Boston Symphony Orchestra Summer 2015

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summer 2015

boston symphony orchestra andris nelsons music director

Andris Nelsons, Ray and Maria Stata Music Director Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

134th season, 2014–2015

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor •

Programs copyright ©2015 Boston Symphony Orchestra, Inc. Cover photo by Marco Borggreve James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

† Deceased

Established 1974 Berkshire Record Outlet

Thank you all for your past patronage. After forty-one consecutive summers, our retail store has closed.

Please visit our website: www.berkshirerecordoutlet.com Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives)

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kous- sevitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein

Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center, which celebrates its 75th anniversary this summer, has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Then BSO music director Seiji Ozawa, with bass drum, lead- Alleluia for unaccompanied chorus, ing a group of Music Center percussionists during a rehearsal specially written for the ceremony, for Tanglewood on Parade in 1976 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) arrived less than an hour before the event began; but it made such an impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training— participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, Osvaldo Golijov, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Seiji Ozawa, Leontyne Price, Ned Rorem, Cheryl Studer, Sanford Sylvan, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 28 through August 31. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Special Archival Exhibit at the Tanglewood Visitor Center

Berkshire Music Center class photo, 1940 (BSO Archives) “Alleluia”—Celebrating the 75th Anniversary of the Tanglewood Music Center This summer marks the 75th anniversary of the Tanglewood Music Center, the BSO’s summer training institute for young musicians that was founded—as the Berkshire Music Center—by Serge Koussevitzky in 1940. To mark the occasion, the BSO Archives has mounted a special exhibit in the Tanglewood Visitor Center. Drawing on the Archives’ extensive collection of photographs, documents, and other memorabilia, the exhibit celebrates more than seven decades of teaching and learning at the Music Center that have influenced generations of instrumentalists, conductors, vocalists, and composers who have studied with BSO musicians and conduc- Instrumental Fellows give a spontaneous tors, as well as a vast lunchtime concert on the Tanglewood grounds number of distin- in 1949 (Howard S. Babbitt, Jr./BSO Archives) guished composers and other visiting artists on the TMC faculty.

First page of the manuscript score of Randall BSO Music Director and TMC founder Serge Thompson’s “Alleluia,” which was composed Koussevitzky flanked by two of his conducting for the Opening Exercises of the Berkshire students—Leonard Bernstein (left) and Eleazar Music Center’s inaugural session in 1940 de Carvalho—who later became members of (BSO Archives) the faculty (Heinz Weissenstein, Whitestone Photo/BSO Archives)

Serge Koussevitzky rehearsing with the Berkshire Music Center Orchestra in the Tanglewood Shed, 1942 (BSO Archives) In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Smoking materials include cigarettes, cigars, pipes, e-cigarettes, and other smoking products. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are dis- turbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, and skateboards are prohibited from the Tanglewood grounds. Small, open-sided tents and umbrellas are permitted in designated areas of the lawn provided that they are well secured but do not penetrate grounds infrastructure or unreasonably obstruct the view of other patrons. No area of the lawn may be staked or cordoned off for any reason. Please refrain from dumping melted candle wax on the lawn; aluminum tins are available at any entrance for that purpose. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert and that during Shed concerts, children may play ball only behind the Visitor Center or near Ozawa Hall. Shirts must be worn on the Tanglewood grounds, and both shirts and shoes must be worn inside concert halls. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, watch alarms, and tablets are switched off during concerts, as well as all texting and other electronic devices. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. For the safety and security of our patrons, all bags, purses, backpacks, and other containers are subject to search. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. Tickets may also be purchased at the Symphony Hall box office in Boston, Monday through Friday from 10 a.m. to 5 p.m. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible rest- rooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, Highwood Manor House, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 2:30 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 2:30 p.m., and from noon through intermission on Sundays. Highwood Manor House is open Friday, Saturday, and Sunday, July 13 through August 23, prior to each BSO concert in the Shed. Call (413)637-4486 for reservations. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $32 (front and boxes) and $22 (rear); lawn tickets are $13. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehicle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2015

ANDRISNELSONS BERNARDHAITINK SEIJI OZAWA THOMASWILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

First Violins Jason Horowitz* Violas Mickey Katz* Ronald G. and Ronni J. Stephen and Dorothy Weber Malcolm Lowe Casty chair Steven Ansell chair, endowed in perpetuity Concertmaster Principal Charles Munch chair, Ala Jojatu* Charles S. Dana chair, Alexandre Lecarme* endowed in perpetuity endowed in perpetuity Nancy and Richard Lubin chair Tamara Smirnova Second Violins Cathy Basrak Associate Concertmaster Assistant Principal Adam Esbensen* Helen Horner McIntyre Haldan Martinson Anne Stoneman chair, Richard C. and Ellen E. chair, endowed in perpetuity Principal endowed in perpetuity Paine chair, endowed Carl Schoenhof Family in perpetuity Alexander Velinzon chair, endowed in perpetuity Wesley Collins Assistant Concertmaster Lois and Harlan Anderson Blaise Déjardin* Robert L. Beal, Enid L., Julianne Lee chair, endowed in perpetuity and Bruce A. Beal chair, Assistant Principal endowed in perpetuity Charlotte and Irving W. Robert Barnes Basses Rabb chair, endowed Elita Kang in perpetuity Michael Zaretsky Edwin Barker Principal Assistant Concertmaster Mark Ludwig* Edward and Bertha C. Rose Sheila Fiekowsky Harold D. Hodgkinson chair, endowed in perpetuity Shirley and J. Richard Rachel Fagerburg* chair, endowed in perpetuity Fennell chair, endowed Bo Youp Hwang in perpetuity Kazuko Matsusaka* Lawrence Wolfe Assistant Principal John and Dorothy Wilson Rebecca Gitter* chair, endowed in perpetuity Nicole Monahan Maria Nistazos Stata chair, David H. and Edith C. Daniel Getz* endowed in perpetuity Lucia Lin Howie chair, endowed Dorothy Q. and David B. in perpetuity Benjamin Levy Arnold, Jr., chair, endowed Cellos Leith Family chair, endowed in perpetuity Ronan Lefkowitz in perpetuity Vyacheslav Uritsky* Jules Eskin Dennis Roy Ikuko Mizuno Principal Ruth and Carl J. Shapiro Jennie Shames* Philip R. Allen chair, Joseph Hearne chair, endowed in perpetuity endowed in perpetuity Valeria Vilker James Orleans* Nancy Bracken* Kuchment* Martha Babcock Stephanie Morris Marryott Associate Principal Todd Seeber* and Franklin J. Marryott Tatiana Dimitriades* Vernon and Marion Alden Eleanor L. and Levin H. chair chair, endowed in perpetuity Campbell chair, endowed Si-Jing Huang* in perpetuity Aza Raykhtsaum* Victor Romanul* Sato Knudsen Catherine and Paul John Stovall* Bessie Pappas chair Mischa Nieland chair, Buttenwieser chair endowed in perpetuity Thomas Van Dyck* Wendy Putnam* Bonnie Bewick* Robert Bradford Newman Mihail Jojatu Mary B. Saltonstall chair, chair, endowed in perpetuity Sandra and David Bakalar endowed in perpetuity chair Xin Ding* James Cooke* Owen Young* Kristin and Roger Servison Glen Cherry* John F. Cogan, Jr., and chair Yuncong Zhang* Mary L. Cornille chair, Catherine French* endowed in perpetuity Donald C. and Ruth Brooks Heath chair, endowed in perpetuity Flutes Bass Clarinet Thomas Siders Voice and Chorus Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward John Oliver Principal M. Lupean chair Tanglewood Festival Walter Piston chair, Chorus Conductor endowed in perpetuity Bassoons Michael Martin Alan J. and Suzanne W. Richard Svoboda Ford H. Cooper chair, Dworsky chair, endowed Clint Foreman endowed in perpetuity in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, endowed in perpetuity Trombones Librarians Elizabeth Ostling Associate Principal Suzanne Nelsen Toby Oft D. Wilson Ochoa Marian Gray Lewis chair, John D. and Vera M. Principal Principal endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Lia and William Poorvu Richard Ranti chair, endowed in perpetuity chair, endowed in perpetuity Piccolo Associate Principal Stephen Lange John Perkel Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Evelyn and C. Charles endowed in perpetuity Bass Trombone Associate Marran chair, endowed Conductor in perpetuity James Markey Contrabassoon John Moors Cabot chair, Marcelo Lehninger endowed in perpetuity Anna E. Finnerty chair, Oboes Gregg Henegar endowed in perpetuity Helen Rand Thayer chair John Ferrillo Tuba Principal Assistant Mildred B. Remis chair, Horns Mike Roylance Conductor endowed in perpetuity Principal James Sommerville Margaret and William C. Ken-David Masur Mark McEwen Principal Rousseau chair, endowed James and Tina Collias Helen Sagoff Slosberg/ in perpetuity chair Edna S. Kalman chair, Personnel endowed in perpetuity Managers Keisuke Wakao Timpani Assistant Principal Richard Sebring Lynn G. Larsen Farla and Harvey Chet Associate Principal Timothy Genis Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, Bruce M. Creditor in perpetuity Congleton chair, endowed endowed in perpetuity Assistant Personnel in perpetuity Manager English Horn Rachel Childers Percussion John P. II and Nancy S. Stage Manager Robert Sheena Eustis chair, endowed J. William Hudgins Beranek chair, endowed in perpetuity Peter and Anne Brooke John Demick in perpetuity chair, endowed in perpetuity Michael Winter Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Jason Snider Linde chair William R. Hudgins * participating in a system Principal Jonathan Menkis of rotated seating Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, ° on leave Tariot chair endowed in perpetuity § substituting Michael Wayne Matthew McKay Thomas Martin Trumpets Associate Principal & E-flat clarinet Thomas Rolfs Harp Principal Stanton W. and Elisabeth Jessica Zhou K. Davis chair, endowed Roger Louis Voisin chair, ° endowed in perpetuity Nicholas and Thalia Zervas in perpetuity chair, endowed in perpetuity Benjamin Wright by Sophia and Bernard Gordon Allegra Lilly §

Andris Nelsons

In the 2014-15 season, his first as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons led the Boston Symphony Orchestra in ten programs at Symphony Hall in Boston, repeating three of them at Carnegie Hall in New York this past April. Mr. Nelsons made his Boston Symphony debut at Carnegie Hall in March 2011, conducting Mahler’s Symphony No. 9; he made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert available on DVD and Blu-ray, and telecast nationwide on PBS). He is the fifteenth music director in the history of the Boston Symphony Orchestra. Maestro Nelsons’ September 2014 inaugural concert as BSO music director was recently televised by PBS in its “Great Performances” series. His first compact disc with the BSO (also available as a download)—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2, from concert performances at Symphony Hall in the fall of 2014—was released earlier this season on BSO Classics. Also this season, he and the BSO, in collaboration with Deutsche Grammophon, have initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 (photo by Marco Borggreve) through 10, the Passacaglia from his opera Lady Macbeth of Mtsensk, and selections from Shostakovich’s incidental music to Hamlet and King Lear, all composed during the period the composer labored under the life-threatening shadow of Soviet dictator Joseph Stalin. Also on the schedule for Maestro Nelsons and the orchestra are two upcoming European tours: an eight-city tour late this summer, following the BSO’s 2015 Tanglewood season, to major European capitals, including Berlin, Cologne, London, Milan, and Paris, as well as the Lucerne, Salzburg, and Grafenegg festivals; and, in May 2016, following the orchestra’s 2015-16 Symphony Hall season, a tour to eight cities in Germany, Austria, and Luxembourg. Previously, Andris Nelsons has been critically acclaimed as music director of the City of Birmingham Symphony Orchestra since assuming that post in 2008; he remained at the helm of that orchestra until this summer. Over the next few seasons he will continue collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amster- dam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Sym- phony Orchestra, and the Philhar- monia Orchestra. He is a regular guest at the Royal Opera House, the Vienna State Opera, and New York’s Metropolitan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, a production by Hans Neuenfels that Mr. Nelsons premiered at Bayreuth in 2010. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott) career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” A Brief History of the Boston Symphony Orchestra

Now in its 134th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most esteemed music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international stan- dard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. An (BSO Archives) expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tangle- wood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 TMC faculty members Aaron Copland and Leonard Bernstein by William Steinberg. Seiji seated with Serge Koussevitzky during a Berkshire Music Center Ozawa became the BSO’s class photo shoot in the 1940s (Ruth Orkin/BSO Archives) thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he assumed in September 2015, following a year as music director designate. Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.

Table of Contents

Friday, July 3, 6pm (Prelude Concert) 2 BOSTON CELLO QUARTET A program of Spanish and Latin music

Friday, July 3, 8:30pm 9 BOSTON SYMPHONY ORCHESTRA JACQUES LACOMBE conducting KIRILL GERSTEIN, piano; JESSYE NORMAN, speaker Opening Night at Tanglewood: All-American program Music of Harbison, Gershwin, Copland, and Ellington

Sunday, July 5, 2:30pm 18 BOSTON POPS ORCHESTRA KEITH LOCKHART conducting BERNADETTE PETERS, special guest MICHELLE BROOKS-THOMPSON, vocalist

“This Week at Tanglewood” Again this summer—starting this weekend on Friday, July 3, and continuing through Friday, August 14—patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tangle- wood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests are Tanglewood Music Center Director Ellen Highstein and pianist Kirill Gerstein. As the summer continues, guests will include, among others, conductors Ludovic Morlot, Neville Marriner, Michael Tilson Thomas, and Ken-David Masur; composer Michael Gandolfi; singers Christine Goerke and John Relyea; pianist Paul Lewis, and violinist Leonidas Kavakos.

