m

2004-2005 SEASON afPF*

BOSTON \\ SYM PHONY ORCHESTRA

LEVI E JAMES N sin

• *

* \H

iV

4"

JAMES LEVINE MUSIC DIRECTOR

BERNARD HAITINK CONDUCTOR EMERITUS

SEIJI OZAWA MUSIC DIRECTOR LAUREATE Invite the entire string section for cocktails.

With floor plans from 2,300 to over Phase One of this

5,000 square feet, you can entertain magnificent property is in grand style at Longyear. 100% sold and occupied.

Enjoy 24-hour concierge service, Phase Two is now under con- single-floor condominium living struction and being offered by at its absolute finest, all Sotheby's International Realty & harmoniously located on Hammond Residential Real Estate an extraordinary eight- GMAC. Priced from $1,725,000. acre gated community atop prestigious Call Hammond at (617) 731-4644,

Fisher Hill ext. 410. LONGYEAR.

fin< !

REASON #11 open heart surgery that's a lot less open

There are lots of reasons to consider Beth Israel Deaconess Medical Center

for your major medical care. Like minimally invasive heart surgery that minimizes

pain, reduces cosmetic trauma and speeds recovery time. From cardiac services

and gastroenterology to organ transplantation and cancer care, you'll find some

of the most cutting-edge medical advances available anywhere. To find

out more, visit www.bidmc.harvard.edu or call 800-667-5356.

Beth Israel Deaconess A teaching hospital of Harvard Medical School Medical Center

Affiliated with Joslin Clinic | A Research Partner of the Dana-Farber/Harvard Cancer Center | Official Hospital of the Boston Red Sox James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 124th Season, 2004-2005

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

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

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

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

David B. Arnold, Jr. Abram T. Collier George H. Kidder Richard A. Smith J.P. Barger Mrs. Edith L. Dabney Harvey Chet Krentzman Ray Stata

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

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

Helene R. Cahners Avram J. Goldberg Irving W. Rabb Other Officers of the Corporation ftaSHB Mark Volpe, Managing Director Thomas D. May, Chief Financial Officer Suzanne Page, Clerk of the Board Board of Overseers of the Boston Symphony Orchestra, Inc. Diddy Cullinane, Chair

Helaine B. Allen Alan Dynner Dr. Arthur R. Kravitzf Patrick J. Purcell

Joel B. Alvord George M. Elvin Robert J. Lepofsky Carol Reich

Marjorie Arons-Barron John P. Eustis II Christopher J. Lindop Alan Rottenberg Diane M. Austin Pamela D. Everhart Shari Loessberg Joseph D. Roxe Lucille M. Batal Judith Moss Feingold Edwin N. London Michael Ruettgers Maureen Scannell Lawrence K. Fish Jay Marks Kenan Sahin Bateman Myrna H. Freedman Jeffrey E. Marshall Arthur I. Segel Milton Benjamin Dr. Arthur Gelb Carmine Martignetti Ross E. Sherbrooke George W. Berry Stephanie Gertz Joseph B. Martin, M.D. Gilda Slifka

James L. Bildner Jack Gill Robert J. Mayer, M.D. Christopher Smallhorn Bradley Bloom Robert P. Gittens Thomas McCann Charles A. Stakeley Alan Bressler Paula Groves Joseph C. McNay Jacquelynne M. Michelle Courton Brown Michael Halperson Albert Merck Stepanian William Burgin Ellen T Harris Dr. Martin C. Mihm, Jr. Patricia L. Tambone Rena F. Clark Virginia S. Harris Robert Mnookin Wilmer Thomas Carol Feinberg Cohen Deborah M. Hauser Paul M. Montrone Samuel Thorne

