Symphony Shopping

Table of Contents | Week 15

7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 18 a brief history of the bso 21 a brief history of symphony hall 25 this week’s program

Notes on the Program

26 The Program in Brief… 27 Johannes Brahms 37 Jean Sibelius 45 Ludwig van Beethoven 53 To Read and Hear More…

Guest Artists

59 Christoph von Dohnányi 60 Renaud Capuçon

62 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

the friday preview talk on february 8 is given by jan swafford of the boston conservatory.

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

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

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

William F. Achtmeyer • George D. Behrakis • Alan Bressler† • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charlies W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners† • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • 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 • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas other officers of the corporation

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

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

week 15 trustees and overseers 3

photos by Michael J. Lutch

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

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • 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 • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro † • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells† • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

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BSO News

BSO Youth Concerts, March 6, 7, and 8, at 10 a.m. and 11:50 a.m. at Symphony Hall Every year, the BSO’s Youth Concerts at Symphony Hall provide an engaging, age-appropriate, and fun educational experience geared toward students in grades 4-6. The BSO performs six Youth Concerts each season, with one them presented exclusively, and free of charge, for students in the Boston Public Schools. BSO Germeshausen Youth and Family Concerts Conductor Thomas Wilkins leads the full Boston Symphony Orchestra in these performances, guiding the audience through the concert experience with his own enjoyably insight- ful comments on the music. This year’s program, “From the Inside Out: A Musical Look at Courage, Competition, and Character,” includes music of John Williams, Wagner, Puccini, Brahms, Falla, and William Schuman. Teachers are offered supplementary materials online, allowing them to incorporate aspects of the concert experience into their classroom curriculum prior to the performance. This year’s BSO Youth Concerts take place on Wednesday, Thursday, and Friday, March 6, 7, and 8, with performances at 10 a.m. and 11:50 a.m. each day. Single tickets are just $10 per person; reservations for school groups can be made by calling SymphonyCharge at (617) 266-1200. Please note that the March 7 performance at 11:50 a.m. is this year’s special, free performance intended specifically for students from the Boston Public Schools. For more information about that concert, or to inquire further about BSO Youth Concerts, please e-mail [email protected].

Free Chamber Music Concerts Featuring BSO Musicians at Northeastern University’s Fenway Center on St. Stephen Street Once again this season, the Boston Symphony Orchestra in collaboration with Northeastern University is pleased to offer free chamber music concerts by members of the Boston Symphony Orchestra on selected Friday afternoons at 1:30 p.m. at the Fenway Center at Northeastern University, 77 St. Stephen St. (at the corner of St. Stephen and Gainsborough streets). Free general-admission tickets can be reserved by e-mailing [email protected] or by calling (617) 373-4700; on the day of the performance, remaining tickets are available at the door. The next two concerts in this series will take place on Friday, March 1 (music of Beethoven and Schubert), and Friday, March 8 (string quartets by Hindemith and Mozart). These free concerts are made possible in part by a generous grant from the Lowell Institute.

BSO 101 at Symphony Hall BSO 101 is an informative series of free adult education sessions on selected Tuesdays and Wednesdays, from 5:30-6:45 p.m. at Symphony Hall. The Wednesday sessions—“BSO 101:

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Are You Listening?,” with Director of Program Publications Marc Mandel and members of the BSO—are designed to enhance your listening abilities and appreciation of music by focusing on music from upcoming BSO programs. The Tuesday sessions—“BSO 101: An Insider’s View”—focus on behind-the-scenes activities at Symphony Hall. All of these free sessions are followed by a complimentary reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others. The next “Insider’s View” session, on Tuesday, March 5, will be a discussion with members of the BSO’s Department of Web and New Media. Though admission is free, we do ask that you e-mail [email protected] or call (617) 638-9454 to reserve your place for the date or dates you’re planning to attend. Complete information about upcoming BSO 101 sessions can be found at bso.org, under the “Education & Community” tab on the BSO’s home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all BSO Friday- afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The Friday Preview speakers for January and February are Robert Kirzinger (January 11), Helen Greenwald of the New England Conservatory (January 25), Harlow Robinson of Northeastern University (February 1), Jan Swafford of The Boston Conservatory (February 8), Marc Mandel (February 15), and Elizabeth Seitz of The Boston Conservatory (February 22). individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Peter and Anne Brooke Concert the early 1990s and renovations to Symphony Friday, February 8, 2013 Hall in the late 1980s. The BSO concert on Friday, February 8, has Peter joined the BSO’s Board of Overseers in been named with a gift from BSO Life Trustee, 1981. He served as a member of the Board and past chairman of the Board of Trustees, of Trustees from 1990 to 2005, was elected Peter A. Brooke, and his wife, BSO Overseer Chairman of the Board of Trustees in 1999, Anne Brooke. As Great Benefactors, Peter retired from that position on August 31, 2005, and Anne Brooke have been generous sup- and became a Life Trustee on September 1, porters of the Boston Symphony Orchestra 2005. During his last year as chairman, Peter, since the late 1970s. The Brookes are long- along with the Board of Trustees, launched time Friday-afternoon subscribers who have the Artistic Initiative, an endowment fund- been subscribing for thirty-five consecutive raising effort to support expanded musical years. They are members of the Higginson endeavors under Maestro James Levine. Peter Society at the Chairman’s level and the Walter and Anne generously supported the Artistic Piston Society. In addition to supporting the Initiative. The venture capital and private Symphony Annual Fund and Opening Night equity communities joined with other friends galas, Peter and Anne have named in perpe- in honoring Peter and Anne by naming the tuity a chair in the percussion section of the Peter and Anne Brooke Corridor at Symphony orchestra, and they were instrumental in the Hall. Peter served as co-chair of the BSO construction of Ozawa Hall at Tanglewood in 2OOO Campaign from 1998 to 2000, helping

week 15 bso news 9 to lead that effort to historic success in rais- rently operates companies in the manufactur- ing more than $150 million for the orchestra’s ing sector, principally serving customers in endowment and operations. Peter is known the automotive, energy, agriculture, appli- worldwide as a leader in the venture capital ance, mining equipment, mineral/ore pro- community, having pioneered business prac- cessing, electronics, and plastics industries. tices in that field for decades. He has brought Connell has in excess of $750 million in funds wisdom to his tenure at the Boston Symphony, available for investment and is continually participating in a dozen Board committees, evaluating new opportunities. For more infor- and currently serving on the Principal and mation about becoming a BSO Business Leadership Gifts Committee and the Strategic Partner, contact Rich Mahoney, Director of Planning Committee. BSO Business Partners, at (617) 638-9277 or at [email protected]. Anne has energetically matched her husband’s service to non-profits in the community. She served as an honorary co-chair of the James Go Behind the Scenes: Levine Inaugural Gala in the fall of 2004, Symphony Hall Tours and she was elected to the BSO’s Board of Overseers in 2006. Anne served as chair of Get a rare opportunity to go behind the the Board of Trustees of the Concord Museum scenes at Symphony Hall with a free, guided for many years, and she has also served on tour, offered by the Boston Symphony Associ- the board of the Boston Arts Academy, among ation of Volunteers. Throughout the Symphony others. She is currently president of the Friends season, experienced volunteer guides discuss of the Public Garden (Boston), an honorary the history and traditions of the BSO and its overseer of the Museum of Fine Arts, Boston, world-famous home, historic Symphony Hall, and an honorary director of the Massachusetts as they lead participants through public and Audubon Society. selected “behind-the-scenes” areas of the building. Free walk-up tours lasting approxi- “We were both introduced to the Symphony mately one hour take place in January and as children,” they have said, “and after years February at 2 p.m. on five Saturdays (Janu- of exposure to its wonderful sound, we think ary 2, 12, 19; February 16, 23) and at 4 p.m. it is appropriate to repay the BSO for all the on six Wednesdays (January 16, 23, 30; pleasure it has given us.” February 13, 20, 27). For more information, visit bso.org/tours. All tours begin in the BSO Business Partner of the Month Massachusetts Avenue lobby of Symphony Hall. Special private tours for groups of ten Did you know that there are more than 400 guests or more—free for Boston-area elemen- businesses and corporations that support the tary schools, high schools, and youth/educa- Boston Symphony Orchestra, Inc.? You can tion community groups—can be scheduled in lend your support to the BSO by supporting advance (the BSO’s schedule permitting). Make the companies who support us. Each month, your individual or group tour reservations we spotlight one of our corporate supporters today by visiting bso.org/tours, by contacting as the BSO Business Partner of the Month. the BSAV office at (617) 638-9390, or by This month’s partner is Connell Limited e-mailing [email protected]. Partnership. Connell Limited Partnership (“Connell”) is an acquisition-minded family- owned business with a record of growth and BSO Members in Concert creation of shareholder value. Connell’s port- Founded by BSO cellist Jonathan Miller, the folio is characterized by market-leading com- Boston Artists Ensemble performs Beethoven’s panies providing hard-to-manufacture prod- Twelve Variations on a Theme from Mozart’s ucts, superior customer service, excellence in The Magic Flute, Rorem’s Spring Music, and operations, and a strong commitment to their Fauré’s Piano Quintet No. 2 in C minor, Opus employees and their community. Connell cur- 115, on Friday, February 15, at 8 p.m. at the

week 15 bso news 11 12 Peabody Essex Museum in Salem, and on of time. Casual dining and a full complement Sunday, February 17, at 2:30 p.m. at Trinity of beverages are offered in both the Cabot- Church in Newton Centre. Joining Mr. Miller Cahners and O’Block/Kay rooms before con- are BSO violinist Julianne Lee, violinist Sharan certs and at intermission. The Refreshment Leventhal, violist Beth Guterman, and pianist Bar, located next to the coatroom on the or- Randall Hodgkinson. Tickets are $27, with chestra level, serves hot and cold non-alcoholic discounts for seniors and students. For more beverages, as well as snacks. The Champagne information, visit bostonartistsensemble.org Bar, located outside the O’Block/Kay Room, or call (617) 964-6553. offers champagne by the glass, cognac, armagnac, and gourmet chocolates. The Information Table: Find Out What’s Happening Those Electronic Devices... At the BSO As the presence of smartphones, tablets, Are you interested in upcoming BSO concert and other electronic devices used for com- information? Special events at Symphony munication and note-taking has continued to Hall? BSO youth activities? Stop by the infor- increase, there has also been an increase in mation table in the Brooke Corridor, on the expressions of concern from concertgoers orchestra-level, Massachusetts Avenue side and musicians who find themselves distracted of Symphony Hall. There you will find the not only by the illuminated screens on these latest performance, membership, and Sym- devices, but also by the physical movements phony Hall information provided by knowl- that accompany their use. For these reasons, edgeable members of the Boston Symphony and as a courtesy to those on stage as well Association of Volunteers. The BSO Informa- as those around you, we respectfully request tion Table is staffed before each concert and that all such electronic devices be turned off during intermission. and kept from view while the BSO’s performances are in progress. Thank you very much for your cooperation. Dining at the BSO For Symphony Hall patrons who like to arrive Comings and Goings... early and relax over food and drink, Boston Gourmet’s on-site chefs prepare a variety of Please note that latecomers will be seated tempting culinary offerings. The Symphony by the patron service staff during the first Café, entered via the Cohen Wing doors on convenient pause in the program. In addition, Huntington Avenue, offers prix fixe, buffet- please also note that patrons who leave the style dining from 5:30 p.m. until concert time hall during the performance will not be for all evening Boston Symphony concerts and allowed to reenter until the next convenient lunch from 11 a.m. prior to Friday-afternoon pause in the program, so as not to disturb the concerts. For reservations call (617) 638- performers or other audience members while 9328 or visit bso.org—where you can now the concert is in progress. We thank you for also order a meal, appetizer, or drink ahead your cooperation in this matter.

week 15 bso news 13 NICE PEOPLE ~ FINE MERCHANDISE ~ OLD-FASHIONED SERVICE ~ AND THE 2 BEST-LOOKING GOLDEN RETRIEVERS YOU’VE EVER SEEN

ONE LIBERTY SQUARE BOSTON, MA 02109 617-350-6070 New England’s Largest Oxxford Dealer Visit us at ZarehBoston.com on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two clarinets owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as Joseph Haydn for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 15 on display 15 Boston Symphony Orchestra 2012–2013

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

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

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

week 15 boston symphony orchestra 17 S Archives BSO

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of founder Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown. Today the BSO reaches millions through radio, television, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and programs involving the Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, is known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

The BSO played its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world’s most highly regarded concert halls, was opened on October 15, 1900. Henschel was succeeded by German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, cul- minating in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony Orchestra had given their first “Promenade” concert, offering both music and refreshments, and fulfilling Major Higginson’s wish to give “concerts of a lighter kind of music.” These concerts, soon to be given in the springtime and renamed first “Popular” and then “Pops,” fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked

18 S Archives BSO

Rush ticket line at Symphony Hall, probably in the 1930s

the beginning of a French tradition maintained, even during the Russian-born Serge Kousse- vitzky’s tenure (1924-49), with the employment of many French-trained musicians.

