2017–18 Season Week 10 Méhul Mozart Beethoven

2017–18 season andris nelsons music director

week 10 méhul mozart beethoven

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 10

7 bso news 1 5 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 23 war and peace. and music. by gerald elias 3 4 this week’s programs

Notes on the Program

38 The Program in Brief… 39 Étienne-Nicolas Méhul 47 Wolfgang Amadè Mozart 53 Ludwig van Beethoven 61 To Read and Hear More…

Guest Artists

67 François-Xavier Roth 69 Benjamin Grosvenor

7 4 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org AN IMMERSIVE DISPLAY OF MASTERPIECES FROM THE NATIONAL GALLERY OF ART Mark Rothko Reflection

On view now mfa.org/rothko

Presented with generous support from the Robert and Jane Burke Fund for Exhibitions. Additional support provided by an anonymous foundation and The Bruce and Laura Monrad Fund for Exhibitions. This exhibition is supported by an indemnity from the Federal Council on the Arts and the Humanities. © 1998 Kate Rothko Prizel & Christopher Rothko / Artists Rights Society (ARS), New York andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 137th season, 2017–2018 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Susan Bredhoff Cohen, Co-President • Robert J. Mayer, M.D., Co-President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • John M. Loder, Vice-Chair • Theresa M. Stone, Treasurer

William F. Achtmeyer • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Richard F. Connolly, Jr. • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Levi A. Garraway • Michael Gordon • Nathan Hayward, III • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Martin Levine, ex-officio • Joyce Linde • Nancy K. Lubin • Joshua A. Lutzker • Carmine A. Martignetti • Steven R. Perles • John Reed • Carol Reich • Arthur I. Segel • Wendy Shattuck • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • Gabriella Beranek • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Deborah B. Davis • Nina L. Doggett • William R. Elfers • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weber • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Eunice and Julian Cohen Managing Director • Evelyn Barnes, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc.

Tom Kuo, Co-Chair • Sarah Rainwater Ward, Co-Chair

Nathaniel Adams • Noubar Afeyan • James E. Aisner • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Alexandra J. Fuchs • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. •

week 10 trustees and overseers 3

photos by Michael Blanchard and Winslow Townson

Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Mark Jung • Karen Kaplan • Steve Kidder • John L. Klinck, Jr. • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Lina S. Plantilla, M.D. • Irving H. Plotkin • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D. • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D. • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. 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 • Roger Hunt • Lola Jaffe • Everett L. Jassy • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Susan Rothenberg • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

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Andris Nelsons Named 2018 Artist of the Year by “Musical America” BSO Music Director Andris Nelsons has been named Musical America’s 2018 Artist of the Year. Recognizing artistic excellence and achievement in the arts, the 57th annual Musical America Awards were announced on October 17. Maestro Nelsons and the other honor- ees received their awards in a special ceremony at Carnegie Hall on December 6, in an event also marking the publication of the 2018 Musical America International Directory of the Performing Arts, which features Andris Nelsons on its cover and, in addition to its comprehensive industry listings, pays homage to each of the 2018 winning artists in its editorial pages. Now in its third century, Musical America is an indispensable resource for the performing arts world. The other winners for 2018 are Mason Bates (Composer of the Year), violinist Augustin Hadelich (Instrumentalist of the Year), soprano Sondra Radvanovsky (Vocalist of the Year), and Francisco J. Núñez, who founded the Young People’s Chorus of New York City in 1988 (Educator of the Year). The article paying tribute to Andris Nelsons in Musical America’s 2018 International Directory is by Brian McCreath, producer of the BSO’s broadcasts for WCRB and WGBH, and can be read online at www.musicalamerica.com/features.

Boston Symphony Chamber Players at Jordan Hall at the New England Conservatory Sunday afternoon, January 21, at 3 p.m. Joined by BSO Artistic Partner Thomas Adès as pianist, the Boston Symphony Chamber Players perform the second program of their four-concert Jordan Hall series on Sunday, January 21, at 3 p.m. The program includes Beethoven’s Quintet in E-flat for piano and winds, Opus 16; Schubert’s Notturno in E-flat for piano, violin, and cello, .897;D Ligeti’s Six Bagatelles for wind quintet; and Janáˇcek’s Concertino for piano, two violins, viola, clarinet, horn, and bassoon. Single tickets at $38, $29, and $22 are available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200. Please note that on the day of the concerts, tickets may only be purchased at Jordan Hall.

BSO 101, the BSO’s Free Adult Education Series, Wednesday, January 10, 5:30-7 p.m. at Symphony Hall Four “BSO 101: Are You Listening?” sessions this season offer the opportunity to enhance your listening abilities and increase your enjoyment of BSO concerts. In each session, BSO Director of Program Publications Marc Mandel is joined by a member of the BSO to talk about upcoming BSO repertoire, examining and illuminating aspects of musical shape

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FiduciaryTrustBoston.com Contact Randy Kinard at 617-574-3432 or [email protected] and form, and of the composers’ individual musical styles. Each session includes recorded musical examples and is self-contained, so no prior musical training, or attendance at any previous session, is required. For the second “BSO 101” session of this season, on Wednesday, January 10, from 5:30-7 p.m., BSO violinist Jennie Shames joins Marc Man- del for a discussion of “Symphonic Extremes: Mozart, Beethoven, Mahler, Shostakovich,” focusing on Mozart’s Symphony No. 23, Beethoven’s Symphony No. 8, Mahler’s Symphony No. 3, and Shostakovich’s Symphony No. 14. A free tour of Symphony Hall is offered immediately following each BSO 101 session. Though admission to the BSO 101 session is free, we request that you make a reservation to secure your place. For further details, please visit bso.org and go to “Education & Community” on the home page.

BSO Community Chamber Concerts in January The BSO continues its series of free, hour-long Community Chamber Concerts this season in communities throughout the greater Boston area on Sunday afternoons at 3 p.m. followed by a coffee-and-dessert reception for the audience and musicians. On January 21 at Gordon College Chapel in Wenham, and on January 28 at Hibernian Hall in Roxbury, BSO string players Xin Ding, Lisa Ji Eun Kim, Daniel Getz, and Owen Young perform string quartets by Mendelssohn and Mozart. Admission is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2017-18 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate 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 speakers for January, February, and March include Marc Mandel (January 19, February 23), Robert Kirzinger (January 26, March 2), Harlow Robinson of Northeastern University (January 12), Elizabeth Seitz of The Boston Conservatory at Berklee (February 16), and composer/pianist Jeremy Gill (March 23). individual tickets are on sale for all concerts in the bso’s 2017-2018 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Boston Symphony Association educational, fundraising, and community of Volunteers Concert engagement initiatives are commensurate in Friday, January 5, 2018 quality with the incredible music performed by the BSO on stage. The performance on Friday evening is named in honor of the Boston Symphony Associa- The BSAV and its members take part in myriad tion of Volunteers (BSAV). Formed in 1984, BSO initiatives and programs at Symphony the BSAV is a group of loyal and dedicated Hall, Tanglewood, and in the community. friends of the BSO and Tanglewood who From Instrument Playgrounds and exhibit ensure that all aspects of the BSO’s many docents to ushering and greeting patrons

week 10 bso news 9 “boston symphony orchestra: complete recordings on deutsche grammophon” limited edition, 57-cd set now available

• The BSO’s recorded legacy on Deutsche Grammophon, reflecting its spirit and character over nearly 50 years, from 1969–2017 • Conducted by William Steinberg, Seiji Ozawa, and Andris Nelsons, as well as Claudio Abbado, Leonard Bernstein, Charles Dutoit, Eugen Jochum, Rafael Kubelik, André Previn, Michael Tilson Thomas, and John Williams • Soloists including Christoph Eschenbach, Gidon Kremer, Anne-Sophie Mutter, Itzhak Perlman, Mstislav Rostropovich, Gil Shaham, and Krystian Zimerman, among others • Six discs of recordings by the Boston Symphony Chamber Players • Previously unreleased recordings led by Andris Nelsons and Seiji Ozawa • Contains a lavishly illustrated booklet, plus individual CD sleeves reproducing the cover artwork of the original releases

