles F. Cassell, Jr. • Francis Castillo • Eric Corbett • Thomas Davenport • Michael Frazier • Juan Jimenez • Peter O'Keefe Security Christopher Bartlett • Matthew Connolly • Cleveland Olivera • Tyrone Tyrell, Security Supervisor Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gabo Boniface Wahi TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Beth Paine, Manager of Student Services • Kristen Reinhardt, Coordinator • Gary Wallen, Scheduler TANGLEWOOD OPERATIONS David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services Paula Ramsdell, Project Coordinator BSO New Starting Time for Evening Pre-Concert Talks

Please note that, in order to allow the musicians more time to warm up on stage prior to the concerts, the BSO's evening Pre-Concert Talks will now begin at 6:45 rather than 7 p.m. The starting time for the Friday-afternoon talks (12:15 p.m.) and for the Open Rehearsal Talks (9:30 a.m. on Thursday mornings; 6:30 p.m. on Wednesday evenings) remains unchanged. The remaining Sunday-afternoon talk, on March 13, will begin at 1:45 p.m. prior to that day's 3 p.m. Boston Symphony concert. We appreciate your under- standing in this matter. Given by a variety of distinguished speakers from Boston's musical community, these inform- ative half-hour talks include taped examples from the music being performed. This week, BSO Director of Program Publications Marc Mandel and BSO Publications Associate Robert Kirzinger discuss Sibelius and Babbitt. In the weeks ahead, Harlow Robinson of Northeastern University discusses Ullmann and Shostakovich (January 19-25), Robert Kirzinger discusses Gandolfi,

Bartok, and Mussorgsky (January 7-February 1), and Jan Swafford of Tufts University discusses Brahms (February 3-8).

From the Library of James Levine

In conjunction with his programs here this season, a selection of materials from the per- sonal library of BSO Music Director James Levine will be displayed on a rotating basis in the Massachusetts Avenue corridor of Symphony Hall, along with relevant memorabil- ia from the Boston Symphony Orchestra Archives. The items from Maestro Levine's li- brary will include, among other things, first-edition scores of Mahler's Eighth Symphony, Schubert's Great C major symphony, and Beethoven's Eroica Symphony; facsimile edi- tions of the manuscripts of Stravinsky's Symphonies of Wind Instruments and Bartok's Music for Strings, Percussion, and Celesta; and facsimile editions of a Beethoven sketch- book and the sketches for Stravinsky's Le Sacre duprintemps.

BSO Archival Telecasts Released on DVD Through Video Artists International

The Boston Symphony Orchestra, Video Artists International (VAI), and WGBH-TV in Boston have announced a worldwide distribution agreement for DVD releases of telecasts from the BSO Archives featuring the BSO led by a distinguished roster of conductors. The initial releases included Charles Munch conducting Berlioz's UEnfance du Christ with soloists Donald Gramm, Florence Kopleff, John McCollum, and Theodore Uppman, a performance simulcast on radio and television by WGBH-FM/TV on December 13, 1966, from Symphony Hall; and Sir John Barbirolli conducting An Elizabethan Suite arranged by Barbirolli from the Fitzwilliam Virginal Book, the intermezzo "A Walk to the Paradise Garden" from Delius's opera A Village Romeo and Juliet, Walton's Partita for Orchestra, and Brahms's Symphony No. 2, a concert telecast from Sanders Theatre at Harvard University on February 3, 1959. Two more DVDs are scheduled for release this month: an all-French compilation program from 1959-62 with Charles Munch leading

Berlioz's Symphonie fantastique , Debussy's La Mer, and Ravel's Daphnis et Chloe Suite

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No. 2, all telecast from Sanders Theatre in Cambridge; and the BSO concert of January 20, 1959, also from Sanders Theatre, with Pierre Monteux conducting Brahms's Tragic Overture, Hindemith's Nobilissima Visione, and Stravinsky's Petrushka. The VAI/BSO Archival DVDs are available at the BSO's Symphony Shop and website, www.bso.org; directly from VAI through their direct mail catalogue or online at www.vaimusic.com; and through all major music and video outlets, including Tower Records, Virgin, Borders, Barnes & Noble, and Amazon.com.

The Marie L. Audet Gillet and to Fernand Gillet for almost fifty years, she Fernand Gillet Concerts devoted much of her life to teaching piano January 14 and 15, 2005 privately and at the New England Conserva- In recognition of a bequest from Marie L. tory of Music, and attending Boston Sym- Audet Gillet, the first pair of Friday-after- phony concerts in Symphony Hall and at noon and Saturday-evening Boston Symphony Tanglewood. She maintained a very special concerts of the new year is dedicated to the relationship with several of her "pupils" memory of Mrs. Gillet and her husband, the until her death in October 1988. Mrs. Gillet's late Fernand Gillet, who was the BSO's prin- love for and devotion to the Boston Sym- cipal oboe from 1925 to 1946. Mrs. Gillet's phony Orchestra spanned more than sixty bequest endows in perpetuity two subscrip- years. A faithful subscriber to the Friday- tion concerts each year, in memory of her and afternoon concerts through the 1987 season, her husband. The first such concerts were she was a member of the Higginson Society given in January 1990. from its inception and regularly attended Throughout her eighty-nine years, Marie special events, including the luncheon in the Gillet was surrounded by glorious music that spring of 1987 for those who had been attend- brought her much joy and pleasure. Married ing BSO concerts for fifty years or more. The

On Display in Symphony Hall This season's BSO Archives exhibit in the Massachusetts Avenue corridor of Symphony Hall heralds the arrival of James Levine as the BSO's fourteenth music director—the first American-born conductor to hold that position. The appoint- ment by BSO founder-sustainer Henry Lee Higginson of Georg Henschel as the orchestra's first conductor established a precedent of hiring foreign-born and -trained conductors (preferably German or Austrian) for the BSO. The entry of the United States into World War I in 1918 ushered in a new era, one dominated by French and Russian conductors. Drawing on the Ar- chives' extensive collection of photographs, letters, and news clippings, the exhibit examines the lineage of BSO conductors culmi- nating with the appointment of James Levine in 2001. The photo at left shows James Levine re- hearsing with the Cleveland Orchestra, ca.1968 (photo by Peter Hastings, courtesy Cleveland Orchestra Archives). The photo at right shows Mr. Levine rehearsing with the BSO at Tanglewood in July 1972 (Whitestone Photo). There are also two new exhibits in the Cohen Wing display cases. The first examines the history of Symphony Hall's great Aeolian-Skinner organ with an emphasis on the extensive renovation work that was recently completed. The sec- ond highlights the BSO's touring history, focusing on the BSO's role as cultural ambassador through the many international tours it has made since its first Euro- pean tour in 1952. Tanglewood Music Center was very important by BSO principal horn James Sommerville, to her; in 1983 she endowed two Guarantor alto trombonist Darren Acosta, and The New Fellowships—the Fernand Gillet Fellowship 18th Century Players (made up primarily of for an oboe student and the Marie L. Audet BSO members) led by Alain Trudel for music Gillet Fellowship for a piano student. of Tommaso Albinoni, Georg Christoph Wag- Born in Paris, oboist Fernand Gillet enseil, Johann Georg Albrechtsberger, and (1882-1980) performed with the Lamoureux Johann Michael Haydn. For more informa- Orchestra and the Paris Grand Opera before tion, visit www.trombonebarron.com. Serge Koussevitzky invited him to join the Boston Symphony Orchestra in 1925 as prin- BSO Members in Concert cipal oboe, a position he held for twenty-one The Boston Artists Ensemble directed by years. During the course of his seventy-five- BSO cellist Jonathan Miller performs string year teaching career he served on the facul- quintets of Mozart and Dvorak and a "mys- ties of the Tanglewood Music Center, the tery piece" for string trio on Friday, January New England Conservatory, and Boston Uni- 14, at 8 p.m. at Trinity Church in Newton versity; the New England Conservatory and Centre and on Friday, January 21, at 8 p.m. the Eastman School of Music presented him at the Peabody-Essex Museum in Salem. with honorary Doctor of Music degrees; and Joining Mr. Miller for these performances are he published several technical methods for BSO violinists Victor Romanul and Tatiana oboe in his native France. Mr. Gillet was Dimitriades and BSO violists Edward Gazou- awarded the Croix de Guerre for his ser- leas and Kazuko Matsusaka. Tickets are $24, vice in the French Flying Corps during with discounts for students and seniors. For World War I. more information call (617) 964-6553 or visit www.BostonArtistsEnsemble.org. BSO Members on Compact Disc BSO principal second violinist Haldan A wide variety of compact discs featuring Martinson is featured in Goldmark's Violin members of the Boston Symphony Orchestra Concerto with the Wellesley Symphony Or- are available in the Symphony Shop, includ- chestra led by former BSO assistant concert- ing the following new entries to the catalogue. master Max Hobart on Sunday, February 6, BSO violist Michael Zaretsky's latest CD at 3 p.m. at Mass Bay Community College, on the Artona label features him in the six 20 Oakland Street, in Wellesley. Also on the cellos suites of J.S. Bach performed on viola, program is Franck's D minor Symphony. Tick- as recorded in Symphony Hall in January/ ets are $18, $15, and $5, available at the February 2004. Mr. Zaretsky uses the earli- door. For further information call (781) 235- est authentic source for these works, the fac- 3584 or visit www.wellesleysymphony.org. simile manuscript text of Anna Magdalena Ronald Knudsen leads the New Philhar- Bach. For more information about this disc, monia Orchestra in Mendelssohn's FingaVs and about Mr. Zaretsky's previous compact Cave Overture, Shostakovich's Hamlet Film discs, visit www.michaelzaretsky.net. Suite, and Brahms's Symphony No. 3 on BSO principal trombone Ronald Barron Saturday, February 12, at 8 p.m. at Babson has released two new compact discs in the College in Wellesley and on Sunday, Febru-

Boston Brass Series. The first, entitled "The ary 13, at 3 p.m. at the First Baptist Church Return of the Alto," features solo and ensem- in Newton. Single tickets are $25, with dis- ble music for alto trombone by Leopold Moz- counts for seniors, students, and families. art, Marc-Antoine Charpentier, BSO trom- For more information call (617) 527-9717 bonist Norman Bolter, Eric Ewazen, Hannes or visit www.newphil.org. Earlier that month, Meyer, Alfred Hornoff, and Corrado Saglietti. on Sunday, February 6, at 2 p.m. at Babson Mr. Barron is joined by a number of his brass College, the New Philharmonia offers "Cele- and string player colleagues from the BSO, brate Words and Music," its second "Family and also by the Harvard University Wind Discovery" concert of the season, in which Ensemble, Thomas Everett, conductor; pian- young actors will help introduce children ists Eric Ewazen and Vytas Baksys, and or- to music through use of images and poetry. ganist Peter Sykes. On the second disc, "An Single tickets for this event are $14, with Evening from the 18th Century," he is joined discounts for seniors, students, and families.

8 In Case of Snow... Association of Volunteers, the following com- munities sponsor round-trip bus service for To find out the status of a Boston Symphony the Friday afternoon concerts for a nominal concert and options available to you in case fee: Beverly, Cape Cod, Concord, Marble- of a snow emergency, BSO subscribers and head/Swampscott, Wellesley, South Shore, patrons may call a special Symphony Hall and Weston in Massachusetts; Concord, number. Just dial (617) 638-9495 at any North Hampton, and Peterborough in New time for a recorded message regarding the Hampshire; western New Hampshire; and current status of a concert. Please note, too, Rhode Island. Taking advantage of your that ticket refunds will only be offered for area's bus service not only helps to keep this concerts that are cancelled. convenient service operating, but also pro- vides opportunities to spend more time with Ticket Resale your Symphony friends, meet new people, Please remember that subscribers unable and conserve energy. In addition, many of to attend a particular BSO concert in their the participating communities make a sub- series may call (617) 638-9426 up to one stantial contribution to the BSO from the hour before the concert to make their tickets proceeds. If you would like to start a service available for resale. This not only helps from your community, or would like further bring needed revenue to the orchestra, it information about bus transportation to Fri- also makes your seat available to someone day-afternoon Boston Symphony concerts, who might otherwise be unable to attend the please call the Volunteer Office at (617) 638- concert. You will receive a mailed receipt 9390. acknowledging your tax-deductible contri- bution within three weeks of your call. Comings and Goings...