In 1929 free Esplanade concerts were inaugurated by Arthur Fiedler, a member of the orchestra since 1915 and who in 1930 became eighteenth conductor of the Boston Pops. Fiedler was Pops conductor for half a century, being followed by John Williams in 1980 and Keith Lockhart in 1995.

It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires. A year later, he and the players took up annual summer residence at Tanglewood. Koussevitzky 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 Tanglewood 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. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. 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.

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 summer 2007 led the BSO in an acclaimed tour of European music festivals.

Through its worldwide activities and more than 250 concerts annually, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson.

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S Archives BSO

A Brief History of Symphony Hall

The ﬁrst home of the Boston Symphony Orchestra was the old Boston Music Hall, which stood downtown where the Orpheum Theatre now stands, held about 2,400 seats, and was threatened in 1893 by the city’s road-building/rapid transit project. That summer, the BSO’s founder, Major Henry Lee Higginson, organized a corporation to ﬁnance a new and permanent home for the orchestra. On October 15, 1900—some seven years and $750,000 later—the new hall was opened. The inaugural gala concluded with a performance of Beethoven’s Missa Solemnis under the direction of then music director Wilhelm Gericke.

At Higginson’s insistence, the architects—McKim, Mead & White of New York—engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical consultant, and Symphony Hall became the ﬁrst auditorium designed in accor- dance with scientiﬁcally-derived acoustical principles. It is now ranked as one of the three best concert halls in the world, along with Amsterdam’s Concertgebouw and Vienna’s Musikverein. Bruno Walter called it “the most noble of American concert halls,” and Herbert von Karajan, comparing it to the Musikverein, noted that “for much music, it is even better... because of the slightly lower reverberation time.”

Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long from the lower back wall to the front of the stage. The walls of the stage slope inward to help focus the sound. The side balconies are shallow so as not to trap any of the sound, and though the rear balconies are deeper, sound is properly reflected from the back walls. The recesses of the coffered ceiling help distribute the sound throughout the hall, as do the statue-filled niches along the three sides. The auditorium itself is centered within the building, with corridors and offices insulating it from noise outside. The leather seats are the ones installed for the hall’s opening in 1900. With the exception of the wood floors, the hall is built of brick, steel, and plaster, with only a moderate amount of decoration, the original, more ornate plans for the building’s exterior having been much simplified as a cost-reducing measure. But as architecture critic Robert Campbell has observed, upon penetrating the “outer car- ton” one discovers “the gift within—the lovely ornamented interior, with its delicate play

BSO conductor Wilhelm Gericke, who led the Symphony Hall inaugural concert

week 15 a brief history of symphony hall 21 S Archives BSO

Architect’s watercolor rendering of Symphony Hall prior to its construction

of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter of instruments on stage.”

Symphony Hall was designed so that the rows of seats could be replaced by tables for Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity is 2,371, including 241 small tables on the main floor. To accommodate this flexible system—an innovation in 1900—an elevator, still in use, was built into the Symphony Hall floor. Once a year the five Symphony Hall chandeliers are lowered to the floor and all 394 lightbulbs are changed. The sixteen replicas of Greek and Roman statues—ten of mythical subjects, six of actual historical figures—are related to music, art, and literature. The statues were donated by a committee of 200 Symphony-goers and cast by P.P. Caproni and Brother, Boston, makers of plaster reproductions for public buildings and art schools. They were not ready for the opening concert, but appeared one by one during the first two seasons.

The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and installed in 1949, is considered one of the finest concert hall organs in the world. The console was autographed by Albert Schweitzer, who expressed his best wishes for the organ’s tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than six inches and located behind the organ pipe facade visible to the audience. The organ was commissioned to honor two milestones in 1950: the ﬁftieth anniversary of the hall’s opening, and the 200th anniversary of the death of Johann Sebastian Bach. The 2004- 2005 season brought the return to use of the Symphony Hall organ following a two-year renovation process by the ﬁrm of Foley-Baker, Inc., based in Tolland, CT.

Two radio booths used for the taping and broadcasting of concerts overlook the stage at audience-left. For recording sessions, equipment is installed in an area of the basement. The hall was completely air-conditioned during the summer of 1973, and in 1975 a six- passenger elevator was installed in the Massachusetts Avenue stairwell. The Massachu- setts Avenue lobby and box ofﬁce were completely renovated in 2005.

Symphony Hall has been the scene of more than 250 world premieres, including major works by Samuel Barber, Béla Bartók, Elliott Carter, Aaron Copland, Henri Dutilleux, George Gershwin, Soﬁa Gubaidulina, John Harbison, Walter Piston, Sergei Prokoﬁev, Roger Sessions, Igor Stravinsky, Michael Tippett, John Williams, and Ellen Taaffe Zwilich. For many years the biggest civic building in Boston, it has also been used for many purposes other than concerts, among them the First Annual Automobile Show of the Boston Auto-

22 S Archives BSO

Symphony Hall in the early 1940s, with the main entrance still on Huntington Avenue, before the intersection of Massachusetts and Huntington avenues was reconstructed so the Green Line could run underground

mobile Dealers’ Association (1903), the Boston premiere of Cecil B. DeMille’s ﬁlm version of Carmen starring Geraldine Farrar (1915), the Boston Shoe Style Show (1919), a debate on American participation in the League of Nations (1919), a lecture/demonstration by Harry Houdini debunking spiritualism (1925), a spelling bee sponsored by the Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh-sponsored fashion shows “dedicated to the working woman” (1940s), and all the inaugurations of former longtime Boston mayor James Michael Curley.

A couple of interesting points for observant concertgoers: The plaques on the proscenium arch were meant to be inscribed with the names of great composers, but the hall’s original directors were able to agree unanimously only on Beethoven, so his remains the only name above the stage. The ornamental initials “BMH” in the staircase railings on the Huntington Avenue side (originally the main entrance) reﬂect the original idea to name the building Boston Music Hall, but the old Boston Music Hall, where the BSO had performed since its founding in 1881, was not demolished as planned, and a decision on a substitute name was not reached until Symphony Hall’s opening.

In 1999, Symphony Hall was designated and registered by the United States Department of the Interior as a National Historic Landmark, a distinction marked in a special ceremony at the start of the 2000-01 season. In 2000-01, the Boston Symphony Orchestra marked the centennial of its home, renewing Symphony Hall’s role as a crucible for new music activity, as a civic resource, and as a place of public gathering. The programming and celebratory events included world premieres of works commissioned by the BSO, the ﬁrst steps of a new master plan to strengthen Symphony Hall’s public presence, and the launching of an initiative to extend the sights and sounds of Symphony Hall via the internet. Recent renovations have included new electrical, lighting, and fire safety systems; an expanded main lobby with a new marble floor; and, in 2006, a new hardwood stage floor matching the specifications of the original. For the start of the 2008-09 season, Symphony Hall’s clerestory windows (the semi-circular windows in the upper side walls of the auditorium) were reopened, allowing natural light into the auditorium for the first time since the 1940s. Now more than a century old, Symphony Hall continues to serve the purpose for which it was built, fostering the presence of music familiar and unfamiliar, old and new—a mission the BSO continues to carry forward into the world of tomorrow.

week 15 a brief history of symphony hall 23 The Henry Lee Higginson Memorial Concert Saturday, February 9, 2013

By action of the BSO’s Board of Trustees, one subscription concert each season is designated “The Henry Lee Higginson Memorial Concert” in honor of the orchestra’s founder and sustainer. Businessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson founded the Boston Sym- phony Orchestra in 1881, thus fulfilling a goal he had formulated prior to the Civil War. Under the direction of Georg Henschel, its first conductor—whom Major Higginson asked to lead the BSO after hearing him conduct at a Har- vard Musical Association concert in March 1881—the BSO gave its inaugural concert on October 22, 1881, in the old Boston Music Hall. From that time until the creation of a Board of Trustees in 1918, Major Higginson sustained the orchestra’s activities virtually single-handedly. In an address to his “noble orchestra” on April 27, 1914, he described his role: “to run the risk of each year’s contracts, and to meet the deficit, which never will fall below $20,000 yearly, and is often more,” in support of the “excellent work by high-grade artists and as good a conductor as exists.” Among his closing comments was the observation that the Boston Symphony Orchestra “gives joy and comfort to many people.” Thanks to Major Higginson’s pioneering vision, and to all who have helped further that vision, it continues to do so today.

24 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, February 7, 8pm Friday, February 8, 1:30pm | the peter and anne brooke concert Saturday, February 9, 8pm | the henry lee higginson memorial concert Tuesday, February 12, 8pm christoph von dohnányi conducting brahms variations on a theme by haydn, opus 56a sibelius violin concerto in d, opus 47 Allegro moderato Adagio di molto Allegro ma non troppo renaud capu¸con

{intermission} beethoven symphony no. 5 in c minor, opus 67 Allegro con brio Andante con moto Allegro— Allegro in recognition of donor appreciation week, the boston symphony orchestra is pleased to thank its more than 7,000 donors whose gifts help make this season possible. please see page 10 for more information. bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The evening concerts will end about 10 and the afternoon concert about 3:30. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 15 program 25 The Program in Brief...

This week’s program begins with a piece linking—at least on the surface—Beethoven’s teacher, Joseph Haydn, with Beethoven’s greatest German successor, Brahms. As it turns out, the theme that Brahms uses in his elegantly classical Variations on a Theme by Haydn, which theme we know by the name “Chorale St. Antoni,” was apparently not by Haydn at all. Nevertheless, Brahms in his variations reveals the deep foundation of his mastery in the music of the German tradition, stretching back through Beethoven and Haydn to J.S. Bach. First performed in 1873, the Haydn Variations was Brahms’s most important orchestral score prior to his belated focus on the genre of the symphony. (He completed his Symphony No. 1 in 1876, at age forty-three.)

Working a generation after Brahms, Jean Sibelius was Finland’s greatest composer. Although he studied and had success in international Europe (particularly Germany and England), he was deeply invested in the cultural growth of his home country, to the point of basing many of his works on Finnish folk music and narrative themes. In writing his Violin Concerto, one of his most popular works, he tapped into that heritage while at the same time exor- cising a long-held, but long-abandoned, hope of becoming a great violin virtuoso himself.

The concerto had rather tortured beginnings. The German violinist Willy Burmester was scheduled to premiere it in Berlin, but that was canceled and the composer led the unsuccessful premiere in Helsinki in 1904, with soloist Viktor Nováˇcek evidently not at all up to the task. Sibelius withdrew and thoroughly revised the concerto, which was given its second premiere the following year in Berlin under the baton of the masterful Richard Strauss; the composer was not present. The concerto slowly entered the repertoire in spite of its technical difficulties, and is today one of the standard works for the virtuoso soloist.

Like any great, large-scale work of art, Beethoven’s Fifth Symphony remains a thing of wonder despite its supposed familiarity. The four-note “fate” motif of its opening exem- plifies, for some, the entire world of symphonic music, yet the details of how Beethoven shapes and recombines this tiny musical gesture to create the themes of all four movements of his innovative symphony can only be explained by citing the mystery of his musical genius. Beethoven wrote his Fifth Symphony, one of the most intense and “heroic” of his works, concurrently with one of the happiest, his Fourth. The Fifth was premiered during a tryingly long all-Beethoven concert—also featuring parts of his Mass in C, the aria Ah! perfido, and the premieres of the Piano Concerto No. 4 and the Pastoral Symphony—that took place on a cold Vienna evening in December 1808.

But it’s neither the Fifth’s innovation nor its history that draws so many people in at first, second, or even twentieth hearing—it’s the power and inexorable forward motion of what follows those first four notes, the drama and drive that sweep the listener along through its four movements to one of the most gratifyingly triumphant conclusions in all of music.