Saturday-Morning Open Rehearsal Speakers July 18; August 8, 15—Marc Mandel, BSO Director of Program Publications July 11, 25; August 1—Robert Kirzinger, BSO Assistant Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY

This season’s program books for the Koussevitzky Music Shed are underwritten by a generous gift from Bob and Jane Mayer.

TANGLEWOODWEEK 1 TABLEOFCONTENTS 1 2015 Tanglewood

Prelude Concert Friday, July 3, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

BOSTON CELLO QUARTET BLAISE DÉJARDIN, cello ADAM ESBENSEN, cello MIHAIL JOJATU, cello ALEXANDRE LECARME, cello

GIMÉNEZ Intermedio from “La Boda de Luis Alonso” *

GRANADOS Andaluza from “12 Danzas españolas” *

SCIORTINO “Iber-Amer: Dances from Latin America” Tan.Go.Tan Por-Zil (Fado) Basam

ALBÉNIZ “Rapsodia cubana,” Opus 66 *

CHABRIER “España” *

DESENNE “Bossa do Fim”

ALBÉNIZ Prelude (“Asturias”) from “Cantos de España,” Opus 232, arranged by Alexandre Lecarme

PIAZZOLLA “Adiós Nonino” *

COREA “Spain” *

BARROSO “Brazil” * * arranged by Blaise Déjardin

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

2 NOTES ON THE PROGRAM

The Boston Cello Quartet embarks on the pleasantly storied tradition of the musical travelogue with a jaunt through Spain and a hop to the Spanish- and Portuguese- speaking New World with this program, which includes a work written especially for the BCQ by the Venezuela-born composer Paul Desenne. La boda de Luís Alonso (“The Wedding of Luís Alonso,” 1898) by Gerónimo Giménez (1854-1923), is a classic Spanish zarzuela, a peculiarly Spanish form of melodramatic operetta that thrived a century ago. The Intermezzo is a quick Spanish dance of familiar, almost Flamenco character. (The orchestral version prominently features castanets.) Blaise Déjardin was made aware of this piece when it was programmed in a BSO concert led by Rafael Frühbeck de Burgos. It was BSO cellist Mickey Katz who suggested that Déjardin make an arrangement, which Déjardin dedicated to Maestro Frühbeck. Enrique Granados was born in Lérida but grew up in Barcelona, where he lived most of his life. He studied piano with a teacher of Albéniz and Viñes, Joan Pujol, and went on to attend the Paris Conservatoire. Following his return to Barcelona, he embarked on a career as a pianist and began to include his own compositions on his recitals. Like Albéniz, he incorporated Spanish folk music and stylistic ideas into most of his pieces, beginning with his Spanish Dances for piano (c.1890), compara- ble conceptually to, say, Dvoˇrák’s Slavonic Dances. In 1898 he had a hit with his first opera, María del Carmen. His Goyescas collection of piano pieces, based on paintings of Goya, are popular showpieces. He founded his own music school, the Academia Granados, and gained influence in the first decade of the 20th century. “Andaluza,” from book II of the 12 Spanish Dances, is not itself a dance type, but is named for Spain’s Arab-influenced southern region encompassing Seville and Granada. The original piano version features a “strummed” figure in the left hand, evoking a guitar; the treble line perhaps suggests a vocal melody. Patrice Sciortino (b.1922) is a notable French composer, playwright, and poet. His father Édouard, also a composer, was a student of Vincent D’Indy, and his mother was a poet. Patrice studied piano as well, and began his professional career as an organist. He has composed prolifically in all genres, writing several theater works, three symphonies and other orchestral music, chamber and vocal music, and for film, radio, and television. His Iber-Amer, three Latin-American dances, was published in 2007, though written years earlier. Sciortino has a strong exotic and modernist streak in much of his work, but these dances are also in a high-folkloric vein. In all three pieces the composer makes much of using distinctive phrases that are a bit out of phase with the expected, prevailing meter—a five-beat ostinato, for example, in a four-beat dance rhythm. The source is obvious for the first of the pieces, “Tan.Go.Tan.” This tango is pure rhythm in overlapping metrical patterns. “Por-Zil,” or Portugal-Brazil, is subtitled Fado, which is a type of Portuguese popular song. The

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a ﬁrst-come, ﬁrst-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOODWEEK 1 PRELUDEPROGRAMNOTES 3 yearning melody of the Fado is interrupted by a dance rhythm similar to Brubeck’s Blue Rondo à la Turk. The finale, “Basam,” features a long-note melody and recurring samba syncopated rhythmic pattern; the movement title is an anagram of “samba.” The Catalán composer Isaac Albéniz (1860-1911) was one of the most brilliant pianists of his day, and although he gave up concertizing by 1890 to concentrate on composing, his keyboard skills informed most of his output. His important piano works are tone poems inspired by the music and culture of his native Spain. His use of Lisztian advanced chromatic harmony in tandem with folk-music-inspired melodies and forms helped usher in a modern musical language at the end of the 19th century. Albéniz’s piano music contains within it an already surpassingly rich textural and harmonic palette. Albéniz’s Rapsodia cubana. Opus 66, is a standalone piano piece, probably written around 1866 and dedicated to the Cuban wife of a prominent Spanish politician. The piece juxtaposes a 2/4 melody (right hand in the piano version) over a 6/8 accompaniment, creating a sparkling interplay of rhythms, particularly as the upper lines get more complex. Asturias, more famous as a guitar work than as the composer’s piano piece, is often encountered as a stereotype of Flamenco style. Composed about 1896, this is both the Prelude of the Cantos de España and the fifth movement of Suite española, Opus 47 (the eight movements of which were assembled as a suite after Albéniz’s death). Emmanuel Chabrier (1841-1894) was a French composer a generation older than Debussy. His orchestral showpiece España, composed in 1883, is his best-known single piece; he was otherwise known for his stage works and his songs. España—the title, of course, means “Spain”—is a musical souvenir of the composer’s trip to that country with his wife, and joins Bizet’s earlier Carmen as well as later works by Debussy and especially Ravel in its fascination with the Spanish musical culture. Paul Desenne (b.1959) was born in Caracas, Venezuela, and in 1977 was a founding member of the Simón Bolívar Youth Orchestra as a cellist. He continued his cello studies in France and also studied composition with Olivier Dupin and Luc Ferrari. His busy performing and composing careers have taken him throughout Europe and the Americas; his works have been performed by groups and individuals including the Los Angeles Philharmonic, Simón Bolívar Youth and Symphonic orchestras, Brooklyn Philharmonic, Bogotá Philharmonic, clarinetists Paquito d’Rivera and Jorge Montillo, pianist Gabriela Montero, the Fodor Quartet, and many others. He has been composer in residence with the Venezuelan music education initiative El Sistema. He divides his time between Caracas and Cambridge, MA. Desenne seam- lessly and imaginatively melds influences from the classical tradition, particularly Baroque and earlier music, with modern techniques and Latin American traditional styles. As a cellist himself, he has written a number of works already for cello quartet—not everyone can say that—and understands the requirements of the ensemble. Commissioned by the BCQ and premiered at the Fenway Center in Boston on November 14, 2014, his Bossa do Fim (“Bossa of the End”) draws not on Venezuelan music but on that of Brazil. The composer writes: When Blaise Déjardin asked me to write a short piece for the Boston Cello Quartet with “a Latin American flavor” I immediately said: Bossa! Why? Because even though Latin America is literally a cornucopia of genres, the first thing a Frenchman pictures when you say “Latin” (and I am a good half French, so I know) is Copacabana! So, willing to please such distinguished colleagues, and myself, I thought: there is nothing more melancholic yet more flavorfully syncopated than Bossanova, therefore nothing more “cello” than a sad song with a spicy stride. I remembered and rescued this old theme, the melodic sketch of a Bossa I was going to shape into a sort of encore for cello

4 and strings for a dear cellist and friend, the late Yuli Turovsky, years ago. Never found the moment... the End came before I even started to write it. The origin of the first bars of this new piece for the Boston Cello Quartet obviously col- ored its opening atmosphere with melancholy; the song remembers... But quickly the rhythmic element took over in a sort of rage, so there definitely is in this “Bossa of the End” a shifting mood; up and back down again. The quartet suddenly tightens the rhythmic core running through syncopated riffs, but then releases the grip when the theme is recalled. It is nevertheless, due to the ubiquitous pulse of the tropical heart, a very elegant sadness, always a dancing one, not a weeping, tears-on-the-rosin heartache! Every time I write for the cello quartet I realize how much there is yet to say in such a rich medium: hori- zons of washed out watercolor, sharply etched edges, slippery smears, little dots or broad brushstrokes; I wanted all of these in “Bossa do Fim.” Paul Desenne, Cambridge 10/31/2014 The great tango composer Astor Piazzolla (1921-1992) grew up immersed in that medium, taking up the bandoneon while also studying classical piano. His development as a musician included performing with tango orchestras as well as studies with Argentina’s most important composer, Alberto Ginastera. On the strength of the orchestral work Buenos Aires he received a stipend to study in France with Nadia Boulanger, who encouraged him to embrace the tango wholeheartedly. In the late 1950s and the 1960s, Piazzolla formed jazz combo-like groups and began to seed his own music with the materials of jazz, developing the hybrid form now known as “tango nuevo.” Although his experimentation led to criticism from purists, his name is now virtually synonymous with tango. Piazzolla wrote Adiós Nonino in 1959 in reac- tion to the death of his father, basing it on the earlier Nonino but adding to this tango a wistful and songful middle section. Born in Chelsea, Massachusetts, Chick Corea (b.1941) is one of the most famous and innovative jazz keyboardists and composers of the post-bebop era. He joined Miles Davis’s group at the start of Davis’s fusion period, and went on to form the best-known of his own groups, Return to Forever. His music incorporates rock, jazz fusion, classical, and Latin elements. Spain (1972) is among his most familiar pieces, featuring an immediately recognizable syncopated motto. The Brazilian songwriter and show-business personality Ary Barroso (1903-1964) came to fame in the 1930s as many of his songs were showcased by Carmen Miranda. His Aquarela do Brasil (“Watercolor of Brazil”), composed in 1939, is arguably the most famous samba song of all time, figuring prominently, under its shortened title “Brazil,” in the repertoires of Frank Sinatra, Chick Corea, Bobby Short, Mel Tormé and countless karaoke artists.

ROBERT KIRZINGER Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

TANGLEWOODWEEK 1 PRELUDEPROGRAMNOTES 5 Artists

The Boston Cello Quartet, the first of its kind in the history of the Boston Symphony Orchestra, was founded in 2010 by BSO cellists Blaise Dejardin, Adam Esbensen, Mihail Jojatu, and Alexandre Lecarme. Since its acclaimed debut concert, the BCQ has quickly won the hearts of music lovers through their own arrangements of sta- ples of the classical music repertoire, as well as jazz, contemporary works, and even comic medleys, all of which showcases the limitless possibilities of the instrument they love. Favorites of the Tanglewood audience, the BCQ opened for the Grammy Award-winning rock band Train in the Koussevitzky Music Shed in 2011 and two years later was featured as a solo group for Tanglewood on Parade, performing the James Bond Concertino with the Boston Pops and Keith Lockhart. Arranged by Grammy-nominated composer Chris Walden, this unique concerto for cello quartet and orchestra was specifically commissioned for the Boston Cello Quartet by the Boston Pops, the premiere taking place at Symphony Hall in May 2013. In September 2013, the Boston Cello Quartet became the first chamber music group to be featured on ESPN and MLB.com, performing the National Anthem and Metallica’s song Enter Sandman at Fenway Park, in honor of baseball legend Mariano Rivera. Their first album, Pictures, was released in February 2013 and quickly rose to the Top 50 Classical Music Albums on iTunes. This evening’s program was recorded by the BCQ this past April, for release as their second album—titled The Latin Project—this coming fall. The Boston Cello Quartet has also recorded Olivier Derivière’s soundtrack for the videogame Of Orcs and Men, released in 2012 on Xbox 360, PS3, and PC. Born in Strasbourg, France, Blaise Déjardin made his debut with orchestra at age fourteen, performing Haydn’s C major concerto at the Corum of Montpellier, France. A prizewinner at numerous international competitions, he has performed as soloist with the Christchurch Symphony Orchestra, the Kuopio Symphony Orchestra, the French Camerata, and many others. He was a member of the European Union Youth Orchestra and the Gustav Mahler Jugendorchester and was invited for two summers to the Steans Institute of the Ravinia Festival in Chicago. A member of the Boston Symphony Orchestra since 2008, he was featured in Film Night at Tanglewood playing the harmonica with the Boston Pops in Mancini’s music for Breakfast at Tiffany’s. An active performer of new music, Mr. Déjardin gave the U.S. premiere of Edith Canat de Chizy’s Les Formes du vent in 2008. As a composer/arranger, he writes numerous pieces for cello ensembles, which led to two ASCAP Plus Awards. His piece for twelve cellos, Aquarela do Violoncelo, was commissioned by the Boston Symphony Orchestra and premiered at the gala event that opened BSO’s 2012-13 season. In 2013 he launched Opus Cello, his online sheet music publishing company, dedicated to his arrangements for cello ensembles, and recently wrote a string orchestra version of Dvoˇrák’s American string quintet for the chamber orchestra A Far Cry. Adam Esbensen joined the Boston Symphony Orchestra in September 2008 after five years with the Oregon Symphony; he currently occupies the Richard C. and Ellen E. Paine Chair in the BSO’s cello section. Mr. Esbensen began his studies at the Cleve- land Institute of Music with Stephen Geber and went on to earn a master of music degree and performance award from the Mannes College of Music. During his two years in New York City he studied with Timothy Eddy and performed around the state as part of the Mozart and Chopin festivals. Mr. Esbensen was in the cello section of the Louisville Orchestra for two years before returning to Oregon, where he took an interest in new music as a member of the Fear No Music ensemble and at the Ernest Bloch Composer’s Symposium. He has spent summers at festivals in Taos,