Available for $199.95 in the Symphony Shop and at bso.org and leading venue tours—even decorating community that helps to make it all possible, Symphony Hall for Holiday Pops concerts one that you might not notice while enjoying and events—BSAV volunteers help the BSO a concert—the Friends of the BSO. Every $1 achieve and improve upon its musical and the BSO receives through ticket sales must educational mission every day, including be matched by an additional $1 of contribut- every element along the way. ed support to cover annual expenses. Friends of the BSO help bridge that gap, keeping the During the 2016-17 season, some 700 volun- music playing to the delight of audiences all teers donated nearly 26,000 hours of their year long. In addition to joining a commu- time in passionate support of the BSO. nity of like-minded music lovers, becoming The BSAV remains a valued and important a Friend of the BSO entitles you to benefits partner in helping the BSO maintain its that bring you closer to the music you cher- legacy of musical excellence and sustain its ish. Friends receive advance ticket ordering community engagement and educational privileges, discounts at the Symphony Shop, programming to spread the joy to all who and access to the BSO’s online newsletter wish to take part. InTune, as well as invitations to exclusive donor events such as BSO and Pops working BSO Broadcasts on WCRB rehearsals, and much more. Friends member- ships start at just $100. To join our commu- BSO concerts are heard on the radio at 99.5 nity of music lovers in the Friends of the BSO, WCRB. Saturday-night concerts are broad- contact the Friends Office at (617) 638-9276 cast live at 8 p.m. with host Ron Della Chiesa, or [email protected], or join online at and encore broadcasts are aired on Monday bso.org/contribute. nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musicians are available online at classicalwcrb. Planned Gifts for the BSO: org/bso. Current and upcoming broadcasts Orchestrate Your Legacy include this Saturday’s program of Méhul, Mozart, and Beethoven with conductor There are many creative ways that you can François-Xavier Roth and pianist Benjamin support the BSO over the long term. Planned Grosvenor (January 6; encore January 15); gifts such as bequest intentions (through music of Webern, Bartók, and Stravinsky your will, personal trust, IRA, or insurance with François-Xavier Roth and pianist Pierre- policy), charitable trusts, and gift annuities Laurent Aimard (January 13; encore January can generate significant benefits for you • The BSO’s recorded legacy on Deutsche Grammophon, reflecting its spirit and now while enabling you to make a larger gift character over nearly 50 years, from 1969–2017 22); and Mahler’s Symphony No. 3 led by Andris Nelsons with Susan Graham and the to the BSO than you may have otherwise • Conducted by William Steinberg, Seiji Ozawa, and Andris Nelsons, as well as women of the Tanglewood Festival Chorus thought possible. In many cases, you could (January 20; encore January 29). realize significant tax savings and secure Claudio Abbado, Leonard Bernstein, Charles Dutoit, Eugen Jochum, Rafael an attractive income stream for yourself Kubelik, André Previn, Michael Tilson Thomas, and John Williams and/or a loved one, all while providing valu- Join Our Community of able future support for the performances • Soloists including Christoph Eschenbach, Gidon Kremer, Anne-Sophie Mutter, Music Lovers— and programs you care about. When you Itzhak Perlman, Mstislav Rostropovich, Gil Shaham, and Krystian Zimerman, The Friends of the BSO establish and notify us of your planned gift for the Boston Symphony Orchestra, among others Attending a BSO concert at Symphony Hall you will become a member of the Walter is a communal experience—thousands • Six discs of recordings by the Boston Symphony Chamber Players Piston Society, joining a group of the BSO’s of concertgoers join together to hear 100 most loyal supporters who are helping to musicians collaborate on each memorable • Previously unreleased recordings led by Andris Nelsons and Seiji Ozawa ensure the future of the BSO’s extraordi- performance. Without an orchestra, there is nary performances. Members of the Piston • Contains a lavishly illustrated booklet, plus individual CD sleeves reproducing no performance, and without an audience, Society—named for Pulitzer Prize-winning it is just a rehearsal. Every single person is the cover artwork of the original releases composer and noted musician Walter Piston, important to ensuring another great expe- who endowed the Principal Flute Chair with rience at Symphony Hall. There’s another

week 10 bso news 11 a bequest—are recognized in several of our those around you, we respectfully request publications and offered a variety of exclu- that all such electronic devices be completely sive benefits, including invitations to various turned off and kept from view while BSO per- events in Boston and at Tanglewood. If you formances are in progress. In addition, please would like more information about planned also keep in mind that taking pictures of the gift options and how to join the Walter Pis- orchestra—whether photographs or videos— ton Society, please contact Jill Ng, Director is prohibited during concerts. Thank you very of Planned Giving and Senior Major Gifts much for your cooperation. Officer, at (617) 638-9274 or [email protected]. We would be delighted to help you orchestrate your legacy with the BSO. Comings and Goings... Please note that latecomers will be seated by the patron service staff during the first The Information Stand: Find Out convenient pause in the program. In addition, What’s Happening at the BSO please also note that patrons who leave the Are you interested in upcoming BSO concert auditorium during the performance will not information? Special events at Symphony be allowed to reenter until the next conve- Hall? BSO youth activities? Stop by the nientpause in the program, so as not to dis- information stand in the Brooke Corridor turb the performers or other audience mem- on the Massachusetts Avenue side of Sym- bers while the music is in progress. We thank phony Hall (orchestra level), and in the you for your cooperation in this matter. Cohen Wing during Pops concerts. There you will find the latest information on per- In Case of Snow... formances, membership, and Symphony Hall. The BSO Information Stand is staffed In case of snow, BSO patrons are advised to before each Pops concert and during inter- call the BSO Snow Line at (617) 638-9495 mission. During the BSO season the stand is for updated concert information. In the self-serve. event of an impending or occurring storm, the Snow Line is updated frequently during the day and evening. For more information, Those Electronic Devices… please visit the inclement weather page As the presence of smartphones, tablets, at bso.org, which is linked to the Snow and other electronic devices used for com- Line advisory under “BSO Policies and munication, note-taking, and photography Information” on the home page. The BSO has increased, there have also been continu- rarely cancels a concert due to snow or bad ing expressions of concern from concertgoers weather. If a concert is canceled, the Snow and musicians who find themselves distracted Line message is updated accordingly, and not only by the illuminated screens on these the BSO also notifies television and radio devices, but also by the physical movements stations. BSO patrons are kindly request- that accompany their use. For this reason, ed to check the Snow Line frequently for and as a courtesy both to those on stage and updates during bad weather.

week 10 bso news 13

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Proud to be the Official Chauffeured Transportation Provider for the Boston Symphony Orchestra and the Boston Pops. CommonwealthLimo.com 800.558.5466 • 617.787.5575 on display in symphony hall Using archival materials displayed on the orchestra and first-balcony evelsl of Symphony Hall, this season’s BSO Archives exhibit recognizes three significant anniversaries. celebrating the bernstein centennial Anticipating the 100th anniversary on August 25, 2018, next summer of Leonard Bernstein’s birth, the Archives has assembled materials documenting Bernstein’s Boston roots and his deep, lifelong connection with the BSO, Tanglewood, and the Tanglewood Music Center. • An exhibit in the Brooke Corridor focuses on Bernstein’s early connections with Boston and the BSO. • An exhibit case on the first balcony, audience-right, is devoted to the world premiere of Bernstein’s opera Trouble in Tahiti on June 12, 1952, as part of a Creative Arts Festival at Brandeis University in which many BSO members performed. • An exhibit case on the first balcony, audience-left, documents BSO performances of Bee- thoven’s Missa Solemnis at Tanglewood in 1951, 1955, and 1971 led by Leonard Bernstein in memory of his mentor, BSO conductor Serge Koussevitzky. • A display in the Cabot-Cahners Room of photographs, musical scores, and memorabilia documents the BSO premieres of works by Leonard Bernstein and BSO-commissioned works by Bernstein himself. marking the 100th anniversary of the bso’s first recordings in 1917 One hundred years ago the BSO traveled to Camden, New Jersey, to make its very first recordings for the Victor Talking Machine Co. (later RCA Victor). • An exhibit near the backstage door in the Brooke Corridor focuses on the turbulent World War I era during which the BSO’s first recordings were made. • A display on the first balcony, audience-left, documents the BSO’s first recording sessions of October 2-5, 1917. marking the 60th anniversary of the boston youth symphony orchestras (byso) • In the Hatch Corridor, material on loan from the BYSO Archives documents both its own history and its ongoing partnership with the BSO.

TOP OF PAGE, LEFT TO RIGHT: Leonard Bernstein and his mentor Serge Koussevitzky at Tanglewood, c.1946 (photo by Heinz H. Weissen- stein, Whitestone Photo) Label from one of the BSO’s first commercial recordings, the Prelude to Act III of “Lohengrin” led by Karl Muck BYSO’s founding music director, Dr. Marvin J. Rabin, with members of the orchestra, c.1960 (courtesy BYSO)

week 10 on display 17 Marco Borggreve

Andris Nelsons

In October 2017, BSO Music Director Andris Nelsons was named Musical America’s 2018 Artist of the Year. In 2017-18, his fourth season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in twelve wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in March. Also this season, in November, he and the orchestra toured Japan together for the first time, playing concerts in Nagoya, Osaka, Kawasaki, and Tokyo. In addition, in February 2018 Maestro Nelsons becomes Gewandhauska- pellmeister of the Gewandhausorchester Leipzig, in which capacity he will bring both orchestras together for a unique multi-dimensional alliance; under his direction, the BSO celebrates its first “Leipzig Week in Boston” that same month. In the summer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. Following the 2015 Tanglewood season, he and the BSO undertook a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany, Austria, and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Sym- phony No. 2—was released in November 2014 on BSO Classics. April 2017 brought the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting, recorded live at Symphony Hall in November 2016. In an ongoing, multi- year collaboration with Deutsche Grammophon initiated in 2014-15, he and the BSO are making live recordings of Shostakovich’s complete symphonies, the opera Lady

18 Macbeth of Mtsensk, and other works by the composer. The first release in this series (the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk) won the 2016 Grammy Award for Best Orchestral Performance and Gramophone Magazine’s Orchestral Award. The second release (symphonies 5, 8, and 9, plus excerpts from Shostakovich’s 1932 incidental music to Hamlet) won the 2017 Grammy for Best Orchestral Performance. Also for Deutsche Grammophon, Andris Nelsons is recording the Bruckner symphonies with the Gewandhausorchester Leipzig and the Beetho- ven symphonies with the Vienna Philharmonic.