Robert Kirzinger

26 Johannes Brahms Variations on a Theme by Haydn, Opus 56a

JOHANNES BRAHMS was born in Hamburg, Germany, on May 7, 1833, and died in Vienna on April 3, 1897. Working from sketches made in spring 1873 (or possibly late 1872), he composed these variations, but for two pianos and in the form now known as Opus 56b, in May, June, and early July 1873. The first hint of their other and now far more familiar life as a piece for orchestra is in a letter of September 4, 1873, to his publisher, Fritz Simrock, and, more obliquely, in a request on the first of that month for a supply of orchestra manuscript paper. It may be that the idea of orchestrating the work came to him only after he had tried out the two-piano version with Clara Schumann in Bonn on August 20. At any rate, the orchestral score was quickly completed, so that Brahms was able to send it to Simrock on October 4. The letter accompanying the package for the first time attaches Haydn’s name to the work, previously referred to simply as “Variations for two pianofortes” and “Variations for orchestra.” The composer conducted the first performance on November 2, 1873, at a Vienna Philharmonic concert. As for the two-piano version, a performance by Hans von Bülow and Charles Hallé in Manchester, England, on February 12, 1874, is the first of which we have certain record.

BRAHMS’S “HAYDN VARIATIONS” IN ITS ORCHESTRAL FORM calls (as discussed more specifically below) for two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, timpani, triangle, and strings.

Not the least of Brahms’s oddities was his informed connoisseurship of old music. For example, he participated as contributing editor to many scholarly publishing projects, among them the complete editions of Handel, Mozart, Schubert, Chopin, and Schumann, and he prepared publications of works of Couperin and Carl Philipp Emanuel Bach. He was a serious collector of musical manuscripts and, as a very young man, he began to make copies of works that came his way and that interested him. These he collected in a folder marked “Copies of outstanding masterpieces of the 16th-18th centuries for study purposes,” a practice he kept up until about 1870. In that collection we find a sheet with the Andante of Haydn’s Symphony No. 16 in B-ﬂat on one side and, on the other, some music labeled “Second movement of a divertimento for wind instruments by Haydn. Chorale

week 15 program notes 27

St. Antoni.” The side with the movement from the symphony is dated November 1870. The side with the Chorale St. Antoni is not dated, and in his edition of the variations for Norton, Donald M. McCorkle says that “from its appearance [it] seems to have been copied at a different time, probably later.” We don’t know, then, exactly when Brahms first saw the theme on which, in 1873, he made these beautiful variations. We do know that the person who showed it to him was Carl Ferdinand Pohl, librarian of the Society of Friends of Music in Vienna and author of an important, though unfinished, Haydn biography. There is no convincing evidence for Haydn’s authorship of the divertimento from which this movement is taken (nor of the other five pieces in the set). Most scholars now attribute the piece to Haydn’s pupil, Ignaz Pleyel.* McCorkle also points out that “the source of the title Chorale St. Antoni has not yet been explained to anyone’s satisfaction.” Eduard Hanslick’s review of the first performance suggests that the theme is “probably a pilgrimage song.” Others have speculated similarly, but their ideas, however plausible, have been no more than conjecture.

What matters is that Brahms found the theme beautiful and provocative. He took it over as he found it, for its ﬁrst statement even staying with the wind-band character of the divertimento. The original is scored for two oboes, two horns, three bassoons, and serpent. Brahms gave the serpent line to the contrabassoon, doubling it with plucked cellos and basses, also adding a few tellingly placed notes for the trumpets. The full orchestra consists of two ﬂutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, kettledrums, triangle, and strings. Brahms’s decision about the scoring of the theme is thoroughly characteristic: making it sound so much like the original delights the antiquarian in him, and adding (though discreetly) the strings from the outset suggests the possibility of expansion into a real orchestral texture. He set great store by organic, carefully and subtly prepared and modulated progress from event to event.

The melody moves almost always by step and it stays within a narrow range. Its particular flavor resides in the emphasis (by reiteration) on the third and fourth notes of the major scale: the first six notes of the tune consist of nothing else—in fact, in half of the opening ten-measure strain, the melody note is D or E-flat. The prevalence of these notes suggests a certain kind of harmony—it is explicitly given in the two chords, something like an “amen” cadence, of the second measure—and that bias will indeed dominate the variations.

Something else that Brahms liked was rhythmic surprise and asymmetry, and when he ﬁrst saw the Chorale St. Antoni, he must have been enchanted by its ﬁve-measure phrases. They go 3+2—or, more precisely, (2+1)+2—and that irregularity is what would have made the attribution to Haydn so plausible to Pohl, Brahms, and countless others. The middle

* Pleyel (1757-1831) as a young man spent five years with Haydn. He had quite a successful career as a pianist and composer, but eventually struck it rich in grand style with the piano factory he founded in 1807. Pleyel et Cie. is today the largest French manufacturer of pianos, and the Salle Pleyel is an important concert hall in Paris.

week 15 program notes 29 30 Another view of Brahms, beardless, shown here in his thirties

section of the theme begins with two four-measure phrases, making a charming change from the ﬁves, and Brahms faithfully maintains that design.

What the theme (Andante) has almost none of is minor-mode harmony—no more, at least, than just a hint at the beginning of the second strain. One of Brahms’s wittiest surprises as he varies, explores, and expands the Chorale is, then, his insistence on the minor: three of the eight variations are in minor, and so is a considerable—and crucially placed—portion of the ﬁnale.

Variation I (Poco più animato) takes as point of departure the reiterated closing chord of the theme itself, the tolling B-flat being now continued at a slightly more animated tempo in bassoons, horns, and drums. At the same time, the strings fan outward—violins going up in plain eighth-notes, violas and cellos descending in triplets. For the second five measures, everyone reverses roles: the tolling goes into the high woodwinds with horns, the rising eighth-notes are played down below by cellos and bassoon, and the triplets descend from on high in violins and violas. The first variation has thus stated several rules of this game: 1) the sense of organic continuity from movement to movement (the “tolling”); 2) the possibility of role exchanges or the inverting of textures; 3) grouping notes by threes and the setting up of tensions between twos and threes. The brief middle section, moreover, makes the first move in the direction of darker harmonic coloration.

Variation II (Più vivace), a little faster than its predecessor, marks the beginning of almost every phrase with a loud bump (the single exception goes to the other extreme of pianissimo), and Brahms continues to play with the idea of lines proceeding by contrary motion. Nor are the triplets of Variation I quite forgotten. All this happens in B-ﬂat minor.

Variation III (Con moto), also quick, and back in major, is dolce and legato. No triplets here: when the ﬂowing eighth-notes are subdivided, it is into sixteenths exactly half their length. And here, instead of repeating sections literally as in the theme and the ﬁrst two

week 15 program notes 31 Program page from the first Boston Symphony performance of Brahms’s Variations on a Theme by Haydn on December 6, 1884, with Wilhelm Gericke conducting (BSO Archives)

32 variations, Brahms writes out decorated repeats, so that it is almost like having two variations in one.

After that brief respite from threes, Variation IV (Andante con moto) turns out to be the first in triple meter. Brahms’s choice of 3/8 rather than 3/4 is another way of expressing what his tempo direction of Andante con moto tells us: this is not a slow movement. Here the exchanging of parts as in Variation I returns: the gently grave melody in oboe and horn is soon heard an octave lower in strings, while the counterpoint that first was below it in the violas now adorns it from above in the voices of flute and clarinet. Another variation in minor.

Variation V (Vivace), very quick, is a scherzo with bumps at the beginnings of phrases (like Variation II) and with dazzling play on the two-against-three joke. And if the funny off-beat ending sounds familiar, that is because it, too, was ﬁrst suggested in Variation II.

Variation VI (Vivace) begins with hunting horns and it sticks closer to the tune than anything we have heard recently. (The critic Eduard Hanslick once said that the theme in some of Brahms’s variations was as hard to recognize as his face behind his new beard.) Brahms brings back the sound of the full orchestra, not heard since Variation II. He has also held one effect in reserve for this moment: “minor,” so far, has always meant B-ﬂat minor, and now for the ﬁrst time he explores the relative minor, G minor, which would normally be an obvious place to go to, which is even suggested ever so slightly in the theme, but which he has carefully avoided. A variation, then, that is obvious and subtle at the same time.

Variation VII (Grazioso) is a most lovely, lilting siciliana. Its climax is built on the two- versus-three tension. This is the only variation slower than the theme.

Variation VIII (Presto non troppo) is mysteriously scurrying music in minor, muted and pianissimo, full of imitations and whispered exchanges, breathless conﬂicts of twos and threes, and with yet another appearance of the witty off-beat cadence.

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The whole genre of an independent set of orchestral variations was quite new in 1873. Now, for the Finale (Andante), Brahms did something so old and so forgotten that it, too, was new. He wrote a passacaglia, a set of variations over a repeated bass, thus creating a set of variations-within-variations. The bass is five measures long (of course) and hearing it is like looking at a child who resembles both parents—we aren’t quite sure whether we are reminded more of the original St. Antoni melody or of its bass. The tempo is that of the theme, and Brahms gives us seventeen varied statements. They build rapidly and adventurously, and all the resources with which Brahms has made us familiar are paraded before us once more, and with wonderful freshness—contrapuntal imitations, groups of threes (often heard against twos), the minor mode (by suggestion at first, then explicitly in the last four statements), off-beats, things changing places within the texture (the bass, which had begun to creep upward in the tenth statement, has become the melody in the treble by the fourteenth). At the last statement, Brahms does the only possible remaining thing: he brings back the theme in quietly joyful triumph (and the patient triangle-player has his moment at last). And if you listen carefully to the last muttering scales in the violas and cellos, you will hear that the game of twos against threes isn’t finished yet.

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

THEFIRSTAMERICANPERFORMANCE of Brahms’s “Haydn Variations” in its version for orchestra was likely the one given by Theodore Thomas and his orchestra in Boston on January 31, 1874.

THEFIRSTBOSTONSYMPHONYPERFORMANCE of the “Haydn Variations” was on December 6, 1884, with Wilhelm Gericke conducting, subsequent BSO performances being given by Arthur Nikisch, Emil Paur, Willy Hess, Karl Muck, Max Fiedler, Otto Urack, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Charles Munch, Ernest Ansermet, Erich Leinsdorf, Eugene Ormandy, Aaron Copland, Seiji Ozawa, Mstislav Rostropovich, Kurt Masur, Edo de Waart, Dennis Russell Davies, Bernard Haitink, Christof Perick, André Previn, Daniele Gatti (the most recent subscription performances, in February 2002), and Andrey Boreyko (the most recent Tanglewood performance, on August 21, 2004).

week 15 program notes 35

Jean Sibelius Violin Concerto in D minor, Opus 47

JEAN (JOHAN JULIUS CHRISTIAN) SIBELIUS was born at Tavastehus (Hämeenlinna), Finland, on December 8, 1865, and died at Jarvenpää, at his country home near Helsingfors (Helsinki), on September 20, 1957. He began work on his violin concerto in 1902, completed it in short score— that is, with the orchestration worked out but not written down in detail—in the fall of 1903, and ﬁnished the full score about new year 1904. The ﬁrst performance was given in Helsingfors on February 8, 1904, with Viktor Novácekˇ as soloist and with the composer conducting. Sibelius then withdrew the work for revision, and in its new and present form it had its premiere in Berlin on October 19, 1905, with Karl Halir as soloist and with Richard Strauss on the podium.

IN ADDITION TO THE VIOLIN SOLOIST, the score of Sibelius’s Violin Concerto calls for an orchestra of two ﬂutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

In no violin concerto is the soloist’s first note—delicately dissonant and off the beat—so beautiful. Indeed, in September 1902, Sibelius wrote to his wife that he had just had “a marvelous opening idea” for such a concerto. But even with that inspired start, the history of the work was troubled. Sibelius was drinking heavily and seemed virtually to be living at Kämp’s and König’s restaurants. He was limitlessly resourceful when it came to finding ways of running from this work in progress. He behaved outrageously to Willy Burmester, the German violinist who had been concertmaster in Helsingfors for a while in the 1890s, who admired Sibelius and was ambitious on his behalf, who stirred him up to compose a violin concerto, and who of course hoped to give its first performance. Sibelius sent the score to Burmester (“Wonderful! Masterly! Only once before have I spoken in such terms to a composer, and that was when Tchaikovsky showed me his concerto!”), let word get about that the work would be dedicated to him, but at the same time pushed for a premiere at a time when Burmester was not free or would not have had time to learn a piece that in its original form was still more dificult than it is now. Viktor Nováˇcek—not to be confused with the better-known Ottokar Nováˇcek, composer of a popular Perpetuum

week 15 program notes 37 Program page from the first Boston Symphony performances of Sibelius’s Violin Concerto on April 19 and 20, 1907, with soloist Maud Powell and Karl Muck conducting (BSO Archives)

38 mobile—was a violin teacher of no distinction and without reputation as a performer. That he would fail with the concerto was a foregone conclusion, yet that was the destructive path Sibelius chose. After the premiere, Burmester offered his services once again for a series of performances in October 1904—“All my twenty-five years’ stage experience, my artistry and insight will be placed to serve this work.... I shall play the concerto in Helsingfors in such a way that the city will be at your feet”—only to find himself passed over again, this time in favor of Karl Halir, concertmaster in Berlin, a former member of the famous Joachim Quartet, and himself a quartet leader of great distinction. Moreover, the dedication finally went to Ferenc von Vecsey, a Hungarian violinist born in 1893, who, in his prodigy days, had been one of the concerto’s earliest champions.