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

Caroline Dwight Bain Mrs. James Garivaltis Mrs. Gordon F. Robert E. Remis

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

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

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

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

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

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

Tanglewood BOSTON mxnm THE BSO ONLINE

Boston Symphony and Boston Pops fans with access to the Internet can visit the orchestras

official home page (http://www.bso.org). The BSO web site not only provides up-to-the-

minute information about all of the orchestra's activities, but also allows you to buy tickets to BSO and Pops concerts online. In addition to program listings and ticket prices, the web site offers a wide range of information on other BSO activities, biographies of BSO musi-

cians and guest artists, current press releases, historical facts and figures, helpful telephone

numbers, and information on auditions and job openings. Since the BSO web site is updat- ed on a regular basis, we invite you to check in frequently. u — BSO Announcing James Levine's Second Season as BSO Music Director

In the 2005-2006 season—the 125th season of the Boston Symphony Orchestra, and James Levine's second season as BSO Music Director—Maestro Levine will lead the Boston Symphony Orchestra in eleven programs offering masterworks that are part of BSO history, as well as programs juxtaposing masterpieces by two seminal figures in music, Ludwig van Beethoven and Arnold Schoenberg. More than any other American orchestra, the BSO has maintained a great tradition performing the French repertoire, to be reflected in Mr. Levine's season-opening all- French program (concluding with Saint-Saens's Organ Symphony) as well as his perform-

ances of Debussy's La Mer and Berlioz's Symphonie fantastique . Recognizing the BSO's proud tradition of commissioning and performing new music, a single program (in Dec- bmmh ember) brings together four works given their world or American premieres by the BSO Stravinsky's Symphony of Psalms (a BSO 50th-anniversary commission), Dutilleux's Sym- $* phony No. 2, Le Double (a BSO 75th-anniversary commission), Elliott Carter's Boston 418 Concerto (a BSO commission premiered here in 2003), and Bartok's Concerto for Or- chestra (commissioned by Serge Koussevitzky and introduced in 1944). Mr. Levine will also lead the BSO in the premieres of three newly commissioned works—Carter's Three Illusions for Orchestra; a new work by Leon Kirchner; and the east coast premiere of Peter Lieberson's Neruda Songs with Lorraine Hunt Lieberson as soloist. Also figuring

in Mr. Levine's programming are such important, varied masterworks as Mozart's Sym- ' ;• phony No. 35, Haffner, Schumann's Symphony No. 4, Strauss's Till Eulenspiegels Merry Pranks, Mahler's Symphony No. 4, Ives's Three Places in New England, and Gershwin's R w Piano Concerto in F.

Highlights of the first six programs in the Levine/BSO Beethoven/Schoenberg project (to be continued in 2006-07) include Beethoven's Ninth Symphony and Missa Solemnis, Schoenberg's lushly romantic Gurrelieder and Pelleas und Melisande, an all-Beethoven program featuring the Beethoven Triple Concerto for piano, violin, and cello (with Jona- than Biss, Miriam Fried, and Ralph Kirshbaum) framed by the symphonies 2 and 7, and a special Boston Symphony Chamber Players program, with guest vocalists Anja L M Silja and Matthew Polenzani, in which Mr. Levine will appear as both pianist and con- ductor. Also among the guest artists joining Mr. Levine and the BSO in 2005-2006 are vocalists Ben Heppner, Karita Mattila, Rene Pape, Dorothea Roschmann, Dawn Upshaw, r*i and Deborah Voigt; organist Simon Preston, and pianist Jean-Yves Thibaudet. Conductor Emeritus Bernard Haitink and former BSO principal guest conductor Sir Mlmm hKS Colin Davis return to the Symphony Hall podium next season, as do guest conductors

Paavo Berglund, Rafael Friihbeck de Burgos, Christoph von Dohnanyi, Kurt Masur, Nfj David Robertson, Robert Spano, and Yuri Temirkanov. Austrian conductor Manfred Honeck makes his BSO debut, and BSO Assistant Conductor Jens Georg Bachmann makes his subscription series debut. Additional guest soloists include pianists Piotr Anderszewski, Richard Goode, and Andreas Haefliger; violinists Joshua Bell, Julia Fischer, Gidon Kremer, Gil Shaham, and Frank Peter Zimmermann; cellist Yo-Yo Ma, who plays the world premiere of a new work for cello and orchestra commissioned from Osvaldo Golijov; and percussionist Christopher Lamb. Brochures with complete program and ticket information for the BSO's 2005-2006 » subscription season will be available in April. PLEASE NOTE THAT SUBSCRIBERS WILL RECEIVE THEIR RENEWAL INFORMATION IN EARLY APRIL. Others may request a brochure by calling (617) 266-1492, by visiting www.bso.org, or by writing to BSO 2005-2006 Brochure, Symphony Hall, Boston, MA 02115. MUf

