20032004 SEASON

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. BOSTON SYM PHONY ORCHESTRA

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JAMES LEVINE MUSIC DIRECTOR DESIGNATE

BERNARD HAITINK PRINCIPAL GUEST C UCTOR

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

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James Levine, Music Director Designate ^>,^ Bernard Haitink, Principal Guest Conductor Seiji Ozawa, Music Director Laureate 123rd Season, 2003-2004

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 Ed Linde, Vice-Chairman Vincent M. O'Reilly, Treasurer

Harlan E. Anderson Diddy Cullinane, Edna S. Kalman Edward I. Rudman George D. Behrakis ex-officio George Krupp Hannah H. Schneider Gabriella Beranek William R. Elfers R. Willis Leith, Jr. Thomas G. Sternberg Jan Brett Nancy J. Fitzpatrick Nathan R. Miller Stephen R. Weber Samuel B. Bruskin Charles K. Gifford Richard P. Morse Stephen R. Weiner

Paul Buttenwieser Avram J. Goldberg Donna Riccardi, Robert Winters James F. Cleary Thelma E. Goldberg ex-officio Eric D. Collins Julian T. Houston

Life Trustees Vernon R. Alden Julian Cohen George H. Kidder Peter C. Read

David B. Arnold, Jr. Abram T. Collier Harvey Chet Krentzman Richard A. Smith

J. P. Barger Mrs. Edith L. Dabney Mrs. August R. Meyer Ray Stata

Leo L. Beranek Nelson J. Darling, Jr. Mrs. Robert B. Newman John Hoyt Stookey

Deborah Davis Berman Archie C. Eppsf William J. Poorvu John L. Thorndike Jane C. Bradley Mrs. John H. Fitzpatrick Irving W. Rabb Dr. Nicholas T Zervas Helene R. Cahners Dean W. Freed tDeceased Other Officers of the Corporation

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

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

Helaine B. Allen Paul F. Deninger Dr. Arthur R. Kravitz Millard H. Pryor, Jr.

Joel B. Alvord Alan Dynner Mrs. William D. Patrick J. Purcell Marjorie Arons-Barron George M. Elvin Larkin, Jr. Carol Reich

Diane M. Austin John P. Eustis II Robert J. Lepofsky Alan Rottenberg Maureen Scannell Pamela D. Everhart Alexander M. Levine Michael Ruettgers

Bateman Judith Moss Feingold Christopher J. Lindop Kenan Sahin

Milton Benjamin J. Richard Fennell Shari Loessberg Arthur I. Segel George W Berry Lawrence K. Fish Edwin N. London Ross E. Sherbrooke James L. Bildner Myrna H. Freedman Carmine Martignetti Gilda Slifka Bradley Bloom Dr. Arthur Gelb Joseph B. Martin, M.D. Christopher Smallhorn

Mark G. Borden Jack Gill Robert J. Mayer, M.D. Mrs. Micho Spring Alan Bressler Robert P. Gittens Barbara E. Maze Charles A. Stakeley Michelle Courton Brown Paula Groves Thomas McCann Jacquelynne M. Robin A. Brown Michael Halperson Joseph C. McNay Stepanian William Burgin Ellen T Harris Albert Merck Wilmer Thomas Dr. Edmund B. Cabot Virginia S. Harris Dr. Martin C. Mihm, Jr. Samuel Thorne Rena F. Clark Deborah M. Hauser Molly Beals Millman Bill Van Faasen Carol Feinberg Cohen Carol Henderson Robert Mnookin Loet A. Velmans Mrs. James C. Collias Richard Higginbotham Robert T. O'Connell Paul M. Verrochi Margot Connell Phyllis S. Hubbard Norio Ohga Matthew Walker Ranny Cooper Roger Hunt Louis F. Orsatti Larry Weber Martha H.W Ernest Jacquet Joseph Patton Robert S. Weil

Crowninshield Charles H. Jenkins, Jr. Ann M. Philbin David C. Weinstein Joan P. Curhan Michael Joyce May H. Pierce James Westra Cynthia Curme Martin S. Kaplan Joyce L. Plotkin Mrs. Joan D. Wheeler James C. Curvey Steven E. Karol Dr. John Thomas Reginald H. White Tamara P. Davis Stephen Kay Potts, Jr. Robin Wilson Mrs. Miguel de Braganca Edmund Kelly Dr. Tina Young Richard Wurtman, M.D. Disque Deane Douglas A. Kingsley Poussaint

Betsy P. Demirjian Robert Kleinberg .. Overseers Emeriti

Caroline Dwight Bain Mrs. Kenneth J. Mrs. Gordon F. Robert E. Remis Sandra Bakalar Germeshausen Kingsley Mrs. Peter van S. Rice William M. Bulger Jordan Golding David I. Kosowsky John Ex Rodgers Mrs. Levin H. Campbell Mark R. Goldweitz Robert K. Kraft Mrs. Jerome Rosenfeld Earle M. Chiles Mrs. Haskell R. Benjamin H. Lacy Roger A. Saunders Phyllis Curtin Gordon Hart D. Leavitt Lynda Anne Schubert

JoAnne Walton Susan D. Hall Frederick H. Francis P. Sears, Jr. Dickinson John Hamill Lovejoy, Jr. Mrs. Carl Shapiro Phyllis Dohanian Mrs. Richard D. Hill Diane H. Lupean L. Scott Singleton

Goetz B. Eaton Glen H. Hiner Mrs. Charles P. Lyman Mrs. Arthur I. Strang Harriett Eckstein Marilyn Brachman Mrs. Harry L. Marks Robert A. Wells Edward Eskandarian Hoffman C. Charles Marran Mrs. Thomas H.P Peter H.B. Lola Jaffe Hanae Mori Whitney Frelinghuysen H. Eugene Jones Mrs. Hiroshi H. Nishino Margaret Williams- Mrs. Thomas Leonard Kaplan f John A. Perkins DeCelles Galligan, Jr. Mrs. S. Charles Kasdon David R. Pokrossf Mrs. Donald B. Wilson

Mrs. James Garivaltis Richard L. Kaye Daphne Brooks Prout Mrs. John J. Wilson

Business Leadership Association Board of Directors

Charles K. Gifford, Chairman Leo L. Beranek, James F. Cleary, and Edmund F. Kelly, President Harvey Chet Krentzman, Chairmen Emeriti

Robin A. Brown John P. Hamill Thomas J. May Roger T Servison

Michael J. Costello Ernest K. Jacquet J. Kent McHose Malcolm L. Sherman Robert W Daly Michael J. Joyce Joseph C. McNay Ray Stata Francis A. Doyle Steven E. Karol Louis F Orsatti William C. Van Faasen

William R. Elfers Christopher J. Lindop Patrick J. Purcell Paul M. Verrochi Lawrence K. Fish Carmine A. Martignetti Lynda A. Schubert Lawrence Weber

Ex-Officio Peter A. Brooke • Diddy Cullinane • Nicholas T Zervas

Officers of the Boston Symphony Association of Volunteers Donna Riccardi, President Ursula Ehret-Dichter, Executive Vice-President/ Audley Fuller, Executive Vice-President/ Tanglewood Administration Pat Kavanagh, Secretary Ann Philbin, Executive Vice-President/ William A. Along, Treasurer Fundraising Una Fleischmann, Nominating Committee Chairman

Olga Eldek Turcotte, Melinda Brown, Resource Jerry Dreher, Education and Membership Development Outreach Ellen W. Mayo, Public Relations Leah Weisse, Symphony Shop Lisa A. Mafrici, Special Projects Judy Barr, Hall Services Staffing

Table of Contents

On Display at Symphony Hall 6 "Casts of Character: The Symphony Statues," by Caroline Taylor 11 This Week's Boston Symphony Orchestra Program 19 Featured Artists 47 Future Programs 68 Symphony Hall Exit Plan 70 Symphony Hall Information 71

This week's Pre-Concert Talks are given by Helen Greenwald, New England Conservatory of Music.

Programs copyright ©2004 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston/Cover photograph by Constantine Manos Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity Tony Beadle, Manager, Boston Pops Peter Minichiello, Director of Development Anthony Fogg, Artistic Administrator Kim Noltemy, Director of Sales and Marketing Marion Gardner-Saxe, Director of Human Resources Caroline Taylor, Senior Advisor to the Ellen Highstein, Director of Tanglewood Music Center Managing Director Thomas D. May, Chief Financial Officer Ray F. Wellbaum, Orchestra Manager ADMINISTRATIVE STAFF/ARTISTIC • Karen Leopardi, Artist Assistant/Secretary to the Music Director • Vincenzo Natale, Chauffeur/Valet Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Alexander Steinbeis, Artistic Administration Coordinator ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coordinator • Stephanie Kluter, Assistant to the Orchestra Manager • Jake Moerschel, Stage Technician • Julie G. Moerschel, Assistant Chorus Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Timothy Tsukamoto, Orchestra Personnel Coordinator

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

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller Lamees Al-Noman, Cash Accountant • Yaneris Briggs, Accounts Payable Supervisor • Michelle Green, • Executive Assistant to the Chief Financial Officer • Y. Georges Minyayluk, Senior Investment Accountant John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Mana- ger • Taunia Soderquist, Payroll Administrator • Andrew Swartz, Budget Assistant • Teresa Wang, Staff Acco untant DEVELOPMENT Judi Taylor Cantor, Director of Individual and Planned Giving Rebecca R. Crawford, Director of Development Communications • Sally Dale, Director of Stewardship and Development Administration Deborah Hersey, Director of Development Services and Technology Jo Frances Kaplan, Director of Institutional Giving

Rachel Arthur, Individual and Planned Giving Coordinator • Gregg Carlo, Coordinator, Corporate Pro- grams • Diane Cataudella, Associate Director of Stewardship • Joanna N. Drake, Coordinator, Tanglewood Annual Funds • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Alexandra Fuchs, Manager, Tanglewood Annual Funds • Barbara Hanson, Assistant Manager, Tanglewood Annual Funds • Justin Kelly, Assistant Manager of Gift Processing and Donor Records • Katherine M. Krupanski, Coor- dinator, BSO and Pops Annual Funds • Rachel Lewis, Senior Major Gifts Officer • Mary MacFarlane, Assistant Manager, BSO and Pops Annual Funds • Robert Meya, Senior Major Gifts Officer • Susan Olson, Stewardship Coordinator • Tina Renee Parker, Manager of Special Events • Thompson R. Patton, Foun- dation & Government Grants Coordinator • Mark Perreault, Gift Processing and Donor Records Coordinator • Gerrit Petersen, Director of Foundation Support • Macey Pew, Gift Processing and Donor Records Coor- dinator • Phoebe Slanetz, Director of Development Research • Elizabeth Stevens, Assistant Manager of Planned Giving • Mary E. Thomson, Program Manager, Corporate Programs • Christine Wright, Execu- tive Assistant to the Director of Development/Office Manager EDUCATION AND COMMUNITY PROGRAMS /ARCHIVES Myran Parker-Brass, Director of Education and Community Programs Bridget P. Carr, Archivist—Position endowed by Caroline Dwight Bain Angel Baker, Education and Community Programs Assistant • Gabriel Cobas, Manager of Education Programs • Leslie Wu Foley, Associate Director of Education and Community Programs EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services Lesley Ann Cefalo, Special Events Manager • Kathleen Clarke, Assistant to the Director of Event Services • Emma-Kate Kallevik, Tanglewood Events Coordinator • Kyle Ronayne, Food and Beverage Manager HUMAN RESOURCES Dorothy DeYoung, Benefits Manager Sarah Nicoson, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Lead User Support Specialist • John Lindberg, System and Network Administrator • Michael Pijoan, Assistant Director of Information Technology • Brian Van Sickle, User Support Administrator PUBLIC RELATIONS Bernadette M. Horgan, Director of Media Relations

Sean J. Kerrigan, Associate Director of Media Relations • Jonathan Mack, Media Relations Associate • Amy Rowen, Media Relations Coordinator • Kate Sonders, Staff Assistant PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor SALES, SUBSCRIPTION, AND MARKETING Leslie Bissaillon, Manager, Glass Houses Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front of House Manager Roberta Kennedy, Manager, Symphony Shop Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Tahli Adler, Program Coordinatorfor Corporate Sponsorships • Amy Aldrich, Manager, Subscription Office • Pam Bennett, Assistant Manager, Symphony Shop • Rich Bradway, Manager of Internet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager • John Dorgan, Group Sales Coordinator • Michelle Giuliana, Web Editor • Peter Grimm, Tanglewood Special Projects Manager • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • James Jackson, Call Center Manager • Julie Kleinhans, Subscription Representative • Kenta Kusano, Senior Web Developer • Katherine Leeman, Marketing Coordinatorfor Print Production • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Cheryl McKinney, Subscription Representative • Michael Moore, Assistant Call Center Manager • Doreen Reis, Marketing Coordinatorfor Advertising • Megan E. Sullivan, Access Services Coordinator • Sandra Swanson, Manager, Corporate Sponsorships Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

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

House Crew Charles Bent, Jr. • Charles F. Cassell, Jr. • Francis Castillo • Eric Corbett • Thomas Davenport • Michael Frazier • Juan Jimenez • Peter O'Keefe Security Christopher Bartlett • Matthew Connolly • Cleveland Olivera • Tyrone Tyrell, Security Supervisor Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gabo Boniface Wahi TANGLEWOOD MUSIC CENTER Karen Brown, Coordinator • Patricia Brown, Associate Director • Beth Paine, Manager of Student Services • Gary Wallen, Scheduler TANGLEWOOD OPERATIONS

David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services Paula Ramsdell, Project Coordinator — mm