6 Vail, Spoleto–Italy, Bellingham, and San Luis Obispo. Mr. Esbensen’s other teachers and influences include Hamilton Cheifetz, John Kadz, and Pamela Frame. Romanian-born cellist Mihail Jojatu joined the Boston Symphony Orchestra in 2001 and became fourth chair of the orchestra’s cello section at the start of the 2003-04 season, occupying the Sandra and David Bakalar Chair. Mr. Jojatu studied at the Bucharest Academy of Music before coming to the United States in 1996. He attended the Boston Conservatory of Music, working with former BSO cellist Ronald Feldman, and also studied privately with Bernard Greenhouse of the Beaux Arts Trio and BSO principal cello Jules Eskin. He was awarded the Carl Zeise Memorial Prize in his second year as a Tanglewood Music Center Fellow. Mr. Jojatu has performed as guest soloist with the Radio Symphony Orchestra of Bucharest and has won numerous awards in Romania for solo and chamber music performance. Performance highlights have included chamber music with pianist Yefim Bronfman, Shostakovich’s Cello Concerto No. 1 with the Berkshire Symphony and Longwood Symphony, and the Dvoˇrák concerto with the Radio Symphony Orchestra of Bucharest under Sergiu Comissiona and the Indian Hill Symphony Orchestra under Bruce Hangen. He is a faculty member at the Longy School of Music. A native of Grasse, France, Alexandre Lecarme joined the Boston Symphony Orches- tra at the start of the 2008-09 season and occupies the Nancy and Richard Lubin Chair in the BSO’s cello section. Mr. Lecarme graduated with the Premier Prix de Violoncelle from the Conservatoire National Supérieur de Musique de Paris in 1997; he holds the Artist Diploma and master of music degrees from Boston University as a recipient of a Cohen Foundation grant and a Dean’s scholarship. His major teachers have included Jean-Marie Gamard in Paris, David Soyer, and Andrés Díaz at Boston University. Mr. Lecarme has appeared in the Rockport Chamber Music Festival, Hammond Performing Arts Series, Copley Society Series, Hebron and Thayer Academy concert series, Temple Emmanuel Chamber Music Series, and the chamber music series of the Boston Symphony Orchestra. As a founding member of the Tancrede Trio, he has performed extensively in the United States and Europe. Mr. Lecarme has participated at the Pablo Casals, Domaine Forget, Kneisel Hall and Norfolk Chamber Music festivals and has collaborated with Roman Totenberg, Seymour Lipkin, and members of the Tokyo String Quartet. Since 2010 he has been a member of the Alianza String Quartet. Mr. Lecarme has released CDs of works by Bach, Debussy, Schubert, and Beethoven, and of sonatas by Franck and Rachmaninoff. He performs on a 1746 José Contreras cello, generously on loan from the Boston Symphony Orchestra. Stu Rosner

TANGLEWOODWEEK 1 PRELUDEPROGRAMNOTES 7 The Caroline and James Taylor Concert Opening Night at Tanglewood Friday, July 3, 2015 The Opening Night at Tanglewood performance is supported by a generous gift from BSO Trustee Caroline “Kim” Taylor and her husband, James Taylor. As Great Benefactors, the Taylors have given generously to the Tanglewood and Symphony Annual Funds, Opening Nights, and capital projects on the Tanglewood campus, including the Tanglewood Forever Fund. They have also endowed a full fellowship for a cellist at the Tanglewood Music Center. As members of the Koussevitzky Society at the Founders level, Kim and James are among the most generous supporters of the Tanglewood Annual Fund. In 2014, Kim was appointed to the President’s Committee on the Arts and Humani- ties, an advisory committee to the White House on cultural issues. She was also appointed co-chair of the President’s Organizing for Action, an organization com- mitted to keeping the administration's key issues such as climate change, marriage equality, health care, and immigration reform before the public. Kim was a member of the BSO staff for more than twenty years, working closely with Music Director Laureate Seiji Ozawa and Boston Pops Conductor Laureate John Williams. Kim was elected to the BSO Board of Overseers in September 2007, and she became a Trustee in December 2011. This June, James Taylor released Before This World, his first album of original songs since October Road, which was released in 2002. Recorded almost entirely at his studio in the Berkshires, the ten-track album features James’s legendary band, as well as special guests Yo-Yo Ma and Sting. Henry Taylor provides background vocals on several songs. In 2012, James was conferred the distinguished honor of Chevalier of the Order of Arts and Letters (Ordre des Arts et des Lettres), which was established by the French government in 1957 to recognize eminent artists and writers, as well as people who have contributed significantly to furthering the arts in France and throughout the world. In March 2011, James was awarded the National Medal of Arts by President Barack Obama in a ceremony at the White House. The medal is the nation’s highest honor for artistic excellence recognizing “outstanding achievements and support of the arts.” Kevin Toler

8 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Friday, July 3, 8:30pm Opening Night at Tanglewood THE CAROLINE AND JAMES TAYLOR CONCERT

JACQUES LACOMBE conducting

Please note that Jessye Norman is saddened to miss tonight’s performance due to health matters that require immediate attention. We are fortunate that John Douglas Thompson was available to appear at short notice as speaker for Copland’s “Lincoln Portrait.”

John Douglas Thompson Making his Boston Symphony Orchestra and Tanglewood debuts this evening, John Douglas Thompson has been critically acclaimed by the New York Times and was profiled in the New Yorker magazine in May 2012. Mr. Thompson’s Broadway credits include A Time To Kill, Cyrano de Bergerac with Kevin Kline, and Julius Caesar with Denzel Washington. His off-Broadway credits include The Iceman Cometh with Nathan Lane and Brian Dennehy at BAM (Obie and Drama Desk Awards); Tamburlaine at Theater for a New Audience (Obie and Drama Desk Awards); Satchmo at the Waldorf (Drama Desk and Outer Critics Circle Award) at the Westside Theater, Wallis Annenberg Center for the Performing Arts, Shakespeare & Company, and Long Wharf Theater; King Lear at the Public Theater; Macbeth (title role); Othello (Obie Award, Lucille Lortel Award, Joe A. Callaway Award) at Theatre for a New Audience; The Forest with Dianne Wiest at Classic Stage Company; The Emperor Jones at the Irish Reper- tory Theatre (Joe A. Callaway Award and Lucille Lortel, Drama League, and Drama Desk nominations); and Hedda Gabler at New York Theatre Workshop. Regional credits include Joe Turner’s Come and Gone at the Mark Taper Forum (Ovation Award); Antony and Cleopatra with Kate Mulgrew at Hartford Stage; Othello, Richard III, King Lear, and Mother Courage at Shakespeare & Co; Jesus Hopped the ‘A’ Train at the Wilma Theater (Barrymore Award), and productions at the Williamstown Theatre Festival, Trinity Repertory Company, American Repertory Theater, and Yale Repertory Theatre. His television and film credits include Madam Secretary, Bourne Legacy, Glass Chin, Law & Order, Law & Order: SVU, Conviction, Michael Clayton, Midway, and Malcolm X. John Douglas Thompson is a recipient of the 2015 Samuel H. Scripps Award for extraordinary commitment in promoting the power of language in classical and contemporary theatre, and the 2013 obert Brustein Award for sustained excellence in American theater.

TANGLEWOODWEEK 1 INSERT 1 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

Friday, July 3, 8:30pm Opening Night at Tanglewood THE CAROLINE AND JAMES TAYLOR CONCERT

JACQUES LACOMBE conducting

ALL-AMERICAN PROGRAM

HARBISON “Remembering Gatsby” (Foxtrot for Orchestra)

GERSHWIN Piano Concerto in F Allegro Andante con moto Allegro agitato KIRILL GERSTEIN

{Intermission}

COPLAND “Lincoln Portrait” JESSYE NORMAN, speaker

ELLINGTON “Harlem” (arranged by Luther Henderson)

The performance of Copland’s “Lincoln Portrait” is supported by a gift from Sol and Norma Kugler.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation.

TANGLEWOODWEEK 1 FRIDAYPROGRAM 9 NOTES ON THE PROGRAM

John Harbison (b.1938) “Remembering Gatsby” (Foxtrot for Orchestra) First performance: September 11, 1986, Atlanta Symphony Orchestra, Robert Shaw cond. These are the first BSO and Tanglewood performances of John Harbison’s “Remembering Gatsby.” Remembering Gatsby was part of a salvage endeavor, of a kind familiar to most composers; we can readily find examples in the works of Bach, Beethoven, Stravinsky, and Boulez. Having already written two smaller operas—Winter’s Tale, based on Shakespeare’s play, and Full Moon in March, based on Yeats’s ritualistic fable—in the early 1980s John Harbison set out to create an opera based on one of the most familiar and beloved American novels: F. Scott Fitzgerald’s The Great Gatsby. At the time, he could interest no company in commissioning such a work, and other projects during those years kept him busy, among them his Symphony No. 1 (1981), commissioned by the Boston Symphony Orchestra for its centennial; his Pulitzer Prize-winning The Flight into Egypt (1986), composed for Boston’s Cantata Singers; his first two string quartets, for the Cleveland and Emerson quartets, respectively, and a residency with

Stu Rosner the San Francisco Symphony Orchestra, resulting in his Symphony No. 2. He also composed another large-scale work without a prospect of performance, the eighty-five-minute ballet score Ulysses. Even for those active composers with enough gumption to write operas and an evening-length ballet on spec, practical concerns dictate a good many decisions; so rather than continue on the Gatsby trajectory, he distilled what he had into an eight-minute, overture-like orchestral work to fulfill a commission from the Atlanta Symphony Orchestra and its music director, Robert Shaw. Shaw and the ASO gave the premiere on September 11, 1986. The story doesn’t end there. A few years later, the Gatsby project was miraculously resurrected in a particularly spectacular way. Metropolitan Opera music director James Levine, whom Harbison had met and discussed opera with at the Salzburg Festival, unexpectedly offered the composer a commission as part of the Met’s recognition of Levine’s twenty-five years with the company. Harbison proposed The Great Gatsby, and after years of labor—the composer writing his own libretto, counter

10 to the advice of many—the Metropolitan Opera gave the first performances of the opera in December 1999, with Levine conducting a cast including Dawn Upshaw, Jerry Hadley, Susan Graham, and Lorraine Hunt Lieberson. It was almost immediately produced at Lyric Opera of Chicago and quickly also returned to the Met stage. Harbison—practicalities, again—mined its music for further nuggets performable on their own, including an orchestral suite, a songbook collecting the opera’s ersatz Jazz Age tunes, and other pieces. More recently, a reduced-orchestration version of the opera was staged by San Francisco’s Opera Parellèle and at the Aspen Festival, and Boston’s Emmanuel Music (which John Harbison co-founded more than forty years ago) gave concert performances at Boston’s Jordan Hall and in Tanglewood’s Seiji Ozawa Hall. This December, the work receives its European premiere at Sem- peroper Dresden. This summer, the Tanglewood Music Center celebrates its 75th anniversary on many fronts, including performances of more than thirty works commissioned for the occasion, among them John Harbison’s Seven Poems of Lorine Niedecker. TMC Fellows give the world premiere of that piece on a concert Harbison curated, during the Festival of Contemporary Music, Friday, July 24, at 2:30 p.m. in Ozawa Hall. Harbison himself attended the then-Berkshire Music Center in 1959 and 1960, and has since become one of the major figures in Tanglewood’s history. The composer’s own comments on Remembering Gatsby are printed below.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is the BSO’s Assistant Director of Program Publications.

Remembering Gatsby was composed for the Atlanta Symphony and is dedicated to the orchestra and its Music Director, Robert Shaw. It was completed during the summer of 1985 at Token Creek, Wisconsin. For some years I made sketches for an opera based on Fitzgerald’s novel, The Great Gatsby: after I abandoned the project I sometimes ran across musical images (in my sketchbooks) and fragrances from the novel (in my senses). A few of these were brought together in this orchestral foxtrot. The piece, which runs about eight minutes, begins with a cantabile passage for full orchestra, a representation of Gatsby’s vision of the green light on Daisy’s dock. Then the foxtrot begins, first with a kind of call to order, then a ’20s tune I had written for one of the party scenes, played by a concertino led by a soprano saxophone. The tune is then varied and broken into its components, leading to an altered reprise of the call to order, and an intensification of the original cantabile. A brief coda combines some of the motives, and refers fleetingly to the telephone bell and the automobile horns, instruments of Gatsby’s fate. My father, eventually a Reformation historian, was a young show-tune composer in the ’20s, and this piece may also have been a chance to see him in his tuxedo again.