1 The Nathan R. Miller Family are well known for their gift of the Miller

Guest Artist Fund Room at Symphony Hall. In addition to their Guest Artist Fund, the Millers have estab- The appearance of Evgeny Kissin at this lished the Seiji Ozawa Endowed Conducting concert is supported by a generous gift from the Nathan R. Miller Family. Nathan and his Fellowship at the Tanglewood Music Center, wife Lillian, who attended the New England endowed the Lillian and Nathan R. Miller Conservatory of Music, have a very strong Chair in the cello section of the BSO, and commitment to music and the universal joy have named seats in Symphony Hall.

it brings. Mr. Miller became a Trustee of the The Boston Symphony Orchestra is deeply BSO in 2003, having served as an Overseer grateful for the support of the Nathan R. since 1988. Miller family and extends a warm welcome As Great Benefactors, Mr. and Mrs. Miller to them and their friends at tonight's per- are longstanding supporters of the BSO and formance.

With Thanks

BSO subscription concerts are supported in part by a grant from the Boston Cultural Council, which is funded by the Massachu- setts Cultural Council and administered by the Mayor's Office of Arts, Tourism, and Special Events. massculturalcouncil.or

On Display in Symphony Hall This season's BSO Archives exhibit in the Massachusetts Avenue corridor of Symphony Hall heralds the arrival of James Levine as the BSO's fourteenth music director—the first American-born conductor to hold that position. The appoint- ment by BSO founder-sustainer Henry Lee Higginson of Georg Henschel as the orchestra's first conductor established a precedent of hiring foreign-born and -trained conductors (preferably German or Austrian) for the BSO. The entry of the I United States into World War in I _ _, m*. 1918 ushered in a new era, one dominated by French and Russian conductors. Drawing on the Ar- chives' extensive collection of photographs, letters, and news clippings, the exhibit examines the lineage of BSO conductors culmi- nating with the appointment of James Levine in 2001. The photo at left shows James Levine re- hearsing with the Cleveland Orchestra, ca.1968 (photo by Peter Hastings, courtesy Cleveland Orchestra Archives). The photo at right shows Mr. Levine rehearsing with the BSO at Tanglewood in July 1972 (Whitestone Photo). There are also two new exhibits in the Cohen Wing display cases. The first examines the history of Symphony Hall's great Aeolian-Skinner organ with an emphasis on the extensive renovation work that was recently completed. The sec- ond highlights the BSO's touring history, focusing on the BSO's role as cultural

ambassador through the many international tours it has made since its first Euro- pean tour in 1952. BOSTON SYMPHONY ORCHESTRA

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

Wednesday, April 27, at 8

EVGENY KISSIN and JAMES LEVINE, pianists

ALL-SCHUBERT PROGRAM

Fantasy in F minor, D.940 Allegro molto moderato — Largo — Allegro vivace

Duo in A minor, D.947, Lebensstiirme

INTERMISSION

Sonata in C, D.812, Grand Duo Allegro moderato Andante Scherzo: Allegro vivace; Trio Allegro vivace

The appearance of Evgeny Kissin is supported by the Nathan R. Miller Family Guest Artist Fund.