From Bach to Bartók, many of the great keyboard concertos have been written by composers for themselves. Rather more of the signiﬁcant violin concertos have been written for others to play. Sibelius wrote his for a kind of ghostly self. He was a failed violinist. He had begun lessons late, at fourteen, but then, “the violin took me by storm, and for the next ten years it was my dearest wish, my overriding ambition to become a great virtuoso.” In fact, aside from the handicap of the late start and the provincial level of even the best teaching available to him in Finland, he had neither the gift of physical coordination nor the appropriate temperament. In 1890-91, when he was studying composition in Vienna with Robert Fuchs and Karl Goldmark, he played in the orchestra at the conservatory (its intonation gave him headaches) and on January 9, 1891, auditioned for the Vienna Philharmonic. “When he got back to his room,” we read in Erik Tawaststjerna’s biography, “Sibelius broke down and wept. Afterwards he sat at the piano and began to practice scales.” With that he gave up, though a diary entry for 1915 records a dream of being twelve and a virtuoso. The concerto is, in any event, imbued both with his feeling for the instrument and the pain of his farewell to his “dearest wish” and “overriding ambition.”

The two violin concertos that most extraordinarily explore the structural and expressive potential of cadenzas are Elgar’s and Schoenberg’s. Without intending anything as the- atrical or fantastic, Sibelius assigns a role of unprecedented importance to his first-

week 15 program notes 39

A photo of Sibelius sent by him to his publisher sometime between 1905 and 1909

movement cadenza, which, in fact, takes the place and function of the development section. What leads up to that crucial point is a sequence of ideas beginning with the sensitive, dreamy melody that introduces the voice of the soloist and continuing (via a short cadenza of a conventional sort) with a declamatory statement upon which Sibelius’s mark is ineluctable, an impassioned, superviolinistic recitation in sixths and octaves, and so to a long tutti that slowly subsides from furious march music to wistful pastoral to darkness. Out of that darkness the cadenza erupts. It is an occasion for sovereign bravura, and at the same time it is brilliantly, imaginatively, and economically composed. Whether comparing his own work with the Brahms concerto, which he first heard in Berlin in January 1905, or, many years later, with the Prokoﬁev D major, Sibelius set store by having composed a soloistic concerto rather than a symphonic one. True, there is none of the close-knit dialogue characteristic of the greatest classical concertos from Mozart to Brahms: Sibelius opposes rather than meshes solo and orchestra (or the orchestra as accompanist). True also that the Sibelius is one of the really smashing virtuoso concertos. It would be a mistake, though, to associate it with the merely virtuosic tradition rep- resented by the concertos of, say, Tchaikovsky and Bruch, to say nothing of Paganini, Vieuxtemps, Wieniawski, and others of that ilk. Sibelius’s ﬁrst movement, with its bold sequence of highly diverse ideas, its quest for the unity behind them, its daring substitute for a conventional development, its recapitulation that continues to explore, rearrange, and develop, its wedding of violinistic brilliance to compositional purposes of uncommon originality, is one in which the breath of the symphonist—one who was to become perhaps the greatest symphonist since Brahms—is not to be mistaken.

The second and third movements proceed from another level of ambition, which does not mean, however, that the Adagio is anything other than one of the most moving pages Sibelius ever achieved. Between its introductory measures and the main theme there is a fascinating disparity. Clarinets and oboes in pairs suggest an idea of rather tentative tone (and surprisingly Wagnerian cast), a gentle beginning leading to the entry of the

week 15 program notes 41 solo violin and to a melody of vast breadth. It is to be played sonoro ed espressivo. It speaks in tones we know well and that touch us deeply, and it took me years of knowing it before I realized that the world, the gesture it evokes is Beethoven’s, and particularly the Cavatina in the B-ﬂat quartet, Opus 130. Sibelius himself never found, perhaps never sought such a melody again: this, too, is farewell. Very lovely, later in the movement, is the sonorous fantasy that accompanies the melody (now in clarinet and bassoon) with scales, all pianissimo, broken octaves moving up in the violin, and the soft rain of slow scales in ﬂutes and plucked strings.

“Evidently a polonaise for polar bears,” said Donald Francis Tovey of the ﬁnale. The charm- ingly aggressive main theme was an old one, going back to a string quartet from 1890. As the movement goes on, the rhythm becomes more and more giddily inventive, especially in matters of the recklessly across-the-beat bravura embellishments the soloist ﬁres over the themes. It builds a drama that evokes the Dvoˇrák D minor symphony Sibelius so much enjoyed when he heard it in Berlin in 1890, to end in utmost and syncopated brilliance.

Michael Steinberg

THEFIRSTAMERICANPERFORMANCE of the Sibelius Violin Concerto was given on November 30, 1906, with Vassily Safanov conducting the New York Philharmonic and soloist Maud Powell (who was also the first to play the Dvoˇrák and Tchaikovsky concertos in America, and would be soloist for the first BSO performances of the Sibelius in April 1907).

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCES of Sibelius’s Violin Concerto featured Maud Powell on April 19 and 20, 1907, with Karl Muck conducting (the program also included the Boston premiere of Grieg’s “In Autumn” and the repeat, “by public request,” of a brilliant new work introduced earlier in the season, Debussy’s “La Mer”). Maud Powell was also soloist for the next BSO performances, in March 1912, this time with Max Fiedler on the podium. Since then, BSO performances of the Sibelius Violin Concerto have featured Richard Burgin (with Pierre Monteux, Serge Koussevitzky, and Charles Munch conducting); Jascha Heifetz, Orrea Pernel, and Anja Ignatius (all with Koussevitzky), Ruggiero Ricci (Munch); Isaac Stern, Joseph Silverstein, and Itzhak Perlman (all with Erich Leinsdorf), Miriam Fried (Colin Davis), Silverstein (Vladimir Ashkenazy), Yuzuko Horigome (Silverstein), Viktoria Mullova (Seiji Ozawa), Cho-Liang Lin (Semyon Bychkov), Kyung-Wha Chung (Simon Rattle), Midori (Michael Tilson Thomas and Alan Gilbert), Joshua Bell (Leonard Slatkin, Yuri Termirkanov, Rafael Frühbeck de Burgos, and Bernard Haitink), Ida Haendel (Simon Rattle), Gidon Kremer and Christian Tetzlaff (Haitink), Leila Josefowicz (Ozawa), Perlman (Hugh Wolff), Sarah Chang (Kurt Masur), Lisa Batiashvili (Charles Dutoit), Julia Fischer (Paavo Berglund), Vadim Repin (the most recent subscription performances, with Mark Elder in February 2008), Hilary Hahn (Shi-Yeon Sung), and Nikolaj Znaider (the most recent Tanglewood performance, with John Storgårds on July 16, 2011).

week 15 program notes 43

Ludwig van Beethoven Symphony No. 5 in C minor, Opus 67

LUDWIG VAN BEETHOVEN was born in Bonn (then an independent electorate) probably on December 16, 1770 (he was baptized on the 17th), and died in Vienna on March 26, 1827. He began to sketch the ﬁfth symphony in 1804, did most of the work in 1807, completed the score in the spring of 1808, and led the ﬁrst performance on December 22, 1808, at the Theater an der Wien in Vienna.

THE SYMPHONY IS SCORED for two ﬂutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, two horns, two trumpets, three trombones, timpani, and strings.

On December 17, 1808, the Wiener Zeitung announced for the following Thursday, Decem- ber 22, a beneﬁt concert at the Theater an der Wien on behalf of and to be led by Ludwig van Beethoven, with all the selections “of his composition, entirely new, and not yet heard in public,” to begin at half-past six, and to include the following: First Part: 1, A Symphony, entitled: “A Recollection of Country Life,” in F major (No. 5). 2, Aria. 3, Hymn with Latin text, composed in the church style with chorus and solos. 4, Pianoforte Concerto played by himself. Second Part: 1, Grand Symphony in C minor (No. 6). 2, Sanctus with Latin text composed in the church style with chorus and solos. 3, Fantasia for Pianoforte alone. 4, Fantasia for the Pianoforte which ends with the gradual entrance of the entire orchestra and the introduction of choruses as a ﬁnale. One witness to this event of gargantuan proportion—which lasted for about four hours in a bitterly cold, unheated hall—commented on “the truth that one can easily have too much of a good thing—and still more of a loud one.”

The hymn and Sanctus were drawn from Beethoven’s Mass in C, the concerto was the Fourth, and the aria was “Ah! perﬁdo” (with a last-minute change of soloist). The solo piano fantasia was an improvisation by the composer; the concluding number was the

week 15 program notes 45 Program page from the first Boston Symphony performances of Beethoven’s Symphony No. 5, with Georg Henschel conducting on December 17, 1881, during the orchestra’s first season, as part of an all-Beethoven program marking the composer’s birthday (BSO Archives)

46 Opus 80 Choral Fantasy (written shortly before the concert—Beethoven did not want to end the evening with the C minor symphony for fear the audience would be too tired to appreciate the last movement); the symphony listed as “No. 5” was the one actually published as the Sixth, the Pastoral; and the symphony labeled “No. 6” was the one published as the Fifth.

Beethoven was by this time one of the most important composers on the European musical scene. He had introduced himself to Viennese concert hall audiences in April 1800 with a program including, besides some Mozart and Haydn, his own Septet and First Symphony; and, following the success of his ballet score The Creatures of Prometheus during the 1801-02 musical season, he began to attract the attention of foreign publish- ers. He was, also at that time, becoming increasingly aware of the deterioration in his hearing (the emotional outpouring known as the Heiligenstadt Testament dates from October 1802) and only ﬁrst coming to grips with this problem that would ultimately affect the very nature of his music. As the nineteenth century’s ﬁrst decade progressed, Beethoven’s music would be performed as frequently as Haydn’s and Mozart’s; his popularity in Vienna would be rivaled only by that of Haydn; and, between 1802 and 1813, he would compose six symphonies, four concertos, an opera, oratorio, and mass, a variety of chamber and piano works, incidental music, songs, and several overtures.

Beethoven composed his Third Symphony, the Eroica, between May and November 1803. From the end of 1804 until April 1806 his primary concern was his opera Leonore (which ultimately became Fidelio), and the remainder of 1806 saw work on compositions including the Fourth Piano Concerto, the Fourth Symphony, the Violin Concerto, and the Razumovsky Quartets, Opus 59. Sketches for both the Fifth and Sixth symphonies are to be found in Beethoven’s Eroica sketchbook of 1803-04—it was absolutely typical for Beethoven to concern himself with several works at once—and, as noted above, the Fifth was completed in the spring of 1808 and given its ﬁrst performance that December, on the very same, very long concert that concluded with the Choral Fantasy.

week 15 program notes 47 48 The Theater an der Wien in Vienna, where Beethoven's Fifth Symphony was premiered in his mammoth concert of December 22, 1808

In a Boston Symphony program note many years ago, John N. Burk wrote that “something in the direct impelling drive of the ﬁrst movement of the C minor Symphony com- manded general attention when it was new, challenged the skeptical, and soon forced its acceptance. Goethe heard it with grumbling disapproval, according to Mendelssohn, but was astonished and impressed in spite of himself. Lesueur, hidebound professor at the Conservatoire, was talked by Berlioz into breaking his vow never to listen to another note of Beethoven, and found his prejudices and resistances quite swept away. A less plausible tale reports [the famous contralto] Maria Malibran as having been thrown into convulsions by this symphony. The instances could be multiplied. There was no gainsay- ing that forthright, sweeping storminess.”