JOHN HARBISON

TANGLEWOODWEEK 1 FRIDAYPROGRAMNOTES 11 12 George Gershwin (1898-1937) Piano Concerto in F First performance: December 3, 1925, Carnegie Hall, New York, Philharmonic- Symphony Society of New York, Walter Damrosch cond., George Gershwin, soloist. First BSO performance: October 6, 1939, Serge Koussevitzky cond., Abram Chasins, soloist. First Tanglewood performance by the BSO: August 9, 1974, Arthur Fiedler cond., Earl Wild, piano (Fiedler having previously conducted Wild in a Boston Pops performance on August 6, 1959, as part of Tanglewood on Parade). Most recent Tanglewood performance by the BSO: August 15, 2010, Robert Spano cond., Jean-Yves Thibaudet, soloist (Thibaudet having previously played the BSO’s first subscription performances, followed by a Carnegie Hall performance, in October 2005 with James Levine conducting). George Gershwin wrote his Concerto in F on commission for the Philhar- monic-Symphony Society of New York and Walter Damrosch, beginning work in spring 1925 and completing the orchestration on November 10 the same year. The composer was soloist in the premiere, on December 3, 1925, at Carnegie Hall, with Damrosch and the Philharmonic–Symphony Society of New York. Gershwin offered his own rather defiant reasons for accepting the commission: “Many persons had thought that the Rhapsody [in Blue, premiered in 1924] was only a happy accident. Well, I went out, for one thing, to show them that there was plenty more where that had come from. I made up my mind to do a piece of absolute music. The Rhapsody, as its title implied, was a blues impression. The Concerto would be unrelated to any program.” Tellingly, Gershwin ultimately rejected the proposed title, New York Concerto, for the more abstract Concerto in F, though at the same time, the work apparently incorporated some material from a scrapped project whose working titles, Black Belt and Harlem Serenade, suggested a descriptive piece about Harlem. In his own words, Gershwin employed, in the first movement, a series of ideas, including an underlying “Charleston rhythm,” meant to represent “the young, enthusiastic spirit of American life,” as well as the jaunty “principal theme” stated initially by the bassoon and a more introspective “second theme” introduced by the piano. He described the slow movement as having “a poetic, nocturnal tone. It uti- lizes the atmosphere of what has come to be referred to as the American blues.” For the finale he adapted a toccata-like prelude for piano that he had written the previous January. Like the slow movement, this finale is essentially in rondo form, its episodes largely comprising reminiscences of themes from the preceding movements. However, a new jazzy theme takes on a life of its own, intruding on nearly all the other episodes. Following the premiere (which received mixed critical reception), Gershwin continued to play the concerto far and wide—including a performance with Arthur Fiedler and the Boston Pops in May 1936. Though the work never really established itself during his lifetime—no doubt the main reason he never recorded it commercially— the piece entered the international repertory after Gershwin’s death, and now ranks as the single most performed and recorded American piano concerto.

From notes by HOWARD POLLACK Howard Pollack is John Moores Professor of Music at the University of Houston, and the author of George Gershwin: His Life and Work and Aaron Copland: The Life and Work of an Uncommon Man.

TANGLEWOODWEEK 1 FRIDAYPROGRAMNOTES 13 Aaron Copland (1900-1990) “Lincoln Portrait” First performance: May 14, 1942, Cincinnati Symphony Orchestra, André Kostelanetz (the work’s commissioner and dedicatee) cond., William Adams, speaker. First BSO performance: March 26, 1943, Serge Koussevitzky cond., Will Geer, speaker. First Tanglewood performance by the BSO: August 11, 1955, Leonard Bernstein cond., Claude Rains, speaker, as part of Tanglewood on Parade. Most recent Tanglewood performance by the BSO: July 6, 1997, Seiji Ozawa cond., James Earl Jones, speaker, as part of a concert celebrating the 75th anniversary of the Lincoln Memorial. Most recent Tanglewood performance: July 28, 2009, Boston Pops Orchestra, Keith Lockhart cond., Gov. Deval Patrick, speaker, as part of Tanglewood on Parade. Lincoln Portrait was one of a number of wartime compositions designed to highlight figures important in American history, at a time of external pressure on the nation’s traditions. They were commissioned by André Kostelanetz, who approached Copland in January 1942. The composer thought at first of doing a musical treatment of Walt Whitman, but since another of the commissioned works was going to deal with Mark Twain, Kostelanetz asked if Copland would consider a statesman rather than a literary figure. “From that moment on the choice of Lincoln as my subject seemed inevitable.” The obvious difficulty of finding the music to match so eminent a figure as Lincoln did not daunt the composer, who hoped that his idea of using a narrator would result in “a portrait in which the sitter himself might speak.” He chose excerpts from the letters and speeches of Lincoln, choosing selections that seemed especially appropriate for the situation during the war years. “I avoided the temptation to use only well-known

14 passages, permitting myself the luxury of quoting only once from a world-famous speech. The order and arrangement of the selections are my own.” The music is original, too, though Copland employed elements of two familiar songs: a ballad published in 1840 as “The Pesky Sarpent” and better known today as “Spring- field Mountain,” and Stephen Foster’s “Camptown Races.” Neither song is quoted literally for more than a few notes, but both provide a basic musical shape, as well as a specific link to Lincoln’s own times. Most of Lincoln Portrait is purely orchestral. Copland works three varied kinds of material into his image of Lincoln, beginning with a dotted rhythmic figure with a somber tread in the darkly measured opening, which grows to a severe fortissimo passage in the full orchestra; then comes a quieter lyrical theme derived from “Spring- field Mountain” first heard in the solo clarinet, later joined by the oboe. A sudden outburst of lively music with sleighbells and a banjo imitation in the harp evokes the frontier life of America in Lincoln’s early years. A rhythmic tune first heard in the oboe sounds strangely familiar—it turns out to be second cousin to “Camptown Races,” which appears briefly. Eventually the elements of “Springfield Mountain” return in broad fanfare-like counterpoint in the brasses. This becomes a sonorous climax that suddenly dies away as the narrator begins. All three of the basic materials heard to this point are now intertwined in a flexible, effective underscore to height- en the power of Lincoln’s direct but powerful rhetoric. The work closes, as it must, with the final words of the Gettysburg Address, to which the orchestra adds its per- oration.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Duke Ellington (1899-1974) “Harlem” First performance: January 18, 1951, Metropolitan Opera House, Duke Ellington and his Orchestra. First performance of orchestral version: June 21, 1951, members of the NBC Symphony Orchestra, Duke Ellington, cond.—but see below for caveats. First BSO and Tanglewood performance: July 24, 1999, with the orchestra joined by the Lincoln Center Jazz Orchestra, Seiji Ozawa, cond. Most recent Tanglewood performance: July 8, 2012, Boston Pops Orchestra, Keith Lockhart, cond. Duke Ellington had already begun to create works pushing the structural and expressive limitations of blues and song by the end of the 1920s, when his orchestra was the house band of the exclusive Cotton Club. The club’s all-white patronage expected not only dance numbers but also music to fill an entire evening: transitional numbers, theatrical revues, overtures, and illustrative effects such as the evocative faux-African “jungle style” that Ellington, in the U.S. anyway, helped invent. Along with such songlike hits as Mood Indigo were more extended numbers, including the seven-minute, multipart Creole Rhapsody (1931) and Diminuendo and Crescendo in Blue (1937), made possible by Ellington’s exploratory harmonic language and the flexibility and creativity of his players, who included the great saxophonist Johnny Hodges and later the composer, arranger, and pianist Billy Strayhorn. Ellington and his band had begun appearing in films beginning in 1929, and in 1935 they produced the imaginative,

TANGLEWOODWEEK 1 FRIDAYPROGRAMNOTES 15 through-composed ten-minute score for the film Symphony in Black: A Rhapsody of Negro Life. The band toured the U.S. and Europe, capitalizing on the worldwide fame of their recordings. A measure of the public’s increasing awareness of the sophistication of jazz and its proponents was Benny Goodman’s famous 1938 concert at Carnegie Hall. Duke Ellington and his orchestra began a series of Carnegie Hall concerts in 1943, creating new, ambitious pieces commensurate with the venue, including the forty-five minute, six-part Black, Brown, and Beige, among the largest of Ellington’s concep- tions. Although the history is a little vague, it seems Ellington wrote Harlem for the NBC Symphony to be included in a longer suite on the subject of New York City, which project apparently fell through. According to Ellington’s memoir, he composed it during a sea voyage from Europe to the U.S. in summer 1950. The piece was first performed in jazz-ensemble guise in January of that year at the Metropolitan Opera House for an NAACP benefit. The first performance of an orchestral version took place in June 1951 for a concert at City College’s Lewisohn Stadium, with the composer conducting an orchestra made up mostly of NBC Orchestra musicians for a concert benefitting the Damon Runyon Memorial Fund for Cancer Research. Ellington and his orchestra recorded the fifteen-minute piece—going by the title A Tone Parallel to Harlem (Harlem Suite) for the Columbia album “Ellington Uptown” on December 7, 1951. A new orchestration by Luther Henderson—the one used in this performance, as edited by John Mauceri—was premiered by the Symphony of the Air led by Don Gillis on March 16, 1955, at Carnegie Hall. Harlem is a tone poem, less specific in its narrative than Strauss’s perhaps, more along the lines of Sibelius or Ravel in atmosphere. The various, well-defined sections are evocations of encounters within New York City’s vibrant northern neighborhoods. In his memoir, Music Is My Mistress, the composer described it thus: “We would now like to take you on a tour of this place called Harlem.... It is Sunday morning. We are strolling from 110th Street up Seventh Avenue, heading north through the Spanish and West Indian neighborhood towards the 125th Street business area.... You may hear a parade go by, or a funeral, or you may recognize the passage of those who are making Civil Rights demands.... Harlem has its heroes, too.... Jackie Robinson, Ray Robinson, Chief Justice Thurgood Marshall, Countee Cullen, Langston Hughes, Bill Robinson.”

ROBERT KIRZINGER Walter H. Scott

Guest Artists Jacques Lacombe Music director of the New Jersey Symphony Orchestra since 2010, Jacques Lacombe previously held positions with the Montreal Symphony, the Philharmonie de Lorraine, the Orchestre Lyrique de Région Avignon Provence, and the Orchestre Sym- phonique de Trois-Rivières. Having made his Boston Symphony debut at Tangle- wood last season, he returns to open the BSO’s 2015 Tanglewood season. The summer also brings concerts at the Festival de Lanaudiere. Highlights of his 2015-16 season in New Jersey include Branford Marsalis performing John Williams’s Escapades for saxophone, the world premiere of Richard Danielpour’s Percussion Concerto, and programs of Berlioz and Mendelssohn. Recent and upcoming guest conducting engagements take him to the symphony orchestras of Montreal, Taipei, and Edmonton; Nice, Mulhouse and Nancy; Quebec, Omaha, and San Antonio, and the Queensland Symphony in Australia. In opera, he leads Werther with Juan Diego Florez in Peru, and in Paris with Florez and Joyce DiDonato. Other highlights of 2014-15 include opening Vancouver Opera’s season with Carmen and the NJSO season with Carmina burana; and returning to Deutsche Oper Berlin for La Damnation de Faust, Samson et Dalila, and Carmen, and to Opéra de Monte Carlo for Lady Macbeth of Mtsensk and a special “Gala Belcanto” with Diana Damrau. Landmark concerts during his NJSO tenure have included Tan Dun’s Water Concerto, Scriabin’s Prometheus: The Poem of Fire—with a realization of the composer’s “color organ”—and the commissioning of the Francesca Harper Project to create original choreography for Beethoven’s ballet The Creatures of Prometheus. Mr. Lacombe initiated the multi-year “New Jersey Roots Project,” highlighting contemporary works by New Jersey composers, and, with composer Steve Mackey, established the NJSO Edward T. Cone Institute at Princeton University, to support and perform works by

TANGLEWOODWEEK 1 GUESTARTISTS 17 young emerging composers, and to involve other cultural institutions in NJSO programming. At Carnegie Hall’s 2012 Spring for Music Festival, Mr. Lacombe and the NJSO received national recognition for performing Busoni’s epic Piano Concerto featuring Marc-André Hamelin. In addition to engagements with the major Canadian orchestras, Mr. Lacombe has worked abroad with the Orchestre Lamoureux in Paris, the Orquesta Filarmonica de Malaga in Spain, and with orchestras in Monte-Carlo, Nice, Toulouse, Halle, and throughout Eastern Europe. He has also led the Victoria Orchestra (Melbourne) and the New Zealand Symphony Orchestra. His work in opera includes La bohème and Tosca at the Royal Opera House–Covent Garden, the world premiere of John Estacio’s Lillian Alling with Vancouver Opera, Le Cid and the world premiere of Marius et Fanny with Opéra de Marseille, Die Fledermaus and Werther at the Metropolitan Opera, and many productions with Deutsche Oper Berlin. Jacques Lacombe has recorded for the CPO and Analekta labels, and has recorded Janáˇcek’s Suite from The Cunning Little Vixen, Orff’s Carmina burana, and Verdi’s Requiem on releases with the New Jersey Symphony Orchestra. His performances have been broadcast on PBS, the CBC, Mezzo TV in Europe, Arte TV in France, and on Hungarian Radio-Television. Born in Cap-de-la-Madeleine, Québec, Jacques Lacombe received his musical training at Montreal’s Conservatoire de Musique and Vienna’s Hochschule für

18 Musik. He was named a Chevalier de l’Ordre national du Québec in 2012, and in 2013 was appointed a Member of the Order of Canada, one of the highest civilian honors in the country.