In 2017-18, Andris Nelsons is artist-in-residence at the Konzerthaus Dortmund and continues his regular collaboration with the Vienna Philharmonic, leading that orchestra on tour to China. He also maintains regular collaborations with the Royal Concert- gebouw Orchestra of Amsterdam, the Berlin Philharmonic, the Bavarian Radio Sym- phony Orchestra, and the Philharmonia Orchestra. Maestro Nelsons has also been a regular guest at the Bayreuth Festival and at the Royal Opera House, Covent Garden, where he conducts a new David Alden production of Lohengrin this season.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 10 andris nelsons 19 Boston Symphony Orchestra 2017–2018

andris nelsons bernard haitink seiji ozawa thomas adès Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Edmundson Music Director Conductor Emeritus Artistic Partner endowed in perpetuity endowed in perpetuity thomas wilkins Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

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

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

week 10 boston symphony orchestra 21

Suntory Hall

War and Peace. And Music. by Gerald Elias

Former BSO violinist Gerald Elias, who continues to perform with the orchestra at Tanglewood and on tour, reflects on the BSO’s four-city tour to Japan this past November.

An international concert tour’s main ingredient is, of course, music-making. But as I waited at crowded Takadanobaba station in central Tokyo, I reflected there’s also a large dollop of goodwill cultural ambassador. And, looking ahead to my evening’s destination, a dash of culinary adventure thrown in.

A cheerily Smurflike tune signaled my train’s arrival. Every Tokyo station has its own unique eight-second jingle—it’s a stretch even to call it music. Perhaps the reason for them is so that blind riders—or hungover businessmen—can tell at which station they’re arriving. Just a theory.

I was on my way to join decades-old Tokyo friends who were treating me to a gourmet kaiseki dinner in the Yoyogi Uehara neighborhood to celebrate the successful conclusion of the Boston Symphony’s recent smoothly planned and executed concert tour. Its only hiccup—other than when I drank too much sake—was when the truck from Tokyo carrying our string basses and all of our music arrived in Nagoya four hours late, delaying and abbreviating our first rehearsal. (The audience never knew the difference.)

For the dinner, my friend, Tetsuro, brought along a buddy of his, a Japanese violinist

Andris Nelsons and the BSO at Tokyo’s Suntory Hall on November 9, 2017, concluding their final tour concert with Mahler’s Symphony No. 1

week 10 war and peace. and music. 23 named Kiichi Watanabe. As the first courses were served, Watanabe told me in admi- rable English that he had played for a time in the New Japan Philharmonic, on occasion with Seiji Ozawa. I mentioned that though I had performed with the Boston Symphony on the just completed tour, I had in fact left my fulltime position with the orchestra years ago to become associate concertmaster of the Utah Symphony. “Joseph Silver- stein!” Watanabe said, his eyes lighting up. “He conducted in Utah. Did you know him?”

Thus began a long evening of “whom do you know?” It was fortunate the dinner had so many courses because the connections were extensive. Watanabe had studied at Indiana and in the early ’90s was a TMC student at Tanglewood where his chamber music coach had been the eminent violinist Louis Krasner (who, like Joey, had been one of my former teachers). Watanabe had revered both, calling Silverstein “a genius.” Not unusual among musicians, shared experiences had formed deep, enduring bonds that transcended cultural and national boundaries. When Tetsuro asked me whether a few weeks had been enough time for me to practice the music for the concerts, Mr. Watanabe burst out laughing even before I did, replying, “Of course. He’s a professional musician!” The fraternity is universal.

How the broader relationship between the U.S. and Japan has mended in the past sev- enty years is close to miraculous. A mere two generations ago, members of Tetsuro’s family were killed by the atomic bomb dropped on Hiroshima. Now, Tetsuro’s seven- year-old son calls me Uncle Jerry.

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week 10 war and peace. and music. 25 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

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Nagoya Castle in flames, and ENGLAND FAMILIES today as rebuilt in 1959 WITH THE SALE OF That’s not to say there aren’t reminders of the former divide. Arriving in Nagoya after a seemingly endless flight over the Pacific, I regained the use of my legs on our free day, THEIR FINE JEWELRY exploring Nagoya’s modern, attractive downtown, rebuilt upon war-charred ruins. My destination was Nagoya Castle, the city’s prominent historic landmark, where today AND PAINTINGS children romp in the surrounding gardens and tourists like me lick green tea ice cream cones and take too many snapshots. Adjacent to the fortress is the ancient palace, which was totally destroyed in the war. Currently in the final stages of painstaking SINCE 1987. reconstruction, using the same materials and exact design as the original, every detail down to the color of the tigers’ eyes in the silk screen murals has been lovingly recreat- ed. It’s a spectacular achievement, a tribute to the stunning artistry and architecture of old Japan and the patient willingness of new Japan to throw all its financial and artistic resources into reproducing it.

The imposing castle fortress, with its massive stone works, is a reconstruction too, but was rebuilt back in 1959 with modern concrete and steel simply to provide the appearance of the original exterior. The inside, of modern design and functioning as an exhibit space, contains some gut-wrenching photos of the strafing of the city and castle. Though the destruction of all that exquisite beauty was tragic and perhaps unneces- sary, what must also be considered is the castle’s original politico-military purpose: to effectively unleash the dogs of war when deemed necessary, inflicting untold casualties and death upon the enemies of the military rulers of the day. Indomitable for centuries, Nagoya Castle finally succumbed in 1945, as all castles—real or metaphorical—inevitably do. Poetic justice? Perhaps not, but in one form or another, Nagoya Castle bears witness VAN CLEEF & ARPELS Diamond to the seemingly endless human cycle of brutality and reconciliation. , SOLD After spending four comfortable days in Nagoya—performing once there, plus a back- and-forth “run-out” concert in Osaka, followed by a concert in Kawasaki en route to Tokyo—the positive swing of history’s cycle could not have been more powerfully demonstrated than at the BSO’s concert in the embracing acoustics of Tokyo’s Suntory GROGANCO.COM 617.720.2020 20 CHARLES STREET, BOSTON, MA 02114 week 10 war and peace. and music. 27 TRIAL BY FIRE: JOAN OF ARC AND THE HUNDRED YEARS’ WAR

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28 Suntory Hall

Crown Prince Naruhito and Princess Masako in the Suntory Hall audience, November 7, 2017

Hall on November 7. The featured work on the program was Shostakovich’s Symphony No. 11, entitled “The Year 1905.”

Like many of Shostakovich’s symphonies, No. 11 is a musically graphic depiction of historic Russian events, in this case the Revolution of 1905. More specifically, it portrays the tragedy that triggered it: the massacre of innocent, peaceful petitioners—men, women, and children—mercilessly shot to death by the Tsar’s military forces on January 22, 1905, in front of the Winter Palace in Saint Petersburg. Depending on which source one believes, anywhere from ninety-six to 4,000 people were killed. In the symphony we hear prayers, we hear armies marching, we hear the shooting, we hear the death and mourning. Finally, we hear the overwhelming warning bell, called the tocsin. It is a warning not only in the historical context of the piece, but also tolls for the audience itself to beware! Beware of liberty deprived. Beware of the forces of despotism and mil- itarism.

In the audience on November 7 were two special guests: Crown Prince Naruhito and Princess Masako, a couple beloved by the Japanese and respected around the world. As we played the Shostakovich I couldn’t help but wonder what might be going through their minds, and from time to time I looked up at them—they were sitting in the first balcony in a direct line cross-stage from me—to see if I could read their faces. I was curious because here was the son of the emperor of Japan, the royal equivalent of the Tsar of Russia, and whose grandfather Emperor Hirohito approved the order to attack the United States at Pearl Harbor. Yes, music is to be enjoyed, just like the art at Nagoya Castle. But for Shostakovich there was much more at stake. Music was his power: the power to inform and, in the process, to teach, to foment, and to heal. (Being true to royal form, the Prince and Princess betrayed no other sentiment than to appear to enjoy the performance greatly.)

What a mysterious phenomenon music is! A select group of people spend their life- times learning to blow air through tubes, scrape with horsehair on strings pulled taut over a wooden box, and bang on stretched skins with sticks, all to create uniquely com-

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An atypical solo bow for Andris Nelsons, who was recalled to the stage after the BSO had left, following the orchestra’s performance of Mahler’s Symphony No. 1 in Kawasaki on November 5, having already changed into a T-shirt with Plato’s words “Music gives a soul to the universe” (T-shirt a gift from Michael Marcus of Bizen restaurant in Great Barrington, MA)

plex sets of vibrations, the instructions for which are black dots on paper, many of them centuries old. This group of blowers, scrapers, and bangers then travels around the world where thousands of people with a different culture and history, who have worked many hours to earn enough money to pay for the opportunity to gather en masse in a big room, absorb those vibrations into their bodies. When it’s over, the listeners slap their hands together and go home. Somehow, miraculously, even when the vibrations are about strife, the strife is gone.