Please note that latecomers will be seated by Attention, Friday-afternoon the Patron Services staff during the first con- Subscribers: Bus Service to venient pause in the program. In addition, Symphony Hall please also note that patrons who leave the If you're tired of fighting traffic and search- hall during the performance will not be ing for a parking space when you come to allowed to reenter until the next convenient Friday-afternoon Boston Symphony concerts, pause in the program, so as not to disturb the why not consider taking the bus from your performers or other audience members while community directly to Symphony Hall? the concert is in progress. We thank you for Under the auspices of the Boston Symphony your cooperation in these matters.

Symphony Shopping

Visit the Symphony Shop in the Cohen Wing at the West Entrance on Huntington Avenue.

Hours: Tuesday through Friday, 11-4; Saturday from 12-6; from one hour 30STON SYMPHONY ORCHESTRA before each concert through intermission, and for up to thirty minutes after each BSO concert

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10 New to the BSO

Three new players and two new assistant conductors have joined the BSO this season.

Elizabeth Rowe joined the Boston Symphony Orchestra as principal flute in September 2004. Formerly the assistant principal flute of the National Symphony Orchestra, she has also held positions with the Bal- timore Symphony, the Fort Wayne Philharmonic, and the New World Symphony. She has served on the faculties of the Peabody Institute of Music, the University of Maryland, and Catholic University. A native of Eugene, Oregon, Ms. Rowe received her bachelor of music degree in 1996 from the University of Southern California, where she studied with Jim Walker, former principal flute of the Los Angeles Philharmonic. Win- ner of first prize in the 2000 National Flute Association Young Artist Competition, she has performed as a soloist with orchestras throughout the country, including many of the orchestras with which she has held positions. Most recently she performed the Nielsen Flute Concerto with the Baltimore Symphony Orchestra. Ms. Rowe has participated in several national and international music festivals, most notably as a Fellow at the Tanglewood Music Center. An advocate of new music, she was invited to Carnegie Hall to perform a concert of works by Schoenberg under the direction of Pierre Boulez. Ms. Rowe enjoys chamber music and was a founding member of the southern Florida-based Metropolis Winds woodwind quintet.

Polina Sedukh joined the Boston Symphony Orchestra in September 2004. Born in 1980 to a family of musicians in St. Petersburg, Russia, Ms. Sedukh began studying violin at four, her first teachers being her father Grigory Sedukh and Savely Shalman. In 1987 she entered the Special Music School of the St. Petersburg Conservatory, joining the stu- dio of Lev Ivaschenko. She joined the studio of Vladimir Oftcharek in 1995 and entered the Rimsky-Korsakov State Conservatory in 1998. She has participated in master classes with Wolfgang Marshner and Sakhar Bron and in January 2000 began studying at the Longy School of Music in Cambridge with Laura Bossert and Malcolm Lowe. Ms. Sedukh gave her first major public

performance at seven, with the Chamber Orchestra of Liepaya, Latvia; her first international performance was in 1991 in Chicago, followed by a tour in Germany. Winner of first prize in the solo category and the grand prize in chamber music at the 1992 Young Talents of Russia

Festival, and a laureate of the Evgeny Mravinsky Festival in St. Petersburg, Russia, she has participated in important festivals on both sides of the Atlantic, has toured Germany and Aus- tria annually since 1993, and has won prizes in such international competitions as Coast of Hope in Bulgaria (grand prize as soloist and first prize in chamber duo), the International

Spohr Competition in Weimar, Germany, and the Negev Competition in Israel (first prize). In 1999 she took the Barenreiter Special Prize in the Young Concert Artist International Audi- tions in Leipzig, Germany.

A native of Israel, cellist Mickey Katz joined the Boston Symphony Orchestra in September 2004, having previously been principal cellist of Boston Lyric Opera. His numerous honors include the Presser Music

Award in Boston, the Karl Zeise Prize at Tanglewood, first prize in the Rubin Academy Competition in Tel Aviv, and scholarships from the America Israel Cultural Foundation. An advocate of new music, he has premiered and recorded Menachem Wiesenberg's Cello Concerto with the Israel Defense Force Orchestra and has worked with composers Elliott Carter, Gyorgy Kurtag, John Corigliano, Leon Kirchner, and Augusta Read Thomas in performing their music. A Tanglewood Music Center Fellow in 2001, he was invited back to Tanglewood in 2002 as a member of the New Fromm Players, an alumni en- semble-in-residence that works on new pieces and collaborates with young composers. As a chamber musician, he has performed in important venues in the United States, Europe, and Israel, and has participated in the Marlboro Festival and Musicians from Marlboro tour, collab-

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12 orating with such distinguished players as Pinchas Zukerman, Tabea Zimmermann, Kim Kash- kashian, and Gilbert Kalish. A graduate of the New England Conservatory of Music, he com- pleted his mandatory military service in Israel as a part of the "Distinguished Musician Pro- gram," playing in the Israel Defense Force String Quartet, performing throughout Israel in classical concerts and in numerous outreach and educational concerts for soldiers and other audiences.

Jens Georg Bachinann is an assistant conductor of the BSO as of this season, having previously served as assistant conductor to James Levine at the Munich Philharmonic, a position created for him in 2000. He has been associate conductor of the Fort Worth Symphony Orchestra and principal conductor of the Texas Chamber Orchestra in Dallas, and has for three summers been assistant conductor of the UBS Verbier Festival Orchestra, preparing that ensemble for its annual appearances at the

Verbier Festival in Switzerland and also leading it in concerts at Verbier and on tour at EXPO 02. As an opera conductor, he has recently led per- formances at the Niirnberg State Opera, Diisseldorf Opera, the Komische Oper Berlin (where he made his professional opera debut at twenty-four), and the Berlin State Opera. He has also conducted numerous orchestras in Germany. A native of Berlin, Mr. Bachmann holds degrees in violin and conducting from the Hanns Eisler Musikhochschule in Berlin and the Juilliard School in New York, where he was recipient of the Bruno Walter Memorial Scholarship. Ad- ditional projects include a fundraising and educational outreach tour as violinist in South Africa, and an Interarts Project in the Clark Studio Theatre at New York's Lincoln Center, where he conceived and conducted a production of the Strauss/Moliere Le Bourgeois Gentil- homme combining dance and music. Mr. Bachmann is a 1996 winner of the Carl Maria von Weber Conducting Competition in Munich and of the 1998 Intercities Performing Arts Foun- dation/Enrico Caruso Competition. Mr. Bachmann resides in Boston.

An assistant conductor of the Boston Symphony Orchestra as of this sea- son, Ludovic Morlot has maintained a close working relationship with the BSO since he was the Seiji Ozawa Conducting Fellow in 2001 at the Tanglewood Music Center, when he assisted Mr. Ozawa with the TMC production of Ravel's UHeure espagnole and led the world premiere of the TMC's 2001 Fromm Commission, Robin de Raafs Piano Concerto, in that summer's Festival of Contemporary Music. He has since served as a BSO cover conductor for, among others, Seiji Ozawa, James Levine, Andre Previn, and Rafael Friihbeck de Burgos, and has led the Boston Symphony Chamber Players in Boston and at Tanglewood. He has also worked with Reinbert de Leeuw and Michael Tilson Thomas at the New World Symphony in Florida, and assisted Jessye Norman at the Theatre du Chatelet in the critically acclaimed Paris production of Schoenberg's Erwartung and Poulenc's La Voix humaine, In 2002 he became conductor-in- residence with the Orchestre National de Lyon under David Robertson, leading many out- reach concerts and youth orchestra events in Lyon for two seasons. He has also appeared with the Orchestre de Picardie and the Orchestre Colonne in Paris. This season brings his debut with the Ensemble InterContemporain, and his subscription series debut in April 2005 with the Boston Symphony Orchestra. Trained as a violinist, Mr. Morlot studied conducting with the late Charles Bruck at the Pierre Monteux School in Hancock, Maine, and continued his studies at the Royal Academy of Music in London. He received the Norman Del Mar Con- ducting Fellowship from the Royal College of Music, London, to work with the Royal School's Opera under the guidance of John Carewe and as assistant conductor to Sir Colin Davis on their production of Don Giovanni. Mr. Morlot maintains residences in Lyon and Boston.

13 NEW ENGLAND CONSERVATORY

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Gabriel Chodos, piano recital

NEC piano department co-chair performing works by Liszt, Beethoven

Mon January 24, 8pm, NEC's Jordan Hall

NEC's Weilerstein Trio

Joined by special guest Courtenay Budd performing works by Shostakovich, Schumann

Wed January 26, 8pm, NEC's Jordan Hall

Benaim String Quartet

Outstanding European string quartet visits NEC

Wed February 2, 8pm, NEC's Jordan Hall

Jazz Masters Concert with Dave Holland

World-renowned bassist perfoms at NEC

Thur February 10, 8pm, NEC's Jordan Hall

For complete concert info and to sign up

for our e-newsletter, visit www.newenglandconservatory.edu

Free concerts almost every night of the year. Located just one block from Symphony Hall at 290 Huntington Ave.

14 JAMES LEVINE With the 2004-2005 season, James Levine becomes Music Director of the Boston Symphony Orchestra. Named Music Director Designate in October 2001, he is the orchestra's fourteenth music director since the BSO's founding in 1881, and the first American-born conduc- tor to hold that position. Mr. Levine opened his first sea- son as BSO Music Director in October with Mahler's Eighth Symphony, the first of a dozen programs in Boston, three of which—the Mahler Eighth, Berlioz's Romeo et Juliette, and a program of Harbison, Stravinsky, Wuorin- en, and Brahms—also go to Carnegie Hall in New York. In addition, Mr. Levine appears at Symphony Hall as pianist with the Boston Symphony Chamber Players and in an all-Schubert four-hand recital with Evgeny Kissin (a program also to be played at Carnegie Hall) and will lead concerts at Tanglewood in July with both the Boston Symphony and the Tanglewood Music Center Orchestra. Maestro Levine made his Boston Symphony debut in April 1972, with a program including Mozart's Haffner Symphony, Mendelssohn's Violin Concerto, and the Mussorgsky/Ravel Pictures at an Exhibition, and his Tanglewood debut that same summer, in music of Mozart and the Tanglewood premiere of Mahler's Symphony No. 6. He has since conducted the orchestra in repertoire ranging from Haydn, Mozart, Schu- mann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of John Cage, Elliott Carter, John Harbison, Gyorgy Ligeti, Roger Sessions, and Charles Wuorinen. In addition to such classic works as Mozart's Prague, Beethoven's Eroica, and Schubert's Great C major sym- phonies, his programs this season include concert performances of Wagner's Derfliegende Hollander, 20th-century masterpieces by Bartok, Carter, Ives, Messiaen, Schoenberg, and Stravinsky (among others), and the world premieres of new works commissioned by the BSO from Milton Babbitt, Harbison, and Wuorinen.

In the 33 years since his Metropolitan Opera debut, James Levine has developed a relationship with that company that is unparalleled in its history and unique in the musi- cal world today. He conducted the first-ever Met performances of Mozart's Idomeneo and La clemenza di Tito, Gershwin's Porgy and Bess, Stravinsky's Oedipus Rex, Verdi's / vespri siciliani, I lombardi, and Stiffelio, Weill's Rise and Fall of the City of Mahagonny, Schoen- berg's Erwartung and Moses und Aron, Berg's Lulu, Rossini's La Cenerentola, and Berlioz's Benvenuto Cellini, as well as the world premieres of John Corigliano's The Ghosts of Ver- sailles and John Harbison's The Great Gatsby. All told, he has led more than 2,000 per- formances of 80 different operas there. This season at the Met he conducts 48 perform- ances of eight operas (including Otello, Carmen, Pelleas et Melisande, Le nozze di Figaro, Nabucco, La clemenza di Tito, and new productions of Die Zauberflbte and Faust) and the company's annual Pension Fund concert, a gala in May for the 50th anniversary of Mi- rella Freni's stage debut. Mr. Levine inaugurated the "Metropolitan Opera Presents" tele- vision series for PBS in 1977, founded its Young Artist Development Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house—a former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world, including at Expo '92 in Seville, in Japan, on tours across the United States and Europe, and each year during and after the opera season on the orchestra's own subscription series at Carnegie Hall. Since 1998, Maestro Levine has led the MET Chamber Ensemble in three concerts annually at Carnegie's Weill Hall, now including performances at the new Zankel Hall there. He also gives a master class this season at Zankel Hall for the Marilyn Home Foundation, leads the Chicago Symphony in that orchestra's annual Pension Fund Concert, and returns to the Cincinnati May Festival for Berlioz's Requiem.