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free for student groups, or at a minimal BSO charge for tours arranged through commer- cial tour operators—can be arranged in BSO Pension Fund Concert advance by contacting Paula Ramsdell in Features Baritone Thomas Hampson the BSAV Office at (617) 638-9391. with Christoph von Dohnanyi Conducting, Sunday, February 1, C.P.E. Bach Exhibit at Symphony Hall at Symphony Hall The BSO will play a special, non-subscrip- In conjunction with the BSO's upcoming per- tion Pension Fund concert at Symphony Hall formances of Carl Philipp Emanuel Bach's this Sunday, February 1, at 3 p.m. The ac- Cello Concerto in A, Wq. 172, February 5- claimed American baritone Thomas Hamp- 10 with soloist Pieter Wispelwey and con- son will be featured in Mahler's Songs of a ductor Ton Koopman, a special exhibit on Wayfarer with former Cleveland Orchestra the composer will be on display at Sym- music director Christoph von Dohnanyi phony Hall from February 4-10. Celebrating leading the BSO in a program also to in- C.P.E. Bach's significance as a bridge be- clude the overture to Mozart's Marriage of tween the Baroque and Classical idioms, Figaro and the Symphony No. 4 of Johannes the exhibit will feature rare manuscript and Brahms. A half-hour Pre-Concert Talk by printed materials on loan from the Eda Kuhn BSO Director of Program Publications Marc Loeb Music Library at Harvard University Mandel will begin at 2 p.m. Tickets from and will be mounted in the Massachusetts $26 to $86 are available through Symphony- Avenue corridor. Among the musical and Charge at (617) 266-1200, at the Symphony literary sources on display will be editions Hall box office, or online at www.bso.org. from 1753, 1762, and 1787 of Bach's Essay Established in 1903, the Boston Sym- on the True Art of Playing Keyboard Instru- phony Pension Institution is the oldest ments. among the American symphony orchestras. In recent years the Pension Institution has Lecture & Master Classes paid nearly $1 million annually to nearly with Ton Koopman one hundred pensioners or their surviving and Pieter Wispelwey spouses. Pension Institution income is de- rived from Pension Fund concerts, and from Also in conjunction with the BSO's perform- Open Rehearsals at Symphony Hall and ances of C.P.E. Bach's A major cello concerto, Tanglewood, as well as annual contributions conductor Ton Koopman and cellist Pieter from the Boston Symphony Orchestra, Inc. Wispelwey will feature in Illustrated Lec- ture & Master Class events at Paine Hall, Symphony Hall Tours Harvard University (Music Building, North Yard, Cambridge) presented by the Cam- The Boston Symphony Association of bridge Society for Early Music. Mr. Koop- Volunteers offers tours of Symphony Hall man will lead a master class for conductors throughout the Symphony season. Experi- with the Harvard Baroque Chamber Orches- enced volunteer guides discuss the history tra on Monday, February 2, at 7 p.m. Mr. and traditions of the BSO and its world- Wispelwey will participate in a workshop for famous home, Symphony Hall, as the group cellists on Monday, February 9, at 7 p.m. is escorted through public and selected Both events are open to the public. Tickets "behind-the-scenes" areas of the building. are $10 adults ($5 seniors and students). Free walk-up tours lasting approximately

one hour take place on the first Saturday of BSO Members in Concert each month at 1:30 p.m. and every Wednes- day at 4:30 p.m. All tours begin in the Ronald Knudsen leads the New Philharmonia Massachusetts Avenue lobby of Symphony Orchestra on Saturday, February 7, at 8 p.m., Hall, where the guide meets participants for at the Sorenson Center, Babson College. Pi- entrance to the building. No reservations anist Jonathan Bass is featured in Dohnanyi's are necessary. In addition, group tours Variations on a Nursery Song, on a program with Tchaikovsky's Suite No. 3. Tickets are mezzo-soprano, and Christian Goodwillie, $20, with discounts for students and sen- lute, in a program of love songs both "heav- iors. For more information call (617) 527- enly" (Shaker) and "worldly" (by Dowland). 9717 or visit www.newphil.org. Admission is $14, with a post-concert Shaker Founded by BSO cellist Jonathan Miller, Supper available for an additional cost. For the Boston Artists Ensemble performs Moz- reservations, please call (413) 443-0188, art's Oboe Quartet in F, K.370, John Harbi- ext. 221. For additional information visit son's Six American Painters, and Dvorak's www.musicworksintheberkshires.org or call F major string quartet, Opus 96, American, 1-866-266-2746. plus the ensemble's annual "mystery piece," on Friday, February 13, at 8 p.m. at the Pre-Concert Talks Peabody-Essex Museum in Salem, and on Sunday, February 15, at 2:30 p.m. at Trinity Pre-Concert Talks available free of charge Church in Newton Center. The performers to BSO ticket holders precede all Boston are Mr. Miller, violinist Arturo Delmoni, BSO Symphony concerts and Open Rehearsals, violinist Tatiana Dimitriades and violist starting at 7 p.m. prior to evening concerts, Burton Fine, and BSO oboe Mark McEwen. 12:15 p.m. prior to Friday-afternoon con- Tickets are $24, with discounts for students certs, and one hour before the start of morn- and seniors. For more information call (617) ing and evening Open Rehearsals. Given by 964-6553. a variety of distinguished speakers from Bos- MusicWorks, founded by BSO violist Mark ton's musical community, these informative

Ludwig, continues its 2003-04 season with half-hour talks include taped examples from a "Valentine Concert" on Saturday, Febru- the music being performed. This week, Helen ary 14, at Hancock Shaker Village in Han- Greenwald of the New England Conserva- cock, MA. This 6 p.m. concert in the Shaker tory discusses music of Kurtag, Schumann, Dwelling features Deborah Rentz-Moore, and Brahms. In the weeks ahead, Jessie

On Display in Symphony Hall The history of Symphony Hall and the Boston Symphony Orchestra is documented throughout the public spaces of Symphony Hall in an exhibit that displays hidden treasures from the BSO Archives, bringing to life the rich legacy of Symphony Hall both as an historic building in the city of Boston, and as one of the world's greatest concert halls. Among the topics covered are the design, construction, and acous- tics of Symphony Hall, and its grand opening on October 15, 1900; guest artists who have performed with the BSO; pre- mieres given here by the BSO; the early formation of the orchestra; the Boston Pops; radio and television broadcasting history; and the use of Symphony Hall as a recording venue. The exhibit also explores the use of Symphony Hall by other performing artists and by such groups as the Handel & Haydn Society and FleetCelebrity Series, as well as many non-musical activities including political events, travelogues, movie screenings, and a variety of trade shows. Shown at left is a 1900 photograph of pianist Harold Bauer, a frequent soloist with the BSO between 1900 and 1937 (photo by Gessford). At right is a 1936 charcoal drawing by Gerome Brush of Richard Burgin, the BSO's concertmaster from 1920 to 1962. The exhibit is located on the first two levels of Symphony Hall—on the orches- tra level along the Massachusetts Avenue and Huntington Avenue corridors, and on the first balcony along the Massachusetts Avenue corridor, in the Cabot-Cahners Room, and in the west corridor (paralleling Gainsborough Street)—and in the Cohen Wing display cases across from the Symphony Shop. •..•• >!->

Ann Owens of Brandeis University discuss- tors and guest artists throughout the season," es J.S. Bach, C.P.E. Bach, and Mendelssohn said Dawson Rutter, President and CEO, (February 4-10) and Hugh Macdonald of Commonwealth Worldwide Chauffeured Washington University, St. Louis, discusses Transportation. "The BSO has enhanced the Suk, Martinu, and Dvorak (February 12-14). Boston community for 122 years and we are This season's Pre-Concert Talks are dedicat- excited to be part of such a rich heritage for ed by this year's speakers to the memory of many years to come." Founded in Allston, Boston University Professor John Daverio MA, in 1982 with a single Cadillac, Com- (1954-2003), a cherished colleague whose monwealth has grown to become a world- contributions to Boston Symphony concerts wide operation, handling corporate clientele as guest speaker and annotator are not for- with 90 full-time career chauffeurs. Com- gotten. monwealth has provided its customers with the highest degree of service for more than Delta Air Lines Becomes twenty years and is continually setting new Official Airline of the BSO standards for customer service and support.

The BSO is pleased to welcome Delta Air Comings and Goings... Lines as the Official Airline of the Boston Symphony Orchestra for the 2003-04 through Please note that latecomers will be seated 2005-06 seasons. "In our first year of spon- by the patron service staff during the first sorship with the BSO, we look forward to an convenient pause in the program. In addi- exciting season of astonishing performances tion, please also note that patrons who leave from artists around the world," said Vicki the hall during the performance will not be Escarra, Executive Vice-President and allowed to reenter until the next convenient Chief Marketing Officer, Delta Air Lines. pause in the program, so as not to disturb "At Delta, we are committed to supporting the performers or other audience members the arts, believing that they help us to em- while the concert is in progress. We thank brace our differences and enrich our under- you for your cooperation in these matters. standing of diverse peoples and cultures." Delta Air Lines' service in Boston dates Ticket Resale back to 1933, when Boston-Maine Airways inaugurated service. Now, with more than Please remember that subscribers unable 60,000 members of the Delta family world- to attend a particular BSO concert in their wide, Delta has been a longtime supporter series may call (617) 638-9426 up to one of the greater Boston metropolitan area, at hour before the concert to make their tickets the airport and beyond. With the complete available for resale. This not only helps orchestra, it redevelopment of Terminal A at Logan Air- bring needed revenue to the to port, which is expected to be complete in also makes your seat available someone 2005, Delta customers traveling through who might otherwise be unable to attend the Boston will benefit from unprecedented cus- concert. You will receive a mailed receipt tomer-focused technology and services. acknowledging your tax-deductible contri- bution within three weeks of your call. BSO Begins Long-Term Sponsor Relationship with Commonwealth In Case of Snow... Worldwide Chauffeured Transportation To find out the status of a Boston Symphony The BSO has recently entered into a new, concert and options available to you in case long-term partnership with Commonwealth of a snow emergency, BSO subscribers and Worldwide, a world leader in premier corpo- patrons may call a special Symphony Hall rate and event travel, as the Official Chauf- number. Just dial (617) 638-9495 at any feured Transportation of the Boston Sym- time for a recorded message regarding the phony Orchestra. "We are proud to support current status of a concert. Please note, too, such a wonderful organization by providing that ticket refunds will only be offered for chauffeured transportation for BSO conduc- concerts that are cancelled. *Jennie Shames Robert Barnes David and Ingrid Kosowsky Burton Fine chair Ronald Wilkison *Valeria Vilker Kuchment Michael Zaretsky Theodore W. and Evelyn Berenson Family chair Marc Jeanneret *Tatiana Dimitriades *Mark Ludwig Stephanie Morris Marryott and * Rachel Fagerburg Franklin J. Marryott chair *Kazuko Matsusaka *Si-Jing Huang * Rebecca Gitter BOSTON SYMPHONY Catherine and Paul Buttenwieser chair ORCHESTRA Cellos *Nicole Monahan 2003-2004 Mary B. Saltonstall chair Jules Eskin Principal James Levtne *Wendy Putnam Philip R. Allen chair, endowed Kristin and Roger Servison chair Music Director Designate in perpetuity in 1969 *Xin Ding Ray and Maria Stata Martha Babcock Music Directorship, Donald C. and Ruth Brooks Assistant Principal fully funded in perpetuity Heath chair, fullyfunded in per- Vernon and Marion Alden chair,It, petuity Bernard Haitink endowed in perpetuity in 1977 Principal Guest Conductor Second Violins LaCroix Family Fund, Sato Knudsen Haldan Martinson fullyfunded in perpetuity Mischa Nieland chair, Principal fullyfunded in perpetuity Seiji Ozawa Carl Schoenhof Family chair, Mihail Jojatu Music Director Laureate fullyfunded in perpetuity Sandra and David Bakalar chair Vyacheslav Uritsky Luis Leguia First Violins Assistant Principal Robert Bradford Newman chair, Charlotte and Irving W. Rabb Malcolm Lowe fullyfunded in perpetuity chair, endowed in perpetuity Concertmaster in 1977 *Jerome Patterson Charles Munch chair, Ronald Knudsen Lillian and Nathan R. Miller fully funded in perpetuity chair ^Tamara Smirnova Edgar and Shirley Grossman chair *Jonathan Miller Associate Concertmaster Charles and Anne Dickinson Joseph McGauley Jo Helen Horner Mclntyre chair, chair endowed in perpetuity in 1976 Shirley and J. Richard Fennell chair, fullyfunded in perpetuity *0wen Young Juliette Kang John F. Cogan, Jr., and Mary L. Ronan Lefkowitz Assistant Concertmaster Cornille chair, fully funded in David H. and Edith C. Howie Robert L. Beal, Enid L., and perpetuity Bruce A. Beal chair, endowed in chair, fully funded in perpetuity * Andrew Pearce perpetuity in 1980 *Nancy Bracken Stephen and Dorothy Weber chair Elita Kang *Aza Raykhtsaum Assistant Concertmaster *Bonnie Bewick Richard C. and Ellen E. Paine Edward and Bertha C. Rose *James Cooke chair, fully funded in perpetuity chair Bo Youp Hwang *Victor Romanul Bessie Pappas chair Gordon and Mary Ford Kingsley John and Dorothy Wilson chair, * Family chair fully funded in perpetuity Catherine French Lucia Lin *Kelly Barr Basses Forrest Foster Collier chair *Alexander Velinzon Edwin Barker Ikuko Mizuno Principal Dorothy Q. and David B. Arnold, Violas Harold D. Hodgkinson chair, Jr., chair, fully funded in Steven Ansell endowed in perpetuity in 1974 perpetuity Principal Lawrence Wolfe Levy Amnon Charles S. Dana chair, Assistant Principal Muriel C. Kasdon and Marjorie in perpetuity in endowed 1970 Maria Nistazos Stata chair, C. Paley chair Cathy Basrak fully funded in perpetuity * Sheila Fiekowsky Assistant Principal Joseph Hearne Ruth and Carl Shapiro chair, chair, J. Anne Stoneman Leith Family chair, in perpetuity perpetuity fully funded fully funded in fully funded in perpetuity Edward Gazouleas Dennis Roy Lois and Harlan Anderson chair, Joseph and Jan Brett Hearne fullyfunded in perpetuity chair * Participating in a system of rotated seating John Salkowski chair $ On sabbatical leave Erich and Edith Heymans § Substitute player