In the language of another age, in an important review for the Allgemeine musikalische Zeitung of July 4 and 11, 1810, E.T.A. Hoffmann recognized the Fifth as “one of the most important works of the master whose stature as a ﬁrst-rate instrumental composer probably no one will now dispute” and, following a detailed analysis, noted its effect upon the listener: “For many people, the whole work rushes by like an ingenious rhapsody. The heart of every sensitive listener, however, will certainly be deeply and intimately moved by an enduring feeling—precisely that feeling of foreboding, indescribable longing—which remains until the ﬁnal chord. Indeed, many moments will pass before he will be able to step out of the wonderful realm of the spirits where pain and bliss, taking tonal form, sur- rounded him.”

In his Eroica Symphony, Beethoven had already introduced, in the words of his biogra- pher Maynard Solomon, “the concept of a heroic music responding to the stormy cur- rents of contemporary history.” The shadow of Napoleon hovers over the Eroica; for the Fifth Symphony we have no such speciﬁc political connotations. But we do have, in the Fifth, and in such post-Eroica works as Fidelio and Egmont, the very clear notion of affir-

week 15 program notes 49 50 mation through struggle expressed in musical discourse, and perhaps in no instance more powerfully and concisely than in the Symphony No. 5.

So much that was startling in this music when it was new—the aggressive, compact language of the first movement, the soloistic writing for double basses in the third- movement Trio, the mysterious, overwhelmingly powerful transition between scherzo and finale, the introduction of trombones and piccolo into the symphony orchestra for the first time (in the final movement)—is now taken virtually for granted, given the countless performances the Fifth has had since its Vienna premiere, and given the variety of different languages music has since proved able to express. And by now, most conductors seem to realize that the first three notes of the symphony must not sound like a triplet, although just what to do with the fermata and rest following the first statement of that four-note motive sometimes seems open to argument. But there are times when Beetho- ven’s Fifth seems to fall from grace. Once rarely absent from a year’s concert programming, and frequently used to open or close a season, it is periodically deemed to be overplayed, or just too “popular.” But the Fifth Symphony is popular for good reason, and so ultimately retains its important and rightful place in the repertoire. It needs, even demands, to be heard on a regular basis, representing as it does not just what music can be about, but everything that music can succeed in doing.

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

THEFIRSTDOCUMENTEDAMERICANPERFORMANCE of Beethoven’s Fifth Symphony was given by Ureli Corelli Hill with the German Society of New York at New York’s Broadway Tabernacle on February 11, 1841.

THEFIRSTBOSTONSYMPHONYPERFORMANCE of Beethoven’s Fifth Symphony was led by Georg Henschel on December 17, 1881, in the ninth concert of the orchestra’s first season, to con- clude an all-Beethoven program marking the composer’s date of birth (see page 46). Subsequent BSO performances were given by Wilhelm Gericke, Arthur Nikisch, Franz Kneisel, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Arthur Fiedler, Paul Paray, Charles Munch, Victor de Sabata, Ernest Ansermet, Erich Leinsdorf, William Steinberg, Daniel Barenboim, Max Rudolf, Eugene Ormandy, Rafael Kubelik, Hans Vonk, Klaus Tennstedt, Edo de Waart, Seiji Ozawa, Joseph Silverstein, Kurt Masur, Marek Janowski, Bernard Haitink, Christoph von Dohnányi (subscription performances in October 2007), Rafael Frühbeck de Burgos, Roberto Abbado (the most recent subscription performances, in March 2011), Itzhak Perlman, and Dohnányi again (the most recent Tanglewood performance, on July 6, 2012).

week 15 program notes 51

To Read and Hear More...

Important books on Brahms include Jan Swafford’s Johannes Brahms: A Biography (Vintage paperback); Malcolm MacDonald’s Brahms in the Master Musicians series (Schirmer); The Compleat Brahms, edited by conductor/scholar Leon Botstein, a compendium of essays on Brahms’s music by a wide variety of scholars, composers, and performers, including Botstein himself (Norton); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford), and Walter Frisch’s Brahms: The Four Symphonies (Yale paperback). Older biographies include Karl Geiringer’s Brahms (Oxford paperback) and The Life of Johannes Brahms by Florence May, who knew Brahms personally (originally published in 1905, this shows up periodically in reprint editions). John Horton’s Brahms Orchestral Music in the series of BBC Music Guides includes discussion of Brahms’s symphonies, concertos, serenades, Haydn Variations, and overtures (University of Washing- ton paperback). The Haydn Variations in both its orchestral and four-hand versions gets a volume of its own, including scores for both plus musical, critical, and historical analysis as edited by Donald M. McCorkle, in the Norton Critical Scores series (Norton paperback).

The Boston Symphony Orchestra recorded Brahms’s Variations on a Theme by Haydn in 1992 with Bernard Haitink conducting (Philips). Christoph von Dohnányi recorded the Haydn Variations with the Cleveland Orchestra (Warner Classics). Other recordings (among many) include George Szell’s with the Cleveland Orchestra (Sony), Marek Janowski’s with the Pittsburgh Symphony Orchestra (Pentatone), and Iván Fischer’s with the Budapest

week 15 read and hear more 53 54 Festival Orchestra (Channel Classics). Significant historic reissues include Arturo Toscanini’s with the NBC Symphony (RCA), the New York Philharmonic (also RCA), and the Philharmonia Orchestra (Testament), and a stunning 1951 broadcast with Wilhelm Furtwängler leading the North German Radio Symphony Orchestra (Music & Arts and Tahra). Among the numerous recordings of the two-piano/four-hands version are those that pair Martha Argerich and Nelson Freire (Deutsche Grammophon), Argerich and Alexandre Rabinovitch (Teldec), Emanuel Ax and Yefim Bronfman (Sony), the Paratore brothers Anthony and Joseph (Four Winds), and Murray Perahia and Sir Georg Solti (Sony).

Robert Layton’s Sibelius in the Master Musicians series is a useful life-and-works study (Schirmer). The major biography of Sibelius, in Finnish, is by Erik Tawaststjerna. All three volumes have been translated into English by Robert Layton, but only the first two were published in this country (University of California; the third volume was published by Faber & Faber in London). Also useful are Andrew Barnett’s Sibelius, a detailed, single- volume study of the composer’s life and music (Yale University Press), and The Sibelius Companion, edited by Glenda Dawn Ross, a compendium of essays by a variety of Sibelius specialists (Greenwood Press). Lionel Pike’s collection of essays, Beethoven, Sibelius, and “the Profound Logic,” is recommended to readers with a strong technical knowledge of music (Athlone Press, London). Michael Steinberg’s program note on the Violin Concerto is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s is among his Essays in Musical Analysis (Oxford). Robert Layton discusses the Sibelius Violin Concerto in his chapter “The Nordic Lands” in A Guide to the Concerto, which he also edited (Oxford).

There are two Boston Symphony recordings of the Sibelius concerto: with Viktoria Mullova under Seiji Ozawa’s direction, from 1985 (Philips), and with Itzhak Perlman under Erich Leinsdorf’s direction, from 1966 (RCA). Other recordings (listed alphabetically by soloist) include Joshua Bell’s with Esa-Pekka Salonen and the Los Angeles Philharmonic (Sony), Ida Haendel’s with Paavo Berglund and the Bournemouth Symphony Orchestra (EMI), Hilary Hahn’s with Esa-Pekka Salonen and the Swedish Radio Symphony Orchestra (Deutsche Grammophon), Jascha Heifetz’s with Walter Hendl and the Chicago Symphony Orchestra (RCA), Gil Shaham’s with Giuseppe Sinopoli and the Philharmonia Orchestra (Deutsche Grammophon), Christian Tetzlaff’s with Thomas Dausgaard and the Danish National Orchestra (Virgin Classics), and Maxim Vengerov’s with Daniel Barenboim and the Chicago Symphony Orchestra (Teldec). Leonidas Kavakos is soloist with Osmo Vänskä and the Lahti Symphony Orchestra on a particularly interesting disc that pairs the final version of the concerto with the original version from 1903-04 (BIS).

Edmund Morris’s Beethoven: The Universal Composer is a thoughtful, first-rate compact biography aimed at the general reader (Harper Perennial paperback, in the series “Eminent Lives”). The important full-scale modern biographies, both titled simply Beethoven, are by Maynard Solomon (Schirmer paperback) and Barry Cooper (Oxford University Press, in the “Master Musicians” series). Noteworthy, too, are Jan Swafford’s chapter on Beethoven in The Vintage Guide to Classical Music (Vintage paperback); Richard Osborne’s chapter

week 15 read and hear more 55 on Beethoven in A Guide to the Symphony, edited by Robert Layton (Oxford paperback); and Beethoven: The Music and the Life, by the Harvard-based Beethoven authority Lewis Lockwood (Norton paperback). The Beethoven Compendium: A Guide to Beethoven’s Life and Music, edited by Barry Cooper (Thames & Hudson paperback), and Peter Clive’s Beethoven and his World: A Biographical Dictionary, which includes entries on just about anyone you can think of who figured in the composer’s life (Oxford), are particularly useful references. Dating from the nineteenth century, but still crucial, is Thayer’s Life of Beethoven as revised and updated by Elliot Forbes (Princeton paperback). Among much older books, still worth investigating are George Grove’s classic Beethoven and his Nine Symphonies, now more than a century old (Dover paperback), and J.W.N. Sullivan’s Beethoven: His Spiritual Development, published in 1927, but still fascinating and thought- provoking not only as a reflection of its day but for what’s relevant to our own (Vintage paperback). Michael Steinberg’s program notes on all nine Beethoven symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s notes on the symphonies are among his Essays in Musical Analysis (Oxford).

The Boston Symphony Orchestra has recorded Beethoven’s Symphony No. 5 with Seiji Ozawa (in 1981 for Telarc), Rafael Kubelik (in 1973 for Deutsche Grammophon), Erich Leinsdorf (in 1968 for RCA), Charles Munch (in 1955 for RCA), and Serge Koussevitzky (in 1944 for RCA). Christoph von Dohnányi has recorded Beethoven’s Fifth Symphony live with the Philharmonia Orchestra (Signum Classics); his earlier recording is part of his complete Beethoven symphony cycle with the Cleveland Orchestra (Telarc). Other noteworthy cycles of varying vintage include (listed alphabetically by conductor) Claudio Abbado’s with the Berlin Philharmonic (Deutsche Grammophon), Bernard Haitink’s with the London Symphony Orchestra (LSO Live), Nikolaus Harnoncourt’s with the Chamber Orchestra of Europe (Teldec), Herbert von Karajan’s with the Berlin Philharmonic (Deutsche Grammophon, preferably the cycle issued in 1963), George Szell’s with the Cleveland Orchestra (Sony Classical), and Osmo Vänskä’s with the Minnesota Orchestra (BIS).

Historic recordings of Beethoven’s Fifth include multiple versions, both studio-recorded and live, led by Wilhelm Furtwängler and Arturo Toscanini. Recommended Furtwängler renditions include a 1943 wartime performance with the Berlin Philharmonic (Deutsche Grammophon) and a 1954 studio recording with the Vienna Philharmonic (EMI). The “official” Toscanini release is a 1952 NBC Symphony broadcast (RCA), but collectors will want to know the one that was part of the conductor’s extraordinary 1939 NBC Symphony Beethoven broadcast cycle (Music & Arts). Also worth seeking is a thrilling broadcast performance of the Fifth from December 1950 with the NBC Symphony Orchestra led by Guido Cantelli (Testament). The very first, and still illuminating, complete recorded Beethoven symphony “cycle” (in quotes because several orchestras were used)—Felix Weingartner’s from the 1930s with the Vienna Philharmonic, the London Symphony, the London Philharmonic, and the British Symphony Orchestra— was reissued on CD by Naxos in impressively listenable sound.