15 Please join us for a unique concert featuring internationally renowned pianist Garrick Ohlsson WITH Maurice Sendak, Ela Weissberger

and special guest choristers from Boston Arts Academy, Winsor School and

Rivers School, Conducted by James Conlon

TO BENEFIT THE TEREZIN Chamber Music Foundation

Monday, January 24TH, 2005 7:30 PM The Colonnade, Boston Huntington Ballroom Tickets and information: (857)222-TCMF(8263) www. terezinmusic.org

TCMF is supported in part by: Corporate sponsor:

Carlin, Chakkon & Rosen llp

C.rtill.J Puhli, t, (' «•!»..> AJ.S, massculturalcouncil.org

The Terezfn Chamber Music Foundation is an interfaith nonprofit organization dedicated to documenting, preserving and celebrating the resilience of the human spirit as expressed in the music and art created by victims of the Holocaust. Our educational programs, archives, concerts and publications foster the examination and discussion of the role of the arts in contemporary issues of human rights.

16 onstellationcenter performing and cinematic arts

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MA, has undergone an exciting trans- 18th-century Chinese merchant's Museum formation. In new and revitalized gallery house to contemporary painting to spaces, all of our collections are on view New England art and culture, making for the first time, including many works surprising connections along the way. that have been hidden away for over

Salem, 866-745-1876 daily MA | pem.org Open 10am to | 5pm | Outside the United States, Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, espe- cially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and Bayreuth (1982-98). He has been music director of the UBS Verbier Festival Orchestra since its founding in 2000 and, before coming to Boston, was chief conductor for five seasons of the Munich Philharmonic. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was music director of the Cincinnati May Festi- val (1973-1978). In addition to his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orches- tra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers.

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

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

17 *Aza Raykhtsaum Ronald Wilkison David and Ingrid Kosowsky Michael Zaretsky chair Marc Jeanneret *Bonnie Bewick Theodore W and Evelyn *Mark Ludwig Berenson Family chair * Rachel Fagerburg * James Cooke *Kazuko Matsusaka Stephanie Morris Marryott and *Rebecca Gitter Franklin J. Marryott chair * Victor Romanul Cellos Bessie Pappas BOSTON SYMPHONY chair Jules Eskin ORCHESTRA * Catherine French Principal 2004-2005 Catherine and Paul Buttenwieser Philip R. Allen chair, endowed chair in perpetuity in 1 969 James Levine * Kelly Barr Martha Babcock Music Director Mary B. Saltonstall chair Assistant Principal Ray and Maria Stata *Alexander Velinzon Vernon and Marion Alden chair, Music Directorship, Kristin and Roger Servison chair endowed in perpetuity fully funded in perpetuity *Polina Sedukh in 1977 Donald C. and Ruth Brooks Sato Knudsen Bernard Haitink Heath chair, fully funded in Mischa Nieland chair, Conductor Emeritus perpetuity fully funded in perpetuity LaCroix Family Fund, Mihail Jojatu fully funded in perpetuity Second Violins Sandra and David Bakalar chair Seiji Ozawa Haldan Martinson Luis Leguia Director Music Laureate Principal Robert Bradford Newman chair, Carl Schoenhof Family chair, fullyfunded in perpetuity First Violins fullyfunded in perpetuity * Jerome Patterson Malcolm Lowe Vyacheslav Uritsky Lillian and Nathan R. Miller Concertmaster Assistant Principal chair Charles Munch chair, Charlotte and Irving W. Rabb *Jonathan Miller fully funded in perpetuity chair, endowed in perpetuity Charles and JoAnne Dickinson Tamara Smirnova in 1977 chair Associate Concertmaster Ronald Knudsen *0wen Young Helen Horner Mclntyre chair, Edgar and Shirley Grossman John F. Cogan, Jr., and Mary L. endowed in perpetuity in 1976 chair Cornille chair, fullyfunded in Juliette Kang Joseph McGauley perpetuity Assistant Concertmaster Shirley and J. Richard Fennell * Andrew Pearce Robert L. Beal, Enid L., and chair, fully funded in perpetuity Stephen and Dorothy Weber chair Bruce A. Beal chair, endowed in Ronan Lefkowitz *Mickey Katz perpetuity in 1980 David H. and Edith C. Howie Richard C. and Ellen E. Paine Elita Kang chair, fully funded in perpetuity chair, fully funded in perpetuity Assistant Concertmaster *Sheila Fiekowsky Edward and Bertha C. Rose *Jennie Shames Gordon and Mary Ford Kingsley chair * Valeria Vilker Kuchment Family chair Bo Youp Hwang *Tatiana Dimitriades John and Dorothy Wilson chair, Basses *Si-Jing Huang fully funded in perpetuity Edwin Barker Lucia Lin *Nicole Monahan Principal Forrest Foster Collier chair *Wendy Putnam Harold D. Hodgkinson chair, Ikuko Mizuno *Xin Ding endowed in perpetuity in 1974 Dorothy Q. and David B. Arnold, Lawrence Wolfe Jr., chair, fully funded in Violas Assistant Principal perpetuity Steven Ansell Maria Nistazos Stata chair, in perpetuity tAmnon Levy Principal fullyfunded Muriel C. Kasdon and Marjorie Charles S. Dana chair, Joseph Hearne C. Paley chair endowed in perpetuity in 1970 Leith Family chair, * Nancy Bracken Cathy Basrak fully funded in perpetuity Ruth and Carl J. Shapiro chair, Assistant Principal Dennis Roy fully funded in perpetuity Anne Stoneman chair, Joseph and Jan Brett Hearne fully funded in perpetuity chair Edward Gazouleas John Salkowski * Participating in a system Lois and Harlan Anderson chair, Erich and Edith Heymans chair of rotated seating fully funded in perpetuity *James Orleans $ On sabbatical leave Robert °0n leave Barnes § Substitute player

18 *Todd Seeber Bassoons Bass Trombone Eleanor L. and Levin H. Richard Svoboda Douglas Yeo Campbell chair, fully funded Principal John Moors Cabot chair, in perpetuity Edward A. Taft chair, endowed fully funded in perpetuity *John Stovall in perpetuity in 1974 *Benjamin Levy Suzanne Nelsen Tuba John D. and Vera M. Mike Roylance Flutes MacDonald chair Margaret and William C. Elizabeth Rowe Richard Ranti Rousseau chair, fully funded Principal Associate Principal in perpetuity Walter Piston chair, endowed Diana Tottenham chair in perpetuity in 1970 Timpani Fenwick Smith Contrabassoon Timothy Genis Myra and Robert Kraft chair, Gregg Henegar Sylvia Shippen Wells chair, endowed in perpetuity in 1 981 Helen Rand Thayer chair endowed in perpetuity in 1974 Elizabeth Ostling Associate Principal Horns Percussion Marian Gray Lewis chair, James Sommerville Thomas Gauger fully funded in perpetuity Principal Peter and Anne Brooke chair, Helen Sagoff Slosberg/Edna fully funded in perpetuity Piccolo S. Kalman chair, endowed tFrank Epstein in perpetuity in 1974 Peter Andrew Lurie chair, Evelyn and C. Charles Marran Richard Sebring fully funded in perpetuity chair, endowed in perpetuity in Associate Principal J. William Hudgins 1979 Margaret Andersen Congleton Barbara Lee chair § Linda Toote chair, fully funded in perpetuity Daniel Katzen Assistant Timpanist Oboes Elizabeth B. Storer chair, Mr. and Mrs. Edward H. Linde John Ferrillo fullyfunded in perpetuity chair Principal Jay Wadenpfuhl Mildred B. Remis chair, endowed John P. II and Nancy S. Eustis Harp in perpetuity in 1975 chair, fully funded in perpetuity Ann Hobson Pilot Mark McEwen Richard Mackey Principal James and Tina Collias chair Hamilton Osgood chair Keisuke Wakao Jonathan Menkis Voice and Chorus Assistant Principal Jean-Noel and Mona N. John Oliver Elaine and Jerome Rosenfeld Tariot chair Tanglewood Festival Chorus chair Conductor

Trumpets Alan J. and Suzanne W. Dworsky English Horn Charles Schlueter chair, fullyfunded in perpetuity Robert Sheena Principal Beranek chair, fully funded Roger Louis Voisin chair, Librarians in perpetuity endowed in perpetuity in 1977 Marshall Burlingame Peter Chapman Principal Clarinets Ford H. Cooper chair Lia and William Poorvu chair, William R. Hudgins Thomas Rolfs fully funded in perpetuity Principal Associate Principal William Shisler Ann S.M. Banks chair, endowed Nina L. and Eugene B. Doggett John Perkel in perpetuity in 1977 chair Scott Andrews Benjamin Wright Assistant Conductors Thomas and Dola Sternberg Rosemary and Donald Hudson Jens Georg Bachmann chair chair Anna E. Finnerty chair, Thomas Martin fully funded in perpetuity Associate Principal & Trombones Ludovic Morlot E-flat clarinet Ronald Barron Stanton W and Elisabeth K. Principal Davis chair, in Personnel Managers fully funded J. P. and Mary B. Barger chair, perpetuity fullyfunded in perpetuity Lynn G. Larsen Norman Bolter Bruce M. Creditor Bass Clarinet Arthur and Linda Gelb chair Craig Nordstrom Stage Manager Farla and Harvey Chet John Demick Krentzman chair, fully funded in perpetuity

19 THE WALTER PISTON SOCIETY

Coa£c& am£Qse£ta ^Tadl

pictured with portraits of Carlos' father and mother, Humbert and Luisa ArdizzoniTosi.

Carlos and Velia Tosi have a great fondness for the Symphony. "My mother, Luisa Ardizzoni Tosi, was an opera singer whose students sang on the Symphony Hall stage," said Mr. Tosi. It's easy to understand why Mr. and Mrs. Tosi chose to endow a seat in Symphony Hall in memory of their son. Their charitable gift annuity funded the seat in perpetuity. They both feel that this was a good investment. "It was the easiest decision we could have made—from the heart."

To learn more about giving opportunities that pay YOU to give,

please contact Robert Meya at (617) 638-9252 or [email protected]. You may be assured of complete confidentiality.

20 BOSTON SYMPHONY ORCHESTRA i&f*

James Levine, Music Director i SYMPHONY \ Bernard Haitink, Conductor Emeritus I ORCHESTRA 1 Seiji Ozawa, Music Director Laureate \ TAMh* L£VJ.N£ / #\- ,¥"*£ s% 124th Season, 2004-2005

Thursday, January 13, at 8

Friday, January 14, at 1:30

Saturday, January 15, at 8

Please note that there was an error in the printing of this week's program book. The INTERMISSION in these concerts will occur after the Sibelius Symphony No. 4, before Milton Babbitt's Concerti for Orchestra.

Week 11

m

BOSTON SYMPHONY ORCHESTRA

James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 124th Season, 2004-2005

Thursday, January 13, at 8 Friday, January 14, at 1:30 THE MARIE L. AUDET GILLET CONCERT Saturday, January 15, at 8 THE FERNAND GILLET CONCERT

JAMES LEVINE conducting

SIBELIUS Symphony No. 4 in A minor, Opus 63 Tempo molto moderato, quasi adagio Allegro molto vivace

II tempo largo Allegro

BABBITT Concerti for Orchestra (2004) (world premiere; commissioned by the Boston Symphony Orchestra, James Levine, Music Director, through the generous support of the Arthur P. Contas Fund for the Commissioning of New Works)

These world premiere performances are supported in part by an award from the National Endowment for the Arts, which believes that a great nation deserves great art.

INTERMISSION

SIBELIUS Symphony No. 5 in E-flat, Opus 82

Tempo molto moderato — Allegro moderato (ma poco a poco stretto) — Presto Andante mosso, quasi allegretto Allegro molto — Misterioso — Un pochettino largamente — Largamente assai

UBS is proud to sponsor the BSO's 2004-2005 season.

The evening concerts will end about 10 and the afternoon concert about 3:30.

Steinway and Sons Pianos, selected exclusively at Symphony Hall

Special thanks to Delta Air Lines, The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation

The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox.

IN CONSIDERATION OF THE PERFORMERS AND THOSE AROUND YOU, CELLULAR PHONES, PAGERS, AND WATCH ALARMS SHOULD BE SWITCHED OFF DURING THE CONCERT.

21 Week 11 From the Music Director

Milton Babbitt is one of today's composers whose music (and personality) I've always loved; I've studied and conducted his work since the late

1960s, starting with my first student orchestra at the Cleveland Institute of Music. I'm particularly delighted to have a new work of his dedicated to the Boston Symphony Orchestra and me for my first year as music director, and also to introduce his music into the repertoire of the BSO for the very first time.