Maybe that’s why it will be music that saves humanity from the wanton cruelty we seem determined to inflict upon each other. Maybe that’s why the goodwill component of tours such as the Boston Symphony’s to Japan is more critical than we ever imagined. As I said good-bye to my friends after our big dinner on the town, I recalled a written sign at Takadanobaba station as the train arrived and I heard that innocuous little jingle. At first I merely took the sign’s meaning at face value. Now, upon reflection, it carries the same portentous weight as Shostakovich’s tocsin. The sign read, “Doors close soon after the melody ends.”

gerald elias, formerly a BSO violinist and associate concertmaster of the Utah Symphony, continues to perform with the BSO at Tanglewood and on tour. Music director since 2004 of the Vivaldi by Candlelight chamber orchestra series in Salt Lake City and author of the six-part Daniel Jacobus mystery series (including two audio books), he has just completed his first nonfiction work, “Symphonies & Scorpions” (available as an eBook on Amazon), which relives via stories and photos the BSO’s history-making 1979 concert tour to China and its return to China in 2014. fi

week 10 war and peace. and music. 31

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32 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives.

We look forward to welcoming you at one of our Open Houses: Wednesday Sunday Thursday Wednesday October 18 November 5 December 14 January 17 9:30 a.m. - 11:30 a.m. 11:00 a.m. - 1:00 p.m. 9:30 a.m. - 11:30 a.m. 9:30 a.m. - 11:30 a.m.

www.naejuilliard.com/bisboston andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 137th season, 2017–2018

Thursday, January 4, 8pm Saturday, January 6, 8pm Tuesday, January 9, 8pm

françois-xavier roth conducting

méhul overture to “the amazons, or the founding of thebes”

mozart piano concerto no. 21 in c, k.467 Allegro maestoso Andante Allegro vivace assai benjamin grosvenor

{intermission}

Marco Borggreve

34 beethoven symphony no. 5 in c minor, opus 67 Allegro con brio Andante con moto Allegro— Allegro

thursday evening’s appearance by benjamin grosvenor is supported by a gift in memory of dr. jerome h. grossman.

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2017-18 season.

These concerts will end about 10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Limousine. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 10 program 35 AA standing standing ovationovation toto TheThe BostonBoston SymphonySymphony OrchestraOrchestra fromfrom one one masterpiecemasterpiece toto another. another.

61 STORIES. BOSTON’S PREMIER ADDRESS. 61 STORIES. BOSTON’S PREMIER ADDRESS. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 137th season, 2017–2018

Friday, January 5, 8pm | the boston symphony association of volunteers concert (“Casual Friday” concert, including introductory comments from the stage by BSO principal clarinet William R. Hudgins) françois-xavier roth conducting mozart piano concerto no. 21 in c, k.467 Allegro maestoso Andante Allegro vivace assai benjamin grosvenor beethoven symphony no. 5 in c minor, opus 67 Allegro con brio Andante con moto Allegro— Allegro

Please note that there is no intermission in this concert, which will end about 9:15. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2017-18 season.

Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Limousine. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 10 program 37 The Program in Brief...

For well over a century, Beethoven’s music has eclipsed that of many fine composers from the same era. One such was Étienne-Nicolas Méhul, an older contemporary of Beethoven and a major figure in Paris at that time. He wrote a number of symphonies and other instrumental works, but was far more active as a theater composer, writing some thirty operas between 1790 and his death in 1817. Unlike some of his earlier operas, The Amazons was not a great success, to Méhul’s lasting chagrin. Staged in Paris in 1811, it has apparently not been produced since. The fantastical plot involves an attack on the Greek city of Thebes by the Amazons, the mythological race of women warriors. Beginning with a slow introduction, the eight-minute overture encompasses a succession of imaginatively varied ideas, closing with music representing the warlike title characters. Although Méhul’s music fell out of fashion, later composers including Berlioz and Saint-Saëns recognized his significant contributions to French music.

Mozart composed his C major piano concerto, No. 21, in February 1785. He entered it into the catalogue of his works on March 9, 1785, in Vienna, and played the premiere a day later. It has always stood among his most popular concertos; in 1967 the slow movement was featured on the soundtrack of Elvira Madigan, an internationally popular Swedish movie about a doomed love affair between a circus tightrope walker and a deserter from the military. The film has since been justly forgotten, but the appeal of the concerto remains fresh and undimmed. Mozart is always about surprise, about setting up an expectation and then doing something unexpected instead—as witness the first appearance of the piano in this concerto, which does not occur at the obvious place Mozart has prepared for it. The glorious melody of the slow movement—aria-like, though no single voice could encompass its wide span—is heard over the slow, pulsing heartbeat of the accompaniment and punctuation from plucked strings. The finale is a witty, playful rondo, filled with surprises of phrasing and harmony.

Beethoven’s Fifth Symphony remains a thing of wonder despite its supposed familiar- ity. From the four-note “fate” motif of its opening, Beethoven shapes and recombines this tiny musical gesture to create the themes of all four movements of this innovative symphony. He wrote the Fifth, one of the most intense and “heroic” of his works, con- currently with one of the happiest, his Fourth. The Fifth was premiered under difficult conditions for its players and audience, as part of a tryingly long all-Beethoven concert that took place in an unheated hall 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 (Méhul, Beethoven)/Richard Dyer (Mozart)

38 Étienne-Nicolas Méhul Overture to “Les Amazones, ou la Fondation de Thèbes”

ÉTIENNE-NICOLAS MÉHUL was born in Givet, France, a small town close to the Belgian border, on June 22, 1763, and died in Paris on October 18, 1817. He composed his opera “Les Amazones, ou la Fondation de Thèbes” (“The Amazons, or The Founding of Thebes”) in 1811. It was first performed on December 17, 1811, at the Paris Opéra, and has not been staged since its initial run at that time.

THE SCORE OF THE OVERTURE calls for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

Exciting times or troubling times? Anyone who lived and worked in France during the Revolution and Napoleon’s regime was riding on a rollercoaster of anxiety and promise, terror and triumph. Such a life was the lot of Étienne-Nicolas Méhul, who was twenty-six when the Bastille fell and who died aged fifty-four, two years after the Battle of Water- loo. Under the ancien régime most employment for musicians was, directly or indirectly, in the hands of the nobility or the church, so a revolutionary government that targeted both presented serious risks. When Méhul came to Paris as a talented young boy from the provinces, his teacher was the Alsatian organist Jean-Frédéric Edelmann, who was not the only musician to get caught up in partisan arguments and end up on the guillotine.

But Méhul’s chosen métier was the theater, which enjoyed a burst of deregulation under the Revolution, with the old royal prerogatives discarded and new theaters opening up. Censorship could always interfere by deciding what was played and what was not, but the tremendous popularity of the theater at this time, no doubt as a distraction from anxieties in the real world, kept musicians’ pens busy and their heads safe.

Taking sides was inevitably risky, but like the fabled Vicar of Bray, Méhul stayed in favor with every current regime. He judged it wise to compose music that upheld the revolutionary mission, beginning with his Hymn to Reason, sung in November 1793, and the

week 10 program notes 39 Program page for the first Boston Symphony performance of any music by Méhul—the overture, followed by a recitative and aria, from his opera “Joseph”—on November 19, 1881, with conductor Georg Henschel and soloist Theodore J. Toedt, during the BSO’s inaugural season

40 Chant du départ in July 1794, second only to the Marseillaise as a popular national song at that time. Later pieces honored Napoleon’s victories at Marengo and Austerlitz and the Emperor’s marriage to the Archduchess Marie-Louise of Austria in 1810. He dedicated his opera L’Irato to Napoleon in 1801, “your conversations having inspired me.” But Napoleon never cared much for Méhul’s music. With typical bluntness he once told him, “Though your music is perhaps more learned and harmonious, that of Paisiello and Cimarosa has greater charm for me.”

Between 1790 and 1807, the year in which Napoleon introduced regulations that set French opera in a narrow groove for more than half a century, Méhul composed twenty- six operas; he was virtually living in the Théâtre Feydeau, where most of them were staged, and the most recent was Joseph, which was to enjoy immense popularity, especially in Germany, for a century. He then concentrated on writing a series of four symphonies which stand up well against a famous set of nine composed in Vienna at the same time, although our current concert tastes would hardly endorse that view. A second series of four operas followed between 1811 and the composer’s death in 1817.

The first of these four wasLes Amazones, ou la fondation de Thèbes, staged for the first time at the Opéra on December 17, 1811. This opera had a libretto by Étienne de Jouy, whose considerable output in the theater included librettos for Spontini’s La vestale (1807) and Rossini’s William Tell (1829). He had also lost two fingers fighting the British at the Siege of Seringapatam in India in 1799.

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Classical literature was full of legends about the Amazons, a fierce race of fighting women who created havoc around the Aegean Sea. They were formidable sailors too. Jouy supposes that the Amazons are attacking the city of Thebes, in mainland Greece, where its founders, the two brothers Amphion and Zethus, are celebrating their work. But Zethus is in love with Eryphile, a young Amazon. The brothers lead a deputation to the Amazons to barter for peace, but they are thrown in chains, and when Eryphile’s attachment to Zethus is revealed, all three are condemned to death. The bloodthirsty Amazons are enjoying the prospect of carrying out these orders when it is revealed that Antiope, leader of the Amazons, is the mother of the two brothers, and that their father was the god Jupiter, no less. The happy ending is assured when Jupiter himself descends on a cloud.

On opening night the actor playing Jupiter forgot to climb onto his cloud (which descen- ded without him) and simply walked on stage from the wings. This provoked hilarity in the audience, which included Napoleon himself and his empress. The opera was not a failure, being performed nine times in the next few months, but Méhul felt he had not done his best. “I am finished!” he wrote to his librettist, Jouy, “crushed, discouraged, and disgusted! Everyone needs good fortune, but mine is all spent. I must, I will, withdraw into my quiet personal space. I want to live with my flowers, in retirement and silence.”