Marc Mandel

week 15 read and hear more 57

Guest Artists

Christoph von Dohnányi

Christoph von Dohnányi is recognized as one of the world’s pre-eminent orchestral and opera conductors. In addition to guest engagements with the major opera houses and orchestras of Europe and North America, his appointments have included opera directorships in Frankfurt and Hamburg, principal orchestral conducting posts in Germany, London, and Paris, and his legendary twenty-year tenure as music director of the Cleveland Orchestra. Last summer he opened the Boston Symphony Orchestra’s 75th-anniversary season at Tanglewood, where he returned for three additional concerts in August. This season has included the opening concerts at the Teatro alla Scala and for the Orchestre de Paris; and Bruckner’s Symphony No. 8 with London’s Philharmonia Orchestra, where he is Honorary Conductor for Life. Spring 2013 brings Schoenberg’s Moses und Aron with the Israel Philharmonic and a return to the Philhar- monia for Beethoven’s Eroica Symphony. In North America this season he leads subscription weeks with the New York Philharmonic, National Symphony, and Cleveland Orchestra, as well as two weeks of concerts with both the Philadelphia Orchestra and the Boston Symphony. Mr. von Dohnányi and the Philharmonia have played in residence in Vienna’s Musikverein and toured Germany and the west coast of the United States. With the Théâtre du Châtelet in Paris, he has collaborated on productions of Strauss’s Arabella, Die Frau ohne Schatten, and Die schweigsame Frau, Moses und Aron, Stravinsky’s Oedipus Rex, and Humperdinck’s Hänsel und Gretel. Other highlights of recent seasons include concerts with the Royal Concertgebouw Orchestra of Amsterdam, the Orchestre de Paris, and the Israel Philharmonic, as well as concert series with the Los Angeles Philharmonic (leading all four Brahms symphonies over a two-week period), the Boston and Chicago symphonies, New York Philharmonic, and Cleve-

week 15 guest artists 59 land Orchestra. During his years with the Cleveland Orchestra, Christoph von Dohnányi led the ensemble in a thousand concerts, fifteen international tours, twenty-four premieres, and recordings of more than one hundred works. Immediately upon concluding his tenure there in 2002, he made long-awaited guest appearances with the major orchestras of Boston, Philadelphia, Pittsburgh, Chicago, and New York. He also conducts frequently at the world’s great opera houses, including Covent Garden, La Scala, the Vienna State Opera, Berlin, and Paris. He has been a frequent guest with the Vienna Philharmonic at the Salzburg Festival, leading the world premieres of Henze’s Die Bassariden and Cerha’s Baal. He also regularly appears with Zurich Opera, where in recent years he conducted Die schweigsame Frau, a double bill of Stravinsky’s Oedipus Rex and Bartók’s Bluebeard’s Castle, and new productions of Verdi’s Un ballo in maschera, Berg’s Wozzeck, and Moses und Aron. He has made many critically acclaimed recordings for London/Decca with the Cleveland Orchestra and the Vienna Philharmonic. With Vienna he recorded a variety of symphonic works and a number of operas. His large and varied Cleveland Orchestra discography includes, among many other things, Wagner’s Die Walküre and Das Rheingold, and the complete symphonies of Beethoven, Brahms, and Schumann. An alumnus of the Tanglewood Music Center, Christoph von Dohnányi made his BSO subscription series debut in February 1989 and has been a frequent guest with the orchestra at Symphony Hall and Tanglewood since his BSO subscription concerts of November 2002, most recently prior to this season for subscription performances of Brahms’s Ein deutsches Requiem last April, and performances with both the BSO and the Tanglewood Music Center Orchestra last summer, including the BSO’s opening all-Beethoven Tanglewood program in July, and two further BSO programs in August (Schumann and Brahms; then Beethoven, Mozart, and Strauss).

Renaud Capuçon

Noted for both concerto performances and chamber music collaborations, French violinist Renaud Capuçon is in demand throughout the world, working regularly with renowned international orchestras and festivals. Mr. Capuçon was born in Chambéry, France, in 1976. At the age of fourteen, he entered the Conservatoire National Supérieur de Musique de Paris, where

60 he was the recipient of numerous awards. Subsequently he moved to Berlin to study with Thomas Brandis and Isaac Stern, and was awarded the Prize of the Berlin Academy of Arts. In 1997 he was invited by Claudio Abbado to become concertmaster of the Gustav Mahler Jugendorchester, which he led for three summers, working with such conductors as Daniel Barenboim, Pierre Boulez, Seiji Ozawa, Franz Welser-Möst, and Abbado himself. Since then, he has established himself as a soloist, performing regularly in North America with such orchestras as those of Boston, Chicago, Los Angeles, Montreal, Philadelphia, and the National Symphony, as well as with the leading orchestras of Europe, including those in Berlin, Leipzig, Paris, London, Munich, and Milan. His festival appearances include Edinburgh, Lucerne, Aix-en- Provence, the Hollywood Bowl, Saratoga, Tanglewood, and many others. Renaud Capuçon tours extensively as a recitalist, most recently performing the complete cycle of the Beethoven violin sonatas with pianist Frank Braley around the world, a collaboration that also yielded a celebrated recording on Virgin Classics. His commitment to performing and recording chamber music has provided him with a long and rich list of collaborators including Martha Argerich, Daniel Barenboim, Yefim Bronfman, Khatia Buniatishvili, Hélène Grimaud, Jean-Yves Thibaudet, and his brother and regular collaborator, cellist Gautier Capuçon. Renaud Capuçon records exclusively for Virgin Classics. His most recent release includes the concertos of Brahms and Berg with the Vienna Philharmonic and Daniel Harding. His collaborative recording of Fauré's complete chamber music for strings and piano won the 2012 Echo Award for Chamber Music Recording of the Year. Other recordings include the Beethoven and Korngold concertos with the Rotterdam Philharmonic and Yannick Nézet-Séguin; Mozart’s violin concertos 1 and 3 and Sinfonia concertante with the Scottish Chamber Orchestra and Louis Langrée; the Mendelssohn and Schumann concertos with the Mahler Chamber Orchestra and Daniel Harding; the Brahms Double Concerto with Gautier Capuçon, Myung-Whun Chung, and the Gustav Mahler Jugend- orchester; and chamber music of Beethoven, Brahms, and Schubert. Renaud Capuçon makes his BSO subscription series debut this week. His only previous BSO appearance was in July 2004 at Tanglewood, as soloist in Mendelssohn’s Violin Concerto.

Symphony Shopping

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

week 15 guest artists 61 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

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

two and one half million

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

62 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/ Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • 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 • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Kate and Al Merck • 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 • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9)

‡ Deceased

week 15 the great benefactors 63 The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $3 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by January 25, 2013. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor. O25 Denotes 25 years or more of consecutive giving to the Symphony Annual Fund

chairman’s $100,000 and above

Peter and Anne Brooke O25 • Ted and Debbie Kelly

1881 founders society $50,000 to $99,999

Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Susan and Dan Rothenberg O25 • Stephen and Dorothy Weber O25 • Anonymous

encore $25,000 to $49,999

Mr. and Mrs. George D. Behrakis O25 • Joan and John Bok • Mr. and Mrs. John M. Bradley O25 • Jan Brett and Joseph Hearne O25 • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix O25 • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan J. and Suzanne W. Dworsky O25 • Alan R. Dynner • William and Deborah Elfers • Thomas and Winifred Faust O25 • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert O25 • Mr. and Mrs. Amos B. Hostetter, Jr. O25 • The Karp Family Foundation • Paul L. King • Pamela S. Kunkemueller • Joyce Linde O25 • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Mr. and Mrs. Jeffrey E. Marshall • Kate and Al Merck • Henrietta N. Meyer O25 • Sandra Moose and Eric Birch O25 • Megan and Robert O’Block O25 • Drs. Joseph and Deborah Plaud • William and Lia Poorvu O25 • Louise C. Riemer O25 • Richard and Susan Smith Family Foundation O25 • Kitte ‡ and Michael Sporn • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Linda M. and D. Brooks Zug • Anonymous (2)

maestro $15,000 to $24,999

Alli and Bill Achtmeyer O25 • Lois and Harlan Anderson O25 • Lorraine D. and Alan S. ‡ Bressler • Samuel B. and Deborah D. Bruskin • Catherine and Paul Buttenwieser O25 • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille O25 •

64 Dr. Lawrence H. and Roberta Cohn • Mr. and Mrs. Miguel de Bragança • Julie and Ronald M. Druker • Thelma and Ray Goldberg O25 • Mrs. Francis W. Hatch, Jr. O25 • Mr. and Mrs. Brent L. Henry • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. O25 • Jane and Robert J. Mayer, M.D. • Ann Merrifield and Wayne Davis O25 • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Daniel Pierce O25 • Mr. Mark R. Rosenzweig and Ms. Sharon J. Mishkin • Benjamin Schore O25 • Kristin and Roger Servison • Joan D. Wheeler O25 • Robert and Roberta Winters patron $10,000 to $14,999

Amy and David Abrams • Lucille Batal • Gabriella and Leo Beranek O25 • Roberta and George Berry O25 • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black O25 • Eleanor L. and Levin H. Campbell O25 • Katherine Chapman and Thomas Stemberg • Joseph M. Cohen • Donna and Don Comstock • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney O25 • Happy and Bob Doran • Mr. and Mrs. Philip J. Edmundson • Laurel E. Friedman O25 • David Endicott Gannett • Jody and Tom Gill • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide O25 • John Hitchcock O25 • Dr. Susan Hockfield and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Farla Krentzman O25 • Mr. and Mrs. Peter E. Lacaillade • Anne R. Lovett and Stephen G. Woodsum O25 • John Magee O25 • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Maureen Miskovic • Richard P. and Claire W. Morse O25 • Jerry and Mary Nelson • Mary S. Newman O25 • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Susanne and John Potts • William and Helen Pounds • Douglas Reeves and Amy Feind Reeves • Linda H. Reineman • Debora and Alan Rottenberg • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Wendy Shattuck and Samuel Plimpton • Christopher and Cary Smallhorn • Maria and Ray Stata O25 • Tazewell Foundation O25 • Mr. and Mrs. David Weinstein • Elizabeth and James Westra • Rhonda and Michael J. Zinner, M.D. • Anonymous (6) sponsor $5,000 to $9,999

Noubar and Anna Afeyan • Vernon R. Alden O25 • Helaine B. Allen O25 • Joel and Lisa Alvord • Mr. and Mrs. Walter Amory O25 • Dr. Ronald Arky • Dorothy and David Arnold O25 • Marjorie Arons-Barron and James H. Barron O25 • Diane M. Austin and Aaron J. Nurick O25 • Lloyd Axelrod, M.D. • Mrs. Hope Lincoln Baker • Judith and Harry Barr • Mrs. Tracy W. Barron • John and Molly Beard O25 • Roz and Wally Bernheimer • Brad and Terrie Bloom • Mark G. and Linda Borden • John and Gail Brooks • Drs. Andrea and Brad Buchbinder • Joanne and Timothy Burke • Julie and Kevin Callaghan • The Cavanagh Family • Ronald and Judy Clark O25 • Marjorie B. and Martin Cohn • Mrs. Abram Collier O25 • Eric Collins and Michael Prokopow • Sarah Chapin Columbia and Stephen Columbia • Victor Constantiner • Albert and Hilary Creighton O25 • Mrs. Bigelow Crocker O25 • Prudence and William Crozier • Joan P. and Ronald C. Curhan O25 • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Gene and Lloyd Dahmen • Robert and Sara Danziger • Jonathan and Margot Davis • Tamara P. and Charles H. Davis II O25 • Lori and Paul Deninger • Charles and JoAnne Dickinson O25 • Michelle Dipp • Mrs. Richard S. Emmett O25 • Priscilla Endicott O25 • Pamela Everhart and Karl Coiscou • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold O25 • Shirley and Richard Fennell O25 • Mr. and Mrs. Andrew J. Ferrara • Larry and Atsuko Fish • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Ms. Ann Gallo • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway • Jane and Jim Garrett O25 • Jordan and Sandy Golding O25 • Mr. and Mrs. Mark Goldweitz O25 • Mr. Jack Gorman • Raymond and Joan Green • Vivian and Sherwin Greenblatt •