My two favorite Sibelius symphonies were planned for this program even before Milton's new score arrived. Like Sibelius, Babbitt is a com- poser whose language is entirely his own. Similarly, he uses the orchestra in such an individual way. As its title implies, his Concerti for Orchestra is based on the kaleidoscopic way the characteristics and timbres of sev- eral groups of differing instruments are used to effect changes of texture and atmosphere. At the same time, his new work contrasts tellingly with both Sibelius symphonies. It's written in one movement, in one continu- ous tempo, with (despite the technical and structural complexity that underlies so much of his music) subtler gestures and content than in some of his earlier works. I find this to be true in the later work of many great composers: they gradually simplify the more outward aspects of their music, tend eventually to deal with subtler gestures, and a flow in content between one state and another, without use of hyper-dramatic demarcations. So things may emerge from the texture in ways that are softer and more lyrical.

The Fourth Sibelius is so astonishing, utterly uncompromising in con- tent and structure, and a great example of his passion, commitment, skill, and devotion to the musical material. The Fifth, on the other hand, is much more outgoing in expression, filled with positive, extroverted ges- tures. To have both of these consecutively numbered symphonies on the same program illustrates the whole spectrum of Sibelius's work, ranging from the most despairing to the most triumphant.

*'rz_

22 Jean Sibelius Symphony No. 4 in A minor, Opus 63

Jean (Johan Julius Christian) Sibelius was born at Hameenlinna (Tavestehus in Swedish), Finland, on December 8, 1865, and died at Jarvenpaa, near Hel- singfors (Helsinki), on September 20, 1957. He took the gallicized form of his first name in emulation of an uncle. Sibelius began work on his Symphony No. 4 in the spring of 1910 and completed the score early in 1911. He conducted the premiere at Helsinki on April 3, 1911, along with "The Dryad," the Canzonetta for String Orchestra, "In Memoriam, " and "Night Ride and Sunrise. " Sibelius dedicated the Symphony No. 4 to his wife's brother, the painter Eero Jarnefelt. The first performance in the United States was given by Walter Damrosch with the New York Symphony Society on March 2, 1913. Karl Muck led the first Boston Symphony performances of Sibelius s Fourth Symphony in October/November 1913, programming the work here again in November 1914 (followed by a New York performance in December) and November 1917. After Muck, the only conductors to lead this work with the BSO were Serge Koussevitzky (November 1931; January 1932 in New York and Boston; December 1932; April 1940), Leonard Bernstein (the BSOs only Tanglewood performance, on August 15, 1953), Michael Tilson Thomas (March 1970, followed by a Carnegie Hall performance in April), and Colin Davis (subscription performances in October 1973 and then again in December 1976, at which time the work was recorded as part of his Sibelius cycle with the BSO for Philips). The symphony is scored for two each offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, "Glocken" (see below), and strings.

The Fourth Symphony, completed not quite four years after the Third, is the extreme point Sibelius reaches as a composer of problematic "modern" music (as Messrs. Dam- rosch, Muck, and Rogers bear witness below). The most important of his later composi- tions—the three remaining symphonies, Luonnotar, and the symphonic poems The Bard, The Oceanides, and Tapiola—affirm the conquests made in the Third and Fourth sym- phonies.

When Sibelius began work on his new symphony in the quiet of Ainola, the log house

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24 he had built at Jarvenpaa and named for his wife, he had a rich fund of human and musical experience to draw on. He had traveled, most recently to the Koli district in Karelia, where the impact of the rugged hills, unsurveyable expanses of forest, and lead-grey and silver lakes in the crazily changeable, sometimes violent weather was tremendous. New people had come into his life, among them Mahler, Debussy, Arnold Bax, Eugene Goossens, Vincent d'Indy, and Ruskin's and Grieg's friend Mary Wake- field. He had heard new music, including Debussy's Nocturnes and Trois Chansons de Charles d'Orleans, Elgar's Symphony No. 1, and the cantata Omar Khayydm by his friend Granville Bantock, and at Busoni's urging he had bought Schonberg's Three Piano Pieces, Opus 11. Then, too, there were his own recent compositional explorations: music for Strindberg's Swanwhite, the string quartet he called Voces intimae, the tone poems Night Ride and Sunrise and In Memoriam, a good many songs, and the final and re- markable version for strings and percussion of the suite Rakastava.

As Russia began to respond to nationalist stirrings in Finland with new repressive measures, Sibelius had to confront the question of what an artist must or indeed can do in the face of political crisis and public savagery.* He wrote: "I have always hated all empty talk on political questions, all amateurish politicizing. I have tried to make my contribution another way." Now he chose to concentrate on his new symphony, which, he was able to report in December 1910, was "breaking forth in sunshine and strength."

*In 1809, to punish the Swedes for their refusal to join the blockade of England, Napoleon took

Finland away from Sweden, which had conquered it in the twelfth century, and gave the terri- tory to Russia. Under Russia, Finland was an autonomous Grand Duchy, whose Grand Duke,

however, happened to be the Tsar of All the Russias. Under Tsars Alexander I and Alexander II this arrangement worked out not too badly for the Finns. The most brutal of the bad phases began in 1908, the fifteenth year of the reign of Nicholas II, and conditions steadily worsened until his abdication in 1917. Finland declared independence that year.

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Most crucially, Sibelius faced death. The persistent pain in his throat turned out to be caused by a malignant tumor. Surgery in Helsinki was unsuccessful, and Sibelius submitted to a second operation in Berlin. It was a grim experience, physically and emotionally, and even after the removal of the growth the doctors' prognosis was gloomy. But they were wrong. Sibelius survived his tumor by forty-nine years and, after a short period of grumpily endured abstinence, even returned to his black cigars.

How much all this directly fed the work-in-progress is impossible to say. The Fourth Symphony is not a tone poem about Karelia, the Russian police, or cancer surgery.* Sibelius rejected indignantly one critic's attempt to link the music to the Koli land- scape, detail by detail. We should also recall what he wrote in 1931 to Walter Legge, then at the London Daily Telegraph, about the difference between his symphonic poems and his symphonies, the latter being "music conceived and worked out in terms of

music with no literary basis Of course it has happened that, quite unbidden, some mental image has established itself in my mind in connection with a movement I have been writing, but germ and fertilization of my symphonies have been solely musical." t We know, too, how unhappy,— really desperate, Sibelius was about the path he thought new music was taking "All I heard," he wrote to his biographer Karl Ekman, "con- firmed my idea of the road I had traveled and had to travel"—and the Fourth Sym- phony has also been read as a musical protest piece. That Schonberg's early piano pieces did not win his sympathy is hardly surprising. (Sibelius could not then have known Erwartung or the Five Pieces for Orchestra, Opus 16, both of which would have alarmed him very much more, nor would he have heard or seen anything by Webern or Berg.) More puzzling is what would have disturbed him so deeply about The Firebird,

Bartok's Quartet No. 1, and the scores completed in the previous couple of years by Debussy, Ravel, Strauss, Reger, Nielsen, Rachmaninoff, Elgar, Vaughan Williams, or Mahler—to the extent that he even had a chance to get to know them.

Perhaps we can find a clue in his oft-quoted scornful outburst: while other composers served gaudy cocktails, he declared, he offered the world cold, clear water. It is the rare Sibelius composition whose alcohol and sugar content is 0%, but the Symphony No. 4 comes as close as any. And if Sibelius heard and dreaded the "modernism" of Schon- berg's Opus 11 as prophetic, he was amazingly clairvoyant, by gift or by fluke, because to virtually everyone else those pieces would have seemed to exist in terrible, if not mad, isolation Zukunftsmusik with no possible Zukunft. To us, looking at 1911 from the secure distance of nearly a century, it is Sibelius's Symphony No. 4 that stands out as one of the visionary and fearlessly "modern"—permanently "modern" and "difficult" —masterpieces of that time.

Apropos the modernity of this ever-astonishing piece, when Walter Damrosch gave the first American performance with the New York Symphony in 1913, H.E. Krehbiel wrote in the next morning's Tribune that the conductor had prefaced the work "with some remarks setting forth the fact that it was music of an anomalous character and protesting that the fact of its performance must not be accepted as an expression of opinion on his part concerning the merit of the composition in whole or in part. He had placed it on the programme only because he considered it a duty toward a distinguished

* Composers have on occasion translated their medical experiences into music. Most notably, about 1720, the French composer and bass viol virtuoso Marin Marais wrote a sonata particu- larizing the operation he had recently undergone for the removal of stones in his bladder, and in Schoenberg's String Trio of 1946 there are episodes depicting the near-fatal heart attack the composer had suffered that summer. Leonard Bernstein believed that the strange rhythms in the opening moments of Mahler's Ninth Symphony reflected the fibrillations of Mahler's own faltering heart.

tWe might also remember Mahler's irritated declaration that his symphonies were "not the diaries of an opera director."

27 Week 11 ^^^^HnHJIHIKiH

28 '

musician whose other beautiful and important works had won admiration." After Karl Muck had led performances with the Boston Symphony between 1913 and 1917, Leslie

J. Rogers, the BSO's librarian, wrote into the score what Dr. Muck had said to him after the last of those concerts: "I have rehearsed this symphony nine times and given eight performances and I haven't Of WOOOMOOOOOWW0WOO00OOOO0OO00OWOOO0OOOWW the faintest idea what the composer means." Mr. 1 Philharmomsche Konzprte. Rogers added his own comment: "Futuristic \ Sonntag, den 15. Dexember 1912, mittags praztse balb I Uhr, im grossen Saale der k. k. Gesellschaft der Moslkfreonde: awful!!!"

The hills and winds and waters of Karelia are 4. Abonnement-Konzert often described as a land- scape to make one feel mitglledern des k k. Hof-Opcrnor chest ers small. Political powerless- FHi\ Weiiisaiiiier. ness has the same effect, • • «. «««* and the prospect of Jean Sibelius Symphonie Mr. 4, A-moll. death—the ultimate pow- (I. Aillkruc la d»M Phllbarm loozerteo ) Symphonic Mr. 6, H-aoll, „Patbetiqne erlessness—does so infi- P. J. Tschaikowski nitely more. So should the Sitze in Gatmanns k. a. k. Hoi-Mnslkalienhaodlang ill t war- Entre* u drr TtfMkatM. "9% Fourth Symphony. Alone- ness, a sense of the con- trast between human and Announcement for a 1912 concert led by Felix Weingartner superhuman scale, the pairing Sibelius s Fourth Symphony and Tchaikovsky's "Pathetique" impact of fiercely concen- trated experience—these are perhaps the images that, unbidden, lodged in Sibelius's mind as he conceived and began to fix the musical gestures of his unsettling masterwork.

He begins with a question. Basses and cellos, fortissimo but muted, and also bas- soons sound a huge C, from which two other notes, D and F-sharp, detach themselves. The F-sharp falls back to E, and for a long time we hear only a timeless rocking, back and forth, between those two pitches. It is the kraken's roar. I have called it a question. These four notes—C/D/E/F-sharp—are part of a whole-tone scale, an elusive, ambigu- ous creature all of whose intervals are identical, which therefore presents no articula- tion and seems to have neither beginning nor end. (It is a famous Debussy trademark, and it is not surprising that among the new pieces Sibelius had recently heard he found his French contemporary's Nocturnes especially stimulating.)

Then, from C to F-sharp is exactly half an octave, that is, halfway from C to the next C. That half-octave interval—it is usually called a tritone (three whole steps)—has, since the Middle Ages, occupied a special place in harmonic reckoning. The keys based on tones a tritone apart are as remote from each other as two keys can be, mean- ing they have the smallest number of notes in common (just two out of seven). The tri- tone interval itself has a peculiarly pungent sound, and to medieval theorists it was

"diabolus in musica.'''' It is a dissonance that demands resolution. Its most natural reso- lution is outward, to a perfect fifth, and that is indeed eventually accomplished in this symphony—in the finale. The possibility of such a resolution is, however, adumbrated as early as the short, sharply rhythmic recitative of trumpets and trombones that inter- rupts the string tremolandos and tranquil horn calls of this first movement. Moreover, the music heard in the first minutes, including the melody for solo cello and the sev- enths it outlines, provides the stuff from which the rest of the symphony will be drawn. Throughout, as Lionel Pike observes in his remarkable study Beethoven, Sibelius, and "the Profound Logic " harmony and rhythm work hand in hand, always being either restless and off-balance together or centered together.

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disturb the lilt of the opening tune, and the elaborately developed and somber second half of the movement—at half-tempo—disturbs the architectural and expressive set of the whole piece. Such uncon- ventional partitionings are a Sibelius specialty; in the finale of the Third Symphony, for ex- ample, you find the same thing, though with the opposite emo- tional coloration.