He managed to compose three more operas before he died, but he remained discon- solate; in 1813, at the funeral of Grétry, the composer from whom he inherited most, he said: “If before devoting long nights to studying your art you could know the price you pay for fame, men of pride and sensibility would prefer a life of obscurity rather than a celebrity too widely envied not to be the source of all unhappiness.”

The vigor of Méhul‘s style is well illustrated by this overture. His orchestra is the standard classical line-up with pairs of woodwinds, four horns, trumpets and drums, and strings. He also includes the three trombones that were then essential in modern operas containing scenes of horror or solemnity. The trombones are heard at the outset with

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44 their solid D minor chord leading off the slow introduction. When the Allegro is expected, Méhul instead retains the slow tempo and gives the cellos a fine melody in major with a delicate accompaniment from pizzicato violins. Opera overtures at this time were not expected to relate specifically to the opera itself, but the tense exchanges that open the Allegro section belong to the Amazons’ music in Act II. This idea has already been heard in the introduction and will return at the recapitulation. There is an unusual second subject, a melody played by violas and cellos alone in thirds, and Méhul’s imagination and invention are heard at their best in the final pages, when the warlike spirit of the Amazons is vividly suggested.

Méhul’s music was not heard much in France after his death, but both Berlioz and Saint-Saëns regarded it very highly. Neither of them knew Les Amazones, but they had studied Euphrosine, Joseph, Ariodant, and others. “In his operas,” Berlioz wrote, “the orchestra is treated with the utmost discretion and extreme common sense, never an instrument too many, no notes out of place. His muse is full of intelligence, spirit, feeling, and beauty.” Saint-Saëns’s view was: “In my opinion Méhul is a truly great composer, who occupies a place of honor in French music; it is very regrettable that his works are so little known today.”

Hugh Macdonald hugh macdonald, general editor of the New Berlioz Edition, was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich, including biographies of Berlioz, Bizet, and Scriabin, and is currently writing a book on the operas of Saint-Saëns.

THE BOSTON SYMPHONY ORCHESTRA, between 1881 and 1928, performed music from Méhul’s operas “Joseph” (under Georg Henschel and Wilhelm Gericke), “Euphrosine” (Gericke), “Ariodant” (Henri Rabaud), and “Les Deux Aveugles de Toledo” (“The Two Blind Men of Toledo”; under Thomas Beecham). Since then, the only BSO performances of music by Méhul were given by John Eliot Gardiner in January 1991, when he led “La Chasse du jeune Henri” (“Young Henry’s Hunt”), a concert piece that was originally the overture to Méhul’s opera “Le jeune Henri” (“Young Henry,” itself originally titled “La Jeunesse d’Henri IV” [“The Youth of Henry IV”]).

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JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART—who began calling himself Wolfgango Amadeo about 1770 and Wolfgang Amadè in 1777 (he used “Amadeus” only in jest)— was born in Salzburg, Austria, on January 27, 1756, and died in Vienna on December 5, 1791. Mozart composed his C major piano concerto, K.467, in February 1785, entering it into his own thematic catalog of his works on March 9, 1785, and playing the first performance the next day, in Vienna.

IN ADDITION TO THE SOLO PIANO, the score of Mozart’s K.467 calls for an orchestra of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. There are no cadenzas by Mozart for this concerto. At these performances, Benjamin Grosvenor plays cadenzas by the eminent French pianist Robert Casadesus.

Between February 1784, when he finished the E-flat piano concerto, K.449, and March 1786, when he entered into his thematic catalogue both the A major concerto, K.488, and the C minor concerto, K.491, Mozart wrote eleven concertos for piano and orchestra. During this period, Mozart was living in Vienna; in the early part of 1785 he would achieve the height of his popularity as both pianist and composer, appearing regularly at the homes of the nobility and in public, and supporting himself also with a regular succession of students. On March 3, 1784, he wrote to his father Leopold that he had participated in twenty-two concerts in the space of thirty-eight days (“I don’t think that in this way I can possibly get out of practice,” he observed). The following fall he played ten concerts during an eleven-day period.

On March 16, 1781, Mozart had come to Vienna fresh from the triumph of Idomeneo, which was commissioned for Munich and premiered there six weeks earlier, on January 29. He had been summoned to Vienna by his employer, the Archbishop Colloredo of Salzburg, on the occasion of the Emperor Joseph II’s accession to the throne. The Archbishop’s social and financial ill-treatment of Mozart, particularly distasteful so soon after the Munich success, led rather quickly to the composer’s decision to resign from the Archbishop’s service and to make his own living in Vienna. In July 1782, the premiere at the Burgtheater

week 10 program notes 47 Program page for the first Boston Symphony Orchestra performances of Mozart's C major piano concerto, K.467, on January 14 and 15, 1927, with soloist Walter Gieseking and conductor Alfredo Casella (BSO Archives)

48 of Die Entführung aus dem Serail (The Abduction from the Seraglio) won over Vienna’s operagoing public, as would Le nozze di Figaro four years later. Mozart’s marriage to Constanze Weber, the sister of his earlier love Aloysia, took place on August 4, 1782, with only grudging approval from his father, and a conciliatory visit to Salzburg with Constanze the following summer didn’t especially help. But the trip back to Vienna provided the occasion for Mozart to write the Linz Symphony (No. 36) when a concert was arranged there in his honor and he didn’t have an appropriate work at hand.

In February 1785, Leopold was visiting with Mozart in Vienna, where he was able to witness firsthand the evidence of his son’s success; and it certainly did not hurt to hear Haydn’s comment that “Before God and as an honest man I tell you that your son is the greatest composer known to me either in person or by name,” this on the occasion of a read-through of several string quartets newly completed by Mozart and dedicated to the older composer. Only weeks later, Mozart completed the C major piano concerto, K.467: it is dated March 9, 1785, and Mozart performed it the next day at the Burgtheater.

The C major concerto could not have provided greater contrast to the one that preceded it, the somber D minor concerto, K.466, dated February 10, which was Mozart’s first in the minor mode. K.467 is brightly colored, filled with festive, trumpet-and-drums panoply. Mozart did not write any symphonies between the Linz of 1783 and the Prague (No. 38) of December 1786, concentrating instead on the piano concerto, which showed him to full advantage as both composer and performer. Indeed, the contrast of moods and colors evident in the successive D minor and C major concertos is itself enough to support Alfred Einstein’s assertion that the concertos of this period are “symphonic in the highest sense, and Mozart did not need to turn to the field of pure symphony again until that of the concerto was closed to him.”

In his manuscript, Mozart did not include a tempo marking for the opening movement of this concerto; it was only when he entered the work into his catalog some weeks later that he specified “Allegro maestoso.” As in so many of his piano concertos, the orchestral exposition is noteworthy for the perfect sense of balance with which Mozart treats the various components of the orchestra, particularly the interplay of strings and winds. At the same time, it is in the way he introduces the soloist that he manages one of his most alluring touches (and this is where an audience hearing the piece for the first time would have expected a particularly inventive gambit). Here, the orchestra comes to a full stop, and unexpected thoughts from the solo oboe, bassoon, and then flute usher in the soloist who, after sharing the main theme with the orchestra, manages throughout the movement to lead the music in frequent and unanticipated new directions, some surprisingly melancholy, others bitingly and chromatically colored.

The F major Andante—popularized decades ago in Swedish director Bo Widerberg’s 1967 filmElvira Madigan—is one of Mozart’s great achievements in melody. The aura of relaxation derives partly from its being set in the subdominant of the home key, which imparts a softer, warmer feel to the music than the dominant, G major, would have

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

afforded; partly from the magic Mozart works with the orchestral accompaniment, with its muted strings, pizzicato bass line, and continuous cushion of triplets; and partly from the form, a sort of free variation scheme in which the orchestra introduces the theme and in which the pianist, once having initiated the second statement, is the ever-present singer. But it is the melody itself, with its consistently touching turns of phrase, that most directly and hypnotically draws us into the music.

The last movement is one of Mozart’s typically extroverted rondo-finales. This one is marked “Allegro vivace assai”—a “very lively Allegro”—and has something of the carnival about it as it mixes wit, lyricism, and touches of pathos, all—again—in perfect balance.

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

THE FIRST AMERICAN PERFORMANCE of Mozart’s C major piano concerto, K.467, took place on February 16, 1876, at the Music Hall in Boston; William Mason was soloist, with the Theodore Thomas Orchestra.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF K.467 were conducted by Alfredo Casella, with Walter Gieseking as soloist, in January 1927. Since then, the work has also been given in BSO concerts led by Serge Koussevitzky (with soloists Lucille Monaghan, Gieseking, Emma Boynet, and Lukas Foss), Richard Burgin (with Robert Casadesus), Charles Munch (with Casadesus, Foss, and Seymour Lipkin), Erich Leinsdorf (with Christoph Eschenbach), Seiji Ozawa (with James Levine, an April 1975 performance in Chicago), Christoph Eschenbach (as conductor-pianist), Simon Rattle (with Emanuel Ax), Bernard Haitink (with Murray Perahia), Ozawa again (with Maria Tipo and Peter Serkin), Roberto Abbado (with Gianluca Cascioli and Mitsuko Uchida), Sir Mark Elder (the most recent subscription performances, with Lars Vogt in January 2011), and Andris Nelsons (the most recent Tanglewood performance, with Daniil Trifonov on July 14, 2017).