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

Steinway and Sons Pianos, selected exclusively at Symphony Hall Special thanks to Delta Air Lines, The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation

IN CONSIDERATION OF THE PERFORMERS AND THOSE AROUND YOU, PLEASE BE SURE TO SWITCH OFF CELLULAR PHONES, WATCH ALARMS, AND ALL OTHER ELECTRONIC BEEPERS. I

BOSTON SYM PHONY Chamber Players

at Jordan Hall 4S 2004-2005 SEASON SUNDAY, MAY 8, 200$ • 3PM

MOZART Duo in B-flat for violin and viola, K.424

BRITTEN Phantasy, Op. 2, for oboe, violin, viola, and cello FINE Partita for Wind Quintet

PROKOFIEV Quintet in G minor, Op. 39, for oboe, clarinet,

violin, viola, and double bass

Tickets: $30, $22, $17 Tickets may be purchased through SymphonyCharge at (617) 266-1200 or at the Symphony Hall Box Office. On the day of the concert, tickets are only available at the Jordan Hall Box Office, which is located at 30 Gainsborough Street. All programs and artists subject to change. —

Franz Schubert Fantasy in F minor, D.940 Duo in A minor, D.947, called Lebensstiirme Sonata in C, D.812, called Grand Duo

Franz Peter Schubert was born in Liechtenthal, a suburb of Vienna, on January 31, 1797, and died in Vienna on November 19, 1828. He composed the F MINOR FANTASY in the first part of 1828; it was publishedfour months after his death by Diabelli. Schubert dedicated the work to Karoline, Countess Esterhdzy of Galantha, who had been an occasional student of his earlier in the

1820s. Schubert and his friend Franz Lachner played it to great acclaim in March 1828. LEBENSSTURME the title is Diabelli s, not Schubert s—also comes from the last year of Schubert's life, and was composed that May. It was published in 1840. Nothing is known about its early performance history. Schubert wrote the GRAND DUO in June 1824 at the Szeliz summer resi- dence of Count Johann Esterhdzy, where he was music teacher to the young princesses

Marie and Karoline; it was published in 1838, also by Diabelli, who dedicated it to Clara Wieck, soon to be Clara Schumann. The Grand Duo was performed on December 18, 1859, at the Vienna Musikverein by Karl Meyer and Eduard Pirkhert. As to previous performances of this music under BSO auspices, Gilbert Kalish and Yehudi Wyner played Lebensstiirme and the Grand Duo at Tanglewood on August 11, 1978, a summer in which the 150th anniversary of Schubert s death was lavishly celebrated. Christoph Eschenbach and Justus Frantz played the F minor Fantasy at Tanglewood on July 26, 1979.

We crowd up onto the piano stool and play four-handed

in f-minor, two drivers for the same carriage, it looks a little ridiculous.

—Tomas Transtromer (transl. Robert Bly)

Even if overall Schubert was not quite as neglected as the legend makes out, it is certainly true that he had few chances to hear his orchestral music. Pianists may well be the beneficiaries of that dearth; at least it seems possible that some of the pieces that Schubert wrote down as piano duets might have been scored for orchestra by a compos- er whose life was richer in such opportunities.

The piano duet is a delightful social institution. Many a friendship—and more—has been cemented over hand-crossings, pedal gropings, and the hot competition for the middle octave; and Schubert, who had a keen sense for such matters, contributed gen- erously to the genre. It was a relatively marketable commodity too, and from nearly the beginning of his career to the last months of his life he wrote easy duets and demanding ones, intimate confessions and public addresses, entertainments as well as music that puts the heart in peril, long works and little ones.

For a long time—I would say about up to the time of World War II—the piano duet was also the way to become acquainted with the orchestra, chamber, and even operatic repertory. Virtually everything was arranged for duet, sometimes by the composers them- selves, sometimes by other musicians of distinction (Max Reger, for example, was the arranger of Bach's Brandenburg Concertos), and these duets were indispensable to my musical education: I learned my Haydn, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Brahms, Bruckner, and Mahler symphonies, lots of string quartets, even Verdi and Wagner operas, not to forget the easier bits of Petrushka and The Rite of Spring, by reading them with my mother as best we could, sometimes long before I ever heard this music in concert or even on recordings. All these duet arrangements were such a large presence that many musicians, including some of my piano teachers, had no idea that there is a rich literature of original music for piano duet by Mozart, Beethoven, Weber, Schubert, Brahms, Dvorak, Grieg, Debussy, Ravel, Hindemith, and Poulenc, to cite just some of the most famous names.