Kirill Gerstein Recipient of the 2010 Gilmore Artist Award, Kirill Gerstein is only the sixth pianist to have been so honored. He has since commissioned boundary-crossing new works from Oliver Knussen, Chick Corea, Brad Mehldau, Timothy Andres, and Alexander Goehr. He has also received first prize at the Arthur Rubinstein Piano Competi- tion in Tel Aviv, a Gilmore Young Artist Award, and an Avery Fisher Grant. Highlights of his 2014-15 season in North America included Rachmaninoff’s Rhapsody on a Theme of Paganini with the Boston Symphony Orchestra and Charles Dutoit at Tanglewood, Shostakovich’s Piano Concerto No. 2 with the Philadelphia Orchestra under Yannick Nézet-Seguin, and Thomas Ad`es’s In Seven Days with the San Francisco Symphony under the baton of the composer; re-engagements with the St. Louis, Vancouver, Indianapolis, Nashville, and San Antonio symphonies; debuts with the Minnesota Orchestra and New Jersey Symphony; and a recital on Carnegie Hall’s “Keyboard Virtuosos” series in Zankel Hall. Internationally he appeared with the Vienna Philharmonic, the Gewandhaus Orchestra of Leipzig, the St. Petersburg Philharmonic, BBC Symphony, and the Gurzenich Orchestra in Cologne, Salzburg, and Vienna, as well as with the São Paulo Symphony in Brazil. In addition to Tanglewood, he has made festival appearances at Aspen, the Santa Fe Chamber Music Festival, Chicago’s Grant Park, Blossom with the Cleveland Orchestra, and with the Philadelphia Orchestra at the Bravo! Vail Valley Festival, Mann Music Center, and Saratoga. Internationally he has worked with the Czech, Munich, Rotterdam, and London philharmonics, the City of Birmingham Symphony Orchestra, Deutsches Symphonie-Orchester Berlin, Dresden Staatskapelle, Finnish Radio Orchestra, Tonkünstler Orchestra Vienna, WDR Symphony Orchestra Cologne, and Zurich Ton- halle, as well as with the NHK Symphony Orchestra in Tokyo. He has performed recitals in Paris, Prague, Hamburg, London, and Budapest, and has appeared at the Verbier, Edinburgh, Salzburg, Lucerne, and Jerusalem Chamber Music festivals, as well as the Proms in London. Mr. Gerstein’s most recent Myrios release, of Tchaikovsky’s Piano Concerto No. 1 and Prokofiev’s Piano Concerto No. 2, represents the first recording, using the new critical edition from the Tchaikovsky Museum in Moscow, of the composer’s original second version. Previous recordings feature Mussorgsky’s Pictures at an Exhibition and Schumann’s Carnaval, music of Schumann, Liszt, and Knussen, and two viola sonata discs with Tabea Zimmerman. Born in 1979 in Voronezh, Russia, Kirill Gerstein attended a special music school for gifted children and taught himself to play jazz by listening to his parents’ extensive record collection. At fourteen he studied jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. Subsequently deciding to focus on classical music, he moved to New York to attend the Manhattan School of Music, where he studied with Solomon Mikowsky and earned both bachelor’s and master’s degrees in music. He continued his studies in Madrid with Dmitri Bashkirov and in Budapest with Ferenc Rados. An American citi- zen since 2003, he now divides his time between the United States and Germany, where he has been a professor of piano at Stuttgart’s Musikhochschule since 2006. In September 2014 he was named artist-in-residence in the piano department at his alma mater, Berklee College of Music, and joined the piano and chamber music faculty at Boston Conservatory, the first joint appointment between the two institutions. Kirill Gerstein has appeared with the BSO on three previous occasions: as soloist in Tchaikovsky’s Piano Concerto No. 1 for his Tanglewood debut in July 2010 with Charles Dutoit conducting; in both Thomas Adès’s In Seven Days and Prokofiev’s Piano

TANGLEWOODWEEK 1 GUESTARTISTS 19

Concerto No. 1 for his subscription series debut in November 2012 with Adès on the podium; and at Tanglewood last August in Rachmaninoff’s Rhapsody on a Theme of Paganini again with Dutoit conducting.

Jessye Norman One of the world’s most celebrated performing artists, Jessye Norman is acclaimed for her performances in a wide range of leading roles with the world’s premier opera companies, in solo recitals, and in concerts of her cherished classical repertoire with preeminent orchestras all over the globe. In addition to her thoughtful music- making and innovative programming of the classics, she is also known for her fervent advocacy of contemporary music. Her collaborations with artists on the cutting edge in their fields, such as Robert Wilson, André Heller, Bill T. Jones, Steve McQueen, and Laura Karpman, serve to add new dimensions and exciting new challenges to her work. In addition, she is held in high esteem for her lat- est artistic expansion with her jazz ensemble and the extensive programming of music from the American musical theater, which she has entitled “American Masters.” Ms. Norman is the recipient of many awards and accolades, including some thirty-eight honorary doctoral degrees from colleges, universities, and conserva- tories around the world; five Grammy Awards, including the Lifetime Achievement Award; the National Medal of Arts received at the White House from President Obama in 2010; and being named a Kennedy Center honoree. In July 2013 she was awarded the highest recognition offered by the NAACP, the Spingarn Medal. The Wolf Prize— awarded yearly in the arts and sciences—was presented to Ms. Norman in May 2015 in ceremonies held in Jerusalem. Also that month, her memoir, Stand Up Straight and Sing!, which was originally published in May 2014, was released in paperback. In con- junction with the book’s publication, she offered master classes at the Glimmerglass Opera Festival in Cooperstown, New York, and in September 2014 was the opening night speaker for the Blenheim Palace Literary Festival in Oxfordshire, England. Jessye Norman’s community service includes trustee board memberships at the New York Public Library, Carnegie Hall, Dance Theatre of Harlem, the Lupus Foundation, and Paine College. Ms. Norman is often called upon to speak to her passionate involve- ment in and advocacy of arts education. The school for the arts in her hometown of Augusta, Georgia—which bears her name—enables her to support and see firsthand the extraordinary work of an equally dedicated staff of teachers and auxiliary personnel, as students who would otherwise not be able to avail themselves of private tutelage in the arts grow into the fullness of their talents and gifts, developing their own sense of community and citizenship. She absolutely glows at any mention of the Jessye Norman School for the Arts and is grateful indeed for this tangible, living opportunity to address the need for education in the arts in the town where her own studies and training began. Following her Boston Symphony debut in August 1972, Ms. Norman appeared frequently with the orchestra, including performances in Boston, at Tangle- wood, and on tour in Europe. She has also recorded with Seiji Ozawa and the Boston Symphony, and with John Williams and the Boston Pops Orchestra. Her most recent Tanglewood appearance was in August 2012 with the Boston Pops Orchestra, in the gala John Williams’s 80th Birthday Celebration.

TANGLEWOODWEEK 1 GUESTARTISTS 21 2015 Tanglewood Boston Symphony Orchestra 134th season, 2014–2015

THE BOSTON POPS ORCHESTRA KEITH LOCKHART, Conductor JOHN WILLIAMS, Laureate Conductor

Sunday, July 5, 2:30pm For the benefit of the Boston Symphony Orchestra Pension Fund

THE BOSTON POPS AT TANGLEWOOD SPONSORED BY VISIT SARASOTA COUNTY FLORIDA

KEITH LOCKHART conducting with BERNADETTE PETERS, special guest MICHELLE BROOKS-THOMPSON, vocalist

SMITH/KEY-BASS “The Star-Spangled Banner” MICHELLE BROOKS-THOMPSON, vocalist

WILLIAMS “Liberty Fanfare”

HALLEY-P. WILLIAMS “Appalachian Morning”

BERNSTEIN Times Square: 1944, from “On the Town”

MEACHAM-SEBESKY “American Patrol”

MILLER-HAYMAN “Moonlight Serenade”

Established in 1903, the Boston Symphony Pension Institution is the oldest among the American symphony orchestras. In recent years the Pension Institution has paid $4.3 million annually to more than ninety pensioners or their surviving spouses. Pension Institution income is derived from Pension Fund concerts and from Open Rehearsals at Symphony Hall and at Tanglewood. Contributions are also made each year by the Boston Symphony Orchestra, Inc. Representatives of the Players and the Corporation are members of the Pension Institution’s Board of Directors.

22 RAYE/PRINCE-HAYMAN “Boogie-Woogie Bugle Boy”

BERLIN-HATFIELD “God Bless America” Ms. BROOKS-THOMPSON

{Intermission}

Presenting BERNADETTE PETERS Marvin Laird, piano Cubby O’Brien, drums

Selections to be announced from the stage.

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited. Please also note that taking pictures—whether photographs or videos—is prohibited during performances. We appreciate your cooperation. Stu Rosner

TANGLEWOODWEEK 1 SUNDAYPROGRAM 23 Artists Keith Lockhart Celebrating his twentieth anniversary as Boston Pops Conductor, Keith Lockhart is the second-longest-tenured conductor of the Boston Pops Orchestra since its founding in 1885. He took over as conductor in 1995, following John Williams’s thirteen-year tenure from 1980 to 1993; Mr. Williams succeeded the legendary Arthur Fiedler, who was at the helm of the orchestra for nearly fifty years. Keith Lockhart has conducted nearly 1,700 Boston Pops concerts, most of which have taken place during the orchestra’s spring and holiday seasons in Boston’s historic Symphony Hall. He has also led annual Boston Pops appearances at Tanglewood, forty national tours to 134 cities in thirty-three states, and four international tours to Japan and Korea. The annual July 4 Boston Pops Fireworks Spectacular was featured on national network television through 2013; in 2014 the first-ever Boston Pops webcast brought the event to 1.3 million music fans worldwide. The list of more than 250 guest artists with whom Keith Lockhart has collaborated represents performers from virtually every corner of the entertainment world. Mr. Lockhart has led eight albums on the RCA Victor/BMG Classics label, including two—The Celtic Album and The Latin Album—that earned Grammy nominations. He and the Pops were a major inspiration behind the cre- ation of BSO Classics, the in-house recording label for both the Boston Symphony and Boston Pops. Recent releases include The Red Sox Album, A Boston Pops Christmas– Live from Symphony Hall, and The Dream Lives On: A Portrait of the Kennedy Brothers— featuring narrators Robert De Niro, Ed Harris, Morgan Freeman, and Cherry Jones—which was a Boston Pops commission premiered in 2010 during the orchestra’s 125th season. Keith Lockhart’s increased focus on musical theater has attracted leading Broadway artists to the Pops stage. He has worked closely with hundreds of talented young musicians, including Fellows of the Tanglewood Music Center, college students from the Boston Conservatory and Berklee College of Music, and area high school students. He introduced the PopSearch talent competition and the innovative JazzFest and EdgeFest series, featuring prominent jazz and indie artists performing with the Pops. In addition to occupying the Julian and Eunice Cohen Boston Pops Conductor chair, Keith Lockhart currently serves as principal conductor of the BBC Concert Orchestra in London, which he led in the June 2012 Diamond

24 Jubilee Concert for Queen Elizabeth II, and as artistic director of the Brevard Music Center summer institute and festival in North Carolina. Prior to his BBC appointment, he spent eleven years as music director of the Utah Symphony, which he led at the 2002 Olympic Winter Games in Salt Lake City. He has appeared as a guest conductor with virtually every major symphonic ensemble in North America, as well as several in Asia and Europe. Prior to coming to Boston, he was the associate conductor of both the Cincinnati Symphony and Cincinnati Pops orchestras, as well as music director of the Cincinnati Chamber Orchestra. Born in Poughkeepsie, New York, Keith Lockhart began his musical studies with piano lessons at the age of seven. He holds degrees from Furman University and Carnegie Mellon University, and honorary doctorates from several American universities. Visit keithlockhart.com for further information.

Bernadette Peters In recent seasons Bernadette Peters appeared on Broadway in A Little Night Music, and on Broadway and at the Kennedy Center in Follies. In 2012 she received the Isabelle Stevenson Award, which honors volunteerism, at the Tony Awards ceremony. She wrote a best-selling children’s book (which also includes a recording of an original song), Broadway Barks, named after the organization she co-founded with Mary Tyler Moore and which benefits animal shelters throughout the New York City area. Her second children’s book, Stella Is a Star, features another original song written and sung by the author. Her November 2009 one-night-only concert, “Bernadette Peters: A Special Concert for Broadway Barks Because Broadway Cares,” benefited both Broadway Barks and Broadway Cares/Equity Fights AIDS. In 2003 she received her seventh Tony Award nomination for her portrayal of Momma Rose in Gypsy. In June 1999 she earned her second Tony Award, her third Drama Desk Award, and an Outer Critics Circle Award as Annie Oakley in Annie Get Your Gun. Bernadette Peters began her performing career at age three with appearances on television. She made her Broadway debut in 1967 in Johnny No-Trump; in 1968 she starred with Joel Grey in the musical George M! and received a Drama Desk Award for her performance in the off-Broadway musical Dames at Sea. She received both the Tony and Drama Desk awards for her performance in Song and Dance and Tony nominations for The Goodbye Girl, Sunday in the Park with George, Mack and Mabel, and On The Town. She also earned a Drama Desk nomination as the Witch in Into the Woods. Her many television credits include NBC’s Smash, the Lifetime movie Living Proof opposite Harry Connick, Jr., Grey’s Anatomy, Ugly Betty, Evening at Pops, The Kennedy Center Honors, The Carol Burnett Show, The Muppet Show, and Ally McBeal; she is currently starring in the Amazon Prime series Mozart in the Jungle. For PBS’s “Great Performances,” Ms. Peters has appeared in Sondheim: A Celebration at Carnegie Hall and Terrence McNally’s The Last Mile. She portrayed the wicked stepmother in Cinderella with Brandy and Whitney Houston, starred in Fall From Grace with Kevin Spacey and The Last Best Year with Mary Tyler Moore, and appeared in the Showtime movie Bobbie’s Girl and TNT’s Prince Charming. Her voice has been heard in the feature film Anastasia, in the special home video Beauty and the Beast: Enchanted Christmas, in The Land Before Time: The Great Longneck Migration, and as Rita the Cat in Animaniacs. Among her feature film credits are Pennies From Heaven (Golden Globe Award), The Jerk, The Longest Yard, Silent Movie, Annie, Pink Cadillac, Slaves of New York, Alice, Impromptu, and It Runs in the Family. Her most recent CD is the new Broadway cast recording of Follies. Her solo albums include Sondheim, Etc., Etc.: Bernadette Peters Live at Carnegie Hall (The Rest of It), Bernadette Peters Loves Rodgers & Hammerstein, Sondheim Etc.: Bernadette Peters Live

TANGLEWOODWEEK 1 ARTISTS 25 At Carnegie Hall, I’ll Be Your Baby Tonight, Bernadette Peters, and Now Playing. Among her numerous accolades are a star on the Hollywood Walk of Fame; being named Woman of the Year by the Police Athletic League (PAL), an organization serving New York City’s neediest children; the Actors Fund of America’s Artistic Achievement Award; the Special Advocate Award from the City of New York for her contributions to the gay and lesbian community; and the New York Heroes Award from the National Academy of Recording Arts & Sciences. The youngest person to be inducted into the Theatre Hall of Fame, Ms. Peters was the 2004 Arts and Entertainment recipient of the Matrix Award from New York Women in Communications, Inc. Other honors include the Sarah Siddons Actress of the Year Award and Harvard’s Hasty Pudding Woman of the Year for her “lasting and impressive contribution to the world of entertainment.” She has made numerous Boston Pops appearances, most recently opening the spring season at Symphony Hall in May 2015.