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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.

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Rare 19th century coastal architecture home offering 4 bed tra 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 10 program notes 53 Program page from the first Boston Symphony performance 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)

54 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 Euro pean 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 Prome theus 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 19th 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 Novem ber 1803. From the end of 1804 until April 1806 his primary concern was his opera Leo nore (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 sympho nies 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.

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week 10 program notes 55 56 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 gain- saying 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 instru mental 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 rhapso- dy. The heart of every sensitive listener, however, will certainly be deeply and intimately moved by an enduring feeling—precisely that feeling of foreboding, indescribable long- ing—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, surrounded him.”

In his Eroica Symphony, Beethoven had already introduced, in the words of his biog- rapher Maynard Solomon, “the concept of a heroic music responding to the stormy currents of contemporary history.” The shadow of Napoleon hovers over the Eroica; for the Fifth Sym phony 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

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58 of affirmation 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- move ment 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

THE FIRST DOCUMENTED AMERICAN PERFORMANCE 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.

THE FIRST BOSTON SYMPHONY PERFORMANCE 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 54). 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, Rafael Frühbeck de Burgos, Roberto Abbado, Itzhak Perlman, Christoph von Dohnányi, Andris Nelsons (the most recent Tanglewood performance, on July 20, 2014), and Marcelo Lehninger (the most recent subscription performances, in September 2014).

week 10 program notes 59

To Read and Hear More...

There isn’t much in English about Méhul, and most of that is in the realm of scholarly studies, including a number of articles by M. Elizabeth C. Bartlet, author of the Méhul entry in the 2001 New Grove Dictionary of Music and Musicians. A somewhat shorter version of that article appears in The New Grove Dictionary of Opera. The first fo Bartlet’s many publications on the composer was her 1982 University of Chicago dissertation, Etienne Nicolas Méhul and Opera during the French Revolution, Consulate, and Empire: A Source, Archival and Stylistic Study. The Méhul entry in the 1980 edition of Grove was by David Charlton. For anyone wishing to dig deeper, the bibliographies in Grove will direct you further. There is no commercial recording of the overture to Méhul’s The Amazons, but a live performance with François-Xavier Roth conducting his own ensemble, Les Siècles (which performs on both modern and period instruments), can be found on YouTube. For those wishing to investigate orchestral works by Méhul, his “Complete Symphonies”— four in all—have been recorded by Michel Swierczewski and the Orchestra of the Gulbenkian Foundation (Nimbus, two CDs, filled out by the overtures to his operas Le Trésor supposé and Le Jeune Henri, the latter overture also known as the independent concert piece entitled La Chasse du jeune Henri). Worth seeking is a CD of nine of Méhul’s opera overtures as recorded by Stefan Sanderling with the Orchestre de Bretagne (ASV).

The important modern biography of Mozart is Maynard Solomon’s Mozart: A Life (HarperPerennial paperback). Peter Gay’s wonderfully readable Mozart is a concise, straightforward introduction to the composer’s life, reputation, and artistry (Penguin paperback). John Rosselli’s The life of Mozart is one of the compact composer biographies in the series “Musical Lives” (Cambridge paperback). Christoph Wolff’s Mozart at the Gateway to his Fortune: Serving the Emperor, 1788-1791 takes a close look at the realities, prospects, and interrupted promise of the composer’s final years (Norton). For further delving, there are Stanley Sadie’s Mozart: The Early Years, 1756-1781 (Oxford); Volkmar Braunbehrens’s Mozart in Vienna, 1781-1791, which focuses on the composer’s final decade (HarperPerennial paperback); Julian Rushton’sMozart: His Life and Work, in the “Master Musicians” series (Oxford), and Robert Gutman’s Mozart: A Cultural Biogra- phy (Harcourt Brace Jovanovich/Harvest paperback). Peter Clive’s Mozart and his Circle: A Biographical Dictionary is a handy reference work with entries on virtually anyone you can think of who figured in Mozart’s life (Yale University Press).The Mozart Compen- dium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon, includes an entry by Robert Levin on the concertos (Schirmer). A Guide to the Concerto, edited by

week 10 read and hear more 61 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. Robert Layton, includes a chapter by Denis Matthews on “Mozart and the Concerto” (Oxford paperback). Alfred Einstein’s Mozart: The Man, the Music is a classic older study (Oxford paperback). Other older books still worth knowing are Cuthbert Girdlestone’s Mozart and his Piano Concertos (Dover paperback) and Arthur Hutchings’s A Companion to Mozart’s Piano Concertos (Oxford paperback). Michael Steinberg’s program note on Mozart’s C major piano concerto, K.467, is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback).

Recordings of Mozart’s C major concerto, K.467, include—listed alphabetically by soloist, who also doubles as conductor unless otherwise noted—Géza Anda’s with the Camerata Academica of the Salzburg Mozarteum (Deutsche Grammophon), Daniel Barenboim’s with the English Chamber Orchestra (Warner Classics), Alfred Brendel’s with Sir Neville Marriner and the Academy of St. Martin in the Fields (Decca), Jen ˝o Jandó’s with András

2017-18

Our upcoming MARCH concerts Salem Giants of Romanticism Friday Evenings at 8:00 Salem Fri. March 9, 8:00 Brookline Sun. March 11, 3:00 in historic Hamilton Hall Mar 9 | Apr 20 Schumann Quartet in A minor, Opus 41, No. 1 Clarinet Quintet in B minor, Brookline Brahms Opus 115

Thomas Martin – clarinet, Tatiana Dimitriades, Bayla Keyes – violins, Rebecca Gitter – viola, Jonathan Miller – cello Sunday Afternoons at 3:00 in beautiful St. Paul’s Church Mar 11 | Apr 22

You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

week 10 read and hear more 63 boston symphony chamber players at jordan hall Founded in 1964, the Boston Symphony Chamber Players combine the talents of BSO principal players and renowned guest artists to explore the full spectrum of chamber music repertoire. The ensemble’s typically wide-ranging programs for 2017–18 are distinguished by the presence of BSO Artistic Partner Thomas Adès as pianist in January and BSO Artist-in- Residence, pianist Jean-Yves Thibaudet, in March. The ensemble’s four-concert series takes place on four Sunday afternoons at New England Conservatory’s Jordan Hall. Tickets: $38, $29, $22 sunday, october 15, 3pm sunday, march 11, 3pm with Jonathan Bass, piano with Jean-Yves Thibaudet, piano Lowell LIEBERMANN Night Music, Op. 109, HAYDN Trio in D for flute, cello, and piano, for flute, clarinet, and piano Hob. XV:16 Kevin PUTS Seven Seascapes, for flute, horn, BERWALD Grand Septet in B-flat, for winds viola, cello, bass, and piano and strings André PREVIN Trio for oboe, bassoon, DVOŘÁK Quintet in A for piano and strings, and piano Op. 81 MOZART String Quintet in G minor, K.516 sunday, april 22, 3pm sunday, january 21, 3pm with David Deveau, piano with Thomas Adès, piano BRUCH Selection from Eight Pieces for BEETHOVEN Quintet in E-flat for piano and clarinet, viola, and piano, Op. 83 winds, Op. 16 BOULANGER Nocturne and Cortege, for cello SCHUBERT Notturno in E-flat for piano, and piano violin, and cello, D.897 Stacy GARROP Bohemian Café, for flute, oboe, LIGETI Six Bagatelles, for wind quintet clarinet, horn, bassoon, and double bass JANÁČEK Concertino for piano, two violins, MOZART String Quintet in C, K.515 viola, clarinet, horn, and bassoon Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

Tickets: $38, $29, $22 Season Sponsors Call 617-266-1200 or visit bso.org. sponsor supporting sponsorlead Ligeti and the Concentus Hungaricus (Naxos), Murray Perahia’s with the English Chamber Orchestra (Sony), and Mitsuko Uchida’s with the Cleveland Orchestra (Decca).

Edmund Morris’s Beethoven: The Universal Composer is a first-rate compact biography aimed at the general reader (Harper Perennial paperback, in the series “Eminent Lives”). Full-scale modern biographies include Jan Swafford’s recent Beethoven: Anguish and Triumph; Maynard Solomon’s Beethoven (Schirmer paperback), and Barry Cooper’s Beethoven in the “Master Musicians” series (Oxford University Press). Also noteworthy are Swafford’s chapter on Beethoven in The Vintage Guide to Classical Music (Vintage paperback), Richard Osborne’s chapter on Beethoven in A Guide to the Symphony, edited by Robert Layton (Oxford paperback), Lewis Lockwood’s recent Beethoven’s Symphonies: An Artistic Vision (Norton), and Lockwood’s Beethoven: The Music and the Life (Norton paperback). The First Four Notes: Beethoven’s Fifth and the Human Imagination by Matthew Guerrieri examines the impact of Beethoven’s Symphony No. 5 from a broad cultural perspective (Vintage paperback). Dating from the 19th century, but still crucial, is Thayer’s Life of Beethoven as revised and updated by Elliot Forbes (Princeton 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). Still worth investigating among much older books 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 time but for what’s relevant ot our own (Vintage paperback).