week 15 the higginson society 65 The Grossman Family Charitable Foundation • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson O25 • Mr. and Mrs. Richard D. Hill O25 • Patricia and Galen Ho • Albert A. Holman III and Susan P. Stickells • Mr. and Mrs. Charles Hood • Timothy P. Horne • Judith S. Howe • Mr. and Mrs. Roger Hunt O25 • Yuko and Bill Hunt • Joanie V. Ingraham • Mimi and George Jigarjian • Holly and Bruce Johnstone • Darlene and Jerry Jordan • Joan Bennett Kennedy O25 • Seth A. and Beth S. Klarman O25 • Mr. and Mrs. Jack Klinck • Dr. Nancy Koehn • The Krapels Family • Barbara N. Kravitz O25 • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Linda A. Mason and Roger H. Brown • Kurt and Therese Melden • Dale and Robert Mnookin • Mr. and Mrs. Paul M. Montrone • Kristin A. Mortimer • Rod and Dawn Nordblom • Mr. and Mrs. Joseph O’Donnell • Peter and Minou Palandjian • Mr. and Mrs. Joseph Paresky • Mr. Donald R. Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. and Mrs. Irving H. Plotkin • Josephine A. Pomeroy • Jonathan and Amy Poorvu • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read O25 • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Graham Robinson and Dr. Jeanne Yu • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Mrs. George R. Rowland ‡ O25 • Sean Rush and Carol C. McMullen • Norma and Roger A. Saunders O25 • Cynthia and Grant Schaumburg • Ms. Lynda Anne Schubert • Arthur and Linda Schwartz O25 • Ron and Diana Scott • Robert and Rosmarie Scully O25 • Anne and Douglas H. Sears O25 • Mr. Marshall H. Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare O25 • John and Katherine Stookey • Patricia L. Tambone O25 • Mr. and Mrs. Theodore H. Teplow O25 • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike O25 • Marian and Dick Thornton O25 • Dr. Magdalena Tosteson • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt O25 • Gail and Ernst von Metzsch • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II O25 • Ruth and Harry Wechsler • Drs. Christoph and Sylvia Westphal • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman O25 • Patricia Plum Wylde O25 • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas O25 • Anonymous (5)

member $3,000 to $4,999

Mrs. Herbert Abrams O25 • Mariann and Mortimer Appley • Mr. and Mrs. Laurence Asquith • Carol and Sherwood Bain • Sandy and David Bakalar O25 • Naomi and Peter Banks • Mr. Kirk Bansak • Donald P. Barker, M.D. • Deborah Davis Berman and William H. Berman O25 • Leonard and Jane Bernstein O25 • Bob and Karen Bettacchi • Mr. and Mrs. Philip W. Bianchi O25 • Annabelle and Benjamin Bierbaum O25 • Jim and Nancy Bildner • Mrs. Stanton L. Black • Mr. and Mrs. Partha P. Bose • Mr. and Mrs. Stephen P. Bradley • Mrs. Catherine Brigham • Elise R. Browne • Matthew Budd and Rosalind Gorin • Mr. and Mrs. William T. Burgin • Mrs. Winifred B. Bush • Dr. and Mrs. Hubert I. Caplan • Jane Carr and Andy Hertig O25 • James Catterton and Lois Wasoff • Ms. Yi-Hsin Chang and Mr. Eliot Morgan • Mr. and Mrs. Dan Ciampa • Chris and Keena Clifford • Mr. and Mrs. Frederic M. Clifford • Ms. Carol Feinberg Cohen • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I. W. Colburn O25 • Marvin and Ann Collier O25 • Dr. Charles L. Cooney and Ms. Peggy Reiser • Mrs. John L. Cooper O25 • Mr. Mark Costanzo and Ms. Alice Libby • Ernest Cravalho and Ruth Tuomala • Joanna Inches Cunningham • Drs. Anna L. and Peter B. Davol • Ashley Denton • Pat and John Deutch • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett O25 • Phyllis Dohanian • Robert Donaldson and Judith Ober • Mr. David L. Driscoll O25 • Mrs. Harriett M. Eckstein O25 •

66 Mrs. William V. Ellis • Mr. and Mrs. Frederic A. Eustis II • Mr. Romeyn Everdell O25 • Ziggy Ezekiel and Suzanne Courtright Ezekiel O25 • Mary and Melvin Field • Barbie and Reg Foster • Velma Frank • Myrna H. and Eugene M. Freedman • Martin Gantshar • Rose and Spyros Gavris O25 • Arthur and Linda Gelb • Mr. and Mrs. Paul B. Gilbert O25 • Stephen A. Goldberger • Roberta Goldman O25 • Adele C. Goldstein O25 • Phyllis and Robert Green • Harriet and George Greenfield O25 • Madeline L. Gregory O25 • Mr. and Mrs. Nicholas P. Greville • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Mr. and Mrs. Graham Gund O25 • Anne Blair Hagan • Elizabeth M. Hagopian • Janice Harrington and John Matthews O25 • Deborah Hauser O25 • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen O25 • Mrs. Nancy R. Herndon O25 • Mr. James G. Hinkle and Mr. Roy Hammer • Mr. and Mrs. Paul Hogan • G. Lee and Diana Y. Humphrey O25 • Mr. and Mrs. R. Blake Ireland O25 • Cerise Lim Jacobs, for Charles • Barbara and Leo Karas • Ms. Elizabeth C. Kent • Mrs. Thomas P. King O25 • Mary S. Kingsbery O25 • Mr. and Mrs. Gordon F. Kingsley • Drs. Jonathan and Sharon Kleefield • Marcia Marcus Klein and J. Richard Klein • Mr. Mason J.O. Klinck, Sr. • Susan G. Kohn • Mr. Andrew Kotsatos and Ms. Heather Parsons • Melvin Kutchin O25 • Mr. and Mrs. ‡ Benjamin H. Lacy O25 • Robert A. and Patricia P. Lawrence O25 • Mr. and Mrs. David S. Lee O25 • Cynthia and Robert J. Lepofsky • Brenda G. Levy • Emily Lewis O25 • Christopher and Laura Lindop • Mrs. Satoru Masamune O25 • Michael and Rosemary McElroy • Mr. and Mrs. Jean Montagu • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse O25 • Anne J. Neilson O25 • Avi Nelson • Cornelia G. Nichols • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes O25 • Jan Nyquist and David Harding • Mr. and Mrs. Robert T. O’Connell • Mr. and Mrs. Gerald F. O’Neil O25 • Drs. Stuart and Roslyn Orkin • Mr. Saul J. Pannell and Mrs. Sally W. Currier • Jon and Deborah Papps • Mr. and Mrs. Michael Payne • Mrs. Kitty Pechet • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Dr. Calvin J. Pierce • Elizabeth F. Potter and Joseph Bower • Michael C.J. Putnam O25 • Jane M. Rabb • Helen and Peter Randolph • Rita and Norton Reamer • John S. Reidy • Robert and Ruth Remis O25 • Dr. and Mrs. George B. Reservitz O25 • Sharon and Howard Rich O25 • Kennedy P. and Susan M. Richardson • Judy and David Rosenthal O25 • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene and David T. Rubin O25 • Jordan S. Ruboy, M.D. O25 • Mr. and Mrs. Walter J. Salmon • Stephen and Eileen Samuels • Ms. Joanne Sattley • Betty and Pieter Schiller O25 • Mr. and Mrs. Marvin G. Schorr O25 • David and Marie Louise Scudder O25 • Robert E. Scully, M.D. • Eleanor and Richard Seamans • Ms. Carol P. Searle and Mr. Andrew J. Ley • The Shane Foundation • Mr. and Mrs. Ross E. Sherbrooke • Maggie and Jack Skenyon • Mr. and Mrs. Joseph D. Spound O25 • George and Lee Sprague • Mr. and Mrs. David Steadman • Maximilian and Nancy Steinmann O25 • Valerie and John Stelling O25 • Mr. and Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Mr. and Mrs. David Stokkink • Galen and Anne Stone O25 • Henry S. Stone O25 • Louise and Joseph Swiniarski • Cynthia Taft and Richard Egdahl O25 • Jeanne and John Talbourdet • Richard S. Taylor • Nick and Joan Thorndike O25 • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham O25 • Mr. and Mrs. John H. Valentine O25 • Martha Voisin O25 • Mr. and Mrs. Mark Volpe • Matthew and Susan Weatherbie • Mrs. Mary Wilkinson-Greenberg ‡ • Mr. and Mrs. Dudley H. Willis • Mrs. Elizabeth H. Wilson • J. David Wimberly • Jay A. Winsten and Penelope J. Greene • Chip and Jean Wood O25 • Jane S. Young • Anonymous (10)

week 15 the higginson society 67

The Walter Piston Society

everett l. jassy, co-chair planned giving committee richard p. morse, co-chair planned giving committee peter c. read, co-chair planned giving committee

The Walter Piston Society was established in 1987 and named for the Pulitzer Prize-winning composer and noted musician who endowed the BSO’s Principal Flute Chair with a bequest. The Society recognizes and honors those who have establishedone or more “planned” gifts for the future benefit of the Boston Symphony Orchestra, Boston Pops, or Tanglewood. Such gifts includebequest intentions (throughone’s will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities. If you would like information about how to include the BSO in your gift plans, or if you find that your name is notincluded with other Piston Society membersand should be, please contact John MacRae, Director of Principal and Planned Giving, at (617) 638-9268 or [email protected]. ‡ This symbol denotes a deceased donor. O25 Denotes 25 years or more of consecutive giving to the Symphony Annual Fund

Sonia S. Abrams O25 • Dellson Alberts ‡ • Vernon R. Alden O25 • John F. Allen • Rosamond Warren Allen • Lois and Harlan Anderson O25 • Mr. Matthew Anderson • Mariann Berg (Hundahl) Appley • Dorothy and David Arnold O25 • Dr. David M. Aronson • Miss Eleanor Babikian • Denise Bacon • Henry W. D. Bain • Mr. and Mrs. Sherwood E. Bain • Mr. Donald Ball • Dr. and Mrs. Richard F. Balsam • Dr. and Mrs. James E. Barrett O25 • Robert Michael Beech • Alan and Judith Benjamin • Gabriella and Leo Beranek O25 • Deborah Davis Berman O25 • George and Joan Berman • Leonard and Jane Bernstein O25 • Roberta and George Berry O25 • Mr. Roger Berube • Mrs. Ben Beyea • Mr. Peter M. Black O25 • Mr. Carl G. Bottcher • Mrs. John M. Bradley O25 • Karen M. Braun • Jan Brett and Joseph Hearne O25 • Peter and Anne Brooke O25 • Phyllis Brooks O25 • Mr. and Mrs. E. B. Brown • Ms. Lorian R. Brown • Dulce W. Bryan O25 • Mr. Richard-Scott S. Burow • Margaret A. Bush • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser O25 • Mrs. Mary L. Cabot • Crystal Cousins Campbell • Eleanor L. and Levin H. Campbell O25 • Mr. and Mrs. Steven Castraberti • Ms. Deborah P. Clark • Kathleen G. and Gregory S. Clear • John F. Cogan, Jr. and Mary L. Cornille O25 • Ms. Carolyn A. Cohen • Saul and Mimi Cohen • Mrs. Aaron H. Cole • Dr. and Mrs. James C. Collias • Mrs. Abram T. Collier O25 • Mr. and Mrs. Marvin A. Collier O25 • Mrs. Carol P. Côme • Mrs. William H. Congleton ‡ • Dr. William G. and Patricia M. Conroy • Dr. Michael T. Corgan and Sallie Riggs Corgan O25 • Mrs. Bigelow Crocker O25 • Joan P. and Ronald C. Curhan O25 • Mrs. Edith L. Dabney O25 • Gene and Lloyd Dahmen • Peggy Daniel • Eugene M. Darling, Jr. O25 • Mr. and Mrs. Nelson J. Darling, Jr. O25 • Maude Sergeant Davis • Tamara P. and Charles H. Davis II O25 • Mr. Henry B. Dewey • Mr. Robert Djorup • Mr. and Mrs. David Doane • Nina L. and Eugene B. Doggett O25 • Mr. Norman Dorian • Henry P. Dunbar • The Rev. and Mrs. J. Bruce Duncan • Alan R. Dynner •