Michelle Brooks-Thompson Recognized both nationally and internationally for her outstanding performances on season three of NBC’s The Voice, Michelle Brooks-Thompson, whose given first name is Elvetta, was born in 1984 in Boston. Her family was musically inclined, including her mother, the late Barbara Gayle Brooks, who with her sisters formed a group in the ’70s called the Wallace Sisters. Michelle started singing at an early age in the choir at her grandfather’s church and later in a trio with her mother and aunt. A gifted child, she sang her first solo in the young adult choir at age nine and won her first talent show at ten, singing Whitney Houston’s version of “I Will Always Love You.” At fourteen, after her mother died, she took the role of church musician and musical director for her grandfather’s church. In tenth grade she was asked by her chorus teacher to start and direct the first-ever Amherst (MA) Regional High School Gospel Choir. After graduating from Amherst Regional High School one year early, she decided to pursue musical studies at Mount Holyoke College, in South Hadley, MA. While there she founded the first Five Colleges Gospel Choir and initiated the college’s own series of “Gospel Explosion” concerts. In 2006 she earned a B.A. in music with a concentration in vocal performance and piano with a minor in religion. She turned down an offer from Boston’s Berklee College of Music in order to pursue her professional music career. Over the years she has sung backup and opened shows for such gospel artists as James Fortune and FIYA, Doobie Powell, Bebo Norman, and Eric Taylor. She has performed the national anthem at collegiate and professional sporting events including Boston Red Sox games at Fenway Park and at Gillette Stadium for the New England Patriots 2014 AFC Game. She has won several local and national karaoke and talent competitions, including Amherst Idol in 2009, Valley Idol in 2010, and Eastern Regional USA Karaoke World Championships. She appeared on ABC’s Karaoke Battle USA in 2011 and most recently won Keene Idol in 2013 and the Apollo Theater Amateur Night contest in 2014. She has appeared on the nationally broadcast TBN show Praise the Lord, America’s Got Anointing on Preach the Word Worldwide Network, News 22WWLP “Mass Appeal,” and CBS3 Springfield news, as highlighted gospel artist. She served as Minister of Music for New Covenant Church of God in Christ in Northampton, MA, and has taught music and vocal lessons at schools as well as independently. Michelle Brooks-Thompson is finalizing her first gospel EP entitled My Life’s Testimony featuring her already released single, “He Will Do It.”

26 The Boston Pops Orchestra

KEITH LOCKHART Mihail Jojatu Jason Snider Julian and Eunice Cohen Blaise Déjardin* Jonathan Menkis Mickey Katz* Boston Pops Conductor Trumpets endowed in perpetuity Adam Esbensen* Alexandre Lecarme* Thomas Rolfs° JOHN WILLIAMS Owen Young* Principal Laureate Conductor Ronald Lowry§ Roberta and Stephen R. Weiner chair, endowed First Violins Basses in perpetuity Tamara Smirnova Lawrence Wolfe Thomas Siders Concertmaster Principal Terry Everson§ Beranek chair, McGrath Family chair, Michael Martin endowed in perpetuity endowed in perpetuity Mark Emery§ Elita Kang Benjamin Levy Trombones Assistant Concertmaster Dennis Roy Toby Oft Edward and Bertha C. Rose Thomas Van Dyck* Stephen Lange chair, endowed in perpetuity James Orleans* Bo Youp Hwang Todd Seeber* Bass Trombone Eunice and Julian Cohen John Stovall* James Markey chair, endowed in perpetuity Lucia Lin Flutes Tuba James Cooke* Elizabeth Ostling Mike Roylance Ikuko Mizuno Principal Principal Mr. and Mrs. William F. Bonnie Bewick* Timpani Connell chair, endowed Nancy Bracken* Daniel Bauch Jason Horowitz* in perpetuity Si-Jing Huang* Clint Foreman Percussion Ala Jojatu* Piccolo J. William Hudgins Aza Raykhtsaum* Cynthia Meyers Kyle Brightwell Wendy Putnam* Matthew McKay Valeria Vilker Kuchment* Oboes James Gwin Mark McEwen Drums Second Violins Amanda Hardy§ Julianne Lee Harp Sheila Fiekowsky English Horn Jessica Zhou° Nicole Monahan Robert Sheena Allegra Lilly§ Ronan Lefkowitz Clarinets Piano Yuncong Zhang* Thomas Martin Tatiana Dimitriades* Ben Cook Principal Glen Cherry* Guitar Michael Wayne Xin Ding* Jon Finn Victor Romanul* Bass Clarinet Electric Bass Catherine French* Craig Nordstrom Vyacheslav Uritsky* Mike Rivard Saxophones Violas Michael Monaghan Cathy Basrak Gregory Floor Librarians Principal Dennis Cook D. Wilson Ochoa Wesley Collins Robert Bowlby Principal Robert Barnes Marc Phaneuf John Perkel Michael Zaretsky Bassoons Kazuko Matsusaka* Richard Ranti Personnel Managers Rachel Fagerburg* Lynn G. Larsen Rebecca Gitter* Principal Mark Ludwig* Suzanne Nelsen Bruce M. Creditor Daniel Getz* Contrabassoon Assistant Personnel Manager Cellos Gregg Henegar Stage Manager Martha Babcock° Horns John Demick Principal Richard Sebring Helene and Norman L. Principal * Participating in a system Cahners chair, endowed Rachel Childers of rotated seating in perpetuity Michael Winter § Substituting Sato Knudsen ° On leave

TANGLEWOODWEEK 1 ARTISTS 27 Maestro Circle

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

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow • Ted and Debbie Kelly • Lizbeth and George Krupp • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • National Endowment for the Arts • Megan and Robert O’Block • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

Society Giving at Tanglewood

The following list recognizes gifts of $3,000 or more made since September 1, 2014 to the Tanglewood Annual Fund. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support as Bernstein or Koussevitzky Society members during the 2014-2015 season. For further information on becoming a Society member, please contact Leslie Antoniel, Leadership Gifts Officer, at 617-638-9259.

Susan B. Cohen, Co-chair, Tanglewood Annual Fund Ranny Cooper, Co-chair, Tanglewood Annual Fund

Koussevitzky Society Founders $100,000+ Michael L. Gordon • Dorothy and Charlie Jenkins • Mrs. Irene Pollin • Carol and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Sue Rothenberg • Stephen and Dorothy Weber Encore $25,000 to $49,999

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Ronald and Karen Rettner • Carol and Irv Smokler • June Wu Benefactor $20,000 to $24,999

Roberta and George ‡ Berry • Sydelle and Lee Blatt • Jan Brett and Joseph Hearne • BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation •

28 Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • The Edward Handelman Fund • Jay and Shirley Marks • Mrs. Millard H. Pryor, Jr. • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • The Ushers and Programmers Fund • Linda and Edward Wacks • Marillyn Zacharis Patron $10,000 to $19,999

Mr. Gerald Appelstein • Norm Atkin MD and Joan Schwartzman • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Beatrice Bloch and Alan Sagner • Marlene and Dr. Stuart H. ‡ Brager • Bonnie and Terry Burman • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Nancy J. Fitzpatrick and Lincoln Russell • Myra and Raymond ‡ Friedman • Lonnie and Jeffrey Garber • Dr Lynne B Harrison • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Kahn Family Foundation • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise ‡ Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Rebecca and Nathan Milikowsky • Robert E. and Eleanor K. Mumford • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Lucinda and Brian Ross • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Daniel and Lynne Ann Shapiro • JoAnne and Joel Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Jerry and Nancy Straus • Ted and Jean Weiller • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous Prelude $7,500 to $9,999

Gideon Argov and Alexandra Fuchs • Hildi and Walter Black • Brad and Terrie Bloom • Jane Braus • Judith and Stewart Colton • Robert and Stephanie Gittleman • Martha and Todd Golub • Norma and Sol D. Kugler • Arlene and Jerome Levine • Mr. and Mrs. Arthur S. Loring • Judy and Richard J. Miller • Kate and Hans Morris • Elaine and Simon Parisier • Mary Ann and Bruno A. Quinson • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Dr. Beth Sackler • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest ‡ Schnesel • Lynn and Ken Stark • Roz and Charles Stuzin • Lois and David Swawite • Aso O. Tavitian • Karen and Jerry Waxberg • Gail and Barry Weiss • Anonymous (2) Member $5,000 - $7,499

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Mr. Michael P. Albert • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Dr. Mark Belsky and Ms. Nancy Kaplan Belsky • Jerome and Henrietta Berko • Carole and Richard Berkowitz • Linda and Tom Bielecki • Drs. Judith and Martin Bloomfield • Betsy and Nathaniel Bohrer • Mark G. and Linda Borden • Carol and Bob Braun • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Mr. and Mrs. Scott Butler • David and Maria Carls • Mr. Jim Chervenak • Carol and Randy Collord • Jill K. Conway • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Saul Eisenberg • Eitan and Malka Evan • Marie V. Feder • Gigi Douglas and David Fehr • Eunice and Carl Feinberg • Deborah Fenster-Seliga and Edward Seliga • Bud and Ellie Frank • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Mr. and Mrs. Kenneth G. Friedman • Audrey and Ralph Friedner • Thomas M. Fynan and William F. Loutrel • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Leslie and Joanna Garfield • Drs. Anne and Michael Gershon •

TANGLEWOODWEEK 1 SOCIETYGIVINGATTANGLEWOOD 29 Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Ms. Susan P. Goodfellow • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David W. Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Enid and Charles ‡ Hoffman • Nancy and Walter Howell • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Mr. Chaim Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Dr. Samuel Kopel and Sari Scheer • J. Kenneth and Cathy Kruvant • Marilyn E. Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • The Messinger Family • Wilma and Norman Michaels • Joan G. Monts • Mr. and Mrs. Michael Monts • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • Mr. Richard Novik and Ms. Eugenia Zukerman • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Ellen and Mickey Rabina • Mr. and Mrs. Albert P. Richman • Dr. Robin S. Richman and Dr. Bruce Auerbach • Barbara and Michael Rosenbaum • Edie and Stan Ross • Milton B. Rubin • Joan and Michael Salke • Elisabeth Sapery and Rosita Sarnoff • Dr. and Mrs. James Satovsky • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Mr. Marvin Seline • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • Susan and Judd Shoval • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn ‡ and Lewis Stein • Margery and Lewis Steinberg • Noreene Storrie and Wesley McCain • Ms. Pat Strawgate • Mr. and Mrs. Patrick J. Sullivan • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jean C. Tempel • Mr. ‡ and Mrs. Wilmer J. Thomas, Jr. • Dr. Adrian Tiemann • Jerry and Roger Tilles • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • The Ushers and Programmers Fund • Antoine and Emily van Agtmael • Mr. and Mrs. Alex Vance • Loet and Edith Velmans • Mrs. Charles H. Watts II • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Sally and Steve Wittenberg • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Richard M. Ziter, M.D. • Mr. Lyonel E. Zunz ‡ • Anonymous (3) Bernstein Society $3,000 to $4,999

Dr. and Mrs. Bert Ballin • Dr. and Mrs. Benjamin R. Barber • Cindy and David Berger • Helene Berger • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • William E. Briggs and the Briggs Family • Sandra L. Brown • Rhea and Allan Bufferd • Mrs. Laura S. Butterfield • Antonia Chayes • Mr. and Mrs. Bertram Chinn • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin, in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • In memory of D.M. Delinferni • Mr. Clark Downs • Terry and Mel Drucker • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Eric Egan • Miss Diana Engelhorn • Dr. and Mrs. Gerald D. Falk • Mr. Earl N. Feldman and Mrs. Sarah Scott • Dr. and Mrs. Steve Finn • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. and Mrs. Michael Friedman • Mr. David Friedson and Ms. Susan Kaplan •