The Boston Symphony Orchestra 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, part of his complete Beethoven symphony cycle with the BSO), Charles Munch (in 1955 for RCA), and Serge Koussevitzky (in 1944 for RCA). Charles Munch can be seen conducting the BSO in Beethoven’s Fifth Symphony on DVD in an historic Sanders Theatre telecast from 1959 (ICA Classics). Noteworthy Beethoven symphony cycles of varying vintage include (alphabetically by conductor) Claudio Abba- do’s with the Berlin Philharmonic (Deutsche Grammophon), Daniel Barenboim’s with the West-Eastern Divan Orchestra (Decca), John Eliot Gardiner’s with the period-instrument Orchestre Révolutionaire et Romantique (Deutsche Grammophon Archiv), Bernard Haitink’s live with the London Symphony Orchestra (LSO Live), Nikolaus Harnoncourt’s with the Chamber Orchestra of Europe (Warner Classics), Philippe Herreweghe’s with the Royal Flemish Philharmonic (PentaTone), Christian Thielemann’s with the Vienna Philharmonic (Sony), and Osmo Vänskä’s with the Minnesota Orchestra (BIS). Historic recordings include studio and live renditions of the nine symphonies under the direction of Wilhelm Furtwängler with the Berlin Philharmonic and Vienna Philharmonic and Arturo Toscanini mainly with the NBC Symphony Orchestra (various labels).

Marc Mandel

week 10 read and hear more 65

Guest Artists

François-Xavier Roth

Born in Paris in 1971, François-Xavier Roth has been general music director of the City of Cologne, leading both the Gürzenich Orchestra and the Opera, since 2015. At the beginning of this season he took up the position of principal guest conductor of the London Symphony Orchestra. He has worked with many leading orchestras, including the Boston Symphony Orchestra, Berlin Philharmonic, Berlin Staatskapelle, Royal Concertgebouw, Munich Philharmonic, and Zurich Tonhalle. In 2003 he founded Les Siècles, an orchestra that performs contrasting and colorful programs on modern and period instruments, often within the same concert. With Les Siècles he has given concerts in France, Italy, Germany, the Netherlands, Belgium, England, and Japan. They gave centenary performances of The Rite of Spring, on original instruments, at the BBC Proms and the Alte Oper, Frankfurt, and subsequent performances with the Pina Bausch and Dominique Brun dance companies. Following the success of their two-season “After Romanticism” series, Mr. Roth and the London Symphony Orchestra now embark on an exploration of Debussy’s legacy, marking the 100th anniversary of the composer’s death. His third Cologne opera season has featured Wagner’s Tannhäuser and Zimmermann’s Die Soldaten, honoring the latter’s centenary. With the Gürzenich Orchestra, he continues a focus on Philippe Manoury, from whom the orchestra has commissioned a trilogy of works, the second of which, a flute concerto, will be premiered with Emmanuel Pahud. As principal conductor of SWR Sinfonieorchester Baden-Baden und Freiburg from 2011 to 2016, Mr. Roth recorded a cycle of Strauss symphonic poems. His recordings with Les Siècles of The Firebird, Petrushka, and The Rite of Spring have been widely acclaimed, the latter earning a German Record Critics’ Prize. Their

week 10 guest artists 67 BEETHOVEN HANDEL MESSIAH BACH MASS SYMPHONY NO. 9 Dec 1 + 2 + 3 IN B MINOR Oct 6 + 8 Mar 23 + 25 BACH CHRISTMAS MOZART + Dec 14 + 17 PURCELL BEETHOVEN THE FAIRY QUEEN Oct 27 + 29 MOZART + HAYDN Apr 6 + 8 Jan 26 + 28 AMADEUS LIVE HANDEL HERCULES Nov 10 + 11 + 12 BACH BRANDENBURG May 4 + 6 CONCERTOS Complete film with soundtrack Feb 16 + 18 performed live by the H+H Orchestra and Chorus.

HANDELANDHAYDN.ORG 617.266.3605

68 first recording in an ongoing complete Ravel cycle for Harmonia Mundi, Daphnis and Chloé, was a Gramophone Editor’s Choice and Rondo Magazine’s CD of the Month. Engagement with new audiences and new music is essential to Mr. Roth, who, with the Festival Berlioz and Les Siècles, founded the Jeune Orchestre Européen Hector Berlioz, an orchestra-academy with its own collection of period instruments. Mr. Roth and Les Siècles devised “Presto!,” a television series for France 2, attracting weekly audiences of over three million. The Gürzenich Orchestra’s “Ohrenauf!” youth program received a Junge Ohren Produktion Award in February 2017. A tireless champion of contemporary music, Mr. Roth is conductor of the groundbreaking LSO Panufnik Composers Scheme. He has premiered works by Yann Robin, Georg-Friedrich Haas, and Simon Steen-Anderson and collaborated with composers Pierre Boulez, Wolfgang Rihm, Jörg Widmann, and Helmut Lachenmann. On Bastille Day 2017, François-Xavier Roth was named a Chevalier of France’s Légion d’honneur. Visit francoisxavierroth.fr for more information. François-Xavier Roth made his Boston Symphony debut in April 2014 with a subscription program of Bach, Stravinsky, and Beethoven, subsequently returning in January 2016 for two weeks of subscription concerts (music of Gossec, Mozart, Beethoven, Debussy, Dutilleux, Canteloube, and Stravinsky), and most recently for a March 2017 subscription program including the world premiere of Matthias Pintscher’s BSO-commissioned un desparter for cello and orchestra, plus music of Berlioz and Beethoven.

Benjamin Grosvenor

Making his Boston Symphony debut in these concerts, British pianist Benjamin Grosvenor first came to prominence as the winner of the Keyboard Final of the 2004 BBC Young Musician Competition at age eleven; at nineteen he performed with the BBC Symphony Orchestra at the First Night of the 2011 BBC Proms. As the inaugural recipient in 2016 of the New York Philharmonic’s Ronnie and Lawrence Ackman Classical Piano Prize, he will return there in April 2018, performing Beethoven’s Piano Concerto No. 3 under Esa-Pekka Salonen and chamber music with members of the orchestra at the 92nd Street Y. Recent and future highlights include engagements with the Boston Symphony Orchestra, Finnish

week 10 guest artists 69 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

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We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. Radio Symphony Orchestra, Gürzenich-Orchestra Cologne, the Cleveland, Gulbenkian, and Hallé orchestras, Leipzig’s Gewandhausorchester, Filarmonica della Scala, the London, Melbourne, San Francisco, Singapore, Tokyo, and National (Washington, D.C.) symphony orchestras, and an appearance at the 2015 Last Night of the Proms with the BBC Sympho- ny Orchestra under Marin Alsop. Recital dates have taken him to Vienna’s Konzerthaus, the Théâtre des Champs Elysées, Amsterdam’s Muziekgebouw, Carnegie Hall, Berlin’s Konzerthaus, London’s Barbican Centre, Musashino Civic Cultural Hall in Tokyo, the Lucerne and Gilmore festivals, La Roque d’Anthéron, and the International Piano Series at the Southbank Centre, as well as his first tour of South America. Mr. Grosvenor has worked with numerous esteemed conductors including Vladimir Ashkenazy, Jiˇrí Bˇelohlávek, Andrey Boreyko, Semyon Bychkov, Riccardo Chailly, Charles Dutoit, Sir Mark Elder, Edward Gardner, Alan Gilbert, Vladimir Jurowski, Andrew Litton, Andrew Manze, Ludovic Morlot, Kent Nagano, Gianandrea Noseda, Sir Roger Norrington, François-Xavier Roth, Alexander Shelley, Thomas Søndergård, Nathalie Stutzmann, Gábor Takács-Nagy, and Michael Tilson Thomas. His chamber music collaborations have included performances with the Escher, Elias, and Endellion string quartets, chamber ensembles of the Montreal Symphony, New York Philharmonic, and Naples Philharmonic, and at such venues as the Louvre and Queen Elizabeth Hall. Since the 2015-16 season, Benjamin Grosvenor has been invited by Konzer- thaus Dortmund to participate in the prestigious “Junge Wilde” series, giving multiple performances over the course of three years, including a June 2018 engagement with violinist Hyeyoon Park. In 2011 Mr. Grosvenor became the youngest British musician ever to sign to Decca Classics and the first British pianist signed to the label in almost 60 years. His fourth Decca CD, “Homages” (2016), explores works in which great composers pay tribute to their predecessors, including Busoni’s transcription of Bach’s solo violin chaconne, Franck’s Choral, Prelude and Fugue, and Liszt’s tribute to Italian folk song, Venezia e Napoli. Awarded a Diapason d’Or, the disc was named BBC Music Magazine’s Instrumental Choice of the month. The youngest of five brothers, Benjamin Grosvenor began playing the piano at age six and studied at the Royal Academy of Music. He has been supported since 2013 by EFG International, a global private banking group.

week 10 guest artists 71 Your Winter Wonderland

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wgbhnews.org 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

Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

five million

Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million

Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ •

Eaton Vance Corporation • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

74 one million

Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Chauffeured Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney •

Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ •

Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (13)

‡ Deceased

week 10 the great benefactors 75 BSO Major Corporate Sponsors 2017–18 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2017-2018 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is Miceal Chamberlain diverse and global, supporting nonprofit arts institutions that deliver the Massachusetts President, visual and performing arts, provide inspirational and educational sus- Bank of America tenance, anchor communities, create jobs, augment and complement existing school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR For more than 235 years, Takeda Pharmaceutical Company Limited has brought the hope of Better Health and a Brighter Future to people around the world through our empathetic and people-centered approach to science and medicine. Takeda’s Boston campus is the home of one of our world-class R&D sites, as well as our oncology and vaccine business units. We are pleased to support the Boston Symphony Orchestra Andrew Plump, in its efforts to bring artistic excellence to the local community and M.D., Ph.D. across the globe. Chief Medical and Scientific Officer

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO. 76 OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing Charlie Schewe arts and arts education programs continues to delight and enrich Massa- Director of Sales- chusetts and beyond with each passing season. As the BSO continues to New England help classical music soar, Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

OFFICIAL HOTEL OF THE BSO George Terpilowski Fairmont Copley Plaza has had the honor of being the official hotel of Regional Vice President, the BSO for more than 15 years. Located less than a mile from Symphony North East U.S. and Hall, we are proud to offer luxury accommodations for the talented General Manager, artists and conductors that captivate Boston audiences. Together our Fairmont Copley Plaza historic institutions are a symbol of the city’s rich tradition and elegance. We look forward to celebrating another season of remarkable BSO performances.