The third movement is the symphony's center—and this is truly slow music, unlike the first movement, which is molto moderate and quasi adagio (emphasis added). Here, tenta-

tively at first, then more openly, Sibelius sings. He allows him- self one lacerating, laconic cli- max. This music reminds us that when Sibelius heard Bruck- ner's Fifth Symphony as a stu-

dent in Vienna it moved him to tears. The Largo ends, as the first movement did, in repeti- tions and a question mark.

The finale emerges immedi- ately, as the scherzo did from

the first movement, its first note being the C-sharp sustained quietly in horns and strings From the manuscript first movement of Sibelius s Fourth through the Largo's last fifteen Symphony measures. The melody itself expands upon an idea proposed softly by clarinets and bassoons when that calm C- sharp in the Largo begins. The allegro quality of the music—in its literal sense of "cheerful" as well as in its musical use to indicate a quick tempo—is instantly and seriously compromised by the grinding dissonance that occurs when the second violins join the firsts.

The issue of the tritone is very much alive, and the attempt of the strings to settle in E-flat major—a tritone away from A, the keynote—leads to quite a spat within the or- chestra, half-amusing, half-grim. Now—and the effect is especially striking after the almost ostentatious economy of the first three movements—Sibelius overwhelms us with ideas. The richness of his presentation sets off the coda in which all this music is brought down to the irreducible.

The conductor Herbert Blomstedt has aptly characterized this finale as "an essay in trying to be happy which fails—on purpose." Sibelius's key scheme is interesting in the light of this idea. He has gone from the A minor of the first movement to the A major of the finale. This would seem to be the classic symphonic journey per ardua ad astra. His routine has taken him—and us—through the F major of the second movement and the C-sharp minor of the third to the finale's A major. Here I suspect a specific—and iron-

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32 ic—reference to the Brahms First. The keys in that work, a work that makes an almost aggressive point of being a "victory symphony" modeled on the Beethoven Fifth, pro- gress through its four movements by rising major thirds: C minor to E major to A-flat major to C minor/major. Sibelius, in the Fourth Symphony, also moves by major thirds, but his descend. He has inverted and thus subverted the victory scenario.

Everything is in fact reasonably bright until the descending chromatic figure first played by the violins as a strange pendant to the Brucknerian horn chorale demands another way. The music falls back into minor and disintegrates into barely audible tremolandi. A single flute voices an appeal, to which the oboe makes crowing and heartless response. The end, mezzo-forte, neither affirmative nor pathetic, is shattering

in its matter-of-factness.*

Finally, a word on bells. In the finale Sibelius introduces a sound not used in the first three movements, that of bells. But what kind of bells? The score, first published in 1912 by Breitkopf & Hartel, says "Glocken."—and that is all. "Glocken" means bells,

and it suggests tubular bells or chimes. Many conductors have, however, taken "Glocken." to be an abbreviation for "Glockenspiel." To this there are two objections. First, "Glocken."

is not a standard abbreviation for Glockenspiel, and I have never seen it so used. Sec- ond, to cite the period after "Glocken" as evidence that this is an abbreviation won't wash because the printers have put a period after the name of every instrument on the first page of each movement, from "2 Flauti." down to "Contrabasso." It is odd that "GlockerC is the only German word amid an otherwise entirely Italian nomenclature, and in at least one instance where Sibelius clearly wanted a glockenspiel, in Lemmin- kainens Journey Home, he used the Italian word "campanelli."

There would be no problem if the preference for the glockenspiel were not so preva- lent among Finnish conductors who worked within ready range of the composer's criti-

*The score indicates no modification of tempo for this coda, and there are two sharply divergent performance traditions. A few conductors stay rigorously in tempo to the end. One is Paavo Berglund, another is Sir Colin Davis, whose haunting image for the last measures is that "a brusque hand smoothes the earth over the grave." Their feeling is that "in tempo" is, like mezzo-forte, a stern denial of pathos, and their authority is the score itself. Most conductors soften the tempo to one degree or other so that the decrease in motion matches the decrease in musical action. Their authority is a letter permitting the slackening, from Sibelius to Serge Koussevitzky, whose temperament would not have allowed him to conduct those measures in tempo even with a gun held to his head.

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cism, if one did not find the glockenspiel on Sir Thomas Beecham's composer-author- ized recording for HMV's Sibelius Society, or if in 1935 Sibelius had not written a letter to another English conductor, Leslie Heward, saying "I would suggest to you the using of the Glockenspiel in the Fourth Symphony and of Stahlstabe for The Oceanides." It would seem that the letter to Heward settles the question, and Robert Layton, author of a good book on Sibelius, makes exactly that claim. But "Stahlstabe"' (literally "steel bars") is another word for the high, bright glockenspiel, and writing to Heward, Sibelius clearly intends a distinction between the sounds he wants in the Fourth Symphony and in The Oceanides.

Could it be that Sibelius, tangled in two languages, neither one his own, writing "Glockenspiel," was thinking of "Rohrenglockenspiel" a German term sometimes used for a set of tubular bells? Erik Tawaststjerna, the leading Sibelius scholar and biogra- pher of the postwar years, cites another letter in which Sibelius objects to very deep bells—those used, for example, in Parsifal, with their gorgeous muddle of overtones as being "too Oriental," but that is not an objection to standard tubular bells notated, like Sibelius's "Glocken." in treble clef. Sibelius revised a number of details as the score went through various printings, but he never changed "Glochen." apparently feel- ing untroubled by the consequences of any unclarity or ambiguity.

In any event, for conductors, variously choosing glockenspiel (these seem the majori- ty at the moment), tubular bells, or even both together, this is an occasion when they must, as interpreters, make a decision. The expressive effect of the icily frivolous glock- enspiel is very different from that of the solemn tubular bells, solemn by association as well as by sound. —Michael Steinberg

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979, having previously been music critic of the Boston Globe from 1964 to 1976. After leaving Boston he was program annotator for the San Francisco Symphony and then also for the New York Philharmonic. Oxford University Press has published two compilations of his program notes (The Symphony—A Listeners Guide and The Concerto—A Listeners Guide). A third volume, Choral Masterworks—A Listeners Guide, on the major works for orchestra with chorus, is due in March.

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

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Photograph by Michael Lutch Milton Babbitt Concerti for Orchestra

Milton Byron Babbitt was born in Philadelphia on May 10, 1916, grew up mostly in Jackson, Mississippi, and today lives in Princeton, New Jersey. The BSO proffered the commission that led to Concerti for Orchestra in March 2002 at the behest of James Levine. Babbitt com- pleted the piece in the fall of 2004. These are the world premiere performances, and mark the first time the BSO has ever performed any music by Milton Babbitt (al- though his chamber works have been heard often at Tanglewoods Festival of Contemporary Music). The score is marked "Commissioned by and dedicated to the Boston Symphony Orchestra and its Music Director, James Levine." Concerti for Orchestra calls for an or- chestra including flute and piccolo, oboe and English horn, clarinet and bass clarinet, bassoon and contrabassoon, two horns, two trumpets, bass trumpet in B-fiat, two trombones, tuba, vibraphone, marimba, harp, piano, and strings.

Concerti for Orchestra is about 25 minutes long.

Between ingenuity and the analytic ability there exists a difference far greater, indeed, than that between the fancy and the imagination, but of

a character very strictly analogous. It will be found, in fact, that the ingen- ious are always fanciful, and the truly imaginative never otherwise than analytic. —Edgar Allan Poe, The Murders on the Rue Morgue (1841)

For more than a half-century Milton Babbitt has been one of the most influential composers in the world, and, for many of his fellow musicians, a beacon of dedication and humanity in an often misunderstood profession. He is also credited by many as being one of the most important expositors of music theory in the years after Schenker, even to the extent of having introduced many of the standard concepts and details of nomenclature that theorists and ordinary musicians employ as a matter of course. He has been recognized with a Pulitzer Prize Special Citation for his life's work (already in 1982!) and commendations from the American Academy of Arts and Letters, the Gug- genheim Foundation, and others. He has figured among his friends and close colleagues some of the brightest names in American music: Roger Sessions, Elliott Carter, John Cage, Arthur Berger, Gunther Schuller, J.K. Randall, Charles Wuorinen, and Peter Lieb- erson, to name but a few.

And yet, while his accomplishments as composer, theorist, and teacher are many, one must look to other details of Babbitt's personal history to gain a better understanding of his musicianship. He was born in Philadelphia but spent most of his childhood in Jack- son, Mississippi, where early on he exhibited talent for and interest in music to go along with the incidental trait of his having perfect pitch. He began violin lessons with a "cultured lady" who had worked with the legendary Leopold Auer, and later took up the clarinet and saxophone. He made his first attempts at writing music very early on.

Babbitt played clarinet and saxophone through his school years, and absorbed many musical influences other than the classical. In particular he was drawn to the popular music of the time—what we call standards, now, by such composers as Gershwin and Cole Porter and others—and wrote his own music in that style. He has, even today, an encyclopedic knowledge of even the most obscure popular and theatrical song literature before 1940. (Later in the '40s, Babbitt was a principal in writing a Broadway-style comedy based on episodes from Homer's Odyssey; this fell through prior to production

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when its primary backer "walked away." Extant residue of that venture can be heard in the composer's charming Three Theatrical Songs.) While rarely explicitly referenced, it seems likely that the supple and dynamic rhythms of jazz and pop have infused Bab- bitt's work from the beginning.*

Babbitt graduated high school at age sixteen and intended to attend the Uni- versity of Pennsylvania in Philadelphia, where he thought to study analytical phi- losophy in the tradition of the great Ber- trand Russell. (Babbitt's father, an actuary, had provided a basis for his son's attrac- tion to mathematics, a key component in Russell's thinking.) However, he soon re- focused his attention on music, transferred to New York University, and began study- ing with the composer Marion Bauer, though he was to retain his fascination with the work of Russell and such of his successors in the field as James Burnham and Philip Wheelwright (co-founders of the influential journal Symposium); these influences would later play a big part in his musical investigations. Musical fasci- nations included Stravinsky and Varese; in the "classical" genres Babbitt found mod-

ern music to be the most appealing. It was around this time that he encountered and began to study the twelve-tone music of Arnold Schoenberg and his followers. The young Babbitt Following his graduation in 1935, Bab- bitt began his long acquaintance with another early advocate of Schoenberg's methods, Roger Sessions, and eventually enrolled at Princeton, where Sessions taught, for gradu- ate work. He became a member of the faculty in 1938. After the beginning of World War II, Babbitt was enlisted by the government to engage in research and then to teach advanced mathematics—ever an avocation—at Princeton. Having earned his master's degree in music at Princeton in 1942, he wrote "The Function of Set Structure in the Twelve-Tone System," one of the first papers to analyze critically the technical potential of the twelve-tone system, in part an act of productive protest to help persuade the department to award a doctorate in music theory. Babbitt was eventually to become a mainstay of the Princeton music department, teaching there in an unbroken span between 1948 and his retirement in 1984 and influencing generations of composers. Teaching has always been inseparable from the rest of Babbitt's activities; he also joined the faculty of the Juilliard School in 1973, where he continues to lecture to this day. He has also taught at the summer programs of Darmstadt and Tanglewood and at the New England Conservatory, among others.

In the late 1940s Babbitt published two works that had a seismic effect on the imme- diate course of progressive music: Three Compositions for Piano and Composition for Four Instruments. These two works showed the way to an extension of the principles of the twelve-tone method beyond the ordering and grouping of pitches and beginning to include other parameters as well, up to and including the linking of the characteristics

*Babbitt is also an inveterate aficionado of two other quintessentially popular pastimes: beer and baseball.

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40 of the composer's application of the twelve-tone pitch set to the largest perceptible structure of the piece.* The intervallic content of a row could be easily translated to numeric values, which in turn could be applied potentially to any other quantifiable parameter of a piece—note values (rhythm), meter, and time; quantity and type of in- strument; dynamic markings, and so on. This had enormous implications in the hopeful development of a new hierarchy that could be, ultimately, as flexible and powerful an organizational and expressive system as was tonality itself. It is this path that Babbitt chose for himself, and over the course of the ensuing half-century plus, he has time and again demonstrated the power of his method in its real-world application to a number of highly effective masterworks.