week 15 the walter piston society 69 Mrs. Harriett M. Eckstein O25 • Ms. Marie J. Eger and Ms. Mary Jane Osborne • Ursula Ehret-Dichter • Miss Mary C. Eliot O25 • Mrs. Richard S. Emmett O25 • Lillian K. Etmekjian • John P. Eustis II • David H. Evans • Marilyn Evans • Mrs. Samuel B. Feinberg O25 • Roger and Judith Feingold O25 • Mr. Gaffney J. Feskoe • Elio Ruth Fine • C. Peter and Beverly A. Fischer • Doucet and Stephen Fischer • Mr. Stuart M. Fischman • Jane Fitzpatrick • Elaine Foster • Mr. Matthew Fox and Ms. Linda Levant Fox • Mr. and Mrs. Dean W. Freed • Dr. Joyce B. Friedman • Mr. Gabor Garai and Ms. Susan Pravda • Mrs. James G. Garivaltis • Prof. Joseph Gifford • Mrs. Henry C. Gill, Jr. • Annette and Leonard Gilman • Cora and Ted Ginsberg • Barry Glasser and Candace Baker • Mrs. Joseph Glasser • Susan Godoy • Thelma and Ray Goldberg O25 • Ms. Claire Goldman • Mr. Mark R. Goldweitz O25 • Midge Golin • Hon. Jose A. Gonzalez, Jr. and Mary Copeland Gonzalez • Jane W. and John B. Goodwin • Mrs. Clark H. Gowen • Madeline L. Gregory O25 • Mrs. Norman Gritz • Hope and Warren Hagler • Mr. and Mrs. Roger H. Hallowell, Jr. • Mr. Michael A. Halperson • Dr. Firmon E. Hardenbergh • Anne and Neil Harper O25 • Ms. Judith Harris • Mr. Warren Hassmer • Mrs. Francis W. Hatch O25 • Deborah Hauser O25 • Mr. Harold A. Hawkes • Dorothy A. Heath • Julie and Bayard Henry • Ann S. Higgins O25 • Mr. James G. Hinkle, Jr. • Mrs. Richard B. Hirsch O25 • Mr. John Hitchcock O25 • Joan and Peter Hoffman O25 • Mrs. Marilyn Brachman Hoffman • Mr. Richard Holman ‡ • Ms. Emily C. Hood • Silka Hook • Larry and Jackie Horn • Mr. Charles A. Hubbard II • Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson • Holcombe Hughes, Sr. • Mr. and Mrs. Roger Hunt O25 • Mrs. Joseph Hyman • Valerie and Allen Hyman • Janet S. Isenberg O25 • Emilie K. Jacobs • Margery and Everett Jassy • Mrs. David Jeffries • Carolyn J. Jenkins • Lloyd W. Johnson and Joel H. Laski • Ms. Elizabeth W. Jones • Mr. ‡ and Mrs. H.E. Jones • Mrs. Béla T. Kalman • Dr. Alice S. Kandell • David L. Kaufman O25 • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Richard L. Kaye O25 • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent • Athena and Richard Kimball • Mary S. Kingsbery O25 • Ms. Marsha A. Klein • Mr. Mason J. O. Klinck, Sr. • Kathleen Knudsen • Audrey Noreen Koller • Joan H. Kopperl • Mr. Robert K. Kraft • Farla Krentzman O25 • Mr. George F. Krim • Mr. and Mrs. Rudolf M. Kroc • Mr. Richard I. Land • Mr. and Mrs. Robert A. Lawrence O25 • Dr. Robert Lee • Mrs. Shirley Lefenfeld • Don and Virginia LeSieur • Mrs. Vincent J. Lesunaitis • Toby Levine • Jeffrey and Della Levy • Dr. Audrey Lewis • Marjorie Lieberman • Mrs. George R. Lloyd • John M. Loder • Diane H. Lupean • Adam M. Lutynski and Joyce M. Bowden • Mr. and Mrs. Donald Malpass, Jr. • Matthew B. and Catherine C. Mandel • Mrs. Irma Fisher Mann • Mr. Russell E. Marchand • Jay Marks • Mrs. Nancy Lurie Marks • Mr. and Mrs. Jeffrey E. Marshall • Jane and Robert J. Mayer, M.D. • Ms. Ellen W. Mayo • Mrs. Barbara McCullough • Mrs. Richard M. McGrane • Mr. and Mrs. David McKearnan • Mrs. Williard W. McLeod, Jr. • Mr. and Mrs. Russell P. Mead • Mr. Heinrich A. Medicus • Dr. Joel R. Melamed • Henrietta N. Meyer O25 • Edie Michelson and Sumner Milender • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Miss Margo Miller • Mr. and Mrs. ‡ Nathan R. Miller • Richard S. Milstein, Esq. • Patricia A. Monk • Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse O25 • Mr. James Edward Mulcahy • John Munier and Dorothy Fitch • Cecile Higginson Murphy • Mrs. Robert M. Mustard • Katharine S. Nash • Chloe and Paul Nassau • Robert and Lee Neff • Anne J. Neilson O25 • Ms. Dianna Nelson • Mary S. Newman O25 • Michael L. Nieland, M.D. • Koko Nishino • Mr. Richard C. Norris • Mr. and Mrs. Arthur E. Norton • Fritz and Luciana Noymer • Dr. Peter Ofner • Annette and Vincent O’Reilly • Mrs. Stephen D. Paine O25 •

70 Mrs. Marion S. Palm • Catherine L. Pappas • Mary B. Parent O25 • Mrs. Jack S. Parker • Janet Fitch Parker O25 • Mr. and Mrs. John B. Pepper O25 • Mr. John A. Perkins O25 • Polly Perry • Mrs. Roger A. Perry, Jr. • Margaret D. Philbrick • Rev. Louis W. Pitt, Jr. O25 • Mrs. Rita Pollet • William and Lia Poorvu O25 • M. Joan Potter • William and Helen Pounds • Mr. Peter J. Previte • Dr. Robert O. Preyer • Carol Procter • Mrs. Daphne Brooks Prout • Mrs. Millard H. Pryor, Jr. • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mark Reach and Laurel Bifano • Mr. John B. Read, Jr. • Peter and Suzanne Read O25 • Kenneth Sawyer Recu • Emily M. Reeves • John S. Reidy • Robert and Ruth Remis O25 • Ms. Carol Ann Rennie • Marcia and Norman Resnick • Dr. Paul A. Richer • Barbara Rimbach • Elizabeth P. Roberts • Ms. Margaret C. Roberts • Mr. David Rockefeller, Jr. • Dr. J. Myron Rosen • Mr. James L. Roth O25 • Arnold Roy • Jordan S. Ruboy, M.D. O25 • Mr. Robert M. Sanders • Mr. Stephen Santis • Leonard Saxe and Marion Gardner-Saxe • Ms. Carol Scheifele-Holmes and Mr. Ben L. Holmes • Constance Lee Scheurer • John N. and Liolia J. Schipper • Dr. Raymond Schneider • Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann O25 • Mr. and Mrs. George G. Schwenk • Alice M. Seelinger O25 • Mrs. George James Seibert • Kristin and Roger Servison • Joyce and Bert Serwitz • Carl H. and Claudia K. Shuster • Mrs. Jane Silverman • Scott and Robert Singleton • Barbara F. Sittinger • Dr. and Mrs. Jan P. Skalicky • Mr. and Mrs. Christopher E. Smith • Mrs. W. D. Sohier • Mrs. Joseph P. Solomon • Drs. Norman Solomon and Merwin Geffen • Harold Sparr and Suzanne Abramsky • Maria and Ray Stata O25 • Thomas G. Stemberg • Marylen R. Sternweiler O25 • Mr. and Mrs. Josiah Stevenson IV • Miss Ruth Elsa Stickney O25 • Henry S. Stone O25 • Lillian C. Stone O25 • Theresa M. and Charles F. Stone III • Mrs. Patricia Hansen Strang O25 • Peter and Joanna Strauss • Mr. and Mrs. Jonathon D. Sutton • Mona N. Tariot • Mr. Thomas Teal • John Lowell Thorndike O25 • Mr. and Mrs. Samuel Thorne • Mrs. Carlos H. Tosi • Diana O. Tottenham O25 • Robert and Theresa Vieira O25 • Mr. and Mrs. Mark Volpe • Carol A. and Henry J. Walker • Eileen and Michael Walker • Lyle Warner • Harvey and Joëlle Wartosky • Ms. Kathleen M. Webb • Stephen and Dorothy Weber O25 • Allen C. West • Carol Andrea Whitcomb • Mrs. Constance V. R. White • Edward T. Whitney, Jr. O25 • Dr. Michael Wiedman • Mr. and Mrs. Mordechai Wiesler • Mrs. Mary Wilkinson-Greenberg ‡ • Mr. and Mrs. Richard E. Willett • Georgia H. Williams ‡ • Mr. Jeffery D. Williams • Samantha and John Williams • Mrs. Margaret Williams-DeCelles • Mrs. Leslie J. Wilson • Jeanne H. Wolf • Chip and Jean Wood O25 • David A. Wood • Drs. Richard and Judith Wurtman O25 • Patricia Plum Wylde O25 • Mr. David Yalen • Isa Kaftal Zimmerman and George O. Zimmerman • Richard M. Ziter, M.D. • Anonymous (62)

week 15 the walter piston society 71

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 • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor business office

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

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 15 administration 73 74 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • 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 • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 15 administration 75 For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

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

76 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

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

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

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

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

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

week 15 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Instrument Playground, Beverly Pieper • Mailings, Rosemary Noren • Membership Table/Hall Greeters, Elle Driska • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 15 administration 79 Next Program…

Thursday, February 14, 8pm Friday, February 15, 1:30pm Saturday, February 16, 8pm

christoph von dohnányi conducting

mozart piano concerto no. 23 in a, k.488 Allegro Adagio Allegro assai radu lupu

{intermission}

bruckner symphony no. 4 in e-flat, “romantic” Bewegt, nicht zu schnell [With motion, not too fast] Andante quasi Allegretto Scherzo. Bewegt [With motion]; Trio: Nicht zu schnell. Keinesfalls schleppend [Not too fast. On no account dragging] Finale. Bewegt, doch nicht zu schnell [With motion, but not too fast]

FRIDAY PREVIEW TALK BY BSO DIRECTOR OF PROGRAM PUBLICATIONS MARCMANDEL

For his second week of concerts this season, Christoph von Dohnányi is joined by revered Romanian pianist Radu Lupu—known for his individual interpretations of the great masterpieces of the piano repertoire—for Mozart’s elegantly soft-spoken Piano Concerto No. 23 in A, completed in 1786 when Mozart was at the height of his popularity in Vienna. Also on the program is Bruckner’s expansive Symphony No. 4, Romantic, marked by the soaring grandeur and long- breathed melodies so characteristic of that composer.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200, Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

80 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Thursday ‘D’ February 14, 8-10:05 Sunday, March 10, 3pm Friday ‘A’ February 15, 1:30-3:35 Jordan Hall, New England Conservatory

Saturday ‘A’ February 16, 8-10:05 BOSTONSYMPHONYCHAMBERPLAYERS CHRISTOPHVONDOHNÁNYI, conductor DVORÁKˇ Bagatelles for two violins, cello, RADULUPU, piano and harmonium, Op. 47 MOZART Piano Concerto No. 23 in A, SCHULHOFF Concertino for flute, viola, and K.488 double bass BRUCKNER Symphony No. 4, Romantic MOZART String Quintet in G minor, K.516

Thursday ‘A’ February 21, 8-9:50 Thursday ‘C’ March 14, 8-10:05 Friday ‘B’ February 22, 1:30-3:20 Friday ‘A’ March 15, 1:30-3:35 Saturday ‘B’ February 23, 8-9:50 Saturday ‘B’ March 16, 8-10:05 Tuesday ‘C’ February 26, 8-9:50 CHRISTOPHESCHENBACH, conductor RAFAELFRÜHBECKDEBURGOS, conductor LYNN HARRELL, cello ALEXANDRACOKU, soprano OLIVIER LATRY, organ KARENCARGILL, mezzo-soprano MOZART Symphony No. 41, Jupiter MATTHEW POLENZANI , tenor THOMAS Cello Concerto No. 3 (world ILDEBRANDO D’ARCANGELO, bass premiere; BSO commission) TANGLEWOOD FESTIVAL CHORUS, SAINT-SAËNS Symphony No. 3, Organ JOHNOLIVER, conductor STRAVINSKY Pulcinella (complete) HAYDN Mass in Time of War Thursday ‘D’ March 21, 8-9:55 Friday ‘B’ March 22, 8-9:55 Saturday ‘A’ March 23, 1:30-3:25 Thursday ‘C’ February 28, 8-10:10 Tuesday ‘B’ March 26, 8-9:55 Friday Evening March 1, 8-10:10 DANIELE GATTI, conductor (non-subscription) MICHELLEDEYOUNG, mezzo-soprano Saturday ‘B’ March 2, 8-10:10 ALL- Orchestral excerpts from RAFAELFRÜHBECKDEBURGOS, conductor WAGNER Götterdämmerung LANGLANG, piano PROGRAM Overture to Tannhäuser HINDEMITH Konzertmusik for strings and Kundry’s narrative (“Ich brass sah das Kind”) from RACHMANINOFF Piano Concerto No. 2 Parsifal BARTÓK Concerto for Orchestra Prelude to Act I of Lohengrin Prelude and Liebestod from Tristan und Isolde

Programs and artists subject to change.

week 15 coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Ofﬁce at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 15 symphony hall information 83 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.