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

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reflect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the companies listed above and gratefully acknowledges their partnership. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

week 10 bso major corporate sponsors 77 a simple and powerful gift to the bso

A bequest is a gift that anyone can make to support the BSO.

“By giving to the Symphony, I feel as if I am a part of it. And that’s rewarding. I know that I’ve done my little ounce to make sure that this continues.”

—Eileen Walker, Walter Piston Society member Bequest donor

One of the simplest ways to support the BSO, a bequest is a donation of cash or other property made through your estate plans. It is a flexible gift that anyone can make regardless of income level, and it helps ensure the future of the BSO.

For more information, including a confidential customized example, please contact: Jill Ng, Director of Planned Giving and Senior Major Gifts Officer 617-638-9274 [email protected]. or visit us at bso.org/plannedgiving

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Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Evelyn Barnes, Chief Financial Officer Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood 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 Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Thomas D. May, Senior Financial Advisor Kim Noltemy, Chief Operating and Communications Officer Bart Reidy, Director of Development Ray F. Wellbaum, Advisor to the Managing Director administrative staff/artistic

Bridget P. Carr, Director of Archives and Digital Collections • Jennifer Dilzell, Chorus Manager • Sarah Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Management Assistant • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Interim Director of Planning and Budgeting • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Kwan Pak, Payroll Specialist • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 10 administration 81 latest release on bso classics!

Recorded live at Symphony Hall in November 2016

Available at the Symphony Shop and at bso.org

3 CDs $34.99

2017–2018 season andris nelsons music director

under 40? bso tickets $20! $20 tickets are available for most BSO concerts for patrons under 40 years of age. Proof of age required. Tickets are available on a first-come, first-served basis on both the orchestra and balcony levels.

#BSO1718 bso.org • 617-266-1200 sponsor supporting sponsorlead

82 development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Susan Grosel, Director of Annual Funds and Donor Relations • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lydia Buchanan, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Laura Sancken, Assistant Director of Board Engagement • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Zakiya Thomas, Helaine B. Allen Executive Officer for Education, Community Engagement, and Inclusion Claire Carr, Associate Director of Education and Community Engagement • Elizabeth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 10 administration 83 2017–2018 season andris nelsons music director

program book re-use initiative

The BSO is pleased to continue its program book re-use initiative as part of the process of increasing its recycling and eco-friendly efforts. We are also studying the best approaches for alternative and more efficient energy systems to reduce our dependency on fossil fuels. If you would like your program book to be re-used, please choose from the following: 1) Return your unwanted clean program book to an usher following the performance. 2) Leave your program book on your seat. 3) Return your clean program book to the program holders located at the Massachusetts Avenue and Huntington Avenue entrances.

Thank you for helping to make the BSO more green! information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Lead • Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Systems Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, Publicist • Samuel Brewer, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Senior Director of Marketing and Branding • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Hester C.G. Breen, Corporate Partnerships Coordinator • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Leslie Wu Foley, Associate Director of Audience Development • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Manager of Digital Marketing and Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Digital Media Manager • Greg Ragnio, Subscriptions Representative • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center

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

week 10 administration 85 “...audiences value that emotional connection with the orchestra and the conductor...it’s not enough just to play the notes.” - Andris Nelsons

As a music lover, you connect to each and every performance here at Symphony Hall. You can deepen your connection to the music you love by becoming a Friend of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is the financial foundation of all the Orchestra achieves. Friends ensure a legacy of spectacular performances, keeping incredible music accessible to all who wish to hear. friends-only privileges include: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Chair-Elect, Gerald L. Dreher Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Nancy Finn • Gabriel Kosakoff • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2017-18

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Connie Hill • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

This season we celebrate Richard Pittman’s 20th Anniversary as the NEP’s Music Director and his 2O17 Arts Fuse Award for Outstanding Contributions to the Arts NEPHILHARMONIC.ORG

week 10 administration 87 Next Program…

Thursday, January 11, 8pm Friday, January 12, 1:30pm Saturday, January 13, 8pm

françois-xavier roth conducting

webern passacaglia, opus 1

bartók piano concerto no. 1, opus 83 Allegro moderato Andante— Allegro molto pierre-laurent aimard

{intermission}

stravinsky “the firebird” (complete)

INTRODUCTION SCENE I: Kaschei’s Enchanted Garden Appearance of the Firebird Pursued by Ivan Tsarevich Dance of the Firebird Ivan Tsarevich Captures the Firebird Supplication of the Firebird Appearance of Thirteen Enchanted Princesses The Princesses’ Game with the Golden Apples (Scherzo) Sudden Appearance of Ivan Tsarevich The Princesses’ Khorovod (Round Dance) Daybreak Ivan Tsarevich Penetrates the Palace of Kashchei Magic Carillon: Appearance of Kashchei’s Guardian Monsters; Capture of Ivan Tsarevich Arrival of Kashchei the Immortal; His Dialogue with Ivan Tsarevich; Intercession of the Princesses Appearance of the Firebird Dance of Kashchei’s Retinue under the Firebird’s Spell Infernal Dance of all Kashchei’s Subjects Lullaby (Firebird) Kashchei’s Death SCENE II: Disappearance of the Palace and Dissolution of Kashchei’s Enchantments; Animation of the Petrified Warriors General Thanksgiving

88 Coming Concerts… friday previews and pre-rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Thursday ‘D’ January 11, 8-9:55 Sunday, January 21, 3pm Friday ‘B’ January 12, 1:30-3:25 Jordan Hall, New England Conservatory

Saturday ‘A’ January 13, 8-9:55 BOSTON SYMPHONY CHAMBER PLAYERS FRANÇOIS-XAVIER ROTH, conductor with THOMAS ADÈS, piano PIERRE-LAURENT AIMARD, piano BEETHOVEN Quintet in E-flat for piano WEBERN Passacaglia, Op. 1 and winds, Op. 16 BARTÓK Piano Concerto No. 1 SCHUBERT Notturno in E-flat for piano, violin, and cello, D.897 STRAVINSKY The Firebird (complete) LIGETI Six Bagatelles, for wind quintet JANÁCˇEK Concertino for piano, two Thursday ‘A’ January 18, 8-9:45 violins, viola, clarinet, horn, Friday ‘A’ January 19, 1:30-3:15 and bassoon Saturday ‘B’ January 20, 8-9:45 ANDRIS NELSONS, conductor Thursday ‘B’ January 25, 8-10:25 SUSAN GRAHAM, mezzo-soprano Friday ‘B’ January 26, 1:30-3:55 WOMEN OF THE TANGLEWOOD FESTIVAL Saturday ‘B’ January 27, 8-10:25 CHORUS, JAMES BURTON, conductor THOMAS ADÈS, conductor CHILDREN’S CHORUS AUGUSTIN HADELICH, violin MAHLER Symphony No. 3 BEETHOVEN Symphony No. 8 LIGETI Violin Concerto, with cadenza by Thomas Adès ADÈS Suite from Powder Her Face STRAVINSKY Divertimento from The Fairy’s The BSO’s 2017-18 season is supported in part by the Kiss Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

In his second week of concerts this month (see opposite page), François-Xavier Roth works with outstanding French pianist Pierre-Laurent Aimard in Bartók’s percussive, glittering Piano Concerto No. 1, in which the composer’s love for Central European folk music merges imaginatively with early 20th-century modernism. Music by two close Bartók contemporaries fills out the program. Anton Webern’s twelve-minute, single-movement Passacaglia from 1908 predates his mastery of the crystalline miniatures for which he is best known. In this work he applies his orchestral finesse to music that’s very much in the same sphere as Strauss and Mahler. Composed the following year but in a different vein entirely is Stravinsky’s The Firebird, the breathtakingly magical score for the Ballets Russes that catapulted the twenty-seven-year-old composer to fame and which, more than a century later, remains one of his most beloved pieces.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200; or at the Symphony Hall box office, Monday through Friday from 10 a.m. to 6 p.m. (Saturdays from 4-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 10 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony 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, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. 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 5 p.m. Monday through Friday (12:30 p.m. to 4:30 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 $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. 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.

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 10 symphony hall information 91 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 and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and 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 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day 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.

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