Another very important aspect of Babbitt's musical history must be touched on. His first decade as a mature composer (the 1950s) corresponded to the increasing feasibility of electronic means of sound production and reproduction. In Europe, the primary focus was on the manipulation of taped sounds; in the United States, and largely because of Milton Babbitt, the advent of the sound synthesizer was (and remains) key to the evolu- tion of electronic music. The earliest synthesizers, Babbitt relates, "were the size of a room and had no memory (a fact for which they were probably grateful)." The history of the RCA Mark II in particular is closely tied to Babbitt's work with that machine. This expensive device was "rented" for research purposes to the Columbia/Princeton Elec- tronic Music Center at Columbia University, which Babbitt was a principal in founding. Babbitt created many works with the machine over the years until its destruction by vandalism in the mid-1970s. He found that through the programmable capabilities of the Mark II he could realize his most intricate compositional conceptions and, albeit after hours and hours of difficult, solitary work, emerge from the building with a com- pleted and recorded piece under his arm. Other composers, including Columbia Elec- tronic Music Center co-founders Vladimir Ussachevsky and Otto Luening, contributed to the Center's becoming a hotbed of electronic music research and repertoire creation over the years. Babbitt created two of his classic works, Philomel for live voice and tape, on a text by John Hollander, and Phonemena for voice and tape, with the help of the Center's equipment.

Others of Babbitt's most important works include the famous twelve-tone work for jazz orchestra, All Set (1957); a cycle of six string quartets spanning his career, numer- ous important chamber music pieces including Sextets (1966) and The Joy of More Sex- tets (1986), both for violin and piano; Arie da capo for five players (1974); the mixed quintet Groupwise (1983), Septet but Equal for seven players (1992), and the Clarinet Quintet (1996); his largest vocal work, A Solo Requiem (1976); and numerous works for piano and for other solo instruments. Apart from withdrawn early and incomplete scores, there are only a handful of works for orchestra in Babbitt's catalog, but each is signifi-

cant. His first orchestral work was Relata /, written only in 1965 for the Cleveland Or- chestra; this was followed up by Relata II for the New York Philharmonic (1968). Others are Ars combinatoria (1981), the two piano concertos, the string orchestra piece Trans- figured Notes (1986), Correspondences for string orchestra and tape (1965), and Concerti, for violin, chamber orchestra, and tape (1976). The electronic part of the latter work is,

*For a simple example: a division of the twelve pitches of a "row" into four groups of three (four trichords, each with a particular intervallic content), and the ability to combine each tri- chord with any other trichord to create a distinct six-pitch hexachord, can be used to reflect, say, a four-part division of the large-scale form, with pairs of sections being related to one another. Further, this kind of similarity might extend to the level of a group of, say, four meas- ures, with relationships between pairs of measures echoing the hexachordal relationships of pairs of trichords in the twelve-note set. And so forth on many levels. (Much of the difficulty of writing about Babbitt's—and for that matter Schoenberg's, or even Mozart's—innovations lies in the lay person's lack of access to the specialist jargon of the musician and theorist, and not in the underlying logic of those innovations. Sorry about that.)

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42 to date, incomplete; its realization was interrupted by the destruction of Babbitt's be- loved RCA Mark II by burglars in 1976. (Several younger musicians have offered to attempt to realize this part with computer-based synthesizers, but no one has been able to replicate the special tonal characteristics of the one-of-a-kind Mark II.) Current proj- ects include a saxophone quartet commissioned by the New York-based PRISM quartet, and a piece for cello solo, More Melismata, commissioned by the Juilliard School for their upcoming centenary. More Melismata is scheduled for premiere in January 2006, and the school is planning a festival to celebrate Babbitt's 90th birthday in May of that year.

It was the Cleveland Orchestra's performances in 1965 of Babbitt's Relata I that marked the beginning of the composer's relationship with Boston Symphony Orchestra Music Director James Levine. Levine was at that time an assistant conductor of the Cleveland Orchestra, and Babbitt found that the young man was completely conversant with his intricate score as well as being able and willing to guide the players in the in- terpretation of their parts. The two men have been close friends ever since, and Levine has led several of Babbitt's works, including Correspondences in Chicago and, most recently, the Piano Concerto No. 2 in 1998, a work commissioned for Levine and the MET Orchestra. It seems fitting that James Levine should call on Babbitt to be among the first composers commissioned by the Boston Symphony Orchestra at his request.

The title of Babbitt's new work, Concerti for Orchestra, shows, like most of his titles, his love of wordplay. The title makes the obvious but not quite accurate nod to the genre of the Concerto for Orchestra, but the pluralization of the first word, like that of "symphonies" in Stravinsky's Symphonies of Wind Instruments, calls for a reading that takes into account the original definition of the word "concerto"—which is to say, an "acting together" of different instruments and groups. Babbitt in fact originally thought to call the piece "Chamber Music for Orchestra," referring to the smaller groups within

James Levine with (from left) Charles Wuorinen, Elliott Carter, Milton Babbitt, and Leon Kirchner at a concert of works by those composers and the late John Cage given by the MET Chamber Ensemble at Weill Recital Hall in New York's Carnegie Hall on October 20, 2002

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44 the larger, but ultimately settled on the title he'd already used for his unperformed vio- lin concerto.

The makeup of these smaller groups is linked to Babbitt's deployment of the twelve- tone pitch arrays that shape the other aspects of the musical architecture. While the exact correspondences may not be readily audible, the interplay of these discrete en- sembles can be heard right at the start as well as throughout the half-hour, single-move- ment piece. Concerti, in the end a rather delicate work, begins with an expressive duet of flute and oboe, which is supplanted at the end of the third measure with a new en- semble of horn, marimba, violin, viola, and cello. Upon their almost immediate return, flute and oboe are joined by the first trumpet, whereupon the two ensembles begin to affect one another. A little over a minute later (measure 29) the texture changes radical- ly as these ensembles drop out and a new, larger group (piccolo, English horn, clarinet and bass clarinet, bassoon, trumpet, trombones, tuba, harp, vibraphone, piano, and new groups of violins, violas, and cellos) begins a passage of denser music.

These kinds of combinations and recombinations are one feature of Concerti to listen for in this piece of continually changing colors. The subtle entrance of the double bass- es at measure 99, for another example, is a timbral revelation. In its sense of flow, the piece has much in common with several of the composer's other recent scores: the Sixth

String Quartet, Piano Concerto No. 1, and Septet but Equal. In the course of the piece there are many musical details that strike the ear. Babbitt has a fondness for repeating pitches, at the unison or octave-displaced, moving from one instrument to another in what we call, after Schoenberg, "Klangfarbenmelodie" ("tone color melody"). There are frequent instrumental solo passages throughout; particularly excellent near the end of the piece is what may be the most amazing extended solo ever to be written for the rare bass trumpet. Also coming nearer the end are quite moving instances of the orchestral textures falling away to reveal a single soloist, and, at times, complete silence, which feels as completely an organic aspect of the piece as the densest moments. —Robert Kirzinger

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45 Listening to Girls

Each year thousands of people come to Tae Kwon Do. They write short stories, con- the symphony to listen. They come to duct complex scientific experiments, build

hear the orchestra fill this hall with the software programs, and plan study-abroad world's most glorious music. To be still and trips. They look forward to college as a place to listen—that is a powerful thing. This hall, to learn and gain new levels of competence. after all, is conducive to the pleasures of lis- In the quiet, girls acquire confidence and tening. Elsewhere, to turn off the din and strength. They begin to dream big dreams. truly listen—well, that is more of a challenge. Listen to what girls in girls' schools say. Listen

The voices of girls are especially hard to to the ideas they have for history projects. hear, particularly through the cacophony of Listen to their opinions on computer game what our culture is saying to them. Here's violence, or censorship, or biotechnology. what to wear, here's how to look, here's how Listen to how they discuss art and music and you should think. Don't ask too many ques- politics. It is amazing what girls can do when tions. Don't talk back. Your appearance is we respect their opinions. They will organize more important than your programming community service projects and learn new skills and your writing. Choose your college languages. They will publish magazines and based on your boyfriend. start businesses. Look at the machines they

build. Look at the presentations they put What do girls themselves have to say? together. Listen to the music they compose. Younger girls, before they reach adolescence, They will, in the quiet, learn to excel. typically have a lot to say. They know what they want. Their voices are clear. But as girls We listen to girls at Miss Hall's School enter their teens, we hear them less clearly. We turn down the noise and listen. In this Often their voices grow smaller as they try to space apart, we give girls the opportunity to make sense of the world and discover the be heard, to be leaders, to develop their true girl inside. Sometimes their voices own voices, their own ideas, their own change—and we no longer recognize them. visions of who they want to be. And sud-

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Jean Sibelius Symphony No. 5 in E-flat, Opus 82

Sibelius composed the first version of his Fifth Sym- phony late in 1914, introducing it on his fiftieth birth- day, December 8, 1915, at Helsingfors. He conducted a revised version of the symphony a year later, also at Helsingfors, on December 14, 1916. Still dissatisfied

with the work, he withdrew it for a second time, leading the premiere of the final version only on November 24, 1919 (see below). Leopold Stokowski and the Philadel- phia Orchestra gave the first American performance on October 21, 1921. The first Boston Symphony perform- ances were given by Pierre Monteux in April 1922, sub- sequent BSO performances being given by Serge Kousse- vitzky (nearlyfifty home and out-of-town performances between 1927 and 1950), Richard Burgin, Leonard Bernstein, Eugene Ormandy, Erich Leinsdorf Georges Pretres, Colin Davis, Simon Rattle, Esa-Pekka Salonen, Neeme Jarvi (the most recent subscription performances, in March 1 990), Richard Westerfield, Osmo Vanska, and Paavo Jarvi (the most recent Tanglewood performance, on August 9, 2003). The score calls for two each offlutes, oboes, clarinets, and bassoons, four horns, three trumpets, three trombones, timpani, and strings.

Sibelius celebrated his fiftieth birthday on December 8, 1915, with the first perform- ance of his Fifth Symphony. Born in a quiet town in the interior of Finland, the son of a regimental doctor, he had begun writing music on a regular basis when he was nine. His earliest piece, for violin and cello pizzicato, was called Waterdrops, already display- ing the fascination with and love of nature that forever remained a part of his life. As a young violin student he would improvise on the instrument while wandering in the woods or by the lake near his home; much later, during the years that surrounded work on the Fifth Symphony, he would make daily diary entries testifying to the beauties of the land near his country home at Jarvenpaa and which helped distract him from the atrocities of the war raging round him.

As a teenager Sibelius began playing violin in his school orchestra, also making chamber music with his brother Christian and sister Linda, who played cello and piano, respectively. A career in music was considered out of the question, and in May 1885 he enrolled in a law course at the University of Helsingfors (Helsinki), at the same time continuing his musical studies with Martin Wegelius at the Music Institute. He gave up law, leaving Finland for the first time in autumn 1889 for Berlin, spending a year there and then a year in Vienna, studying counterpoint, writing music, frequenting music cir- cles. Meanwhile his music was being performed in Finland with increasing success. In the spring of 1889, in his last days as a conservatory student, he was hailed by the in- fluential Finnish critic Karl Flodin as "foremost amongst those who have been entrust- ed with bearing the banner of Finnish music." On April 28, 1892, the first performance of the twenty-six-year-old composer's eighty-minute symphonic poem Kullervo for solo- ists, male chorus, and orchestra proved something of a national event. Soon after this came the symphonic poem En Saga, written for Robert Kajanus, conductor of the Fin- nish National Orchestra; shortly after that came the music for the Karelia Suite, com- posed for an historical pageant at the University of Helsingfors.

Kajanus (1856-1933) was a champion of Finnish music and of his friend Sibelius in particular. Founder of the first permanent orchestra in Helsinki, and also one of Fin- land's most important composers, Kajanus afforded Sibelius many opportunities to con- duct; in 1900, on its first European tour, the Finnish orchestra under Kajanus and Sibelius performed in Paris, Stockholm, Goteborg, Malmo, Oslo, Copenhagen, Liibeck,

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48 Hamburg. Berlin. Amsterdam, Rotterdam, The Hague, and Brussels. In the years fol- lowing. Sibelius was invited regularly to conduct in Germany and elsewhere, both on the continent and in England. The First Symphony was completed in 1899, Finlandia in 1900; the Violin Concerto—the spelling- out of Sibelius's never-realized hopes of be- coming a concert virtuoso—was composed 1903 and revised 1905. In 1904 Sibelius bought the land at Jarvenpaa, about twenty miles from Helsinki, where he built the villa in which he would live the rest of his life; the villa was called "Ainola" after his wife Aino, whom he had married in June 1892. The Third and Fourth symphonies were composed in 1907 and 1911, respectively. During these years, Sibelius's life was shadowed by the threat of cancer: he underwent fourteen major operations before a tumor was finally located and removed from his throat, and his doctor ordered him to give up the wine and cigars he loved so much.