30 Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. James W. Giddens • Mr. and Mrs. David L. Glodt • Rita Sue and Alan J. Gold • Mr. and Mrs. Andrew Goldfarb • Mr. Malcolm Griggs • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mr. and Mrs. Adam Hersch • Richard Holland • Mr. and Mrs. Martin G. Isserlis • Denise Gelfand and Peter Dubin • Miriam and Gene Josephs • Deko and Harold Klebanoff • Margaret and Joseph Koerner • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Anthony and Alice Limina • Thomas and Adrienne Linnell • Dr. and Mrs. Benjamin Liptzin • Dr. and Mrs. Richard E. Litt • Dr. Nancy Long and Mr. Marc Waldor • Susan and Arthur Luger • Mr. and Mrs. Frank Martucci • Dr. and Mrs. Malcolm Mazow • Mr. Terence McInerney • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Rosalie and I. MacArthur Nickles • Mike, Lonna and Callie Offner • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Fred and Judy Robins • Mr. and Mrs. Richard S. Rocap • Barbara Rubin • Larry and Pat Rutkowski • Ms. Susan Schaeffer • Dr. and Mrs. David Schottenfeld • Jane and Marty Schwartz • Mr. and Mrs. John Schwebel • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Ms. Lori Signer • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Edward Streim • Flora and George Suter • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Nancy Whitson-Rubin • Pamela Wickham • Mr. and Mrs. Allan Yarkin • Mr. and Mrs. Michael Zaccaro • Anonymous (4)

TANGLEWOODWEEK 1 SOCIETYGIVINGATTANGLEWOOD 31 Tanglewood Major Corporate Sponsors 2015 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

Visit Sarasota County is proud to be returning for a second season as sponsor of the Boston Pops at Tanglewood. As in the Berkshires, the arts just come naturally in Sarasota County, Where Artistic Expression and Inspiration Meet! Is it the crystal blue waters or the warm, balmy air that artists and performers find so inspirational? Who knows for sure. But you will find it every night and day in our performance halls, theatres, opera house, museums and galleries. Discover it yourself in Sarasota County. You’ll see why we’re known as Florida’s Cultural Coast®. Learn more at VisitSarasotaArts.org.

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

July at Tanglewood Monday, July 6, 7pm MEMBERS OF THE BOSTON POPS BRASS & PERCUSSION SECTIONS Wednesday, July 1, 8pm BOSTON CRUSADERS BOSTON SYMPHONY CHAMBER PLAYERS BLUE DEVILS RANDALL HODGKINSON, piano Tanglewood Brass Spectacular! NATHAN Why Old Places Matter, for oboe, Wednesday, July 8, 8pm horn, and piano NIELSEN Wind Quintet, Op. 43 LEON FLEISHER and THE FLEISHER- JACOBSON PIANO DUO BRAHMS (arr. BOUSTEAD) Serenade No. 1 in D, Op. 11, arranged for winds and strings LEON FLEISHER, piano KATHERINE JACOBSON, piano Thursday, July 2, 8pm Music of Bach, Debussy, Brahms, Schubert, APOLLO’S FIRE—The Cleveland Baroque and Ravel Orchestra Thursday, July 9, 8pm JEANNETTE SORRELL, music director and conductor BRYN TERFEL, bass-baritone A Night at Bach’s Coffee House NATALIA KATYUKOVA, piano Music of J.S. Bach, Telemann, Handel, and Friday, July 10, 6pm (Prelude Concert) Vivaldi MEMBERS OF THE BSO Friday, July 3, 6pm (Prelude Concert) All-Dvoˇrák program

BOSTON CELLO QUARTET Friday, July 10, 8:30pm A program of Spanish and Latin music BSO—STÉPHANE DENÈVE, conductor Friday, July 3, 8:30pm CAMERON CARPENTER, organ Opening Night at Tanglewood BARBER Adagio for Strings All-American Program POULENC Concerto for Organ, Strings, and BSO—JACQUES LACOMBE, conductor Timpani KIRILL GERSTEIN, piano SAINT-SAËNS Symphony No. 3, Organ JESSYE NORMAN, speaker To be followed at 10:45 by a short solo organ recital by Cameron Carpenter HARBISON Remembering Gatsby (Foxtrot for Orchestra) Saturday, July 11, 10:30am GERSHWIN Piano Concerto in F Open Rehearsal (Pre-Rehearsal Talk, 9:30am) COPLAND Lincoln Portrait BSO program of Sunday, July 12 ELLINGTON Harlem Saturday, July 11, 8:30pm Saturday, July 4, 11am BSO—BRAMWELL TOVEY, conductor FAMILY CONCERT SONDRA RADVANOVSKY, GWYN HUGHES Music for brass quintet JONES, BRYN TERFEL, JOHN DEL CARLO, Saturday, July 4, 7pm and RYAN SPEEDO GREEN, vocal soloists TANGLEWOOD FESTIVAL CHORUS JAMES TAYLOR AND HIS ALL-STAR BAND Fireworks to follow the concert All-Italian program including PUCCINI Tosca, Act I Sunday, July 5, 2:30pm Sunday, July 12, 2:30pm BOSTON POPS ORCHESTRA KEITH LOCKHART, conductor BSO—LUDOVIC MORLOT, conductor BERNADETTE PETERS PINCHAS ZUKERMAN, violin JOHN LUTHER ADAMS The Light That Fills Sunday, July 5, 8pm Ozawa Hall the World TMC ORCHESTRA—STEFAN ASBURY MOZART Violin Concerto No. 3 in G, K.216 and TMC Conducting Fellows MARZENA DVORÁKˇ Symphony No. 7 KIAKUN and RUTH REINHARDT, conductors Music of Britten, Brahms, Williams (TMC75 Monday, July 13, 8pm world premiere), and Sibelius TMC ORCHESTRA—LUDOVIC MORLOT and TMC Conducting Fellows MARZENA KIAKUN and RUTH REINHARDT, conductors JAMES SOMMERVILLE, horn Music of Wagner, Hindemith, Golijov (TMC75 world premiere), and Debussy

Tuesday, July 14, 8pm Tuesday, July 21, 8pm JAZZ AT LINCOLN CENTER ORCHESTRA PAUL LEWIS, piano with WYNTON MARSALIS All-Beethoven program: the last three piano sonatas, Opp. 109, 110, 111 Thursday, July 16, 8pm BAIBA SKRIDE, violin Wednesday, July 22, 8pm SARAH CONNOLLY, mezzo-soprano EMERSON STRING QUARTET CHRISTIAN ZACHARIAS, piano Music of Ives, Liebermann, and Beethoven CATHY BASRAK, viola Music of Mozart and Schumann Friday, July 24, 6pm (Prelude Concert) MEMBERS OF THE BSO Friday, July 17, 6pm (Prelude Concert) Music of Bolcom and Shapero MEMBERS OF THE BSO Music of Barber and Shostakovich Friday, July 24, 8:30pm BSO—CHRISTOPH VON DOHNÁNYI, Friday, July 17, 8:30pm conductor BSO—CHRISTIAN ZACHARIAS, conductor VADIM GLUZMAN, violin BAIBA SKRIDE, violin ALL-BEETHOVEN PROGRAM SCHUMANN Manfred Overture Symphony No. 4; Violin Concerto MOZART Rondo in C, K.373, for violin and orchestra Saturday, July 25, 10:30am MOZART Violin Concerto No. 5 in A, K.219 Open Rehearsal (Pre-Rehearsal Talk, 9:30am) SCHUMANN Symphony No. 2 BSO program of Sunday, July 26

Saturday, July 18, 10:30am Saturday, July 25, 8:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—MICHAEL TILSON THOMAS, BSO program of Sunday, July 19 conductor EMANUEL AX, piano Saturday, July 18, 8:30pm MOZART Piano Concerto No. 14 in E-flat, BSO—CHRISTIAN ZACHARIAS, conductor K.449 and pianist MAHLER Symphony No. 5 SARAH CONNOLLY, mezzo-soprano Sunday, July 26, 2:30pm ALL-MOZART PROGRAM Piano Concerto No. 25 in C, K.503; “Ch’io mi BSO—CHRISTOPH VON DOHNÁNYI, scordi di te,” Concert aria for soprano and conductor orchestra with piano, K.505; “Deh per questo ALL-MOZART PROGRAM istante solo” from La clemenza di Tito; Symphonies 39, 40, and 41, Jupiter Symphony No. 38, Prague Thursday, July 30, 8pm Sunday, July 19, 2:30pm THE KNIGHTS BSO—SIR NEVILLE MARRINER, conductor AWET ANDEMICAEL, NICHOLAS PHAN, PAUL LEWIS, piano and KYLE KETELSEN, vocal soloists MOZART Symphony No. 35, Haffner KEVORK MOURAD, visual artist SCHUMANN Piano Concerto Music of Boccherini, Ravel, Falla, de Lucía, MOZART Symphony No. 36, Linz de Nebra, and Geminiani; readings of Pablo Neruda poetry with musical improvisation; Sunday, July 19, 8pm and Falla’s Master Peter’s Puppet Show AUDRA MCDONALD Friday, July 31, 6pm (Prelude Concert) ANDY EINHORN, music director and piano MARK VANDERPOEL, string bass MEMBERS OF THE BSO GENE LEWIN, drums Music of Frescobaldi, Berger, and Stravinsky Friday, July 31, 8:30pm BSO—KEN-DAVID MASUR, conductor GARRICK OHLSSON, piano WEBER Overture to Der Freischütz SCHUBERT Symphony No. 4, Tragic BEETHOVEN Piano Concerto No. 5, Emperor

Programs and artists subject to change. 2015 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders ♦ Includes music commissioned for TMC75

Saturday, June 20, 8pm * Sunday, July 12, 10am BOSTON POPS ESPLANADE ORCHESTRA Chamber Music ♦ KEITH LOCKHART, conductor Sunday, July 12, 8pm KATE BALDWIN and JASON DANIELEY, Vocal Concert special guests TMC VOCAL FELLOWS Monday, July 13, 6pm “Simply Sondheim” Prelude Concert Thursday, June 25 and Monday, July 13, 8pm Friday, June 26, 8pm * The Daniel Freed and Shirlee Cohen Freed MARK MORRIS DANCE GROUP Memorial Concert TMC FELLOWS TMC ORCHESTRA—LUDOVIC MORLOT and MARK MORRIS, conductor and choreographer TMC CONDUCTING FELLOWS, conductors JAMES SOMMERVILLE, horn Sunday, June 28, 10am Music of WAGNER, HINDEMITH, GOLIJOV Chamber Music for Winds, Brass, and (TMC75 world premiere), and DEBUSSY Percussion ♦ Saturday, July 18, 6pm Monday, June 29, 1pm, 4pm, and 8pm Prelude Concert STRING QUARTET MARATHON One ticket provides admission to all three concerts. Sunday, July 19, 10am Chamber Music ♦ Sunday, July 5, 10am Chamber Music ♦ Monday, July 27, 8pm * The Margaret Lee Crofts Concert Sunday, July 5, 8pm * TMC ORCHESTRA—MICHAEL TILSON The Phyllis and Lee Coffey Memorial Concert THOMAS and TMC CONDUCTING TMC ORCHESTRA—STEFAN ASBURY and FELLOWS, conductors TMC CONDUCTING FELLOWS, conductors BUTI YOUNG ARTISTS CHORUS Music of BRITTEN, BRAHMS, WILLIAMS WILLIAM HUDGINS, clarinet (TMC75 world premiere), and SIBELIUS Music of COPLAND, FOSS, BERNSTEIN, Tuesday, July 7, 8pm and IVES Vocal Concert: Songs of the WWI Era Saturday, August 1, 6pm Saturday, July 11, 6pm Prelude Concert Prelude Concert Sunday, August 2, 10am Chamber Music ♦