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* James Orleans Bassoons Tuba *Todd Seeber Richard Svoboda Mike Roylance Eleanor L. and Levin H. Principal Margaret and William C. Campbell chair, fullyfunded in Edward A. Taft chair, endowed Rousseau chair, fullyfunded perpetuity in perpetuity in 1974 in perpetuity *John Stovall Suzanne Nelsen *Benjamin Levy John D. and Vera M. Timpani Contrabassoon Thomas Gauger Fenwick Smith Gregg Henegar Peter and Anne Brooke chair, Acting Assistant Principal Helen Rand Thayer chair fullyfunded in perpetuity Myra and Robert Kraft chair, Frank Epstein endowed in perpetuity in 1 981 Horns Peter Andrew Lurie chair, Elizabeth Ostling James Sommerville fully funded in perpetuity Acting Principal Principal J. William Hudgins Marian Gray Lewis chair, Helen Sagoff Slosberg/Edna Barbara Lee chair fullyfunded in perpetuity S. Kalman chair, endowed Timothy Genis in perpetuity in 1974 Acting Timpanist Piccolo Richard Sebring Mr. and Mrs. Edward H. Linde Associate Principal chair Evelyn and C. Charles Marran Margaret Andersen Congleton chair, endowed in perpetuity in chair, fullyfunded in perpetuity Harp 1979 Daniel Katzen Ann Hobson Pilot § Linda Toote Elizabeth B. Storer chair Principal Jay Wadenpfuhl Oboes John P. II and Nancy S. Eustis Voice and Chorus John Ferrillo chair, fullyfunded in perpetuity John Oliver Principal Richard Mackey Tanglewood Festival Chorus Mildred B. Remis chair, endowed Hamilton Osgood chair Conductor in perpetuity in 1975 Jonathan Menkis Alan J. and Suzanne W. Dworsky Mark McEwen Jean-Noel and Mona N. chair, fullyfunded in perpetuity James and Tina Collias chair Tariot chair Keisuke Wakao Librarians Assistant Principal Trumpets ^Marshall Burlingame Elaine and Jerome Rosenfeld Charles Schlueter Principal chair Principal Lia and William Poorvu chair, Roger Louis Voisin chair, fully funded in perpetuity English Horn endowed in perpetuity in 1977 William Shisler Robert Sheena Peter Chapman John Perkel Beranek chair, fullyfunded Ford H. Cooper chair in perpetuity Thomas Rolfs Assistant Conductor Associate Principal Clarinets Nina L. and Eugene B. Doggett Anna E. Finnerty chair, William R. Hudgins chair fully funded in perpetuity Principal Benjamin Wright Ann S.M. Banks chair, endowed Rosemary and Donald Hudson Personnel Managers in perpetuity in 1977 chair Lynn G. Larsen Scott Andrews Bruce M. Creditor Thomas and Dola Sternberg Trombones chair Ronald Barron Stage Manager Thomas Martin Principal John Demick Associate Principal & J. P. and Mary B. Barger chair, Position E-flat clarinet fully funded in perpetuity endowed by Angelica L. Russell Stanton W. and Elisabeth K. Norman Bolter Davis chair, fully funded in Arthur and Linda Gelb chair perpetuity Bass Trombone Bass Clarinet Douglas Yeo Craig Nordstrom John Moors Cabot chair, Farla and Harvey Chet fully funded in perpetuity Krentzman chair, fully funded in perpetuity FleetBoston V Celebrity Series Engaging Entertaining Enriching 003-2004 season

More than 48 of the

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Stare out into the vastness of an empty Symphony Hall. Who stares back? A satyr— dancing one—as well as Sophocles, Euripides, Demosthenes, and Apollo.

These "casts of character" are among the sixteen mythological deities and legendary fig- ures of antiquity who continually survey Symphony Hall. Striking elegantly languid poses from their second-balcony niches, they surely have the best "seats" in the house. These statues—all plaster casts of Old World originals—have been ensconced in their niches since the early 1900s, when a generous group of Symphony Friends selected and donated them to the hall.

The idea for the statues originated with the hall's architects, McKim, Mead & White, and its acoustical adviser, Wallace Clement Sabine. Sabine saw the statuary as the solution to two problems confronting them at the time: the beautiful casts could embellish large wall surfaces in the hall while providing places where acoustical adjust- ments could be made. If the hall's acoustics need- ed to be altered, fabric or felt could be placed be- hind the statues without disturbing the decor. As it turned out, Symphony Hall was so masterfully de-

signed that it was never necessary to change the acoustics in a significant way.

Florence Wolsky, although semi-retired, is a member of the Museum of Fine Arts Ancient Arts Department and one of the original Symphony Hall tour guides. Mrs. Wolsky has thoroughly researched the statues and their history. After more than thirty years of familiarity, her passion and affection for them remain undimmed.

The use of reproductions, explains Mrs. Wolsky, was extremely popular in the nineteenth century. Apollo Belvedere (Rome) resolution was At ^ Parig Exposition of 1867 , a passed that everyone in the world had the right to be exposed to quality reproductions of the great statues of Greece and Rome.

Mrs. Wolsky explains: "There were very strong feelings of cultural uplift at the time, much the same feeling that was behind Major Higginson's impulse to found the Boston Symphony after he had traveled to Europe, had heard the great symphonies there, and seen the great art. People in Boston had a strong desire to bring great art to this country, since

they believed it brought out the noblest instincts in man, and therefore created a better democracy.

"Since most Greek sculpture was rendered in bronze, not marble, most statuary was melted down. The Romans, however, adored Greek sculpture and made numerous copies, in marble, of Greek statues, which have survived."

Roman marbles, like their Greek predecessors, were rarely available for purchase. As a result, American specialists like Pietro Caproni and his brother—whose studios were at the corner of Washington and Newcomb streets in Roxbury—traveled to Europe, copying the originals with precision, grace, and plaster.

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>r -.*. s . i S >/ . ii i I According to Mrs. Wolsky, the actual selection of ii the Caproni plaster casts was entrusted to Mrs. John W. Elliot and a committee of about two hun- dred Friends of Symphony. The group pored over the Caproni brothers' catalogues, eventually choos- ing the sixteen statues now in the hall.

These statues were an appropriate addition to the neoclassical design of Symphony Hall, since the ancient Romans often decorated their odeons or theaters with such objects of art. The Caproni casts were not in place for the hall's opening con- cert, but were added one at a time as they emerged from the Caproni studios.

These statues, in Mrs. Wolsky's opinion, may well have been chosen with an eye toward beauty, as well as for their relevance to music, art, litera- ture, and oratory. Two of the statues depict Apollo, the god of music and poetry. The first—set second from the right as you face the stage—is known as Apollo Citharoedus (pictured at right). Copied from the original in the Palazzo dei Conservatori in Rome and based on a Greek statue from about 430

B.C., it shows Apollo in the long robes of a musi- Apollo Citharoedus (Rome) cian. He is accompanying his songs and poetry on a cithara, an instrument similar to a lyre he is credited with inventing. On his head is a laurel wreath—the symbol of triumph in Greece and Rome—which was given to victors in the games and contests sacred to Apollo.

The second statue of Apollo—to the right, as you face the back of the hall—is the Apollo Belvedere (pictured on page 11), credited for generations as the highest ideal of male beauty. The original, in the Vatican Museum, is thought to be a Roman copy of a fourth-century B.C. work by Leochares, the court sculptor to Alexander the Great. Here, Apollo is shown as a divine hero, wearing a chlamys, or short cloak, and holding a bow in his left hand. A spray of the sacred laurel plant may once have rested in his other hand. A creature of earth and the underworld, the snake, is coiled around the tree stump, symbolizing Apollo's role as a god of prophecy.

To the left of this statue stands Diana of Ver- sailles (pictured left), currently in the Louvre and also a copy of a fourth-century B.C. work by Leochares. Diana—known to the Greeks as Artemis, goddess of the chase and the forests is shown here in the woods, flanked by a small stag. Wearing her hunting costume, a short tunic, she once readied a bow in her left hand. Like her brother Apollo, Diana was a musician who often led her choir of muses and graces at Delphi on returning from the hunt.

Three statues represent satyrs, or fauns mythological creatures human in form, with the ears and tail of a goat. Satyrs were followers of Dionysus, the god of drama and music. The first satyr—first to the right, as you face the stage has the infant Bacchus, or Dionysus, riding on Diana of Versailles (Paris) his shoulders, grasping a bunch of grapes. The

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satyr holds a pair of cymbals. On the stump beside him is a panther skin, sacred to Diony- sus, as well as Pan-pipes, grapes, and vine leaves. ^m

The second satyr—fourth on the right, facing the stage—is known as The Dancing Faun. The original is currently in the Villa Borghese in Rome. This satyr, older and bearded, plays the cymbals while dancing, as he would in a procession honoring Dionysus. Another panther skin is draped on the stump behind him, his body twisted in the vigorous "contrap- posto" typical of late Hellenistic art.

The third satyr—first on the left, as you face the stage—originated with Praxiteles, one of the three greatest sculptors of the fourth century B.C. As Mrs. Wolsky points out, Praxiteles was a virtuoso in stone sculpture and gave marble a translucent, soft surface that conveys the im- pression of human skin. A marvelous example of the characteristic grace of a Praxitelean stat- ue, this one shows a languid, dreamy satyr lean- ing against a tree stump. It is often called The Marble Faun, from the book by Nathaniel Haw- thorne it reportedly inspired.

Also represented in Symphony Hall are De- mosthenes (fifth from the right as you face the stage); two statues of the Greek poet Anacreon (sixth from the right and sixth from the left, the former—the "Seated Anacreon"—shown here); Euripides (seventh from the right); Hermes (third from the left); Athena (fourth from the left); Sophocles (fifth from the left); and the Greek orator Aeschines (seventh from the left).

One statue that has an indirect connection to the arts, at best, is that of the Amazon (second Seated Anacreon (Copenhagen) from the left), thought to be a copy of a work by

Polycleitus from the fifth century B.C. The Amazon was probably chosen since it is one of the most famous statues of antiquity. Amazons were followers of the musician Diana. Mrs. Wolsky suspects that there may have been a desire to represent another woman in the statuary, in addition to Diana, Athena, and the so-called Woman from Herculaneum (third from the right), one of the statues buried by the eruption of Mount Vesuvius in 79 A.D. and listed in an old Caproni catalogue as Mnemosyne, Mother of the Muses.

As beautiful as they are, the statues of Symphony Hall have not always been hailed as

List of Casts in Symphony Hall

As the stage, the casts you face on the The casts on the left, beginning right, beginning with the one nearest from nearest the stage, are: the stage, are: Resting Satyr of Praxiteles (Rome) Faun with Infant Bacchus (Naples) Amazon (Berlin) Apollo Citharoedus (Rome) Hermes Logios (Paris) Girl of Herculaneum (Dresden) Lemnian Athena (Dresden; Dancing Faun (Rome) head in Bologna) Demosthenes (Rome) Sophocles (Rome) Seated Anacreon (Copenhagen) Standing Anacreon (Copenhagen) Euripedes (Rome) Aeschines (Naples) Diana of Versailles (Paris) Apollo Belvedere (Rome)

15 i

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I dare say no two cocktail bars in Boston are as seductive a medium and raise so much havoc with virgins as does Symphony Hall by means of its suggestive display of male privates Symphony Hall is one of the remaining symbols of Boston cul-

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Music has a unique way of touching our lives. It has the ability to transport us to a different place, inspire our youth to follow their dreams, and speak to the community.

As you listen to the music that speaks to your heart, remember that the legacy of the Boston Symphony Orchestra could not continue without your financial support. Ticket sales do not cover the operating

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KURTAG Stele, Opus 33 Adagio — Lamentoso— disperato con moto — Molto sostenuto

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20 111"- Gyorgy Kurtag Stele, Opus 33

Gyorgy Kurtdg was born in Lugoj, Romania, on Febru- sn ary 19, 1926, and lives in Paris. He composed ITHAH, or Stele, Opus 33, between April and October 1 994 to

fulfill a commission from the Berlin Philharmonic. He dedicated the score to Claudio Abbado and the Berlin Philharmonic, who gave the first performance on De- cember 14, 1994, in Berlin. The American premiere took place at Tanglewood on August 15, 1995, in Seiji Ozawa Hall, with Reinbert de Leeuw conducting the Tangle- wood Music Center Orchestra during that summer's annual Festival of Contemporary Music. These are the first performances of Stele by the Boston Symphony Orchestra, which has previously played only one Kurtdg work, his "Grabstein fur Stephan, " in October/November 2002 with Federico Cortese conducting. Stele is scored for a very large orchestra consist- ing of six flutes (fourth doubling piccolo, fifth doubling alto, sixth doubling bass flute), four oboes (fourth doubling English horn), six clarinets (fourth doubling E-flat, fifth dou- bling bass, sixth doubling contrabass), four bassoons (fourth doubling contrabassoon); four horns, two tenor tubas in B-fiat (first doubling fifth horn, second doubling seventh

horn), two bass tubas in F (first doubling sixth horn, second doubling eighth horn), four trumpets, four trombones, contrabass tuba, two harps, cimbalom, piano and upright piano, celesta, percussion (vibraphone, xylorimba, marimba, triangle, four suspended cymbals, crash cymbals, tam-tam, two bongos, two tom-toms, cloves, two logdrums, two bass drums,

snare drum, tambourine, whip, tubular bells), sixteen first violins, fourteen second violins, fourteen violas (including three soloists), twelve cellos (including three soli), and eight basses (three soli). The celesta player also joins the pianist in playing the piano four-

hands. Stele is about 13 minutes long.

Gyorgy Kurtag's birthplace of Lugoj was part of the Austro-Hungarian Empire until

1918, when it was ceded to Romania, along with Bartok's birthplace of Nagyszentmik-

los (now Sinnicolau Mare), in the political redrawing of maps that followed World War I. Lugoj in 1926 was in Romania but many of its people, including the Kurtags, were Hungarian. The family spoke Hungarian at home but at school Gyorgy was expected to speak Romanian; his exposure to the composite culture of the region can be heard in his work as an adult.

Kurtag had piano lessons from his mother as a boy, and again as a teenager, when he also began studying composition. In 1946 he moved to Budapest, where he studied with some of the most important Hungarian musicians of the day, including the pianist Pal Kadosa and the composers Sandor Veress and Ferenc Farkas. The latter two, a genera- tion older than Kurtag, both made an effort to forge a musical language beyond Bartok and Kodaly, the dominant Hungarian composers. In 1947 Kurtag married the pianist Marta Kinsker. The two have often collaborated as performers since that time, including touring and recording extensively in recent years.