Professionally Sibelius was secure, with international recognition constantly growing and even reaching across the ocean: he re- ceived an honorary doctorate from \ale Uni- versity in 1914, the same year of his only Robert Kajanus visit tQ America, and he conducted his newly composed tone poem, The Oceanides , in Norfolk, Connecticut. He was offered the direc- torship of the Eastman School of Music after the war, but he never returned to America, despite his popularity there.* At the same time, however, his financial situation was and would for a while longer remain precarious, even with the establishment already in 1897 of the state pension for life that was meant to free him from teaching and from churning out. simply to pay the bills, small-scale compositions which he resented as distractions from his concentration on larger works (though, with the outbreak of war, work on these smaller pieces also helped him turn his mind from the turmoil of current events). In any event, Sibelius's fiftieth birthday found him, in Harold Johnson's words, "unchallenged as his country's greatest composer." The date was celebrated as a national holiday, and he was lauded as "one of the richest spirits that were ever born in this country* and the greatest creative power now living among us."

In addition to the Fifth Symphony, the gala concert included The Oceanides and the two Serenades for violin and orchestra. Opus 69. with Richard Burgin as soloist; the program was repeated three times for the general public, ^ith royalty income from his German printer suspended due to the war. Sibelius was pressed to finish the symphony:

"My relations with Breitkopf & Hartel are finished, and I have now composed minor pieces (about forty!) for Nordic publishers. This has disturbed my work on the new piece for the 8th of December. I hope that I will be able to finish it in time." He made last-minute changes during the final rehearsal. Though the public responded favorably to the new symphony, Sibelius was dissatisfied and withdrew it. introducing a second, much-revised version a year later, on December 14. 1916. Still dissatisfied with what he had hoped would be its "definitive form," he withdrew it vet again. At this point the composition of the Fifth Symphony becomes intertwined with that of the Sixth and Sev-

*It was aboard the S.S. President Grant on his return voyage from America that Sibelius learned of the Archduke Francis Ferdinand's assassination at Sarajevo.

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enth symphonies, Sibelius observing in a letter of May 20, 1918, that "it looks as if I may come out with all three symphonies at the same time." Actually, the Sixth appeared in 1923, the Seventh a year later; but the composer continues: The Fifth Symphony in a new form—practically composed anew—I work at it daily. Movement I entirely new, movement II reminiscent of the old, movement III reminiscent of the end of the first move- ment of the old. Movement IV the old motifs, but stronger in revision. The

whole, if I may say so, a vital climax to the end. Triumphal.

In its three-movement form (the stages leading up to the final version are not clearly documented), the symphony had to wait for its premiere until after the brutal civil war which kept Finland from political stability until the spring of 1919.* It was given on November 24, 1919, and Sibelius must finally have been deeply satisfied, especially if he recalled the words he had entered into his notebook five years earlier, in late September 1914: "In a deep dell again. But I already begin to see dimly the mountain that I shall certainly ascend... God opens his door for a moment and His orchestra plays the Fifth Symphony."

The symphony begins with music bearing out Cecil Gray's report, following an interview with the composer, that for Sibelius A 1 921 painting, based on a photograph,

orchestration as a thing in itself does not of the robed Sibelius when he received his exist; the idea that a musical thought Yale University doctorate in 1914 (see might occur to him in the abstract for page 49) which he had then to seek a suitable orchestration, or, conversely, that he might conceive a colour-scheme and then seek for musical material in which to embody it—both are alike unthinkable to him in connexion with his own work. In other words, the melodic, harmonic, and rhythmic material of his composition is inti- mately bound up, from the very outset, with the instrumental medium employed.

So, at the beginning of the Sibelius Fifth, the ear recognizes the various contributions to the orchestral texture without at first consciously thinking to isolate the individual sounds. Events proceed naturally and logically, as always with Sibelius, each instrument adding to the total effect: over the tonic-chord backdrop of drumroll and two horns, a melody emerges in the other two horns, followed by an echo in flutes, oboes, and clar-

*Sibelius was sympathetic to the Whites, the German-supported right-wing Civil Guard; he even provided the music—printed on his birthday in 1918, though not bearing his name to the Jaeger March, the Jaegers being a Prussian battalion made up largely of young Finns who had gone to Germany between 1914 and 1916. Of the Russian-supported leftist Reds, Sibelius commented, "I must be especially hateful to them as a composer of patriotic music." Indeed, the Sibelius family was so jeopardized by the presence of Russian soldiers in the vicinity of Jarvenpaa that, with the help of the composer's brother Christian, then a senior psy- chiatrist at a mental hospital near Helsingfors and who had the entire family diagnosed as bor- derline psychotic, and with a special pass somehow bearing the necessary signature of a Red commandant, they were moved with Kajanus's assistance to the Lapinlahti (Lappviken) Central Asylum where Christian was on the staff. Sibelius lost forty pounds in the ensuing weeks as a result of wartime rationing. This was in February 1918.

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The strings remain silent for the first few pages, woodbind undulations and further drumrolls building expectation to prepare their first entrance. The atmosphere becomes increasingly ionized once the strings have entered, and they join with the winds in another rhvthmicallv-activated idea:

Violins, flutes, oboes, clarinets

The music expands into and through a varied statement of the opening materials, after which the texture thins out for a mysterious, fugue-like string passage. Over this, a solo bassoon, sounding "lugubre" and "patetico ," paves the way for a development-like sec- tion with a climax of its own, but which then turns into something rather unexpected: an Allegro moderato whose dancelike character stands in sharp contrast to what has gone before, even though its thematic materials are clearly derived from what we have already heard.

In the original form, in its revised version of 1916. and even as late as May 1918. the date of the composers letter quoted earlier, this symphony had four separate move- ments. Robert Layton writes that there was a short break indicated between the first two movements of the original score but that in the 1916 version they were played without pause. It is unclear just when Sibelius decided to combine the original two movements into the single movement we know today, but what happens in the music now is that a scherzo-like dance movement short-circuits the sonata-form scheme one might have

53

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54 expected and moves through several faster tempos to a final climax serving as recapitu- lation for the whole. In other words, Sibelius has taken his original two movements and reworked them, presumably with considerable alteration to the material of the first

("Movement I entirely new. . ."), into a single structure whose thematic content is now organically related.

Of the Andante, Tovey writes that this "little middle movement... produces the effect of a primitive set of variations. . .But it produces this effect in a paradoxical way, inas- much as it is not a theme preserving its identity. . . through variations, but a rhythm

. . . built up into a number of by no means identical tunes." The movement starts as a simple idyll, the strings' material initially changing character from subdued to animated over long-held notes in the woodwinds. A lively middle section (Poco a poco stretto) is filled with ominous undercurrents. One point worth making is that the writing for vio- lins in this movement argues for the pre-World War II seating arrangement with first and second violins separated out to the conductor's left and right, respectively.

The finale begins with a rush of violins and violas to which woodwinds soon add their chatter; once this subsides, a bell-like tolling figure emerges in the horns (or, to quote Donald Francis Tovey one last time: "The bustling introduction... provides a rushing wind, through which Thor can enjoy swinging his hammer."). As the movement pro- ceeds, these materials are shared by the other members of the orchestra. Following the Misterioso repetition of the agitated opening material, the tolling figure now heard in tremolo violas and cellos, a woodwind phrase from very near the beginning blossoms into the most overtly emotional material of the entire score. Trumpets take up the tolling motif. The texture thickens, filled with dissonance and accents placed at odds with each other. The final resolution—four chords and two unisons introduced after a sudden silence—is startling in its simplicity and spareness: "triumphal," perhaps, but at the same time demanding an acceptance of forces not always within our control. —Marc Mandel

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An Introduction to the Music of Milton Babbitt by Andrew Mead, although somewhat technical, is the best available overview of the composer's works and compositional working methods (Princeton University Press). For Babbitt in his own words, the most complete selection of the composer's essays on any number of subjects, from interesting (though specialized) articles about the theory of serial music, to examinations of the music of Stravinsky and Schoenberg, to witty and erudite commentaries on cultural his- tory in the twentieth century, seek out Babbitt's Collected Essays, edited by Andrew Mead, Joseph Straus, and Stephen Dembski (Princeton). Straus and Dembski also edited an earlier collection of a generally more technical nature called Milton Babbitt: Words About Music, which brings together in print form the so-called Madison lectures (Uni- versity of Wisconsin Press). The article on Babbitt in the New Grove II is by Elaine Barkin and Martin Brody; in addition to biographical material, there is a useful and brief exposition of Babbitt's use of serial methods. Babbitt's work is among the most- discussed music of the past fifty years, and there are many articles to be found in past issues of the major journals, such as Perspectives of New Music, Musical Quarterly, and various (mostly theoretical) collections of essays. Of special interest is an appreciative symposium on Babbitt, with articles by several of the composer's colleagues, in Perspec-

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58 tives of New Music, Volume 35, No. 2 (Summer 1997).

Babbitt's music has been recorded extensively, although his orchestral work has fared less well than the chamber music. James Levine recorded his Correspondences for string orchestra and tape with the Chicago Symphony Orchestra in 1990 (Deutsche Grammo- phon). Also available are his Piano Concerto No. 1, with soloist Alan Feinberg and the American Composers Orchestra conducted by Charles Wuorinen (New World Records, with Babbitt's song cycle The Head of the Bed), and a rough-and-ready reading of his Transfigured Notes for string orchestra led by Gunther Schuller and recorded at Boston's Jordan Hall (GM Recordings; this disc also includes, for context, that work's immediate inspiration, Schoenberg's Transfigured Night, as well as Stravinsky's Concerto in D). Other important releases—just a sampling—are Babbitt's classic voice-and-tape works Philo- mel, with soprano Bethany Beardslee, and Phonemena, with soprano Lynne Weber, with Reflections for piano and tape and Post-Partitions for solo piano played by Robert Miller (New World); a disc called Soli e duettini that contains several chamber works as well as Babbitt reading his essay "On Having Been and Still Being an American Composer" (Koch International Classics); Sextets and The Joy of More Sextets, both with violinist Rolf Schulte and pianist Alan Feinberg (New World), and discs of Babbitt's piano music played by Robert Taub (Harmonia Mundi) and by Martin Goldray (CRI). Two recent releases are of interest: No. performed by the Cygnus Ensemble for whom Swan Song 1 ,

it was written, with other chamber works (Bridge), and a disc including the tape piece Occasional Variations, string quartets nos. 2 and 6, and Composition for Guitar (Tzadik). —Robert Kirzinger

Robert Layton's Sibelius in the Master Musicians series is a useful life-and-works study (Schirmer). Layton also contributed the Sibelius article to The New Grove Dic- tionary of Music and Musicians (1980); this was reprinted, along with the Grove articles on Janacek, Mahler, and Strauss, in The New Grove Turn of the Century Masters (Norton paperback). The Sibelius article in the revised New Grove (2001) is by James Hepo- koski. The major biography of Sibelius, in Finnish, is by Erik Tawaststjerna. All three volumes have been translated into English by Robert Layton, but only the first two were published in this country (University of California; the third volume was published by Faber & Faber in London). Michael Steinberg's program notes on all seven Sibelius sym- phonies are in his compilation volume The Symphony—A Listeners Guide (Oxford Uni- versity paperback). A program note on the Fifth Symphony is included among Donald Francis Tovey's Essays in Musical Analysis (Oxford paperback). The Sibelius Compan- ion, edited by Glenda Dawn Ross, is a useful compendium of essays by a variety of Sibelius specialists (Greenwood Press). Harold Truscott's chapter on Sibelius in Volume

II of The Symphony, edited by Robert Simpson, is of interest (Pelican paperback), as is Philip Coad's chapter on the composer in the much more recent A Guide to the Sym- phony, edited by Robert Layton (Oxford paperback). Lionel Pike's collection of essays, Beethoven, Sibelius, and "the Profound Logic," is recommended to readers with a strong technical knowledge of music (Athlone Press, London).

James Levine recorded Sibelius's Fourth and Fifth symphonies with the Berlin Phil- harmonic in 1994 and 1992, respectively (Deutsche Grammophon; the Fourth has been reissued in the limited-edition, four-disc set, "James Levine, A Celebration in Music: A 60th Birthday Tribute," a compilation drawn from his orchestral recordings with the Chicago Symphony, Vienna Philharmonic, Berlin Philharmonic, and MET Orchestra). The Boston Symphony Orchestra recorded all seven Sibelius symphonies and several Sibelius tone poems under Colin Davis in the mid-1970s. These have been reissued in

Boston Symphony Orchestra eoncertmaster Malcolm Lowe performs on a Stradivarius violin loaned to the orchestra in memory of Mark Reindorf.