All this, by and large, remains a treasure known chiefly to pianists who play this music—as many still do, with unholy delight, and preferably with no one listening. Actually even two-piano teams, so popular a couple of generations ago, have nearly vanished from the scene, but even so, when two pianists sit down to perform together, the chances are overwhelming that they will choose Mozart's brilliant but fairly superfi- cially pleasing Sonata in D for two pianos rather than his infinitely richer F major sonata for one piano four-hands. It may not even be going too far to suggest that, like English and Italian madrigals of the sixteenth century, this is a repertory addressed in the first place to the performers, and only secondarily to hypothetical listeners.

Duets are difficult stuff to play, not necessarily in issues of marksmanship and virtuosic velocity—though you will certainly enjoy some of that this evening—but in the matter of achieving clarity, transparency, and a full but non-aggressive sound all on one instru- ment. Whoever controls the pedal—usually the bass player because he or she has the clearest view of the changing harmonies—holds the key to success. Duet playing is an art that asks the utmost in listening, non-competitiveness, lightness—in other words, all the central skills that make for great chamber music playing. When this music is ren- dered by two master artists, the listener—and most of all when the music is by Schu- bert—will be thrilled, amazed, and moved by the revelation of masterworks new to him, three of them tonight.

The F minor Fantasy stands absolutely at the summit of Schubert's achievement as a composer of instrumental music: it makes one ache for the promise it holds out for what should have been yet to come. In February 1828 he tried to sell it to the Mainz publisher

An 1868 drawing by Schubert s friend, the artist Moritz von Schwind (1804-1871), of a "Schubertiade" with the composer at the piano

8 Wm&m

Schott, but Schott turned it down. Diabelli in Vienna brought it out in March 1829, four months after Schubert's death, six weeks after what would have been his thirty-second birthday. As for the dedication of this work to the young Countess Karoline Esterhazy, the report is that Schubert was in love with his young and of course socially unreachable student. We don't know, of course; but that he dedicated so personal and so emotionally laden a work to her, that he gave her the manuscript of his great Piano Trio in E-flat, that Moritz von Schwind placed her portrait into the very center of his famous drawing §r/» of a "Schubertiade" at the house of Josef von Spaun (see opposite page)—all suggest that she was a person of more than ordinary importance in Schubert's life.

In some ways the Fantasy resembles a four-movement sonata. But as he does in the Wanderer Fantasy for solo piano and the C major Fantasy with violin (another almost unknown treasure), Schubert proceeds from one movement to the next without break, making of each of these links a spectacular coup de theatre. And where we expect a finale, Schubert surprises us—and brings many of us close to tears—by bringing back CiJ^m^Tkkf. lit! the Fantasy's beginning, that poignant, ever so slightly hesitant, delicately tzigane-fta.- vored F minor melody with its heavenly turn, at last, to the major mode. Then, however, the movement expands hugely, and the double fugue reaches one of the most thrilling climaxes in all of Schubert. Three afterthoughts entered between the completion of the Fantasy in February and the preparation of a fair copy in April are worth noting: the exquisite shape of the F major variant of the opening melody, Schubert's progressive slowing of the tempo marks for the second movement from Andante molto to Andante and finally to Largo, and, wonderfully, his adding the intensely dissonant, pathos-filled sequence of chords with which the work now comes to its close. Once again I quote the Swedish poet and pianist Tomas Transtromer: mzBm The long melody line that remains itself among all its variations, sometimes shiny and gentle, sometimes rough and powerful, the snail's trace and steel wire,

The stubborn humming sound that this instance is with us upward into the depths.

Everything by Schubert is harder (or even harder) than it sounds, and like Mozart, Schubert is merciless to those singers and players who are misled by his seeming sim- plicity. The fierce A minor Allegro (actually Allegro ma non troppo)—Diabelli's Lebensstiirme ("Life's Tempests") title is not inapt—is, however, quite obviously a piece for two thoroughly accomplished players, and many brave amateur sight-readers have foundered on its octaves and cross-rhythms. It is one of the most "orchestral" of Schubert's duets, and you can easily imagine its sounds as wind chorales, string pizzi- catos, and grandly rhetorical trombones.

Lebensstiirme may well be the abandoned beginning of the sort of large multi-movement sonata that the Grand Duo in C actually is. In 1855, Joseph Joachim orchestrated the Grand Duo in the belief that it was the supposedly lost symphony that Schubert—sup- posedly—wrote on his 1825 summer vacation in Gmunden and Gastein. Scholars are now pretty much agreed that there is no lost "Gastein Symphony," and that the work Schubert wrote that summer is the Great C major symphony, listed variously as No. 7, No. 8, or No. 9. The Grand Duo is a poetic and varied work, and even if its scale sug- gested "symphony" to Joachim and others, Robert Schumann among them, it is also one of the most brilliantly pianistic of Schubert's duets. The huge spaces this music will demand and occupy are immediately suggested by the surprising harmonic excursions undertaken even within the first minute. There are big outbursts of the kind we expect in late—here fairly late—Schubert, but predominantly the temper of the first movement

9 V

is lyric, and it moves toward a tender, quiet close. The second movement, set in the mel- low world of A-flat major, is made especially touching by its affectionate allusions to the second movement in Beethoven's Second Symphony, but of course for any one such reflection there are a thousand touches that are uniquely and unmistakably Schubert. Like its counterpart in the Great C major symphony, this Andante rises to a shattering, deeply disturbing climax. A brilliant scherzo with a veiled Trio in dark F minor is fol- lowed by a big, brilliant, pianistically demanding finale into which Schubert put more than a dash of paprika. —Michael Steinberg

Michael Steinberg was the Boston Symphony Orchestra's Director of Publications from 1976 to 1979, having previously been music critic of the Boston Globe from 1964 to 1976. After leaving Boston he was program annotator for the San Francisco Symphony and then also for the New York Philharmonic. Oxford University Press has published three compilations of his program notes: The Symphony—A Listener's Guide, The Concerto—A Listener's Guide, and (new this month) Choral Masterworks—A Listeners Guide.

Evgeny Kissin * Evgeny Kissin was born in Moscow in October 1971 and began to play by ear and improvise on the piano at age two. At six years old he entered a special school for gifted children, the Moscow Gnes- sin School of Music, where he was a student of Anna Pavlovna Kantor, who has remained his only teacher. He made his concerto debut playing Mozart's Piano Concerto No. 20 in D minor, K.466, at ten and gave his first solo recital in Moscow the following year.

£&- In March 1984 he came to international attention performing Chopin's piano concertos 1 and 2 in the Great Hall of the Moscow Conservatory with the Moscow State Philharmonic under Dmitri Kitaenko. Mr. Kissin's first appearances outside Russia were in 1985 in Eastern Europe, followed a year later by a Japanese tour. In 1987 he made his West European debut at the Berlin Festival. In 1988 he toured Europe with the Moscow Virtuosi and Vladimir Spivakov and also made his London debut with the London Symphony Orchestra under Gergiev. That December he performed with Herbert von Karajan and the Berlin Philhar- monic in an internationally broadcast New Year's concert recorded by Deutsche Gram- mophon. In 1990 he made his London Proms debut and his North American debut with the New York Philharmonic and Zubin Mehta, and opened Carnegie Hall's Centennial

Symphony Shopping

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

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

10 £'

Season with a debut recital. Mr. Kissin has received numerous awards and tributes from around the world, including the Crystal Prize of the Osaka Symphony Hall, Musical Americas Instrumentalist of the Year, the Triumph Award for his contribution to Russian culture, and an honorary doctorate from the Manhattan School of Music. His recordings V&». have also received numerous awards and accolades throughout the world. His first studio recording, in 1988 for RCA Red Seal, was of Rachmaninoff's Piano Concerto No. 2 with Gergiev and the London Symphony Orchestra, with six of Rachmaninoff's Opus 39 Etudes-tableaux. His RCA Red Seal discography also includes two Chopin recital pro- grams; music of Beethoven, Brahms, and Franck; Schumann's Kreisleriana, and works by Schumann, Liszt, Glinka, Mussorgsky, and others. His latest release is an all-Brahms disc including the Sonata No. 3 in F minor and five Hungarian Dances. For other labels, he has recorded recital works by Schubert, Brahms, Liszt, and Haydn. Concerto record- ings include Beethoven's piano concertos 2 and 5 (Emperor) with the Philharmonia Or- chestra and Levine for Sony Classical, Rachmaninoff's Piano Concerto No. 3 with the Boston Symphony Orchestra and Ozawa for RCA Red Seal, and concertos by Schumann, Prokofiev, Mozart, Haydn, and Shostakovich. Christopher Nupen's documentary film, "Evgeny Kissin: The Gift of Music," was released in 2000 on video and DVD by RCA Red Seal. Evgeny Kissin has appeared the world over with such conductors as Abbado, Ashkenazy, Barenboim, Dohnanyi, Giulini, Levine, Maazel, Muti, Ozawa, Svetlanov, and Temirkanov, as well as with all the world's major orchestras. He makes regular recital tours of the United States, Japan, and throughout Europe. Mr. Kissin's 2004-2005 schedule includes complete cycles of the Beethoven concertos with Sir Colin Davis and the London Symphony, Sir Neville Marriner and the Chamber Orchestra of Europe, Sir Andrew Davis and the Santa Cecilia Orchestra, Kurt Masur and the Orchestre National de France, and Lawrence Foster and the Gulbenkian Orchestra both in Lisbon and on tour in Europe. Besides his duo-recitals with James Levine in Boston and New York, his spring 2005 per- formance schedule includes recitals at Carnegie Hall, the New Jersey Performing Arts Center, Baltimore's Meyerhoff Hall, and the new Strathmore Hall in Bethesda, Maryland, as well as recitals in Bologna, Milan, Naples, Lisbon, Madrid, Brussels, and Amsterdam.

James Levine James Levine became music director of the Boston Symphony Orchestra in the fall of 2004. Named Music Director Designate in October 2001, he is the orchestra's fourteenth music director since the BSO's founding in 1881, and the first American-born conductor to hold that position. Maestro Levine opened his first season as BSO Music Director in October with Mahler's Eighth Symphony, the first of a dozen programs in Boston, three of which also went to Carnegie Hall. The season also includes appearances at Symphony Hall as pianist with the Boston Symphony Chamber Kl Players and in an all-Schubert four-hand recital with Evgeny Kissin (a program also to be played at Carnegie). At Tanglewood in July he will lead concerts with both the Boston Symphony and the Tanglewood Music Center Orchestra. Mr. Levine made his Boston Symphony debut in April 1972 and his Tanglewood debut that July; he has led the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of Milton Babbitt, John Cage, Elliott Carter, John Harbison, Gyorgy Ligeti, Roger Sessions, and Charles Wuorinen. Maestro Levine also remains as music director with the Metropolitan Opera, where, in the thirty-three years since his Met debut, he has developed a relationship with the company that is unparalleled in its history and unique in the musical world today. All told, he has led more than 2,000 performances of 80 different operas there. This season at the Met he I conducts forty-eight performances of eight operas, including new productions of Die Zauberflote and Faust and revivals of Otello, Carmen, Pelleas et Melisande, Le nozze di Figaro, Nabucco, and La clemenza di Tito, as well as the company's annual Pension Fund concert (a gala next month for the 50th anniversary of Mirella Freni's stage debut), and

11 three programs each with the MET Orchestra and MET Chamber Ensemble at Carnegie. Also in 2004-2005, Mr. Levine gives a master class at Zankel Hall for the Marilyn Home Foundation, leads the Chicago Symphony in its annual Pension Fund Concert (with soloist Daniel Barenboim), and leads the Cincinnati Symphony and the May Festival Chorus in Berlioz's Requiem. Outside the United States, Mr. Levine's activities are char- acterized by his enduring relationships with Europe's most distinguished musical organiza- tions, especially the Berlin Philharmonic, the Vienna Philharmonic, and the summer fes- tivals in Salzburg and Bayreuth. He was music director of the UBS Verbier Festival Youth Orchestra from its founding in 2000 through the summer of 2004 and, before coming to Boston, was chief conductor for five seasons of the Munich Philharmonic. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival and was music director for six summers of the Cincinnati May Festival. Besides his many recordings with the Metropolitan Opera and the MET Or- chestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia Orchestra, and Vienna Phil- harmonic. Over the last thirty years he has made more than 200 recordings of works rang- ing from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the world's great singers. James Levine was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a documentary in PBS's "American Masters" series. The recipient of numerous honorary doctorates and international awards, he will receive the 2005 Award for Distinguished Service to the Arts this May from the American Academy of Arts and Letters. Also in May he will be one of seventeen Centen- nial Honorees at the graduation ceremonies of the Juilliard School of Music.

2004-2005 SEASON BOSTON SYMPHONY ORCHESTRA

Give tfaa$o(, an extitL^

Gift Certificates are available in any amount and may be used toward the purchase of tickets to any BSO or Boston Pops performance at Symphony Hall orTanglewood. Gift Certificates may also be used at the Symphony Shop to purchase merchandise, or at the Symphony Cafe.

To purchase, visit www.bso.org, or the Symphony Hall Box Office,

301 Massachusetts Avenue, Boston, or call SymphonyCharge at

(617) 266-1200.

BOSTON SYMPHONY BOSTON ORCHESTRA POPS Tanglewood

12 Yoxjid be surprised what we're up to.

Mention the name Bose®and peo-

ple usually think of home audio

products, like our world-renowned

Wave® radio. After all, home audio

is where we first earned our reputa-

tion as the most respected name in

sound. Today we create premium

audio systems for everything from

luxury automobiles to retail stores

to aircraft and even the space shuttle.

So the next time you're impressed by

a sound system, look for the Bose

logo. You may be surprised what

we're up to.

To learn more about Bose and Bose

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

©2001 Bose Corporation. JN2041 7 - ///AV Rich Warren, Chicago Tribune, 6/1/90. Better sound through research® THE WALTER PISTON SOCIETY 1

a legac of giving

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

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

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

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

please call (617) 638-9252 or e-mail [email protected]. You may be assured of complete confidentiality. ) Diamonds * Pink Diamonds Art De Diam( )\d Pins * En( iagement Rings * Custom Made p

)\ i i \)\ \\K )nds Rigi 1 1 Hand Rings * Natural Colored t Drop Earrings * Diamond Studs Buccellati Silver Figures Ari Nouveau Jewelry Antique Diamond Bracelets * Rare Gems Nai ural Colored Sapphires * Tahitian Pearls Signed Jewelry Antique Pins Cultured Pearls Diamond Necklaces Custom Made Engagement Rings * South Sea Pearls Fine Gold Jewelry Fine Prl-Owned Wrist Watches * Natural Colored Rubies Antique Collectibles Silver Frames * Carved Crystal Figures D/^ID&COMPANY Sellers & Collectors Of Beautiful Jewelry

232 Boylston Street (Route 9), Chestnut Hill, MA 02467 617-969-6262 1-800-328-4326 www.davidandcompany.com Newburyport High School Gymnasium, Newburyport, MA

/ ( / 1 The Office of Michael Rosenfeld, Inc., Architects

r I / W. Acton, MA 01720 Tel: (978) 264-0160 www.omr-architects.com

M Residential I Educational I Religious I Corporate I Municipal

.*/