In the 1940s Kurtag became acquainted with composer Gyorgy Ligeti, who also stud- ied with Kadosa, Veress, and Farkas. Ligeti had access to some of the music—by Stra- vinsky, Webern, and others—that was banned or officially discouraged during this time, and was himself an experimenter whose more radical music was kept from performance during the first years of the 1950s. Both Kurtag and Ligeti benefited from a loosening of totalitarian control throughout the Eastern Bloc countries followed Stalin's death in 1953. This led to a thaw and greater cultural communication with Western Europe and America and allowed the composers to gain information about stimulating musical ex-

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22 MS perimentation in the West. In 1956, though, a populist revolution against the commu- nist regime in Hungary was brutally suppressed by the Soviet military, tanks rolled into the cities, and the country's borders were closed. Ligeti escaped under dangerous cir- cumstances and has lived in Germany ever since. Although Kurtag managed to spend a year in Paris, he chose to continue to live and work in Hungary, where he became well >

The compositions for which Kurtag first received notice were in an ascetic, experi- mental mode brought about by a reconsideration of his compositional language at the end of the 1950s. This was precipitated by his time in Paris in 1957-58, when he at- tended courses given by Messiaen, Milhaud, and Max Deutsch. He also worked with Marianne Stein, an art psychologist, whose suggestion that Kurtag reexamine the pro- cess of composition from its smallest elements merged with the composer's preoccupa- tion with the scores of Anton Webern, which were much more accessible in France than in Hungary. Kurtag's new beginning led him to call a 1959 string quartet his "Opus 1," and he withdrew most of his earlier scores. The evident influence of Webern on his music extended to a deeper level, in the sense that the tiny musical cells that form the building blocks of these miniatures are each an expressive entity, like the carefully chosen words of a haiku. Of this early period, Kurtag's song cycle for soprano and piano, BOSTON BALLET MIKKO NISSINEN Artistic Director

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The Sayings of Peter Bornemisza, Opus 7, is his most important and characteristic work.

In 1970 several important Hungarian musicians formed the New Music Studio in Budapest for the purpose of performing pieces composed with the latest avant-garde techniques, such as improvisation and group composition. Works by Stockhausen, Mau- ricio Kagel, Cage, Christian Wolff, and oth- ers were given their Hungarian premieres under the Studio's auspices. Exposure to these methods stimulated Kurtag's already exploratory compositional processes. In 1973 he began an open-ended series of piano pieces (ostensibly for children, like Bartok's Microcosmos) that employed graphics in addition to standard notation, to encourage the performer's exploration of the sonic pos- sibilities of the instrument. The composer called these pieces Jdtekok, or "Games," emphasizing the spirit of play in his concep- tion. Jdtekok led to greater exposure for its composer outside of Hungary. In the past decade, Marta and Gyorgy Kurtag have given "composed recitals" for piano four-hands of some of these pieces along with Kurtag's transcriptions of J.S. Bach. These recitals have led to even greater recognition, crowned this year (2004) by his being recognized with a Grammy nomination for Best Contempo- rary Composition for his Signs, Games, and Messages.

After forty years of composing primarily chamber and piano works, plus a few works for chamber orchestra, Stele was Kurtag's first work for a true standard orchestra, with a full complement of strings. All of his earli- Grave stele of Philoxenos with his wife, er large-ensemble works were for chamber Philoumene (Athens, c.400 B.C.; artist orchestras of different configurations but all unknown) featuring very small string sections—three violas, three cellos, and bass for Grabstein filr Stephan, Opus 15c (1979/89); string quartet plus bass for ...quasi una fantasia..., Opus 17, No. 1 (1988); single strings for the Double Concerto for piano and cello, Opus 27, No. 2. Another unusual aspect of the earlier works was Kurtag's treatment of those ensembles as several groups of instru- ments, further compartmentalizing these chamber-sized groups by removing them from one another in space. In . . .quasi una fantasia. ., for example, there are several small ensembles placed throughout the auditorium; the music is thus very much expanded in space.

Stele, on its surface, is a much more conventional work, the instrumental sections of this Mahler-sized symphony orchestra disposed in the usual way onstage. Part of the reason for this is likely to have been the longstanding symphonic tradition of its com- missioning body, the Berlin Philharmonic, and its conductor, Claudio Abbado. Kurtag wrote Stele for the Philharmonic during his two-year tenure as that orchestra's compos- er-in-residence, 1993-95. Stele is a memorial piece. The English (or German) word is a transliteration of the Greek ITHAH (pronounced "steelee"), an inscribed stone monu- ment or marker, although not necessarily funereal (see illustration). Kurtag wrote the piece in memory of his friend and mentor Andras Mihaly (1917-1993), a composer,

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26 H H •fti

' [yHNTM&lfiKl Spy1 '•*" ' :'-.-:.' conductor, and educator, from 1979-86 the general director of Hungarian State Opera. He had previously written the Hommage a Mihdly Andrds, 12 Microludes for String Quartet, as well as one of the pieces in the third volume of Jdtekok in honor of Mihaly (1978), and following the composer's death in September 1993 Kurtag wrote the piano piece Mihdly Andrds in memoriam. 9 Kurtag employs that miniature work as the kernel of the third, final movement of Stele, which in turn can be heard as the source of the work as a whole. The characteris- tic musical elements of the last movement are large, slowly progressing chord forms and a melodic line of chromatic displacement, a "sighing" or lamenting motif, readily heard in each of the first two movements. This downward sigh is common to the lament sing- ing of much of Eastern Europe and Greece, including Hungary. (Kurtag's erstwhile com- patriot Ligeti has often used similar contours in his music.)

The unison G—tutti, with timpani—that begins the introductory first movement (Ada- gio) is a clear reference to the idea of "symphony," a strong, unambiguous orchestral gambit. Kurtag almost immediately undermines this clear sign, calling for many of the instruments to "smear" the image by varying its intonation by as much as a quarter- tone. One can hear this compromised unison as a form of the chromatic lament motif presented in the clarinets immediately following the opening gesture. This is picked up and layered in the other sections as the range of the orchestra expands outward. A chorale in the trombones and tuba, marked "Solemn: Hommage a Bruckner," is another reference to the symphonic tradition.

Stele is as much about grief and memory, about the acceptance of grief's existence, as it is an expression of grief. That being said, the second movement seems to represent grief's aggressive affront, the onset that triggers desperation. The movement is titled "Lamentoso—disperato, con moto" ("Lamenting—desperate, with motion") with the additional German marking, "Nicht zu schnell, aber wild, gehetzt, ungeduldig" ("Not too fast, but wild, hunted, frustrated"). Trumpets sound aggravated repeated notes, dou- bled by marimba and cimbalom (the Eastern European hammer dulcimer so character- istic of Kurtag's scoring), while the chromatic sighing motif, strained to the breaking point, is heard in cellos and double basses. The aggressive rhythm picks up the chro- matic contour as other instruments join in an intense crescendo. An echo of the first movement's atmospheric textures is disrupted by the remorseless lament motif, finally culminating in a romanticized—again, ec/it-symphonic—chorale passage of the motif for full strings. Similar chordal statements pass among instrumental groups as the move- ment comes quietly to a close.

The last movement (Molto sostenuto—Very sustained), the longest, is an arc, ending with the same pulsating, diminishing chordal texture, followed by a rest, with which it begins. Over this barely changing background sounds the ubiquitous lament figure (dol- cissimo, legatissimo—as sweetly and smoothly as possible). The chorale-like passages found in the earlier movements return in the middle of this final movement before the quiet, pulsating chords end the work in an atmosphere of restrained reconciliation. —Robert Kirzinger

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Robert Schumann Piano Concerto in A minor, Opus 54

Robert Schumann was born in Zwickau, Saxony, on June 8, 1810, and died at Endenich, near Bonn, on July 29, 1856. In mid-May of 1841 Schumann com- posed a Concert Fantasy in A minorfor piano and or- chestra. Four years later, beginning in late May 1845, he reworked the Fantasy into the first movement of his Piano Concerto, completing the second movement on July 16 and the finale on July 31 that same year. Clara Schumann was soloist for the first performance of the concerto on December 4, 1845, in Dresden, with Fer- dinand Hiller conducting. The American premiere was given by the Philharmonic Society of New York on March 26, 1859, at Niblos Garden, with Sebastian Bach Mills as soloist under the direction of Carl Bergmann. Boston first heard the concerto in a Harvard Musical Association concert at the Boston Music Hall on November 23, 1866, with pianist Otto Dresel; Carl Zerrahn conducted. Georg Henschel

led the first Boston Symphony performances in October 1882 with pianist Carl Baermann.

The orchestra has since played it with the following pianists and conductors: Anna Stein- iger-Clark, Adele aus der Ohe, Baermann, Antoinette Szumowska, Ossip Gabrilowitsch, Fanny B. Zeisler, Ernest Schelling, and Harold Bauer (all under Wilhelm Gericke's di- rection); Steiniger- Clark, Rafael Joseffy, Carl Faelten, Ignace Jan Paderewski, and Con- stantin Stern (under Arthur Nikisch); aus der Ohe and Joseffy (under Emil Paur); Ger- maine Schnitzer, Olga Samarojf, Max Pauer, Norman Wilks, George C. Vieh, Josef Hof- mann, Paderewski, Carl Friedberg, and Szumowska (under Karl Muck); Wilks (under Otto Urack); Schelling (under Ernst Schmidt); Bauer, Benno Moiseiwitsch, Blanche Goode, Samaroff, Raymond Havens, Felix Fox, Constance McGlinchee, and Eugene Istomin (under Pierre Monteux); Alfred Cortot, Irene Scharrer, Jesus Maria Sanromd, Myra Hess, Martha Baird, Eunice Norton, and Gladys Gleason (under Serge Koussevitzky); Hofmann, Istomin, Jeanne-Marie Darre, and Theodore Lettvin (under Richard Burgin); Nicole Hen- riot, Rudolf Serkin, Clifford Curzon, Van Cliburn, and Istomin (under Charles Munch); Lettvin and Malcolm Frager (under Erich Leinsdorf); Claude Frank (under Thomas Schip- pers); Christoph Eschenbach (under Rafael Fruhbeck de Burgos and Michael Tilson Thomas); Alicia de Larrocha (under Karl Ancerl and Neville Marriner); Michael Roll and Claudio Arrau (under Colin Davis); Emil Gilels (under Seiji Ozawa); Misha Dichter (under Kazu- yoshi Akiyama); Claudio Arrau (under Colin Davis); Martha Argerich and Imogen Cooper (under Ozawa); Leif Ove Andsnes (the most recent subscription performances, under Ro- berto Abbado in November/December 1998); Helene Grimaud (under Jeffrey Tate); and

Nelson Freire (the most recent Tanglewood performance, under Hans Graf on July 1 9, 2003). In addition to the solo piano, the score calls for flutes, oboes, clarinets, and bas- soons in pairs, two horns, two trumpets, timpani, and strings.

Clara Schumann, nee Wieck, was a celebrated keyboard artist from her youth, and she was renowned through her long life (1819-1896) for her musical intelligence, taste, sensibility, warm communicativeness, and truly uncommon ear for pianistic euphony. She was a gifted and skilled composer, and Brahms, who was profoundly attached to her when he was in his early twenties and she in her middle thirties—and indeed all his life, though eventually at a less dangerous temperature—never ceased to value her musical judgment.

Robert and Clara's marriage, though in most ways extraordinarily happy, was difficult, what with his psychic fragility and her demanding and conflicting roles as an artist, an artist's wife, and a mother who bore eight children in fourteen years. They met when

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Clara Schumann was ambitious for her thirty-year-old husband and urged him to con- quer the world of orchestral music as well. He had actually ventured into that territory a few times, making starts on four piano concertos and writing a rather jejune symphony in G minor, but he had not yet met with success. He now went ahead and produced a superb Concert Fantasy with Orchestra for Clara, as well as writing two sym- phonies: the first version of the D minor (now known almost exclusively in its revised form of 1851 and listed as No.

4) and the Spring (listed as No. 1). He could interest neither publishers nor orchestras in the one-movement Con-

cert Fantasy, and so he expanded it into a full-length three-movement con- certo. In doing so he revised the origi- nal Fantasy, making choices, as almbst always he was apt to do whenever he had second thoughts, in the direction of safety and conventionality. (One can Robert and Clara Schumann only guess whether the revisions reflect Schumann's own musical convictions or responses to the urgings of the more conservative Clara.) The full-dress, three-move- ment concerto was introduced by Clara in Dresden in December 1845.*

In 1839, Robert had written to Clara: "Concerning concertos, I've already said to you they are hybrids of symphony, concerto, and big sonata. I see that I can't write a concerto for virtuosi and have to think of something else." He did. Now, in June 1845, while the metamorphosis of the Concert Fantasy was in progress, Clara Schumann noted in her diary how delighted she was at last to be getting "a big bravura piece" out of

Robert (she meant one with orchestra), and to us, even if it is not dazzling by Liszt- Tchaikovsky-Rachmaninoff standards, the Schumann concerto is a satisfying occasion for pianistic display, while of course being also very much more than that. (On the other hand, compared to the concertos by Thalberg, Pixis, and Herz that Clara had played as a young prodigy, Schumann's concerto, considered strictly as bravura stuff, is tame by comparison.)

Schumann's "something else" was noticed. Most of the chroniclers of the first public performances, along with noticing how effective an advocate Clara was for the concerto,

*The Fantasy in its original form was not heard again until the summer of 1967, when the late

pianist Malcolm Frager played it at a reading rehearsal with the Tanglewood Music Center Orchestra, Erich Leinsdorf conducting. The following summer, also at Tanglewood but with the Boston Symphony, Frager and Leinsdorf gave the Fantasy its first public performance, this time using it as the first movement of the piano concerto. Frager was a fervent champion of the

original version of the first movement, playing it whenever he could persuade a conductor to let him do so.

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For more information about NEC visit www.newenglandconservatory.edu were also attuned to the idea that something new—and very pleasing—was happening in this work. Many of them noted as well that the concerto needs an exceptionally at- tentive and sensitive conductor. F.W.M., who reviewed the first performance in Leipzig on New Year's Day 1846 for the Neue Zeitschrift far Musik, wrote that the many inter- changes between solo and orchestra made the first movement harder to grasp at first hearing than the other two. One thing that strikes us about this first movement—but perhaps only in a very good performance—is how mercurial it is, how frequent, rapid, and sometimes radical its mood-swings are. Or, to put it another way, how Schumann- esque it is.

Clara Schumann noted in her diary the delicacy of the way the piano and orchestra are interwoven, and among the pianist's tasks is sometimes to be an accompanist—the lyric clarinet solo in the first movement is the most prominent example. And to be a good accompanist means to be a superlative musician: intuitive, alert, ever listening. The pianist gets a grand, wonderfully sonorous cadenza at the end of the first move- ment, but above all the Schumann concerto is a work of conversation both intimate and playful—whether in the almost whimsically varied first movement, the confidences ex- changed in the brief middle movement, or in the splendidly energized finale. —Michael Steinberg

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

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lives change constantly. We never know woman vision, she scans the horizon for role mod- Ourwith precision what we will face tomorrow. els. Joan of Arc? Britney Spears? Aunt Nancy? So when tomorrow comes, we have to be And what about her life's work? Biochemist? ready to confront the need for a new approach Poet? Entrepreneur? openly, creatively, and willingly. If we are stuck and She may announce her career choice to the world cannot respond, determined to hold onto yester- at lunch only to change her mind by dinner. In the day's solutions, we are in trouble. right environment, though, she will have the feeling

How can we make certain that the future leaders that she is searching, not being whimsical or silly. of our country will be able to manage a changing She learns then that change is a part of life, not a world successfully? How do we help students threat to it. She sees that she is doing important develop both the skill and the inner strength to be work, not just pretending. Changing is difficult and fluent, indeed inspired, in the task of evaluation, best done in a confident community. Surrounded response, and innovation? by steady and wise adults, a girl is reassured that her own inner testing and doubt do not shake the When we are teaching adolescent girls about foundations of the community around her. change, we do not have to create clever lessons based on simulations and change models. The cur- Finally, a girl begins to reset, that is, she begins to riculum is constantly present, staring girls in the integrate her new ideas and perspectives into a face. Ready or not, their bodies, minds, emotions, new self-concept. Teachers everywhere are famil- relationships, and ideas shift dramatically and daily. iar with this phenomenon, which is why we are not surprised to notice, in about January every year, So, change for adolescents is a certainty. How that seniors suddenly seem grown up and ready to well they do it, though, is another matter. Both leave, distinctly more mature than ever before. ends and means are important. On the one hand High school has served its purpose. Girls are is the goal of becoming a healthy, effective person, ready to take their new selves into the world. but on the other is the quality of the change

process itself. It is the way in which the challenges The emergence of a new grown-up persona is only of adolescence are met that forms the underlying part of the success. Secure in what she has

pattern of adult coping skills. accomplished, a girl now knows that she can man- age change with resolve. She has found a creative Kurt Lewin, a founder of modern social psycholo- style. She will approach other challenges pur- gy, identifies three phases in change cycles that posefully. Most importantly, she will embrace are analogous to the phases through which a girl change, her life-long companion, with the confi- travels as she says goodbye to the child she used dence that only early success can bring. to be and begins to form the young woman she will become. There is a time of unfreezing, then How can we make certain that the future leaders changing, and finally a girl resets. of our country will be able to manage a changing world successfully? Encourage them to take The pre-teen girl knows herself well. Hello Kitty, healthy risks, be there to listen, share coping butterfly clips, and Beanie Babies define her world. strategies, and express certainty about their ability Then, one morning, it's over. What made sense to succeed. From this secure base, they will sense for so long doesn't anymore. A girl is beginning to that life is about growth, not defensive posturing. let go of the younger child, a friend she knew well. They will trust that the sky is not falling when hard The growing girl will, at this point, change every- times come along. If we, the adults in girls' lives, thing from friendships to her mind as she tries on have patience for the journey and reverence for the

different roles for size and fit. Gathering data on process, girls will become the courageous innova- what to incorporate into her emerging young- tors our world needs them to be.

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34 Johannes Brahms Symphony No. 4 in E minor, Opus 98

Johannes Brahms was born in Hamburg, Germany, on 11 May 7, 1833, and died in Vienna on April 3, 1897. The first mention of Brahms s Fourth Symphony is in a let- ter ofAugust 19, 1884, to his publisher, Fritz Simrock. The work must have been completed about a year later,

and in October 1885 he gave a two-piano reading of it with Ignaz Briill in Vienna for a small group offriends including the critic Eduard Hanslick, the surgeon Theo- dor Billroth, the conductor Hans Richter, and the histo- rian and Haydn biographer C.F. Pohl. Brahms conduct- ed the first orchestral performance on October 25, 1885, at Meiningen. The American premiere was to have taken place in Boston in November 1886. Wilhelm Gericke in fact conducted the work at the public rehearsal on the 26th of that month, but he cancelled the scheduled performance after making highly crit- ical remarks to the audience about the new score. He did conduct it at the Boston Sym- phony concerts of December 22 and 23, 1886, but meanwhile Walter Damrosch had got- ten ahead of him with a concert performance with the New York Symphony on December 11. It has also been played by the Boston Symphony under Arthur Nikisch, Emil Paur, Carl Wendling, Max Fiedler, Karl Muck, Pierre Monteux, Serge Koussevitzky, Eugene Goossens, Stanley Chappie, George Szell, Charles Munch, Leonard Bernstein, Richard Burgin, Vladimir Golschmann, Erich Leinsdorf Rafael Kubelik, Carlo Maria Giulini, William Steinberg, Michael Tilson Thomas, Joseph Silverstein, Edo de Waart, Klaus Tennstedt, Colin Davis, Andrew Davis, Vaclav Neumann, Seiji Ozawa, Giuseppe Sinopoli, Bernard Haitink, Marek Janowski, Zdenek Macal, Itzhak Perlman (the most recent Tan- glewood performance, on August 19, 2000), and Daniele Gatti (the most recent subscrip- tion performances, in February 2002). The score calls two flutes and piccolo, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, triangle, and strings. Piccolo and triangle appear in the third movement only, contrabassoon in the third andfourth movements only, and the trombones in the fourth movement only.

When Brahms was finishing a big piece he would usually notify friends that some- thing was forthcoming. In that process he was apt to be most flip and ironic concerning

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36 I the works he most cared about, such as the Fourth Symphony. In August 1885, from mountainous Miirzzuschlag, Brahms sent his advisor Elizabeth von Herzogenberg the

first movement of a symphony: "Would you. . .tell me what you think of it?. . . Cherries ' 1HI never get ripe for eating in these parts, so don't be afraid to say if you don't like the taste. I'm not at all eager to write a bad No. 4." Back in Vienna, when a friend asked

if he'd done a string quartet or the like over the summer, Brahms replied, "Nothing so grand as that! Once again I've just thrown together a bunch of polkas and waltzes."

Like any composer, Brahms worried about the reception of a new work. He was more anxious than usual about the Fourth Symphony. His previous two symphonies had scored immediate successes, and that upped the ante for this one. Meanwhile, Brahms perhaps suspected he did not have a Fifth in him. And in its tone and import, the Fourth was the darkest and most densely crafted symphonic work he had put before the public. His relief was manifest when its early performances, starting in Meiningen on October 25, 1885, found tremendous acclaim.

The symphony's inception went back several years. In 1880 Brahms played friends a bass line from a Bach cantata, on which Bach had built a chaconne, a work consisting of variations over a repeated bass pattern. Brahms queried, "What would you think of a symphonic movement written on this theme someday?" Thus the finale of the Fourth. For that movement he was thinking of other models, including Bach's Chaconne in

D minor for solo violin, of which Brahms once said: "If I had written this piece. . .the emotions excited would have driven me mad."

All of these are clues to how Brahms conceived the Fourth, a work of whose expres- sive import he never spoke directly. Instead, he said: the cherries never get ripe in these mountains; writing a piece like Bach's chaconne would drive me mad.

How do these hints play out in the Fourth Symphony? Three of its movements are in . the minor mode, or a haunting, minor-tinted major. As he often did, Brahms concealed

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Mmmm truth behind irony when he called the symphony "a bunch of polkas and waltzes." Most of the music reflects, however distantly, the rhythms and gestures of dance. These dances, however, are not blithe but grave. WBSm The piece begins with a lilting E minor theme, its melodic profile a chain of thirds that will permeate the melodic material of the symphony. Soon the music verges into elaborate contrapuntal variations, which , __ will also characterize the piece. The overall tone of the first movement might be called somber nobility, with subtle shades of emotion washing through the texture.

The second movement, with its incan- tatory leading melody, has a tone prime- val and ceremonial, like a procession for a fallen hero. In their mournful beauty, the orchestral colors are unique in Brahms, revealing his long study of Wagner and looking forward to Mahler and even Ravel. Then comes an almost shocking contrast—a leaping, pound- ing, two-beat C major Allegro giocoso that has been called "bacchanalian," and "tiger-like."

All of that is to set up the last move- ment: mostly minor, at times hair-rais-

ingly intense. It is the chaconne about The famous picture of Brahms playing his which Brahms had once speculated for G minor Rhapsody, painted by his friend, the a finale: an introduction and thirty vari- artist Willy von Beckerath, from memory ations over the steadily repeating Bach theme (which Brahms adapted, adding a chromatic note). In its treatment of a ruthlessly disciplined form the finale is a triumphant tour deforce, and many critics have taken it for little else. But Brahms used the idea of the chaconne to evoke—as in its model, the Bach D minor—a sense of relentless, mounting tragedy. The end, where tradition says the darkness of minor should be lightened by a final turn to major, is a searing minor chord, the timpani pounding out the Brahmsian fate-motif.

After Brahms died, conductor Felix Weingartner offered an interpretation: "I cannot get away from the impression of an inexorable fate implacably driving some great cre- ation, whether of an individual or a whole race, toward its downfall. . . [The finale is] a veritable orgy of destruction, a terrible counterpart to the paroxysm of joy at the end of Beethoven's last symphony."

Is that excessive—a race driving toward its downfall? In 1883, when the Fourth was taking shape, Brahms wrote his publisher: "In [Austria], where everything... tumbles downhill, you can't expect music to fare better. Really it's a pity and a crying shame, not only for music but for the whole beautiful land and the beautiful marvelous people. I still think catastrophe is coming."

What catastrophe was Brahms talking about for Vienna, for Austria, for music? We can trace that mounting concern (despair is not too strong a word) in pieces from the late 1860s on. It is there in the sorrowful beginning of the Alto Rhapsody: "Who can heal the pains/Of one. . . who sucked hatred of mankind/From the abundance of love?" Two years later came the choral Schicksalslied (Song of Fate), with its shattering middle section: "Suffering mankind/ Wastes away, falls blindly. . . down into endless uncertain- ty." Those works end not exactly with hope, but with the possibility of it. By 1882 and

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the Gesang der Parzen (Song of the Fates), even a tenuous hope has vanished. It begins, "Let the race of man/Fear the gods!" and ends in bleakness. In choosing those texts, HH was Brahms talking about himself, childless and lonely and aging? To a degree, certain- ly. But the real catastrophe he saw coming was not just his own. islM In 1895 Vienna elected a new mayor, Karl Lueger, who made reactionary antisemitism the formula for political success. His election marked the end of power of the wealthy liberals who had largely built and run modern Vienna—and who were its most passion- ate music lovers. In Austria and in Germany, the most dynamic faction within that class were well-to-do, assimilated Jews. Those Jews above all were the targets of the ascen- dant Austro-German right wing. The night Lueger was elected, Brahms barked to friends:

"Didn't I tell you years ago that it was going to happen? You laughed at me then. . .Now it's here... Antisemitism is madness!"

What had come was the beginning of the catastrophe Brahms had foretold. He did not just mean antisemitism. He meant the agenda that came with it: the exalting of the "world-transforming" antisemite Wagner, and his disciple Bruckner; the doctrine of racial purity and blood-instinct; the suppression of the liberal, music-loving middle class, Jewish and otherwise. Brahms could not have known where the madness was heading, but we do: toward Hitler. In Mein Kampf Hitler wrote about how Vienna had shaped his consciousness, especially concerning the Jews.

In his last years Brahms saw his class being destroyed, and he believed that music —his own music, and the great tradition he loved—would be consumed along with it. In 1896, in the Four Serious Songs that were his last testament, Brahms took the first notes of the Fourth Symphony, the chain of thirds B-G-E-C, and set to them the words "0 death! death!"

None of this is to say that Brahms prophesied the Nazis, or that he was the only per- son in Vienna who saw something malevolent taking shape. No one could have foreseen the final, incredible shape of the catastrophe. Nor is this to say that the Fourth Sym- phony is a literal story or prophecy.

For good reason, in his last years Brahms feared for his music, for all music, for his class, for his civilization. So in his last symphony he sang of that despair, sang in music of the highest craft of a craft he saw dying, and composed his elegy in the forms of sol- emn and mournful dances. —Jan Swafford

Jan Swafford is an award-winning composer and author whose book include Charles Ives: A Life With Music, The Vintage Guide to Classical Music, and, most recently, Johannes Brahms: A Biography. His music is published by Peer-Southern and can be heard on Composers Re- cordings. An alumnus of the Tanglewood Music Center, where he studied composition, he teaches creative writing at Tufts University. Mr. Swafford is currently working on a biography of Beethoven for Houghton Mifflin.

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42 More raft A good source of biographical information on Gyorgy Kurtag is his pupil Rachel Beck- les Willson's article in the latest edition (2001) of The New Grove Dictionary of Music. Another, more personal, article by Willson can be found on the website of the Central Europe Review at http://www.ce-review.org/00/12/willsonl2.html. None of the books listed in Willson's New Grove bibliography about Kurtag and his music—mostly Hun- garian- and German-language titles—is available in English, but she also lists many potentially useful articles from English-language music journals. Kurtag's Stele has been recorded by Claudio Abbado and the Berlin Philharmonic Orchestra (Deutsche Grammophon, with Kurtag's Grabstein fur Stephan and Stockhausen's Gruppen), and by Michael Gielen and the SWR Sinfonieorchester (Hanssler Classic, with Mahler's Sym- phony No. 2). Other music by the composer is increasingly available on disc. A won- derful recent release is the Grammy-nominated "Signs, Games, and Messages," which — contains that piece as well as two song cycles, Hblderlin-Gesdnge and . . .pas a pas nulle part... (ECM New Series). Also available from ECM are Marta and Gyorgy Kur- tag's two- and four-hand piano performances of Bach transcriptions and pieces from Jdtekok. Another release features Scenes from a Novel, performed by soprano Adrienne Csengery with Pierre Boulez conducting the Ensemble InterContemporain, along with other works (Hungaroton), and orchestral works including ...quasi una fantasia .. . con- ducted by Peter Eotvbs with soloist Zoltan Kocsis (col legno). —Robert Kirzinger

The first full-scale biographical study of Schumann in English was the late Boston University professor John Daverio's Robert Schumann: Herald of a "New Poetic Age" (Oxford paperback). Daverio also provided the Schumann entry for the recently revised (2001) New Grove Dictionary of Music and Musicians. Daverio's last book, Crossing Paths: Schubert, Schumann, and Brahms, intriguingly examines aspects of Schumann's life and music in relation to Schubert and Brahms (Oxford University Press). Gerald Abraham's older article on Schumann from the 1980 edition of The New Grove was re- printed in The New Grove Early Romantic Masters 1—Chopin, Schumann, Liszt (Norton paperback). Eric Frederick Jensen's Schumann is a recent addition (2001) to the Mas- ter Musicians Series (Oxford). Hans Gal's Schumann Orchestral Music in the series of BBC Music Guides is a useful small volume (University of Washington paperback). Rob- ert Schumann: The Man and his Music, edited by Alan Walker, includes a chapter by Alan Nieman on "The Concertos" (Barrie and Jenkins). Michael Steinberg's note on Schumann's Piano Concerto is in his compilation volume The Concerto—A Listeners Guide

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43 (Oxford paperback). Donald Francis Tovey's note on the concerto is in his Essays in Musical Analysis (Oxford paperback). Peter Ostwald's Schumann: The Inner Voices of a Musical Genius is a study of the composer's medical and psychological history based on surviving documentation (Northeastern University Press).

Schumann's Piano Concerto has been recorded countless times. Pianist Leif Ove Andsnes's very recent account with Mariss Jansons and the Berlin Philharmonic has been widely acclaimed (EMI). A striking, relatively recent recording using period in- struments is fortepianist Andreas Stair's with Philippe Herreweghe and the Orchestre des Champs-Elysees (Harmonia Mundi). Long associated with Schumann's music, pian- ist Murray Perahia has recorded the concerto twice: most recently with Claudio Abbado and the Berlin Philharmonic (Sony Classical) and previously with Colin Davis and the Bavarian Radio Symphony Orchestra (CBS/Sony Classical). The Boston Symphony Or- chestra's 1980 recording of Schumann's Piano Concerto with Claudio Arrau and con- ductor Colin Davis is currently out of the catalogue (Philips). Martha Argerich's older recording with Mstislav Rostropovich and the National Symphony Orchestra, a prime candidate for reissue in Deutsche Grammophon's "Originals" series, is preferable to her remake with Nikolaus Harnoncourt and the Chamber Orchestra of Europe (Teldec). Leon Fleisher's fine recording with George Szell and the Cleveland Orchestra is avail- able on compact disc in Europe but has never been marketed on CD in the United States (CBS/Sony Classical). Among historic issues, Dinu Lipatti's 1948 studio record- ing with Herbert von Karajan and the Philharmonia Orchestra continues to hold a spe- cial place despite dim, dated sound (EMI References).

Significant recent additions to the Brahms bibliography include Jan Swafford's Jo- hannes Brahms: A Biography (Vintage paperback); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford), and The Compleat Brahms, edited by conductor/scholar Leon Botstein, a compendium of essays on Brahms's music by a wide variety of scholars, composers, and performers, including Botstein himself (Nor-

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ton). Important older biographies include Karl Geiringer's Brahms (Oxford paperback; Geiringer also wrote biographies of Haydn and Bach) and The Life of Johannes Brahms by Florence May, who knew Brahms personally (originally published in 1905, this shows up periodically in reprint editions). Malcolm MacDonald's Brahms is a very good life- and-works volume in the Master Musicians series (Schirmer). John Horton's Brahms Orchestral Music in the series of BBC Music Guides includes discussion of Brahms's symphonies, concertos, serenades, Haydn Variations, and overtures (University of Washington paperback). Michael Musgrave's The Music of Brahms concentrates on the music (Oxford paperback), as does Bernard Jacobson's The Music of Johannes Brahms (Fairleigh Dickinson). Michael Steinberg's notes on the four Brahms symphonies are in his compilation volume The Symphony—A Listeners Guide (Oxford paperback). Donald Francis Tovey's notes on these works are among his Essays in Musical Analysis (Oxford paperback).

Christoph von Dohnanyi has recorded the Brahms Fourth Symphony with the Cleve- land Orchestra (Telarc). The Boston Symphony Orchestra has recorded the four Brahms symphonies under the direction of Bernard Haitink (Philips). Earlier Boston Symphony accounts of the Brahms Fourth were recorded by Serge Koussevitzky in 1938/39 for

RCA (reissued on a Pearl compact disc with Koussevitzky 's 1945 Brahms Third), by Charles Munch first in 1950 and then in stereo in 1958 (both for RCA), and by Erich Leinsdorf in 1966 (RCA). Noteworthy digital cycles of all four symphonies also include Nikolaus Harnoncourt's with the Berlin Philharmonic (Teldec), Charles Mackerras's with the Scottish Chamber Orchestra, in "period style" with interpretive choices sug- gested by documentation from Meiningen, Germany, where Brahms himself frequently conducted the orchestra (Telarc), and Daniel Barenboim's with the Chicago Symphony Orchestra (Erato). Among single issues of the Fourth Symphony, Carlos Kleiber's with the Vienna Philharmonic should not go unmentioned (Deutsche Grammophon "Origin- als"). The young British conductor Daniel Harding's pairing of Brahms's Third and Fourth symphonies with Die Deutscher Kammerphilharmonie Bremen is marked by youthful exuberance, a strong sense of rhythm, an informed sense of period style including antiphonal seating of the first and second violins—and clear textures (Virgin Classics). For those interested enough in historic issues to listen through dated sound, the preferred Wilhelm Furtwangler renditions of the Brahms Fourth are from a Decem- ber 1943 concert with the Berlin Philharmonic (on Music & Arts or Tahra) and from an August 1950 Salzburg Festival concert with the Vienna Philharmonic (Orfeo). Arturo Toscanini's broadcasts of the Brahms Fourth with the NBC Symphony from 1943 (Music & Arts) and with the Philharmonia Orchestra from 1952 (Testament) contrast strikingly with his 1951 NBC Symphony studio recording (RCA). —Marc Mandel

45 Week 12

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Christoph von Dohnanyi H Christoph von Dohnanyi is recognized as one of the world's preemi- nent orchestral and opera conductors. In addition to guest engage- ments with the major opera houses and orchestras of Europe and North America, his appointments have included opera directorships in Frankfurt and Hamburg as well as principal orchestral conduct- ing posts in Germany, London, and Paris. Mr. Dohnanyi completed his tenure as music director of the Cleveland Orchestra in 2002, a post he assumed in 1984. During those years, he led the orchestra in a thousand concerts, fifteen international tours, and twenty-four premieres, and recorded over a hundred works. Mr. Dohnanyi was named the orchestra's music director laureate in 2002-03, and made acclaimed guest ap- pearances in Boston, Philadelphia, Pittsburgh, Chicago, and New York. In July 2003 he conducted the North German Symphony Orchestra in performances at the Schleswig-Hol- stein Festival; he takes over the directorship of that orchestra in the fall of 2004. In the United States, his 2003-04 season includes appearances with the Boston Symphony at Sym- phony Hall and Tanglewood; the Los Angeles Philharmonic in the city's new Disney Hall; the Chicago Symphony at Orchestra Hall and Ravinia, and performances with London's Philharmonia Orchestra in New York, Philadelphia, Washington, D.C., and the New Jersey Performing Arts Center. He became principal conductor of the Philharmonia in 1997, hav- ing served as principal guest conductor since 1994. Mr. Dohnanyi has conducted frequent- ly at the world's great opera houses, including Covent Garden, La Scala, the Vienna State Opera, Berlin, and Paris. He has been a frequent guest conductor with the Vienna Philhar- monic at the Salzburg Festival, where he led the world premieres of Henze's Die Bassariden and Cerha's Baal. Mr. Dohnanyi returned to Salzburg in the summer of 2001 for a new pro- duction of Richard Strauss's Ariadne auf Naxos, and in October 2001 he conducted Strauss's Die Frau ohne Schatten at Covent Garden. Mr. Dohnanyi also appears with Zurich Opera, where in recent years he has conducted Strauss's Die schweigsame Frau, a double bill of Stravinsky's Oedipus Rex and Bartok's Bluebeards Castle, and new productions of Verdi's Un hallo in maschera and Berg's Wozzeck. Christoph von Dohnanyi has made many critical- ly acclaimed recordings for London/Decca with the Cleveland Orchestra and the Vienna Philharmonic. With Vienna, he has recorded a variety of symphonic works and a number of operas, including Beethoven's Fidelio, Berg's Wozzeck and Lulu, Schoenberg's Erwartung, Strauss's Salome, and Wagner's The Flying Dutchman. With the Cleveland Orchestra, his

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

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48 HHffili large and varied discography includes concert performances and recordings of Wagner's Walkiire and Das Rheingold; the complete symphonies of Beethoven, Brahms, and :•'.'. Die _I9 Schumann; symphonies by Bruckner, Dvorak, Mahler, Mozart, Schubert, and Tchaikovsky; and works by Bartok, Berlioz, Ives, Varese, and Webern, among many others. Christoph von Dohnanyi made his BSO debut at Symphony Hall in February 1989, returning for the first IB time since then in November 2002 with music of Thomas Ades, Schumann, and Dvorak. He led the orchestra most recently at Tanglewood this past August, his only appearance foWB£ftns there with the orchestra, and returns to the Symphony Hall podium this Sunday afternoon for a special Pension Fund concert with baritone Thomas Hampson as guest soloist.

Radii Lupu Pianist Radu Lupu, firmly established as one of the most important musicians of his generation, is widely acknowledged as a leading interpreter of the works of Beethoven, Brahms, Mozart, and Schu- bert. Since winning the 1969 Leeds Piano Competition, Mr. Lupu has regularly performed as soloist and recitalist in the musical cap- itals and major festivals of Europe and the United States. He has appeared many times with the Berlin Philharmonic since his debut with that orchestra at the 1978 Salzburg Festival under Herbert von Karajan, and many times also with the Vienna Philharmonic, in- cluding the opening concert of the 1986 Salzburg Festival under Riccardo Muti. He is also a frequent visitor to the Royal Concertgebouw Orchestra and to all of the major London orchestras. Radu Lupu's first major American appearances were in 1972 with the Cleveland Orchestra under Daniel Barenboim in New York and with the Chi- cago Symphony led by Carlo Maria Giulini. Concerts with the New York Philharmonic soon followed. Mr. Lupu has since appeared with all of the foremost American orchestras. During the 2003-04 season Mr. Lupu's North American schedule features appearances with the Boston Symphony, the Los Angeles Philharmonic, the Atlanta Symphony, and the Seattle Symphony, as well as performances with the Staatskapelle Berlin conducted by Daniel Barenboim in Chicago and New York. Recent seasons have featured recitals in New York (Carnegie Hall), Chicago, Philadelphia, San Francisco, and Toronto, as well as performanc- es with the Cleveland Orchestra, the Chicago Symphony in Chicago and at Carnegie Hall), the Cincinnati Symphony, the Minnesota Orchestra, the New York Philharmonic, the Saint Louis Symphony, the Toronto Symphony, and the National Arts Centre Orchestra in Ottawa. Mr. Lupu has made more than twenty recordings for London/Decca, including the complete Beethoven concertos with the Israel Philharmonic and Zubin Mehta, the complete Mozart violin sonatas with Szymon Goldberg, and numerous solo recordings of Beethoven, Brahms, and Schubert. His recording of Schubert's sonatas, D.960 and 664, won a Grammy Award in 1996. His recordings of Schumann's Kinderszenen, Kreisleriana, and Humoresques won an Edison Award in 1995. He has also made two recordings with pianist Murray Perahia (Sony Classical) and two albums of Schubert Lieder with soprano Barbara Hendricks (EMI). In 1998 he joined Daniel Barenboim for a disc of Schubert works for piano four-hands for Teldec. In 2001 Decca released his 2-disc set of Schubert's music for violin and piano with Szymon Goldberg. Born in Romania in 1945, Radu Lupu began studying the piano at age six with Lia Busuioseanu. He made his public debut with a complete program of his own music at twelve and continued his studies for several years with Florica Muzicescu and Cella Delavrance. In 1961 he won a scholarship to the Moscow State Conservatory, where he studied with Heinrich Neuhaus and the latter's son, Stanislav Neuhaus. During his seven years at the Moscow Conservatory he won first prize in the 1966 Van Cliburn, the 1967 Enescu International, and the 1969 Leeds International competitions. In 1989 he was award- ed the prestigious "Abbiati" prize given by the Italian Critics Association. Radu Lupu made his Boston Symphony debut with Mozart's A major concerto, K.488, in December 1977 and returned most recently in January 2001, as soloist in Mozart's B-flat piano concerto, K.595.

49

BOSTON SYMPHONY ORCHESTRA RK 2OO3-2OO4 SEASON -•'

ital and Endowment Contributors

te Boston Symphony Orchestra is committed to providing the highest cal- iber performances, and education and community outreach programs, and to preserving its world-renowned concert facilities. Contributions from donors and income from the endowment support 40 percent of the annual budget. The BSO salutes the donors listed below who made capital and endowment gifts of $10,000 or more between June 1, 2002, and August 31, 2003. For further information, contact Judi Taylor Cantor, Director of Major and Planned Giving, at (617) 638-9269.

$1,000,000 and Up

Anonymous (2) Estate of Mrs. Pierre de Beaumont Margaret A. Congleton Estate of Susan Morse Hilles

$500,000-$999,999

Anonymous (1) Diana Osgood Tottenham

$250 /000-$499 / 999

Anonymous (1) Kate and Al Merck Mr. and Mrs. Gregory S. Clear

$1 00,000-5249,999 Estate of Edith Allanbrook Dr. Merwin Geffen and Estate of Miss Barbara Anderson Dr. Norman Solomon Estate of Anny M. Baer Estate of Armando Ghitalla

Mr. William I. Bernell Mrs. Philip Kruvant Sydelle and Lee Blatt National Park Service, Ms. Ann V. Dulye, U.S. Dept. of the Interior

in memory of Raymond J. Dulye Save American Treasures Mr. and Mrs. George M. Elvin

$50,000-$99,999 The Behrakis Foundation Ms. Helen Salem Philbrook Mr. and Mrs. Disque Deane Estate of Elizabeth A. Rose

, "r Estate of Gattie P. Holmes Estate of Ms. Tirzah J. Sweet Mr. and Mrs. Daniel M. Neidich Mr. and Mrs. Stephen R. Weiner

Continued on page 53

51 "Simplyimply otunnmSt r

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Fridays at Jordan Hall • Sundays at Sanders Theatre • 7:30 p.m. FEBRUARY 6 & 8 Schoenrield Care Music lor Violin, Cello and Piano Shostakovich String Quartet No. 8 in C minor Mendelssohn Piano Trio in D minor, Op. 49

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52 !WK Capital and Endowment Contributors (continued) fnMMfflrnirT^wrnTrnrTirili

Mffi

$25,000-549,999

Anonymous (1) Mr. Albert H. Gordon Estate of Elizabeth A. Baldwin Estate of David W. Klinke

Estate of Roger F. Brightbill The Richard P. and Claire W. Morse Estate of Katherine E. Brown Foundation Mrs. Harriett M. Eckstein Estate of Dr. Charles A. Reiner Ms. Lillian Etmekjian Estate of Dorothy Troupin Shimler Estate of Frances Fahnestock Mr. and Mrs. Harold Sparr Estate of Miriam A. Feinberg Elizabeth Taylor Fessenden Foundation

$15 / 000-$24 / 999

Anonymous (1) Estate of Charlotte Spohrer Mr. and Mrs. Peter A. Brooke McKenzie

Estate of Anna E. Finnerty Estate of Dorothy F. Rowell FleetBoston Financial Foundation Mr. and Mrs. Wallace L. Schwartz Estate of Elizabeth B. Hough Mrs. Nathaniel H. Sperber Ms. Audrey Noreen Koller

$10,000-$ 14,999

Anonymous (1) Mr. and Mrs. Joseph C. McNay Mr. and Mrs. Ben Beyea Estate of Marilyn S. Nelson Mr. and Mrs. James F. Cleary Dr. Peter Ofner

Mr. and Mrs. Harry Freedman Mr. Donald I. Perry

Mr. Norman J. Ginstling Ms. Barbara C. Rimbach Susan Grausman and Marcia A. Rizzotto Marilyn Loesberg Dr. J. Myron Rosen Highland Capital Partners Stephen and Dorothy Weber Mr. Wycliffe K. Grousbeck Ms. Elizabeth Zausmer Dr. Edwin F. Lovering Mrs. Edward M. Lupean and Diane H. Lupean

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54 BOSTON SYMPHONY ORCHESTRA 2OO3-2OO4 SEASON

Foundation Grantors v* y 77. Nn*— —Foundation grants make possible a variety of Boston Symphony Orchestra activities. In particular, foundation support is vital to sustaining the BSO's educational mission, from youth education and community outreach initiatives throughout the Greater Boston area

to professional training for promising young musicians at the Tanglewood Music Center.

Gifts from foundations nationwide help bridge the gap between ticket revenue and the

cost of presenting a full BSO season and also fund special projects, concert programs, new music for the Boston Pops, and the BSO archives. Endowment and capital gifts from

foundations help ensure the future of all these activities, as well as supporting the main-

tenance of the orchestra's concert facilities. The Boston Symphony Orchestra gratefully

acknowledges those foundations that have helped it to achieve its multifaceted mission.

The following foundations made grants of $500 or more to the BSO between September 1. 2002, and August 31, 2003.

For more information, contact Gerrit Petersen, Director of Foundation Support, at (617) 638-9462.

Anonymous (3) The Eastman Charitable Foundation The Aaron Foundation Eaton Foundation The Lassor & Fanny Agoos Charity Fund Orville W. Forte Charitable Foundation The Anthony Advocate Foundation The Frelinghuysen Foundation Apple Lane Foundation Fromm Music Foundation The ASCAP Foundation Ann and Gordon Getty Foundation Associated Grantmakers of Massachusetts Elizabeth Grant Fund The Paul and Edith Babson Foundation Elizabeth Grant Trust Frank M. Barnard Foundation The William and Flora Hewlett The Barrington Foundation Foundation Adelaide Breed Bayrd Foundation John W. & Clara C. Higgins Foundation Brookline Youth Concerts Fund The Hoche-Scofield Foundation Cambridge Foundation Henry Hornblower Fund Community 9*J Chiles Foundation The Roy A. Hunt Foundation

Clipper Ship Foundation, Inc. Jockey Hollow Foundation Consulate-General of the Netherlands Johnson Family Foundation in the U.S.A. Killam Canadian Trust Jane B. Cook 1992 Charitable Trust Kingsbury Road Charitable Foundation

The Aaron Copland Fund for Music, Inc. Lee Family Charitable Foundation Irene E. & George A. Davis Foundation June Rockwell Levy Foundation, Inc. Marion L. Decrow Memorial Foundation The Lowell Institute Alice Willard Dorr Foundation James A. Macdonald Foundation

Continued on page 57

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;a;TORY ABOUT CONCERT SERIES A series of Berklee concerts celebrating contemporary music's innovators, the expressive and interpretive possibilities of the popular song, and the rich stylistic diversity that defines music today. And our college.

October 14 January 29 The Three Tenors: The Great American Songbook: Greg Badolato, George Garzone, The Music of Irving Berlin and Frank Tiberi The songs of Irving Berlin performed in the Berklee faculty members present a rousing, lush, swinging style of the pop song's three-tenor saxophone workout. golden age.

October 16 March 25 Baby, Please Don't Go: A Night of the Blues International Folk Festival Berklee celebrates the Year of the Blues with a Hear the familiar strains of love, loss, triumph, concert featuring top faculty and student blues sorrow, and joy in a dozen new ways. performers. April 26 November 7 Hallelujah! Amen! An Evening of Michel Camilo in Concert Gospel Music The culmination of Berklee's weeklong The Berklee Reverence Ensemble and the group celebration of Latin music and culture, Visiting Overjoyed perform original and traditional Professor Michel Camilo leads an all-star big gospel music. band and performs with his incendiary trio. April 30 (Proceeds benefit the Michel Camilo Scholarship for Pat in Concert students from Latin America.) Metheny Visiting Professor Pat Metheny is producing a

December 11 record for a Berklee student group. In the first Singers' Showcase 20th Anniversary half of the concert, he and the group perform Berklee's best sing, whisper, belt, coo, shout, selections from the recording. The second half croon, wail, rap, swing, work out, drop, scat, of the show features Metheny with special and testify. guest Gary Burton.

All shows at 8:15 p.m. Berklee song Berklee Performance Center college 136 Massachusetts Avenue, Boston of Box office: (617) 747-2261 Media Sponsor www.berklee.edu/events

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©2001 Bose Corporation. JN20417 - -V/A*7 Rich Warren, Chicago Tribune, 6/1/90. Better sound through research^ Foundation Grantors (continued) 1IHHBI

McCarthy Family Foundation Miriam Shaw Fund MetLife Foundation Richard and Susan Smith Family The M.S. and G.S. Morton Foundation Foundation Max and Sophie Mydans Foundation Seth Sprague Educational & Charitable New England Foundation for the Arts Foundation Jean Nichols Charitable Trust State Street Foundation Oak Foundation USA Stearns Charitable Trust

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Business Leadership Association

The support provided by members of the Business Leadership Association enables the Boston Symphony Orchestra to keep ticket prices at accessible levels, to present free concerts to the Boston community, and to support education and outreach programs. The BSO gratefully acknowledges the following companies for their generous annual Corporate Programs support, including gifts-in-kind.

This list recognizes cumulative contributions of $2,000 or more made between

September 1, 2002, and August 31, 2003.

For more information, contact Jo Frances Kaplan, Director of Institutional Giving, at (617) 638-9264. cold baton-$ioo,ooo to $499,999

American Airlines Fairmont Copley Plaza John Hancock Financial James K. Carter Boston Services, Inc. Classical 102.5 WCRB Jonathan D. Crellin David R D'Alessandro William W. Campbell Herald Media, Inc. Kohl's Department Store

EMC Corporation Patrick J. Purcell TDK Electronics Michael C. Ruettgers Corporation silver baton-$50,ooo to $99,999

Accenture AT&T Marsh USA, Inc. Richard P. Clark Esther Silver-Parker John C. Smith William D. Green Deloitte MetLife Foundation Kenneth Mitchell Michael J. Joyce State Street Michael Palmer FleetBoston Financial David A. Spina David B. Sardilli Charles K. Gifford David Sprows Michael Tilton conductor's circle-$25,ooo to $49,999

Bartley Machine/ Dick and Ann Marie The Gillette Company Manufacturing Co., Inc. Connolly James M. Kilts

Richard J. Bartley Ernst & Young Goodwin Procter LLP Blue Cross Blue Shield of Daniel G. Kaye Regina M. Pisa Massachusetts Fisher Scientific Hewitt Associates William C. Van Faasen International Inc. Jan Seeler Paul M. Montrone Continued on page 61

59 Fine tuning portrolios ror over sixty years.

/£ David L. Babsorr '#J & COMPANY INC. INVESTMENT ADVISORS SINCE 1940 Call Rob Lamb at 877-766-0014 x13703 or visit dlbabson.com to learn how we may help you with your investment goals. One Memorial Drive, Cambridge MA A member of the MassMutual Financial Group SM

Corporate fitness &

wellness is our beat.

Fitcorp is greater Boston's leader in corporate fitness and

wellness, with a convenient network of fitness centers in and

around Boston. The Fitcorp Benefit is an innovative health and wellness program chosen by over 175 companies.

BESTOF BOSTON For more information on The Fitcorp Benefit, please contact Michael Parent, Senior Vice President at fitcorp 2003 [email protected] or 617-375-5600 x 114. www.fitcorp.com

60 1

Business Leadership Association (continued) up mum r i 9m JOB CONDUCTOR'S CIRCLE-$25,000 to $49,999 (continued)

Liberty Mutual Group Merrill/Daniels Toyota

Edmund F. Kelly Ian Levine Tim Morrison

LPL Financial Services Parthenon Capital Kevin J. Flynn Todd A. Robinson Ernest K. Jacquet Verizon Massachusetts Cultural Tier Technologies Donna C. Cupelo Council James L. Bildner Waters Corporation Peter Nessen Douglas A. Berthiaume

CONCERTMASTER-$15,000 to $24,999

Advent International Goldman, Sachs 8c Co. NSTAR Peter A. Brooke Hilb, Rogal and Thomas J. May Bingham McCutchen Hamilton Insurance Peet's Coffee and Tea LLP Paul D. Bertrand Angela Malala Jay S. Zimmerman IBM PricewaterhouseCoopers BostonCoach Sean C. Rush LLP Peter Cassidy Longwood Investment Michael J. Costello Citizens Financial Group Advisors Raytheon Company Lawrence K. Fish Robert A. Davidson William H. Swanson City Lights Electrical Manulife USA Sametz Blackstone Company John D. DesPrez III Associates Maryanne Cataldo Meredith & Grew, Inc. Roger Sametz

Mr. and Mrs. James F. Thomas J. Hynes, Jr. Thermo Electron Cleary Mintz, Levin, Cohn, Corporation

Clough Capital Partners Ferris, Glovsky and Richard F. Syron LP Popeo, P.C. UBS PaineWebber- Boston

Charles I. Clough, Jr. R. Robert Popeo, Esq. Richard F. Connolly, Jr. Connell Limited Nixon Peabody LLP Watts Water Partnership Craig D. Mills, Esq. Technologies Francis A. Doyle Nestor M. Nicholas, Patrick S. O'Keefe Coldwell Banker Esq. Weil, Gotshal & Manges Residential Brokerage Deborah L. Thaxter, LLP Richard Lough lin Esq. James Westra, Esq. The Egan Family NORTEL NETWORKS Yawkey Foundation Filene's John S. Neville John L. Harrington William Gingerich

Continued on page 63 61 J^lyminwete

Berkshire l^tltucte for Music § Arts away. upscale dining experience MUSIC THEATRE • VISUAL ARTS An DANCE CREATIVE WRITING without the upscale prices. With our new menu full of Teens entering 10th - 12th grade enticing choices, you'll want are invited to spend the summer at to come back. Williams College in Williamstown, AAA

July 18th 2004 June 23rd- r

• Develop artistic excellence

Engage in Jewish living and learning

in a pluralistic Jewish community 105 Huntington Avenue, Boston 617.266.8194 • Enjoy the world-class cultural www.berkshiregrill.com attractions of the Berkshires

Parking validation for the www.bimasummerarts.org Prudential Center. (781) 642-6800 ext. 208

A positive experience for people with memory loss

respite care day program assisted living resources

62 wBBk

Business Leadership Association (continued)

.,•' " .-

PRINCIPAL PLAYER-$10,000 to $14,999

Adams, Harkness & Hill, George H. Dean Co. Loomis, Sayles & Company, Inc. Kenneth Michaud LP Joseph W. Hammer Eaton Vance Corp. John F. Gallagher III Aon Risk Services, Inc. of Alan R. Dynner, Esq. Mellon New England Massachusetts Eze Castle Software, Inc. David F. Lamere Kevin A. White Sean McLaughlin Palmer & Dodge LLP Arnold Worldwide Four Seasons Hotel Boston Malcolm E. Hindin Ed Eskandarian Thomas Gurtner Perry Capital, LLC

Francis J. Kelly HI Greater Media, Inc. Paul A. Leff Atlantic Trust Pell Rudman Peter H. Smyth The Red Lion Inn

Donald J. Herrema Hale and Dorr LLP Nancy J. Fitzpatrick

Mark J. Panarese William F. Lee Shreve, Crump & Low

Edward I. Rudman Hill, Holliday Merritt W. Mayher George and Roberta Berry John M. Connors, Jr. Sovereign Bank Boston Acoustics, Inc. HPSC, Inc. John P. Hamill Andy Kotsatos John W. Everets Standard & Poor's Boston Scientific Investors Bank & Trust Robert L. Paglia Corporation Company studio-e

Lawrence C. Best Michael F. Rogers Liz Koetsch Choate, Hall Stewart & John F. Farrell & Associates The Studley Press Samuel B. Bruskin John F. Farrell, Jr. Suzanne K. Salinetti William P. Gelnaw Kirpatrick & Lockhart LLP TA Associates Realty Chubb Group of Insurance Mark E. Haddad, Esq. Michael A. Ruane Companies KPMG LLP William Gallagher H. Gillespie John Donald B. Holmes Associates

Philip J. Edmundson patron-$5,ooo to $9,999

The Abbey Group The Boston Globe Duane Morris LLP Allmerica Financial Boston Properties, Inc. EDS Corporation Boston Stock Exchange Edwards & Angell LLP American Management The British Midlands EXEL Holdings, Inc. Services, Inc. Cabot Corporation The Flatley Company American International Carruth Capital, LLC Foley Hoag LLP Companies Jay Cashman Inc. The Forbes Consulting Analog Devices CDC IXIS Asset Group Babson College Management Services, Inc. Franklin Ford Beacon Capital Partners Charles River Laboratories, Gadsby Hannah LLP Joan and Ted Benard-Cutler Inc. Global Companies LLC Bert's Electric Supply Co. Clair Motorcars Graphics Marketing Boston Showcase Co. John M. Corcoran &c Co. Services, Inc. Boston Capital Corporation The Davis Companies GRANITE The Boston Consulting Mr. Robert Davis Telecommunications Group, Inc. Deutsche Bank Alex Brown The Halleran Company

Continued on page 65

63 I 2003-2004 SEASON BOSTON SYMPHONY ORCHESTRA

Give the gift of an exciting musical experience!

Gift Certificates are available in any amount and ma y be used toward the purchase of tickets to any BSO or Bosiston

Pops performance at Symphony Hall or Tanslewood. Gift Certificates may also be used at the Symphony Shop to pur- chase merchandise, or at the Symphony Cafe.

To purchase, visit www.bso.org, or the Symphony Hall Box Office, or call SymphonyCharge at (617) 266-1200.

64

in Business Leadership Association (continued) BhHSv ..:•.-.:

PATRON-$5,000 to $9,999 (continued)

Harvard Pilgrim Health Martignetti Companies The Ritz-Carlton Hotels of Care Maxwell Shoe Company Boston The Highland Street Inc. Thomas A. Russo Connection Medical Information Savings Bank Life Insurance Hines Technology, Inc. The Schawbel Corporation

Arthur J. Hurley Company, Mercer Human Resource Signal Technology Inc. Consulting Corporation Huron Consulting Group Merrill Lynch State Street Development Jack Madden Ford ML Strategies, LLC Mgmt Corp. Joan &c Ted Benard-Cutler MR Property Management Suffolk Construction International Data Group The Millipore Foundation Company, Inc. J.N. Phillips Auto Glass Navigator Management The TJX Companies, Inc. Co., Inc. Company, LP Towers Perrin Janney Montgomery Scott New England Financial Trammell Crow Company Jofran New Balance Athletic Shoe, Tri-State Signal, Inc. Kaufman and Company Inc. Tyco Healthcare/Kendall

KeySpan Energy Delivery New England Business UBS PaineWebber - Boston New England Service, Inc. UBS Warburg - Los Angeles England Insulation The Kraft Group New United Liquors Ltd. Company Kruger Inc. Vitale, Caturano & England Development Lexington Insurance New Company, P.C. Company Joe and Joan Patton W.R. Grace & Company PerkinElmer, Inc. Lindenmeyr Munroe S.R. Weiner & Associates Mr. and Mrs. Peter S. Lynch PFPC Weston Presidio Margulies & Associates RBC Dain Rauscher Woburn Foreign Motors

fellow-$3,ooo to $4,999

Biogen, Inc. Gourmet Caterers, Inc. Phelps Industries LLC Blake and Blake Harvey Industries, Inc. Saunders Hotel Group Genealogists, Inc. Helix Technology The Lenox & Copley CB Richard Ellis Corporation Square Hotels Copley Place The E.B. Horn Co. United Gulf Management, Inc. Mr. and Mrs. John J. Initial Tropical Plants, Inc. Cullinane Ionics, Incorporated Watson Wyatt Worldwide

Cummings Properties, LLC J.D.P. Co. WBZ-TV4, UPN38, Davidson-Kempner LPL Financial Services UPN28 Weingarten, Schurgin, Digitas Lee Kennedy Co., Inc. Gagnebin & Lebovici LLP Fiduciary Trust Company Needham & Company, Inc. 7NEWS, WHDH-TV Friedl Enterprises New England Cable News

Continued on page 67 65 lil

Welch & Forbes llc

INVESTMENT 45 SCHOOL STREET

PROFESSIONALS BOSTON, MA 02108 T: 6i7.523.l635

RICHARD F. YOUNG PRESIDENT

M. LYNN BRENNAN

PETER P. BROWN

PAMELA R. CHANG

THOMAS N. DABNEY

PAUL R. DAVIS

JOHN H. EMMONS, JR.

CHARLES T. HAYDOCK

ARTHUR C. HODGES

KATHLEEN B. MURPHY

THEODORE E. OBER

RICHARD OLNEY III

P. ERIC ROBB

ADRIENNE G. SILBERMANN Investment Management and OLIVER A. SPALDING

BENJAMIN J. WILLIAMS, JR. Fiduciary Services since 1838

Sellers & Collectors Of Beautiful Jewelry 232 boylston street chestnut hill, ma 02467

• 617-969-6262 Toll Free : 800-DAVIDCO www.davidandcompany.com

66 Business Leadership Association (continued)

MEMBER-$2,000 to $2,999

Ameresco, Inc. ControlAir, Inc. Mr. and Mrs. Kenneth J. Anchor Capital Advisors, D.K. Webster Family Novack Inc. Foundation Putnam Investments The Baupost Group, LLC FleetCenter Regan Communications The Biltrite Corporation The John & Happy White Group, Inc. Cambridge Trust Company Foundation Sun Life Financial Carson Limited Partnership Legal Sea Foods Talbot's Charitable Charles River Charitable Nordblom Company Foundation, Inc. Foundation Watermill Ventures

The Boston Symphony Orchestra's Corporate Programs Office would like to acknowledge and thank the members of the BSO's Business and Professional

Friends Committee who served during the 2002-2003 fiscal year, September 1, 2002, through August 31, 2003. Their efforts were critical to the success of the BSO's outreach to the business community.

Chairman: Richard A. Higginbotham Roger Sametz Alan R. Dynner, Esq. Managing Director of President Vice President and Corporate Banking Sametz Blackstone Chief Legal Officer FleetBoston Financial Associates, Inc. Eaton Vance Corporation Ann-Ellen Hornidge, Esq. Diana Scott Partner James L. Bildner Senior Vice President Chairman Mintz, Levin, Cohn, John Hancock Financial Tier Technologies Ferris, Glovsky and Services Popeo, PC. Judith Feingold William C. Stone, Esq. Carmine A. Martignetti Partner Stefan M. Gavell President Nixon Peabody LLP Executive Vice President Martignetti Companies and Treasurer Deborah L. Thaxter, Esq. L. State Street Corporation Robert Paglia Partner Managing Director Nixon Peabody LLP Jonathan C. Guest, Esq. Corporate Value Partner Ellen M. Zane Consulting Perkins, Smith & Cohen, President and Chief LLP Standard & Poor's Executive Officer, Tufts-New England Neal J. Harte, CPA TACSGROUP Medical Center

•JJL

67 NEXT PROGRAM. . .

Wednesday, February 4, at 7:30 p.m. Pre-Concert Talks by- (Open Rehearsal) Jessie Ann Owens, Thursday, February 5, at 8 Brandeis University

Friday, February 6, at 1:30

Saturday, February 7, at 8 Tuesday, February 10, at 8

TON KOOPMAN conducting

J.S. BACH Orchestral Suite No. 1 in C, BWV 1066

[Ouverture] Courante

Gavotte I — Gavotte II Forlane

Menuet I - Menuet II

Bourree I — Bourree II

Passepied I — Passepied II

C.P.E. BACH Cello Concerto in A, Wq. 172

Allegro Largo con sordini, mesto Allegro assai PIETER WISPELWEY

INTERMISSION

MENDELSSOHN Symphony No. 5 in D, Opus 107, Reformation

Andante — Allegro con fuoco Allegro vivace Andante

CHORALE: Ein feste Burg ist unser Gott (Andante con moto) — Allegro vivace — Allegro maestoso

Dutch conductor Ton Koopman, celebrated for his interpretations of the music of J.S. Bach, brings the master's high-spirited Orchestral Suite No. 1 to Symphony Hall. This suite, probably written in the late 1710s, encompasses an overture fol- lowed by six dance movements. Carl Phillip Emanuel Bach, one of Johann Sebastian's talented sons, was arguably the most successful as a composer; his music bridges the late Baroque and Classical periods. The Cello Concerto in A, dating from about 1753, is a version of a concerto he wrote originally for harpsi- chord. Mendelssohn's Fifth Symphony. Reformation, is based in part on the hymn "A Mighty Fortress Is Our God," written by Martin Luther. The symphony was writ- ten to coincide with the 300th anniversary of a major Reformation event, the Augsburg Confession.

68 COMING CONCERTS . . .

PRE-CONCERT TALKS: The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO concerts and Open Rehearsals. Free to all ticket holders, the talks begin at 7 p.m. prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, and one hour waSBm before the start of each Open Rehearsal. This season's Pre-Concert Talks are dedicated by this year's speakers to the memory of Boston University Professor John Daverio (1954-2003), a cherished colleague whose con- tributions to Boston Symphony concerts as guest speaker and annotator are not forgotten.

Sunday, February 1, 3-4:35 Thursday, February 12, at 10:30 a.m. (Pre-Concert Talk at 2 p.m.) (Open Rehearsal) Pension Fund Concert (Non-Subscription) Thursday 'C—February 12, 8-10:10 CHRISTOPH VON DOHNANYI Friday 'A'—February 13, 1:30-3:40 conducting Saturday 'B'—February 14, 8-10:10 THOMAS HAMPSON, baritone GENNADY ROZHDESTVENSKY conducting MOZART Overture to The Marriage piano of Figaro VIKTORIA POSTNIKOVA, MAHLER Songs of a Wayfarer SUK A Summers Tale, BRAHMS Symphony No. 4 Symphonic poem MARTINU Piano Concerto No. 4, Wednesday, February 4, at 7:30 Incantation (Open Rehearsal) DVORAK Slavonic Dances, Opus 72, Thursday 'D'—February 5, 8-9:45 Nos. 2, 5, 7, and 8 Friday 'B'—February 6, 1:30-3:15 Saturday 'A'—February 7, 8-9:45 Thursday 'B'—February 19, 8-10:05 Tuesday 'B'—February 10, 8-9:45 Friday Evening—February 20, 8-10:05 Saturday 'A' February 21, 8-10:05 TON KOOPMAN conducting — Tuesday 'C—February 24, 8-10:05 PIETER WISPELWEY, cello GENNADY ROZHDESTVENSKY J.S. BACH Orchestral Suite No. 1 conducting C.P.E. BACH Cello Concerto in A, Wq.172 ALEXANDER ROZHDESTVENSKY, violin MENDELSSOHN Symphony No. 5, DINA KUZNETSOVA, soprano Reformation CARL HALVORSON, tenor

Programs and artists subject to change. GLAZUNOV Overture on Greek Themes No. 2 SIBELIUS Six Humoresques for Violin and Orchestra PROKOFIEV American Overture SHOSTAKOVICH Suite on Finnish Folk massculturalcouncil.org Tunes, for soprano, tenor, and chamber orchestra SHOSTAKOVICH Excerpts from Hypo- thetically Murdered

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

69 SYMPHONY HALL EXIT PLAN

MASSACHUSETTS AVENUE

MASSACHUSETTS AVENUE

IN CASE OF AN EMERGENCY

Follow any lighted exit sign to street.

Do not use elevators.

Walk don't run.

70 SYMPHONY HALL INFORMATION

FOR SYMPHONY HALL CONCERT AND TICKET INFORMATION, call (617) 266-1492. " "HI concert program information, call "C-O-N-C-E-R-T" (266-2378). For Boston Symphony Hi - THE BOSTON SYMPHONY performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction.

jTHE EUNICE S. AND JULIAN COHEN WING, adjacent to Symphony Hall on Huntington (Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue.

IN THE EVENT OF A BUILDING EMERGENCY, patrons will be notified by an announce- ment from the stage. Should the building need to be evacuated, please exit via the nearest jdoor (see map on opposite page), or according to instructions.

FOR SYMPHONY HALL RENTAL INFORMATION, call (617) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

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

evenings it remains open through intermission for BSO events or just past starting time for

I other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are avail- able at the box office. For most outside events at Symphony Hall, tickets are available three

I weeks before the concert at the box office or through SymphonyCharge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (or until 2 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $5 for each ticket ordered by phone or online.

GROUP SALES: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255.

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

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.

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

TICKET RESALE: If you are unable to attend 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 at- tend the concert. A mailed receipt will acknowledge your tax-deductible contribution.

RUSH SEATS: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets available for Friday or Saturday evenings.

71 ri

IF

PLEASE NOTE THAT SMOKING IS NOT PERMITTED ANYWHERE IN SYMPHONY HALL.

CAMERA AND RECORDING EQUIPMENT may not be brought into Symphony Hall during concerts.

LOST AND FOUND is located at the security desk at the stage door to Symphony Hall on St. Stephen Street.

FIRST AID FACILITIES for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the switchboard near the Massachu- setts Avenue entrance.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- i teed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575.

ELEVATORS are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing.

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

MEN'S ROOMS are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing.

COATROOMS are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time.

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

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

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

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon until 6 p.m.; from one hour before each concert through intermission, and for up to thirty minutes after each concert. The Symphony Shop features exclusive BSO merchandise, in- cluding the Symphony Lap Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children's books and musical- motif gift items. A selection of Symphony Shop merchandise is also available during concert hours outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orches- tra. For further information and telephone orders, please call (617) 638-9383.

72 nuig HHuflBI

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