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two mid-priced Philips "Duos" (the Fourth and Fifth symphonies are in Volume 1, along with the First and Second symphonies). The Davis/BSO recording of the Fifth has also been reissued—paired with the Seventh Symphony, as it was in its original LP release —on a mid-priced single disc in the series "Philips 50 Great Recordings" marking fifty years of the company's recorded heritage. More recent Sibelius cycles of note include Paavo Berglund's, whose most recent complete cycle (of three) is with the Chamber Or- chestra of Europe (Finlandia; the Symphony No. 4 is paired on a single disc with No. 6, No. 5 with No. 7) and Osmo Vanska's with the Lahti Symphony Orchestra (BIS; Sym- phony No. 4 is paired on a single disc with No. 1, No. 5 with the tone poem En Saga). Vanska has also recorded the original 1915 version of the Symphony No. 5 with the Lahti Symphony Orchestra, though that disc is now hard to find (BIS, with the original 1892 version of En Saga). Herbert von Karajan's analog stereo recordings of the Fourth, Fifth, Sixth, and Seventh symphonies with the Berlin Philharmonic have been reissued in a two-disc set (Deutsche Grammophon "Originals"). Karajan's earlier, monaural re- cordings of the Fourth and Fifth symphonies with the Philharmonia Orchestra have also been reissued on CD (EMI).

Of historic interest are a number of recordings by conductors who championed Sib- elius during his lifetime. Robert Kajanus's recordings from 1932 of the Third and Fifth symphonies with the London Symphony Orchestra have been available on a single Koch Historic disc and also in a three-disc Finlandia box with his recordings of the First and Second symphonies, Tapiola, Pohjola's Daughter, and other works. Serge Koussevitzky's famous 1933 concert performance of the Seventh Symphony with the BBC Symphony Orchestra has been reissued on Naxos Historical (with Sibelius's Tapiola and Pohjolas Daughter, and Grieg's The Last Spring, though that disc may be hard to find in the United States). That same performance has also been available in a two-disc Biddulph set ("Koussevitzky: The Complete HMV Recordings") also including his BBC Symphony recordings of Beethoven's Eroica and Fifth symphonies, Haydn's Symphony No. 88, and Mozart's Fortieth. (Koussevitzky's 1950 Boston Symphony recording of the Sibelius Sec- ond for RCA looks to be out the catalogue at present.) Also worth seeking is a 1934 recording of Sibelius's Sixth Symphony—the first recording ever made of that work with the Finnish National Orchestra under Georg Schneevoigt, who succeeded Kajanus as that orchestra's conductor (Finlandia). Another important Sibelius champion was Thomas Beecham, whose recording from the 1930s of the Fourth Symphony with the London Philharmonic has been reissued on Naxos. In addition, IMG Artists has re- leased a highly recommended two-disc set of Beecham conducting "live" performances of Sibelius's Fourth and Seventh symphonies, Tapiola, and selections from the compos- er's music for Pelleas et Melisande, Swanwhite, and The Tempest, all but the Seventh Symphony (a September 1954 performance) being from a December 8, 1955 concert Beecham led with the Royal Philharmonic Orchestra to honor Sibelius's ninetieth birth- day (BBC Legends). Though Beecham's early commercial recording of the Sixth Sym- phony with the London Philharmonic seems not to have appeared on compact disc, his two commercial recordings of the Seventh—from 1942 with the New York Philharmonic and from 1955 with the Royal Philharmonic—have been transferred to CD (the earlier one as part of the "Beecham Collection" produced by the Beecham Trust, and also on Dutton; the later one, though now out of print, as part of EMI's "Beecham Edition"). Ar- turo Toscanini's April 1940 broadcast performance of the Fourth Symphony has been issued on several labels (notably Music & Arts and Guild). —Marc Mandel

61 Week 11 Support a new era attheBSO

The 2004-2005 season marks the beginning to maintain the BSO's place as one of an exciting new era of music- of the world's leading symphonic making at the Boston Symphony organizations. Orchestra! This season, become a Friend of the As we welcome Music Director Boston Symphony Orchestra. Ticket James Levine, you can play an sales cover only 40 percent of the important role in helping the BSO's costs each year. Your contri- Boston Symphony achieve new bution Will support Mr. Levine's artistic heights. Now, more than artistic plans and the BSO's contin- ever before, the orchestra depends uing education and community

on the generosity of its patrons to outreach programs.

provide critical financial support

riends To make a gift, call the Friends ol BOSTON SYMPHONY ORCHESTRA the BSO Office at (617) 638-9276 or visit us online at www.bso.ori BOSTON SYMPHONY ORCHESTRA 2OO4-2OO5 SEASON

BSO Consolidated Corporate Fund

The support provided by members of the BSO's Consolidated Corporate Fund (formerly the Business Leadership Association) enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community out- reach programs throughout the greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following companies for their generous support, including gifts-in-kind.

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65 BSO Consolidated Corporate Fund (continued)

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67

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NEXT PROGRAM...

Wednesday, January 19, at 7:30 Pre-Concert Talks by (Open Rehearsal) Harlow Robinson, Thursday, January 20, at 8 Northeastern University Friday, January 21, at 1:30 Saturday, January 22, at 8 Tuesday, January 25, at 8

JAMES CONLON conducting

ULLMANN Piano Concerto, Opus 25

Allegro con fuoco Andante tranquillo Allegro Allegro molto GARRICK OHLSSON

INTERMISSION

SHOSTAKOVICH Symphony No. 7, Opus 60, Leningrad

Allegretto — Poco piu mosso Moderato (poco allegretto) Adagio Allegro ma non troppo

James Conlon, who champions music of composers oppressed by the Nazi regime in the mid-20th century, introduces Viktor Ullmann's Piano Concerto to the BSO repertoire with American pianist Garrick Ohlsson as soloist. The Czech Ullmann, who was interned at Terezin in 1942 and died at Auschwitz in 1944, wrote his

Piano Concerto in 1939; the work was not heard until April 1992, when it received its first performance, in Stuttgart, with pianist Konrad Richter and the Brno State Philharmonic Orchestra conducted by Israel Yinon. Russian composer Dmitri Shos- takovich wrote his Symphony No. 7—another work written during World War II purportedly in response to the heroism of the Russian people during the Siege of Leningrad that began in 1941.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at www.bso.org, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Friday from 10 a.m. until 5 p.m. (Saturday from 10 a.m. until 4 p.m.), to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-888-266-1200. Please note that there is a $5 handling fee for each ticket ordered by phone or over the internet.

68 COMING CONCERTS . . .

PRE-CONCERT TALKS: The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO subscription concerts and Open Rehearsals, including the remaining non-orchestral concert in the James Levine Series on Wednesday, April 27. Free to all ticket holders, these half-hour talks begin at 6:45 p.m. prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, at 1:45 p.m. prior to Sunday-afternoon concerts, and one hour before the start of each Open Rehearsal. PLEASE NOTE that the starting time for the evening and Sunday-afternoon talks has been changed to allow the musicians more time to warm up on stage prior to the concerts. We appreciate your understanding in this matter.

Wednesday, January 19, at 7:30 p.m. Thursday, February 10, at 10:30 a.m. (Open Rehearsal) (Open Rehearsal) Thursday 'D'—January 20, 8-10:05 Thursday 'C—February 10, 8-9:50 Friday 'B'—January 21, 1:30-3:35 Friday 'B'—February 11, 1:30-3:20 Saturday 'A'—January 22, 8-10:05 Saturday 'A'—February 12, 8-9:50 Tuesday 'B'—January 25, 8-10:05 RAFAEL FRUHBECK DE BURGOS, JAMES CONLON, conductor conductor GARRICK OHLSSON, piano STEVEN ISSERLIS, cello ULLMANN Piano Concerto STEVEN ANSELL, viola ANET ANDEMICAEL, soprano (The Boy) SHOSTAKOVICH Symphony No. 7, Leningrad PETER BRONDER, tenor (Master Peter) JONATHAN LEMALU, baritone (Don Quixote) Thursday, January 27, at 10:30 a.m. (Open Rehearsal) BOB BROWN PUPPETS Thursday 'B'—January 27, 8-10 FALLA Master Peter's Puppet Friday Evening—January 28, 8-10 Show Saturday 'B'—January 29, 8-10 STRAUSS Don Quixote Tuesday 'C—February 1, 8-10 Wednesday, February 16, at 7:30 p.m. DAVID ZINMAN, conductor (Open Rehearsal) RICHARD GOODE, piano Thursday 'D'—February 17, 8-10:10 Impressions GANDOLFI from "The Friday 'A'—February 18, 1:30-3:40 Garden Cosmic of Saturday 'B'—February 19, 8-10:10 Speculation" BART6K Piano Concerto No. 3 ROBERT SPANO, conductor LEVIN, piano MUSSORGSKY/ Pictures at an Exhibition ROBERT RAVEL WAGNER Siegfried Idyll MENDELSSOHN Piano Concerto No. 1 Thursday, February 3, at 10:30 a.m. WYNER Piano Concerto, Chiavi (Open Rehearsal) in mano Thursday 'A'—February 3, 8-10 (world premiere; BSO commission) Friday 'A'—February 4, 1:30-3:30 HAYDN Symphony No. 104, Saturday 'A'—February 5, 8-10 London Tuesday 'B'—February 8, 8-10 Programs and artists subject RAFAEL FRUHBECK DE BURGOS, to change. conductor TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

ALL- Nanie, Gesang der BRAHMS Parzen, and Schick- massculturalcouncil.or PROGRAM salslied, for chorus and orchestra Symphony No. 1

69 SYMPHONY HALL EXIT PLAN

MASSACHUSETTS AVENUE

> o cr-£ ?

1ST BALCONY 00 > > AND I s 5 2ND BALCONY o o S

MASSACHUSETTS AVENUE

IN CASE OF AN EMERGENCY

Follow any lighted exit sign to street.

Do not use elevators

Walk don't run.

70 SYMPHONY HALL INFORMATION

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378).

THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.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 announce- ment 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, caU (617) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert

evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are avail- able 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, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (or until 2 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 $5 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.

FOR PATRONS WITH DISABILITIES, an access service center, large print programs, acces- sible restrooms, and elevators are available inside the Cohen Wing entrance to Symphony j Hall on Huntington Avenue. For more information, call the Access Services Administrator j 1 line at (617) 638-9431 or TDD/TTY (617) 638-9289.

I 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.

1 IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or young- er will | not be admitted to Boston Symphony Orchestra concerts.

TICKET RESALE: If you are unable to attend for j a Boston Symphony concert which you hold a subscription ticket, ticket for i you may make your available 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 at- j

"i tend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low } price of these seats is assured through the j Morse Rush Seat Fund. Rush Tickets are sold at

! $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and

I Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for

i Friday or Saturday evenings.

71 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 switchboard near the Massachu- setts Avenue entrance.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- teed 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 Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing.

LADIES' ROOMS are located on the orchestra level, audience-left, at the stage end of the hall; on the first balcony, also audience-left, near the coatroom; and in the Cohen Wing.

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch 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 Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch 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.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening con- certs are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 a.m. and 5 p.m., (617) 638-9276. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. In- cluding your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO pro- gram book, access to the Beranek Room reception lounge, and priority ticket service. For fur- ther information, please call the Corporate Programs Office at (617) 638-9466.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon until 6 p.m.; from one hour before each concert through intermission, and for up to thirty minutes after each concert. The Symphony Shop features exclusive BSO merchandise, in- cluding the Symphony Lap Robe, 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 during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orches- tra. For further information and telephone orders, please call (617) 638-9383.

72 .

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

©2001 Bose Corporation. JN20417 - -y/AV Rich Warren, Chicago Tribune, 6/1/90. Better sound through research 5 THE WALTER PISTON SOCIETY

of giving

anna finnerty, who loved having tea with the development staff, left this cup and saucer as a reminder of how much she enjoyed volunteering at Symphony Hall.

One day, after giving her time stuffing envelopes, Miss Finnerty asked how she could leave a gift to the BSO in her will, thereby becoming a Walter Piston Society Member. She was told to add the wording, "I hereby bequeath the sum of $ to the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115, tax ID #04-2103550."

She certainly followed up on those instructions. After her death, Miss Finnerty's estate gave the BSO more than $1 million to endow the Assistant Conductor chair in perpetuity.

If you would like to talk with one of our professional develop- ment officers about leaving your legacy at the Symphony,

please call (617) 638-9252 or e-mail [email protected]. You may be assured of complete confidentiality.

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