TMC Orchestra Concerts in Ozawa Hall (July 5, 13, 27; August 2), $55, $45, and $35 (lawn admission $12). TMC Recitals, Chamber Music, String Quartet Marathon: $12. Festival of Contemporary Music Concerts (excluding 7/27 TMCO concert), $12. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $100: TMC Orchestra, TMC Recital, and BUTI concert tickets are available in advance online, by phone, or in person at the box office. On the day of the concert, tickets to TMC and BUTI recitals in Ozawa Hall may be purchased up to one hour before concert start time with cash only, and only at the Ozawa Hall Bernstein Gate. TMC Orchestra concerts (excluding 7/20) may be purchased on the day of the concert at the Ozawa Hall box office. Please note: availability for seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $100 level receive one free admission and Friends at the $200 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $12. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or visit tanglewood.org/contribute. Sunday, August 2, 8pm Monday, July 20—Monday, July 27 A TMC75 Opera Celebration FESTIVAL OF CONTEMPORARY MUSIC TMC ORCHESTRA—KEN-DAVID MASUR and John Harbison, Michael Gandolfi, and TMC CONDUCTING FELLOWS, conductors Oliver Knussen, Festival Curators DAWN UPSHAW, soprano The 2015 Festival of Contemporary Music TMC VOCAL FELLOWS focuses on TMC faculty and alumni com- Excerpts from Mozart’s Idomeneo, Golijov’s posers, and includes fifteen works, twelve Ainadamar, and Britten’s Albert Herring of them world premieres, commissioned for the TMC’s 75th anniversary. The July 27 Tuesday, August 4 * TMCO concert has been programmed by TANGLEWOOD ON PARADE TMC alumnus Michael Tilson Thomas; the 2:30pm: TMC Cello Ensemble July 23 concert honors composer and former 3:30pm: TMC Piano Concert TMC director Gunther Schuller. Complete 4pm: BUTI Young Artists Orchestra and program details are available at the Tangle- Chorus (Shed) wood Main Gate, at bso.org, and in the TMC program book. 5pm: TMC Vocal Concert 8pm: TMC Brass Fanfares (Shed) ♦ Monday, July 20, 8pm 8:30pm: Gala Concert (Shed) TMC ORCHESTRA—STEFAN ASBURY TMCO, BSO, and BOSTON POPS ORCHESTRA and TMC CONDUCTING FELLOWS, STÉPHANE DENÈVE, KEITH LOCKHART, conductors; EMANUEL AX, piano; ANDRIS NELSONS, and JOHN WILLIAMS, SAMANTHA BENNETT, violin; THE conductors NEW FROMM PLAYERS Music of SHOSTAKOVICH, RAVEL Thursday, July 23, 8pm WILLIAMS, and TCHAIKOVSKY OLIVER KNUSSEN and JONATHAN Fireworks to follow the concert BERMAN, conductors; PETER SERKIN, Saturday, August 8, 6pm piano; NICHOLAS PHAN, tenor; THE Prelude Concert NEW FROMM PLAYERS; TMC FELLOWS Saturday, August 8, 8:30pm (Shed) * Friday, July 24, 2:30pm TMC 75th Anniversary Gala The Fromm Concert at Tanglewood The Leonard Bernstein Memorial Concert JOHN HARBISON, conductor TMC ORCHESTRA—ANDRIS NELSONS, URSULA OPPENS, piano; WENDY conductor PUTNAM, violin; MICKEY KATZ, cello; ERIN WALL, CHRISTINE GOERKE, TMC FELLOWS ERIN MORLEY, LIOBA BRAUN, Saturday, July 25, 2:30pm JANE HENSCHEL, KLAUS FLORIAN VOGT, DAWN UPSHAW, soprano; ROBERT MATTHIAS GOERNE, and AIN ANGER, SHEENA, English horn; GEORGE NIXON, vocal soloists marimba; THE NEW FROMM PLAYERS; TANGLEWOOD FESTIVAL CHORUS TMC FELLOWS BUTI CHORUS AMERICAN BOYCHOIR Saturday, July 25, 6pm (Prelude Concert) MAHLER Symphony No. 8 LUCY SHELTON, soprano; THE NEW FROMM PLAYERS; TMC FELLOWS Sunday, August 9, 10am Chamber Music Sunday July 26, 10am STEFAN ASBURY, conductor Tuesday, August 11, 8pm STEPHEN DRURY, piano; THE NEW ♦ Vocal Concert FROMM PLAYERS; TMC FELLOWS Saturday, August 15, 6pm Monday, July 27, 8pm * ♦ Prelude Concert TMC ORCHESTRA—MICHAEL TILSON Sunday, August 16, 10am THOMAS and TMC CONDUCTING Chamber Music ♦ FELLOWS conducting; BUTI CHORUS; WILLIAM HUDGINS, clarinet; BONNIE Sunday, August 16, 2:30pm (Shed) * BEWICK, violin BSO (Beethoven) and TMCO (Copland)— ASHER FISCH, conductor The Festival of Contemporary Music has been JULIANNA DI GIACOMO, RENÉE TATUM, endowed in perpetuity by the generosity of Dr. PAUL GROVES, and JOHN RELYEA, vocal Raymond H. and Mrs. Hannah H. Schneider, soloists with additional support from the Aaron Copland TANGLEWOOD FESTIVAL CHORUS Fund for Music, the Fromm Music Foundation, COPLAND Symphonic Ode the National Endowment for the Arts, and the BEETHOVEN Symphony No. 9 Helen F. Whitaker Fund.

Boston University Tanglewood Institute (BUTI) The Boston University Tanglewood Institute (BUTI) is recognized internationally as one of the premier summer training programs for advanced high-school age musicians and is the only program of its kind associated with one of the world’s great orchestras. Founded in 1966, BUTI is a result of the collaborative vision of Erich Leinsdorf, then music director of the Boston Symphony Orchestra, who invited the College of Fine Arts at Boston University to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Today, nearly 50 years later, BUTI continues to build upon its legacy of excellence, offering a transformative experience to more than 350 budding instrumentalists, composers, and singers who reside at its 64-acre campus in Lenox, Massachusetts. Its intensive programs, distinguished faculty, and the opportunities afforded through its unique affiliation with the BSO and TMC have com- bined to give BUTI a celebrated and distinctive reputation among summer music programs of its kind. BUTI’s season includes six performances at Seiji Ozawa Hall and more than fifty concerts and recitals in and around Lenox. BUTI alumni contribute to today’s musical world as prominent performers and conductors, composers and educators, and administrators and board members. Currently, sixteen members of the BSO are BUTI alumni. The program demonstrates great commitment to students from around the country and world, nearly half of whom are supported by the BUTI Scholarship Fund, made possible by contributions from individuals, foundations, and corporations. If you would like further information about BUTI, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

2015 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 18, 2:30pm, Ankush Kumar Bahl conducts Beethoven’s Egmont Overture, Copland’s Appalachian Spring, and Elgar’s Enigma Variations. Saturday, August 1, 2:30pm, Paul Haas conducts Bernstein’s Candide Overture and Chichester Psalms (joined by the Young Artists Chorus) and Bartók’s Concerto for Orches- tra. Saturday, August 15, 2:30pm, Paul Haas conducts Tchaikovsky’s Romeo and Juliet Fantasy-Overture and Prokofiev’s Symphony No. 5.

WIND ENSEMBLE PROGRAMS: Sunday, July 19, 2:30pm, David J. Martins conducts Shostakovich, Pann, George, Mackey, Hindemith/Wilson, Iannaccone, and Husa. Sunday, August 2, 2:30pm, H. Robert Reynolds conducts Strauss, Lauridsen/Reynolds, Salfelder, Grantham, Williams/Lavender, Ticheli (featuring Jennifer Bill, saxophone), and Daugherty.

VOCAL PROGRAMS: Tuesday, August 4, 4pm (Tanglewood on Parade), Ann Howard Jones conducts choral works by Biebl, Dove, Mendelssohn, Mozart, Poulenc, Rautavaara, Rossini, and Sullivan at the Koussevitzky Music Shed.

HONORS CONCERT: Saturday, August 8, 2:30pm, a special concert featuring solo and chamber music performances by select BUTI students.

Young Artists Orchestra concert tickets may be purchased for $12 each at the door of Seiji Ozawa Hall on the Tanglewood main grounds directly prior to the concert event or online at bso.org. Young Artists Wind Ensemble concerts and the Honors Concert are not tick- eted and are open to the public. For a full listing of events, visit bu.edu/tanglewood.

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Andrew Tremblay, Tanglewood Artist Liaison

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician • Nick Squire, Recording Engineer • Joanne Trebelhorn, Tanglewood Operations Manager

Boston Pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller Sophia Bennett, Staff Accountant • Angelina Collins, Accounting Manager • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Katherine Laveway, Major Gifts Coordinator • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Maggie Rascoe, Annual Funds Coordinator • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director, Development Information Systems • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Manager, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement

Facilities Robert Barnes, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, Symphony- Charge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Karen Cubides, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Melissa Farrington, Associate Director of Special Events, Promotions, and Social Media • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager, Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Symphony Hall Box Office Manager • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Tanglewood Box Office Manager/Tessitura Liaison • Nicholas Vincent, Assistant Manager Box Office Representatives Jane Esterquest • Arthur Ryan Event Services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Stephen Curley, Parking Coordinator • Eileen Doot, Business Office Manager • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Amanda Canale, Visitor Center Manager • Tammy Lynch, Tanglewood Front of House Manager • Peggy and John Roethel, Seranak Managers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Gerald L. Dreher Vice-Chair, Tanglewood, and Chair-Elect Martin Levine Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Leah Lee • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern

Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Judy Slotnick Tanglewood Project Leads 2015 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein and Gayle Moskowitz • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Nancy Finn • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Elliot Slotnick and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Gerald and Joanne Dreher and David and Janet Rothstein • Tour Guides, Howard Arkans and Mort and Sandra Josel • Young Ambassadors, William Ballen and Carole Siegel FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITERESTAURANTSOFTHEBERKSHIRES Stu Rosner Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2015 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-chair, Tanglewood Business Partners Committee Mary Jane White, Co-chair, Tanglewood Business Partners Committee Accounting/Tax Services Mark Friedman, CPA • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Sheer & Company, in memory of Alfred Schnieder Advertising/Marketing/Consulting Barry L. Beyer • Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • RL Associates Architecture/Design/Engineering Easton + Combs Architects • edm - architecture | engineering | management • Foresight Land Services, Inc. • Hill-Engineers, Architects, Planners, Inc. • Barbara Rood Interiors Art/Crafts/Antiques Elise Abrams Antiques • An American Craftsman • Asiabarong Gallery • Joanie Ciolfi Paintings • Colorful Stitches • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffee House Automotive Autobahn Service • Balise Lexus • BIENER AUDI • Haddad Dealerships (Toyota, Suburu, Hyundai, Nissan) Aviation Lyon Aviation, Inc. Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • Pittsfield Cooperative Bank • Salisbury Bank and Trust Company • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE COMPANIES • Great River Construction Co. Inc. • Luczynski Brothers Building • J.H. MAXYMILLIAN, INC. • DAVID J. TIERNEY, JR., INC. • PETER D. WHITEHEAD BUILDER, LLC Catering International Polo Club Catering LLC • Savory Harvest Catering Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy Lipton Energy • VIKING FUEL OIL CO. INC. Financial Services American Investment Services • Frank Battista, CFP® • BERKSHIRE BANK • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • TD Wealth • UBS Food/Beverage Wholesale Barrington Coffee Roasting Co. • Crescent Creamery • KOPPERS CHOCOLATE Insurance BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC Insurance • Jacqueline A. Metsma • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA LEFFERT, J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper, Esq. • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Berkshire Legacy • Birchwood Inn • BLANTYRE • The Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL SPA AND GOLF RESORT • Crowne Plaza Hotel – Berkshires • Devonfield Inn • An English Hideaway Inn • THE GARDEN GABLES INN • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed & Breakfast Inn • Hilton Garden Inn • Hotel on North • Inn at Green River • The Inn at Stockbridge • Kemble Inn • THE PORCHES INN AT MASS MoCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products BELL CONTAINER CORP. • BROADWAY LANDMARK CORPORATION • General Dynamics • Ted and Barbara Ginsburg • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. • RTR Technologies, Inc. Medical 510 Medical Walk-In • J. Mark Albertson, D.M.D., PA • Berkshire Health Systems, Inc. • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Carol R. Kolton, MSW • Dr. Joseph Markoff • JJ Nacht D.M.D. • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Optical Care Associates • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, Dentist Moving/Storage Quality Moving & Storage • SECURITY SELF STORAGE Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Crocus Hale Flowers • Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS, LLC Real Estate 67 Church Street, LLC • Ashmere Realty, Inc. • BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Brause Realty, Inc. • Cohen + White Associates • Steve Erenburg, Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, Inc. • LD Builders • MacCaro Real Estate • McLean & McLean Realtors, Inc. • Overlee Property Holdings LLC • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Scarafoni Associates • Anita Schilling, Sotheby’s International Realty • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate, Inc. • Tucker Welch Properties • Wheeler & Taylor Real Estate Resort /Spa CANYON RANCH IN LENOX • CRANWELL SPA AND GOLF RESORT • Elm Court Estate Restaurant Alta Restaurant & Wine Bar • Baba Louie’s Pizza Company • Bagel + Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant and Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL SPA AND GOLF RESORT • Electra’s Café • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • Haven Café & Bakery • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Pleasant and Main Café & General Store • Rouge Restaurant • Table Six Restaurant Retail: Clothing Arcadian Shop • Ben’s • CASABLANCA • Castle & Main • Church Street Trading Co. And Hillary Rush berkshires • GB9 • The Gifted Child • GLAD RAGS • J.McLaughlin • Purple Plume • Shooz • Swtrz • twiGs Retail: Food Berkshire Mountain Bakery, Inc. • BIG Y SUPERMARKETS, INC. • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering • Oliva! Gourmet Olive Oils & Vinegars of the Berkshires • The Scoop/Blondie’s Homemade • SoCo Creamery • STOP & SHOP SUPERMARKETS Retail: Home/Electronics COUNTRY CURTAINS • Local • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design • Second Home • Tune Street • Willowbrook Home Retail: Jewelry Laurie Donovan Designs • Jewelz Fine Jewelry • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS, INC. • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon Peter Alvarez Salon • SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Classical Tents & Party Goods • Greylock Design Associates • Mahaiwe Tent, Inc. • Shire Cleaning and Janitorial Specialty Contracting R.J. Aloisi Electrical Contracting Inc. • Pignatelli Electric • Michael Renzi Painting Co. LLC Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • All Points Driving Service • Tobi’s Limousine Service, Inc. • Traveling Professor Video/Special Effects/Fireworks Atlas PyroVision • MYRIAD PRODUCTIONS Yoga/Wellness/Health BERKSHIRE TRAINING STATION • Dharma Coach • EASTOVER ESTATE AND RETREAT • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

Alli and Bill Achtmeyer • Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber • Anonymous

Two and One Half Million

Mary and J.P. Barger • Gabriella and Leo Beranek • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (2)

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • William I. Bernell ‡ • Roberta and George ‡ Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Bob and Happy Doran • Alan and Lisa Dynner and Akiko Dynner • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Farla and Harvey Chet ‡ Krentzman • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall