Summer 2013 Boston Symphony Orchestra

boston symphony orchestra summer 2013

Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

132nd season, 2012–2013

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

Programs copyright ©2013 Boston Symphony Orchestra Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

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

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

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individ- ual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

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

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 24 through August 25. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. A “Special Focus” Exhibit at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the Music Shed at Tanglewood

From “The Berkshire Evening Eagle,” Thursday, August 4, 1938 (BSO Archives)

An exhibit commemorating the 75th anniversary of the Koussevitzky Music Shed has been mounted in the Tanglewood Visitor Center by the BSO Archives. The exhibit traces the origins of the Shed back to 1936, when Serge Koussevitzky and the BSO were first invited to perform in the Berkshire Symphonic Festival. Drawing on materials in the BSO Archives, the Stockbridge Library, the Lenox Library, and the Koussevitzky Collection at the Library of Congress, the exhibit covers the selection of Finnish architect Eliel Saarinen in 1937 to design a permanent structure; the modification of his plans by Stockbridge engineer Joseph Franz; and the construction of the Shed in 1938. The BSO extends special thanks to the Stockbridge Library Association Historical Collections for the loan of Joseph Franz’s model of the Shed, and for making photographs and documents available from the collections of Joseph Franz and David Milton Jones, with thanks also to the Lenox Library for access to Festi- val co-founder Gertrude Robinson Smith’s papers, and to the Library of Congress Music Division for access to the Koussevitzky Collection.

Koussevitzky standing on the terrace of Seranak, his summer home in the Berk- shires, in 1948, wearing a cape—currently on display in the Visitor Center—donated to the BSO in July 2012 by Natalie de Leutchtenberg, the niece of Olga Kousse- vitzky (Photo by William Whitaker)

Leonard Bernstein Portrait Series at Highwood Also on display this year, at the Highwood Manor House, is a selection of oil paintings and photographs of Leonard Bernstein, including a 1958 oil painting of Bernstein (shown here) by Mirel Bercovici, donated in 2012 by her daughter Mirana Comstock and currently on view in High- wood’s main dining room.

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 1 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 1 p.m., and from noon through intermission on Sundays. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $30 (front and boxes) and $20 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

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

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

Boston Symphony Orchestra Tanglewood 2013

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

BERNARDHAITINK SEIJI OZAWA MUSICDIRECTOR THOMASWILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity Flutes Bass Clarinet Thomas Siders Harp Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward Jessica Zhou Principal M. Lupean chair Nicholas and Thalia Zervas Walter Piston chair, chair, endowed in perpetuity endowed in perpetuity Bassoons Michael Martin by Sophia and Bernard Richard Svoboda Ford H. Cooper chair, Gordon Clint Foreman endowed in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, Voice and Chorus endowed in perpetuity Trombones Elizabeth Ostling John Oliver Associate Principal Suzanne Nelsen Toby Oft Tanglewood Festival Marian Gray Lewis chair, John D. and Vera M. Principal Chorus Conductor endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Alan J. and Suzanne W. Richard Ranti chair, endowed in perpetuity Dworsky chair, endowed in Piccolo Associate Principal Stephen Lange perpetuity Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Librarians Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed James Markey Marshall Burlingame in perpetuity Principal John Moors Cabot chair, Contrabassoon Lia and William Poorvu endowed in perpetuity Oboes Gregg Henegar chair, endowed in perpetuity Helen Rand Thayer chair William Shisler John Ferrillo Tuba Principal John Perkel Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal James Sommerville Margaret and William C. Assistant Mark McEwen Principal Rousseau chair, endowed Conductors James and Tina Collias Helen Sagoff Slosberg/Edna in perpetuity chair S. Kalman chair, endowed Marcelo Lehninger in perpetuity Anna E. Finnerty chair, § Keisuke Wakao Timpani endowed in perpetuity Assistant Principal Richard Sebring Farla and Harvey Chet Associate Principal Timothy Genis Andris Poga Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, in perpetuity Congleton chair, endowed endowed in perpetuity in perpetuity Personnel Managers English Horn Rachel Childers Percussion John P. II and Nancy S. Lynn G. Larsen Robert Sheena Eustis chair, endowed in J. William Hudgins Beranek chair, endowed perpetuity Peter and Anne Brooke Bruce M. Creditor in perpetuity chair, endowed in perpetuity Assistant Personnel Michael Winter Manager Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Stage Manager William R. Hudgins Jason Snider Linde chair John Demick Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, Tariot chair endowed in perpetuity Michael Wayne Matthew McKay Thomas Martin Trumpets participating in a system Associate Principal & * of rotated seating E-flat clarinet Thomas Rolfs Stanton W. and Elisabeth Principal § on sabbatical leave Roger Louis Voisin chair, K. Davis chair, endowed ° on leave in perpetuity endowed in perpetuity Benjamin Wright A Brief History of the Boston Symphony Orchestra

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. (BSO Archives) An expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcon- tinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thir- teenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour On the lawn at Tanglewood in 1941, with a sign promoting a mainland China after the nor- gala benefit concert for the United Service Organizations and malization of relations. British War Relief (BSO Archives/courtesy The Berkshire Eagle) Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiat- ed when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he takes up in the 2014-15 season, following a year as music director designate (see next page). Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world. Andris Nelsons Named Next BSO Music Director

On May 16, 2013, the Boston Symphony Orchestra announced the appointment of Andris Nelsons as the BSO’s fifteenth music director since its founding in 1881. Born in Riga in 1978 into a family of musicians, he becomes the youngest music director to lead the orchestra in more than 100 years, and the first Latvian-born conductor to assume that post. Mr. Nelsons will serve as BSO Music Director Designate for the 2013-14 season and become the Ray and Maria Stata Music Director beginning in the fall of 2014. At thirty- four, he is the third-youngest conductor to be appointed music director since the BSO’s founding in 1881: Georg Henschel was thirty- one when he became the orchestra’s first music director in 1881, and Arthur Nikisch was thirty-three when he opened his first season with the BSO in 1889. Andris Nelsons is one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philhar- monic, Vienna Philharmonic, the Royal Concertgebouw Orchestra Andris Nelsons conducting the BSO of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian at Symphony Hall, January 2013 Radio Symphony, Vienna State Opera, Metropolitan Opera, Vienna (photo by Stu Rosner) State Opera, Bayreuth Festival, and the Royal Opera House, Covent Garden. Since 2008 he has been music director of the City of Birmingham Symphony Orchestra (CBSO), with which he has toured worldwide. He made his debut in Japan on tour with the Vienna Philharmonic and returns to the Far East on tour with the CBSO in November 2013. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He is married to the soprano Kristīne Opolais, who was recently acclaimed for her Metropolitan Opera debut as Magda in Puccini’s La rondine. They live in Riga with their one-and-a-half-year-old daughter Adriana. Andris Nelsons made his Boston Symphony Orchestra debut in March 2011, leading Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. Last summer he conducted both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Celebration, following that the next afternoon with a BSO program of Stravinsky and Brahms. He made his BSO subscription series debut in January 2013, leads the BSO in Verdi’s Requiem at Tanglewood this summer on July 27 (with Kristīne Opolais among the soloists), and, as BSO Music Director Designate, he will lead a program of Wagner, Mozart, and Brahms at Symphony Hall in (photo ©Marco Borggreve) October, followed by a one-night-only concert performance of Richard Strauss’s opera Salome in March. “I am deeply honored and touched that the Boston Symphony Orchestra has appointed me its next music director, as it is one of the highest achievements a conductor could hope for in his lifetime,” said Maestro Nelsons. “Each time I have worked with the BSO I have been inspired by how effectively it gets to the heart of the music, always leaving its audience with a great wealth of emotions. So it is with great joy that I truly look forward to joining this wonderful musical family and getting to know the beautiful city of Boston and the community that so clearly loves its great orchestra. As I consider my future with the Boston Sym- phony, I imagine us working closely together to bring the deepest passion and love that we all share for music to ever greater numbers of music fans in Boston, at Tanglewood, and throughout the world.”

Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott)

Table of Contents

Friday, July 12, 6pm (Prelude Concert) 2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA with TMC pianists KATHERINE DOWLING and NICOLAS NAMORADZE Music of Britten and Stravinsky

Friday, July 12, 8:30pm 7 BOSTON SYMPHONY ORCHESTRA KAZUSHI ONO conducting; LEON FLEISHER, piano Music of Wagner, Ravel, and Rimsky-Korsakov

Saturday, July 13, 8:30pm 18 BOSTON SYMPHONY ORCHESTRA DAVID NEWMAN conducting “West Side Story”: Film with Live Orchestra

Sunday, July 14, 2:30pm 25 BOSTON SYMPHONY ORCHESTRA RAFAEL FRÜHBECK DE BURGOS conducting; LYNN HARRELL, cello Music of Stravinsky, Haydn, and Beethoven

“This Week at Tanglewood” Again this summer, Tanglewood patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, July 12, are four actors who played members of the Jets and Sharks in the film of West Side Story, and are among the co-authors of the 2011 memoir Our Story: Jets and Sharks, Then and Now: Herbert “Bert” Michaels (Snowboy), Edward “Eddie” Verso (Juano), David Bean (Tiger), and Harvey “Evans” Hohnecker (Mouthpiece). The series continues through Friday, August 23, the final weekend of the BSO’s 2013 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 6 and 20; August 10 and 17—Robert Kirzinger, BSO Assistant Director of Program Publications July 27; August 3 and 24—Marc Mandel, BSO Director of Program Publications

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

TANGLEWOODWEEK 2 TABLEOFCONTENTS 1 2013 Tanglewood

Prelude Concert Friday, July 12, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE MAE AND GABRIEL SHAPIRO MEMORIAL CONCERT

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA CLINT FOREMAN, flute STEPHEN LANGE, trombone MICHAEL WAYNE, clarinet GLEN CHERRY, violin RICHARD RANTI, bassoon BENJAMIN LEVY, double bass BENJAMIN WRIGHT, trumpet J. WILLIAM HUDGINS, percussion with TMC Fellows KATHERINE DOWLING and NICOLAS NAMORADZE, pianists (Britten) and MICHAEL MARTIN, BSO fourth trumpet (Narrator in Stravinsky) THOMAS SIDERS, BSO principal trumpet (The Soldier in Stravinsky) JENNIFER CHEN, BSO Assistant to the Orchestra Personnel Manager (The Devil in Stravinsky)

BRITTEN “Gemini Variations,” for flute, violin, and piano four-hands, Opus 73 Theme. Maestoso Variation I. Prestissimo scherzando (piano solo) Variation II. Moderato (violin and piano) Variation III. Allegro con brio (violin solo) Variation IV. Grazioso (flute and violin) Variation V. Canone. Vivace (flute and violin) Variation VI. Specchio I. Lento tranquillo (flute and violin) Variation VII. Cadenza ad libitum (flute solo) Variation VIII. Appassionato (flute and piano) Variation IX. Fanfara. Allegro (piano solo) Variation X. Marcia. Lo stesso tempo (piano four-hands, flute, and violin) Variation XI. Specchio II. Misterioso (piano four-hands) Variation XII. Romanza. Andante rubato (piano solo) Fugue. Molto moderato

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

2 STRAVINSKY “L’Histoire du soldat”(“The Soldier’s Tale”) Text by C.F. Ramuz English version by Michael Flanders and Kitty Black The Soldier’s March Music for Scene I (Airs by a Stream) Music for Scene II (Pastorale) Music for Scene III The Soldier’s March The Royal March The Little Concert Three Dances: Tango, Waltz, Ragtime The Devil’s Dance Little Chorale The Devil’s Song Great Chorale Triumphal March of the Devil MICHAEL MARTIN (Narrator) THOMAS SIDERS (The Soldier) JENNIFER CHEN (The Devil)

NOTES ON THE PROGRAM

As we celebrate the centennial of Benjamin Britten (1913-1976) this year, our attention is focused on Peter Grimes, The Turn of the Screw, the War Requiem, and other major works that take on difficult social issues. We also associate Britten with youthful inno- cence, in such works as Rejoice in the Lamb and the Spring Symphony, and many of us fondly remember The Young Person’s Guide to the Orchestra as sparking a passion for classical music. It is from this lighter side of his compositional spectrum that Britten wrote the Gemini Variations, with two specific, and young, performers in mind. Britten met the twelve-year-old Hungarian twin brothers Zoltán and Gábor Jeney in Budapest in 1964, and was immediately captivated by their precocious musicianship: Zoltán played flute, Gábor played violin, and both played piano. The result of this encounter was Gemini Variations, a “quartet for two players” written to showcase their skill. In a preface to the score, Britten amusingly describes how he allowed the boys to twist his arm: ... they approached me and charmingly, if forcefully, asked me to write them a work. Though I claimed that I was too busy, my refusal was brushed aside;

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

TANGLEWOODWEEK 2 PRELUDEPROGRAMNOTES 3 however, I insisted on one small bargaining point; I would do it only if they would write me a long letter telling me all about themselves, their work and their play—in English. I felt safe. After a week or two, however, the letter arrived, in vivid and idiosyncratic English, and I felt I must honour my promise. Britten had fun with the project, playing upon the “twins” idea in everything from the work’s title to its structure, and exhibiting the brothers’ multiple talents in a constant and entertaining rotation through the instruments. He even included in the score tips for the boys on how to transition quickly from one instrument to another, recommending a smooth bench for easily sliding on and off, and suggesting where to place their instruments for easy retrieval. The Jeney twins gave the premiere on June 19, 1965, at Britten’s Aldeburgh Festival. They later recorded the piece for the Decca label, and performed it in Brussels and all over their native Hungary. The main theme is based on an epigram by the twins’ older compatriot Zoltán Kodály, stated at the opening and followed by twelve variations and a fugue. Britten set the theme as a piano duet, and the rest of the piece presented every possible combination of instruments. Britten also wrote an alternate version of the score for four players, more commonly played today; this version includes extra ad lib passages for flute and violin, “so that they should not become bored by long waits.” The twelve variations work through different moods and styles, allowing the players to demonstrate their versatility and expressive range. Several patterns emerge that must have appealed to Britten’s sense of musical architecture. For example, two of the variations, Specchio I and Specchio II (“specchio” is Italian for mirror) are duets wherein the instruments simultaneously play inversions of each other’s lines (e.g., when one rises a third, the other descends a third, and so forth). There are also large-scale symmetries of instrumentation within the set of variations. In the quartet version, the added music occurs in the first and tenth movements, and again in the concluding fugue. The fugue is the grand finale, the only section originally written for all four instruments. This required the twins to switch within the movement, fin- ishing the piece off with an entertaining challenge.

During the First World War, Igor Stravinsky (1882-1971) was living in Switzerland, cut off from his family estates by revolution in Russia and from performance royal- ties of his notorious and popular ballet scores by the impossibility of keeping the Ballets Russes functioning in wartime. The idea occurred to him of creating a small-

4 scale theatrical production that could tour on a shoestring and perform almost any- where. He chose a plot line adapted from a story by Afanasiev involving encounters between the Devil and a nameless soldier, an Everyman. The story was worked out with a Swiss writer, C.F. Ramuz, into an hour-long theater piece involving a narrator, a pair of actors, and a dancer, accompanied by an ensemble of seven instruments, divided in such a way as to have one high and one low instrument from each family: clarinet and bassoon, cornet à piston and trombone, violin and double bass, plus a percussionist playing high- and low-pitched side drums, bass drum, cymbals, tam- bourine, and triangle. The first performance took place in Lausanne, Switzerland, on September 28, 1918. The evening was a success, but the work could not be repeated when the great worldwide 1918 influenza epidemic closed the theaters. Stravinsky quickly adapted the music as a concert suite retaining most of the larger musical numbers, and which was first performed under Ernest Ansermet in London on July 20, 1920. It is through performances of the suite that Stravinsky’s work is most often heard. Though derived from Russian stories, the plot of L’Histoire du soldat (The Soldier’s Tale) was adapted into a wider cultural framework with some reflection of the traditional Faust stories. The Devil is a master of disguises who is willing to employ any trick to obtain the soldier’s violin (which symbolizes his soul). He buys it in return for a magic book that foretells the future, but the soldier soon becomes disillusioned with the wealth he can acquire through his knowledge, and he tries to get the fiddle back. In one encounter he plays cards with the Devil, and plies him with wine until finally the Devil falls unconscious and he is able to make off with the instrument. He uses it to cure an invalid princess, who dances to his music and falls into his arms. When the Devil attempts to seize him again, he plays wild music on the fiddle, forcing the Devil into contortions and driving him away from the kingdom. Only after he has been married to the princess for several years and she urges him to take her to visit his old home does the Devil get his due; as soon as the soldier crosses the bor- der, the Devil gets control of the violin and marches the soldier away triumphantly. Stravinsky himself commented that L’Histoire has a characteristic “sound”—”the scrape of the violin and the punctuation of the drums,” the former representing the soldier’s soul and the latter the diablerie. He composed the score in self-contained musical units, most of which he later assembled into the familiar suite. When heard as part of a complete performance with narrator and actors, some of these are repeated (“The Soldier’s March,” for example, recurs frequently); these fill out and give shape to the scenes of the play and also give a special feeling to each scene. The narrator, of course, recounts the tale as it unfolds, so that the music becomes more directly illustrative.

Notes by PAMELA FEO (Britten) and STEVEN LEDBETTER (Stravinsky)

PAMELA FEO, the 2013 Tanglewood Music Center Publications Fellow, is a Boston-based musicologist who works in arts administration. She holds the Theodore Edson Parker Foundation Fellowship. STEVEN LEDBETTER was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

TANGLEWOODWEEK 2 PRELUDEPROGRAMNOTES 5 Sponsored by Country Curtains, The Red Lion Inn, and Blantyre Friday, July 12, 2013 The performance on Friday evening is sponsored by Tanglewood Business Partners Country Curtains, The Red Lion Inn, and Blantyre. Country Curtains, The Red Lion Inn, Blantyre, and the Fitzpatrick family have been generous supporters of the Boston Symphony Orchestra and Tanglewood for more than forty years. Country Curtains was founded by BSO Life Trustee Jane Fitzpatrick and her late husband, Jack, in 1956. The company operated out of their home until 1969, when Jack and Jane purchased and restored The Red Lion Inn in Stockbridge and moved the business there. The couple’s two daughters, BSO Trustee Nancy Fitzpatrick and Ann Fitzpatrick Brown, serve as co-vice-chairmen of The Fitzpatrick Companies, the parent company of Country Curtains. Tanglewood patrons for more than forty years, Jane and Jack Fitzpatrick are Great Benefactors, Walter Piston Society members, and Koussevitzky Society members at the Maestro level. In addition to their support of the Annual Fund, they have supported numerous capital projects, endowment funds, and education initiatives, including the Tanglewood Forever Capital Fund, Ozawa Hall, Tanglewood Music Center, and the Cohen Wing, among others. Jane was elected to the Board of Over- seers in 1978 and the Board of Trustees in 1982. She was elevated to Life Trustee in 1996. Longtime supporters of Opening Night at Tanglewood, Jane and Jack served on the Benefactors Committee for the Opening Night gala in 2007. The Fitzpatricks are prominent business and community leaders in the Berkshires. Nancy Fitzpatrick has continued her parents’ dedication and commitment to the BSO. She was elected to the Board of Overseers in 1995 and the Board of Trustees in 1998. Nancy serves as co-chair of the Tanglewood Business Partners Committee, and she also serves on the Overseers Nominating Committee. Nancy and her husband, Lincoln Russell, have served on numerous Opening Night at Tanglewood gala committees, and were co-chairs of 2009 Opening Night at Tanglewood. They are members of the Koussevitzky Society at the Maestro level, and they have regularly supported Opening Nights at Tanglewood and Symphony. Nancy and Lincoln have also generously supported Stage One of the Beyond Measure Campaign. Ann Fitzpatrick Brown, in the spirit of the Fitzpatrick family’s generosity, continues to support Tanglewood and is a member of the Koussevitzky Society at the Maestro level as well. Ann has also hosted many Tanglewood fundraising events at the historic and beautiful Blantyre Estate, including the 2011 Wine Auction Dinner. Our Berkshire community and the BSO community mourn the loss of Jack, whose leadership, generosity and jovial spirit will remain an inspiration to us all. Stu Rosner

6 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Friday, July 12, 8:30pm “UnderScore Friday” concert, including introductory comments from the stage by BSO principal horn James Sommerville Sponsored by COUNTRY CURTAINS, THE RED LION INN, and BLANTYRE

KAZUSHI ONO conducting

WAGNER “Siegfried Idyll”

RAVEL Piano Concerto in D, for the left hand LEON FLEISHER

{Intermission}

RIMSKY-KORSAKOV “Scheherazade,” Symphonic suite, Opus 35 Largo e maestoso—Allegro non troppo Lento—Andantino—Allegro molto— Vivace scherzando—Allegro molto ed animato Andantino quasi allegretto Allegro molto e frenetico—Vivo— Spiritoso—Allegro non troppo maestoso

ELITA KANG, solo violin

TANGLEWOODWEEK 2 FRIDAYPROGRAM 7 NOTES ON THE PROGRAM

Richard Wagner (1813-1883) “Siegfried Idyll” First performance: Christmas morning, December 25, 1870, Tribschen, the Wagner home near Lake Lucerne in Switzerland. First BSO performance: February 1883, Georg Henschel cond. First Tanglewood performance: August 15, 1953, Charles Munch cond. (sixteen years earlier, a performance scheduled for August 12, 1937, when Serge Koussevitzky led an all-Wagner program during the BSO’s first Tangle- wood season, was omitted from the concert because of thunderstorms). Most recent Tanglewood performance: July 21, 2012, when Asher Fisch conducted the entirety of Koussevitzky’s originally scheduled 1937 Wagner program to mark the BSO’s 75th anniversary at Tanglewood). “When I woke up I heard a sound, it grew ever louder, I could no longer imagine myself in a dream, music was sounding, and what music! After it had died away, R. came in to me with the five children and put into my hands the score of his “symphonic birthday greeting.” I was in tears, but so, too, was the whole household; R. had set up his orchestra on the stairs and thus consecrated our Tribschen forever! The Tribschen Idyll—so the work is called....” Thus Cosima Wagner’s diary entry for Sunday, December 25, 1870. “R.” is of course Richard, Richard Wagner; “the five children” are ten-year-old Daniela and seven- year-old Blandine, daughters of Cosima and Hans von Bülow; five-year-old Isolde and three-year-old Eva, daughters of Cosima von Bülow and Richard Wagner; and Siegfried, Wagner’s only son, born to Cosima on June 6, 1869, fourteen months before her marriage to Wagner on August 25, 1870. Tribschen was the country villa near Lucerne, rented for him by King Ludwig II of Bavaria, into which Wagner had moved in April 1866—he had taken his hasty leave of the Munich court the preced- ing December and had lived for a short while near Geneva—and where Cosima had joined him the following month; and “Tribschen Idyll” was the original name of that chamber-musical, intimate Wagnerian composition sent off to the publisher Schott eight years later, prefaced by a dedicatory poem in praise of Cosima and the infant Siegfried, and made public property as the Siegfried Idyll. No easy task, this sorting out of names, dates, places, relationships in the life of Richard Wagner. No easy task, either, coming to grips with the character of this indi-

8 vidual about whom more has probably been written than any other composer. In December 1865, the Bavarian Minister of State, Ludwig Freiherr von der Pfordten, wrote to Ludwig II of “Wagner’s unparalleled presumption and undisguised meddling in other than artistic spheres,” of his being “despised, not for the democratic views he airs... but for his ingratitude and betrayal of patrons and friends, for his wanton and dissolute self-indulgence and squandering, for the shameless way he exploits the undeserved favor he has received from Your Majesty....” However colored by political intrigues, however shaded by the Wagner-Bülow scan- dal which had become the talk of the Munich court, one cannot avoid a certain ring of truth in this assessment: if one needed to choose a single word summing up Wagner’s character and world-view, it might very well be “self-serving.” In his attitude toward friends, relatives, creditors, landlords, and publishers, in his views on art, pol- itics, and religion, he was a man with a mission, with a goal so important that every- one around him was expected to recognize it. And it says something of his faith in that mission, and of the power he exerted on those around him, that the “illustrious benefactor” upon whom he called in his preface to the 1863 edition of his Ring poem did appear, in the person of Bavaria’s Ludwig II, to make possible the productions of Tristan, Die Meistersinger von Nürnberg, and, ultimately, Der Ring des Nibelungen; and that so talented a musician as Hans von Bülow, whose career was so closely tied to Wagner’s success and yet whose personal life was so severely altered by the figure he idolized and had first met in Dresden in 1846, could write to his wife Cosima from Munich on June 17, 1869, in response to her request for a divorce: “You have preferred to devote your life and the treasures of your mind and affection to one who is my superior, and, far from blaming you, I approve your action from every point of view and admit that you are perfectly right....” Wagner first met Cosima, the second illegitimate child of Franz Liszt’s liaison with the Countess Marie d’Agoult, in Paris, late in 1853, shortly after experiencing the seemingly visionary trance in which he conceived the E-flat opening for the music of Das Rheingold. Cosima and Hans von Bülow, who was a student of Liszt’s, were married on August 18, 1857, and, eleven days later, arrived for a three-week stay with Wagner at the Asyl, the Wagner cottage on the estate near Zurich of the wealthy German merchant Otto Wesendonck and his wife Mathilde. On another visit to the Asyl a year later, the von Bülows were witness to the disintegration of the atmosphere in which Wagner had been composing his Tristan und Isolde, and to a crucial stage in the collapse of his marriage to his first wife, Minna, in the face of his relationship with Mathilde Wesendonck. Cosima’s attitude toward Wagner, twenty-four years her senior, had been cool; but repeated encounters and visits by Wagner to the von Bülows’ Berlin home changed this: in the course of one of these visits, on November 28, 1863, they acknowledged their love for each other. Cosima developed a sense of purpose as strong as Wagner’s own, and, as Richard saw it, writing from Lucerne a year before their marriage, “she knew what would help me once and for all, and knew how it might be achieved, and did not hesitate for a moment to offer me that help in the possession of herself....” The intimacy and warmth of the Siegfried Idyll are a measure of Wagner’s love for Cosima—making the thematic relationship between the Idyll’s music and the final duet from Siegfried (the third opera of the Ring tetralogy), in a general sense, inci- dental—even though Cosima will have recognized much from the already completed Siegfried in the Idyll. In fact, one comes to realize that the “Siegfried” of the pub- lished Idyll’s title is not the opera, but the Wagners’ infant son. So the point is not one of “which came first?” but of understanding that both the Idyll and the Siegfried duet are manifestations of the same emotional impulse on the composer’s part. In

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 9 fact, Wagner conceived the Idyll’s principal musical idea some years earlier as the theme for a projected string quartet in the summer of 1864, following a visit to him by Cosima at the Villa Pellet near Lake Starnberg in Bavaria; their first child, Isolde, was born less than a year later, on April 10, 1865. The lullaby that is the basis for the Idyll’s second episode appears among sketches for both Siegfried and Tristan dating from the late 1850s. And the horn call heard in the Idyll along with other motives familiar from Siegfried first came to Wagner during his work on the third act of Tristan, though he immediately recognized it as more appropriate to the hero of the Ring. But the specific sentiments attached to the Idyll’s themes as they are heard in the final act of Siegfried should not be altogether ignored. The Idyll’s third main idea, introduced after the lullaby episode, is allied in the opera with the words “O Siegfried! Herrlicher! Hort der Welt!” (“O glorious Siegfried, treasure of the world!”), and the principal theme and horn call mentioned earlier give rise in the opera to expres- sions of everlasting devotion between Siegfried and Brünnhilde. So we have in both the opera Siegfried and the Siegfried Idyll an overflowing of Wagner’s personal emotions into, on the one hand, a comparatively small segment in an overall musical project—Der Ring des Nibelungen—of mammoth proportion and significance, and, on the other hand, into music intended for the most intimate of domestic situations. But where so much of Wagner’s music cannot achieve its intended effect when trans- ferred from the opera house to the concert hall, the Siegfried Idyll not only survives the change from its original setting, but tells us something very special about Wagner the man, and in a way so much else of his music does not.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

10 Maurice Ravel (1875-1937) Piano Concerto in D for the left hand First performance: January 5, 1932, Vienna Symphony, Robert Heger cond., Paul Wittgenstein, soloist. First BSO performance: November 10, 1934, Serge Koussevitzky cond., Paul Wittgenstein (first United States performance). First Tanglewood performance: August 16, 1953, Charles Munch cond., Seymour Lipkin, soloist. Most recent Tanglewood performance: July 24, 2011, Emmanuel Krivine cond., Jean-Yves Thibaudet, soloist. About 1930, Ravel found himself simultaneously with two commissions for piano concertos, one from his longtime interpreter Marguerite Long, and the other from Paul Wittgenstein, a concert pianist who had lost his right arm in World War I. Ravel worked on both commissions at the same time, but the results were quite different. The G major concerto, composed for Ravel’s own use, but eventually given to Marguerite Long when Ravel realized he was too ill to perform it himself, falls into the category of brilliant entertainment music. The Con- certo for the Left Hand, perhaps inevitably, is altogether more serious. It is, in fact, one of the most serious of all the works of that urbane master. Paul Wittgenstein was a remarkable member of a remarkable Viennese family. He was the brother of the philosopher Ludwig Wittgenstein, who also pos- sessed considerable musical talent. Paul had barely begun his concert career when he was called into the Austrian reserves in 1914. Only a few months later he was wounded, and his right arm had to be amputated. After being captured by the Russians (when the army hospital in which he was located was overrun), Wittgen- stein was exchanged as an invalid and returned to Vienna, where he resumed his concert career in the season of 1916-17. He quickly made a name for himself as a pianist with only one arm, and he induced many leading composers to write substan- tial works for him in all the genres—chamber and orchestral—that made use of a piano. Among the musicians who responded to his requests were Richard Strauss, Franz Schmidt, Erich Wolfgang Korngold, Britten, Prokoﬁev, Hindemith, and, most famously, Ravel. There are few sources of music for the left hand alone to which Ravel might have gone to study the problems involved, among them Saint-Saëns’s six studies for the left hand and Leopold Godowsky’s transcriptions for left hand alone of the Chopin

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 11 etudes. He might also have seen Brahms’s mighty transcription for piano left-hand of the Bach D minor Chaconne for unaccompanied violin and Scriabin’s Prelude and Nocturne. But for the most part Ravel was on his own, especially as he wanted the piano part to be as full and active as if it were intended for a pianist who had both hands. The result, needless to say, is a fantastically difficult work perfectly gauged for the shape of the left hand (which can have, for example, a rather large stretch between the thumb and index finger in the higher pitch levels and the upper ends of chords, an arrangement that would be reversed if the piece were conceived for right hand). Ravel once discussed his two piano concertos with the critic and musicologist M.D. Calvocoressi. Of the left-hand concerto he commented: “In a work of this sort, it is essential to avoid the impression of insufficient weight in the sound-texture, as compared to a solo part for two hands. So I have used a style that is more in keeping [than that of the lighter G major concerto] with the consciously imposing style of the traditional concerto.”

12 The concerto is in one long movement divided into Lento and Allegro sections. Be- ginning low and dark in strings and contrabassoon, a long orchestral section avoids the ﬁrst appearance of the soloist until a climax brings the piano in with a cadenza designed to show right off the bat that limiting the conception to a single hand does not prevent extraordinary virtuosity. Ravel describes this as being “like an improvisa- tion.” It is followed by what Ravel called a “jazz section,” exploiting ideas he had picked up during his visit to America. “Only gradually,” he noted, “is one aware that the jazz episode is actually built up from the themes of the ﬁrst section.” The level of virtuosity required by the soloist increases—if that is possible—to the end. Ravel rightly considered this, his last completed large-scale work, a supreme piece of illu- sion. Who can tell, just from listening, the nature of the self-imposed restriction under which he completed his commission?

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

Nikolai Rimsky-Korsakov (1844-1908) “Scheherazade,” Symphonic suite, Opus 35 First performance: October 28, 1888, St. Petersburg, Rimsky-Korsakov cond. First BSO performance: April 1897, Emil Paur cond. First Tanglewood performance: August 14, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: August 17, 2008, Miguel Harth-Bedoya cond. During the winter of 1887-88, Rimsky-Korsakov was engaged in one of his many generous acts of pious devotion to a deceased Russian master: he was orchestrating the opera Prince Igor, left unfinished at the death of its composer, Alexander Borodin. A few excerpts played in concert—among them the overture and the famous Polovtsian Dances—demonstrated the effectiveness of the work. He had to put off original composition while engaged in this labor of love, but he did manage to conceive two new orchestral pieces, the working out of which was to be left to the following summer, spent on an estate in Nyezhgovitzy, near Looga. Both of them turned out to be among his best-known compositions. One was based on episodes from The Arabian Nights, the other on themes from the obikhod, a collection of the most frequently used canticles of the Russian Orthodox Church. Both were finished that summer: the first was Scheherazade, Opus 35, and the second was the overture Svetliy prazdnik (The bright holiday), generally known in English as the Russian Easter Overture. As it happens, they were very nearly the last purely orchestral works Rimsky was to write; for the remaining two decades of his life he devoted his attentions almost totally to operatic composition. Moreover they are the last works that he composed with virtually no Wagnerian influence. There was a sudden dramatic change in Rimsky’s style the following winter, when he was bowled over by a performance of Der Ring des Nibelungen given in St. Petersburg by a German company under the direction of Karl Muck (later to be music director of the Boston Symphony Orchestra), and Rimsky’s next opera, Mlada, revealed the composer to have been converted into quite the thoroughgoing Wagnerian. (Over a period of years he did work his way back to a musical language of his own; his last and best-known opera, Le Coq d’or, shows few traces of his Wagnerian fling.) The massive collection of tales known as The Arabian Nights or The Thousand-and-One Nights is built on a framework reflected in the orchestral score of Rimsky-Korsakov’s musical treatment: the Sultan Shakhryar, discovering his wife’s infidelity and con-

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 13 vinced of the inconstancy and faithlessness of all women, has sworn henceforth to marry repeatedly in rapid sequence, putting each wife to death after the first night in order to avoid another betrayal. To put an end to this bloodbath, Scheherazade, the daughter of the Sultan’s most trusted adviser, seeks to become his wife (even though she had been exempted from this fatal rank because of her father’s position at the court). She saves her life after her wedding night by telling a story that captures the Sultan’s interest, breaking it off just at dawn, with the promise of continuing it the next night. Each night, as she continues, her story puts out roots and branches, becoming an intricate network of tales, some told by characters within other tales, so that at no point do all the stories in progress come to their conclusion. Each day at dawn the Sultan puts off her execution for another day in order to hear the end of the story first. Gradually her seemingly artless and endless series of colorful fairy tales softens the cruel heart of the Sultan, and at the end of one thousand-and-one nights he abandons his sanguinary design and accepts Scheherazade as his one, permanent, loving wife. Of course, The Arabian Nights is much too long a work and much too intricate—in its complex network of tales-within-tales—simply to be translated into music as a storytelling program. Analysts and program annotaters have expended a great deal of ingenuity in attempts to identify precisely which tales Rimsky-Korsakov had in mind, especially since the traditional movement titles are not especially specific: the intro- duction purports to represent the stern Sultan Shakhryar (in the opening unison phrase) and Scheherazade the storyteller (in the solo violin); the remainder of the first movement is identified with the sea and the ship of Sinbad the sailor; the second movement is the tale of the Prince Kalendar; the third is simply “The Prince and the Princess”; and the finale is a festival at Baghdad and a shipwreck (quite a combination for a single movement!). But it is vain to seek for specific stories as the inspiration for this music. There is, for example, more than one Prince Kalendar with a story to tell in The Arabian Nights, and, as the composer himself noted, he did not by any means reserve the very first theme—the so-called “Sultan’s theme”—for that grim personage, but rather wove it into the entire fabric of the score without regard to the details of storytelling. It becomes the rolling ocean beneath Sinbad’s ship in the first movement, and it appears as an element in the Prince Kalendar’s tale, where the Sultan himself does not appear at all. Even so, the theme presented first (and most often) by the solo violin quite clearly represents Scheherazade herself, telling her colorful tales and here and there insert- ing her warmhearted personality into them. But the composer, after first specifying the traditional titles, wrote in his memoirs, My Musical Life, that he had actually removed all hints as to the subject matter of the tales from a later edition of the score. He added that, in composing Scheherazade, I meant these hints to direct but slightly the hearer’s fancy on the path which my own fancy had traveled, and to leave more minute and particular concep- tions to the will and mood of each. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements. Why then, if that be the case, does my suite bear the name, precisely, of Scheherazade? Because this name and the title The Arabian Nights connote in everybody’s mind the East and fairy-tale wonders; besides, certain details of the musical exposition hint at the fact that all of these are various tales of some one person (which happens to be Scheherazade) entertaining therewith her stern husband.

STEVEN LEDBETTER

TANGLEWOODWEEK 2 FRIDAYPROGRAMNOTES 15 Guest Artists

Kazushi Ono In June 2013 Kazushi Ono was named music director of the Tokyo Metropolitan Symphony Orchestra, a position he will take up in April 2015. Mr. Ono has been principal conductor of the Opéra National de Lyon since the start of the 2008-09 season and is also conductor laureate of the Tokyo Philharmonic Orchestra and principal guest conductor of the Filarmonica Arturo Toscanini. High-profile positions have played an important part in his career: in 2002 he succeeded Antonio Pappano as music director of La Monnaie, Brussels, where his debut production of Strauss’s Elektra was highly acclaimed; he enjoyed six highly successful seasons at La Monnaie before moving to his current position in Lyon, where new, award-winning, and critically acclaimed productions of Prokofiev’s The Gambler, Berg’s Lulu, Stravinsky’s Le Rossignol et autres fables, Verdi’s Luisa Miller, Shostakovich’s The Nose, and Wagner’s Parsifal have been staged. During the 2012-13 season he conducted new productions of Verdi’s Macbeth, Beethoven’s Fidelio, and a double bill featuring Dallapiccola’s Il prigioniero and Schoenberg’s Erwartung. He will lead Fidelio in August 2013 with Opéra National de Lyon at the Edinburgh International Festival. Kazushi Ono is also a guest conductor with some of the world’s leading international orchestras, including the Leipzig Gewandhaus, City of Birmingham Symphony, and the London, Rotterdam, Israel, and Oslo Philharmonic orchestras; the Accademia Nazionale di Santa Cecilia and BBC Symphony Orchestra, and such radio orchestras as Orchestre Philharmonique de Radio France, the Finnish Radio Symphony, and the German radio orchestras of Hamburg, Freiburg, Stuttgart, Frankfurt, and Cologne. Orchestral highlights of 2012-13 include engagements with Boston Symphony Orchestra at Tanglewood; with the Montreal, Yomiuri Nippon, and BBC symphony orchestras; with La Monnaie, Brussels, and a tour of Japan with the Vienna Symphony Orchestra. Mr. Ono has recently appeared as a guest conductor at the Glyndebourne Festival (L’Heure espagnole, L’Enfant et les sortilèges, and Hänsel und Gretel), Bayerische Staatsoper, Munich (Der fliegende Holländer and Hänsel und Gretel), Festival d’Aix-en-Provence (Le Rossignol), Deutsche Oper Berlin (Elektra), La Scala, Milan (Macbeth), the Metropolitan Opera (Der fliegende Holländer), and Opéra de Paris (Kol Roger). He works not only with established opera directors such as Luc Bondy, Peter Stein, Laurent Pelly, and David McVicar, but has also enjoyed collaborations with visual artist Jan Fabre, choreographer Anne Teresa de Keersmaeker, and film director François Girard. A 2012 Grammy award winner (for Diva Divo: Joyce DiDonato with the Orchestre de l’Opéra National de Lyon), Kazushi Ono has a varied catalogue of recordings encompassing music of Chin, Gubaidulina, Britten, Turnage, Rihm, Shosta- kovich, Mahler, Strauss, and Tchaikovsky. Recent recordings also include a 2009 Decca DVD of Humperdinck’s Hänsel und Gretel filmed with the London Philharmonic Orchestra at Glyndebourne, as well as releases on Opus Arte featuring Verdi’s Aida and Stravinsky’s The Rake’s Progress, both with La Monnaie, Brussels. A DVD of the 2012 Ravel double bill L’Heure espagnole and L’Enfant et les sortilèges at Glyndebourne is scheduled for release in September 2013. Tonight’s concert marks Kazushi Ono’s Tangle- wood debut with the BSO; his only previous appearance with the orchestra was for subscription concerts in March 1999 at Symphony Hall.

16 Leon Fleisher Legendary pianist Leon Fleisher continues a sustained career as conductor, soloist, recitalist, chamber music artist, and master class mentor. Born in San Francisco in 1928, he began playing piano at the age of four and gave his first recital at eight. His musical pedigree alone is remarkable: he was the youngest-ever student of the great German pianist Artur Schnabel, who studied with the Polish pedagogue Theodor Leschetizky, a pupil of Carl Czerny, who studied with Beethoven. Mr. Fleisher made his debut with the New York Philharmonic in 1944 and in 1952 became the first American to win the prestigious Queen Elisabeth of Belgium Competition. At thirty-six and at the height of his success, he was suddenly struck silent when two fingers on his right hand became immo- bile. Rather than end his career, Mr. Fleisher began focusing on repertoire for the left hand only, conducting, and teaching. Not until some forty years later was he able to return to playing with both hands, following treatments for the neuro- logical affliction known as focal dystonia. In the 2012-13 season, Mr. Fleisher’s engagements take him to Switzerland (master classes at the University and a recital at the Lucerne Festival), Germany (as conductor/soloist of the Bamberg Symphony and playing chamber music at the Tonhalle in Düsseldorf), Brazil (for the Ravel Concerto with the Philharmonic Orchestra in Belo Horizonte and Rio de Janeiro), France (master classes in Strasbourg), Taiwan, Japan, and across the United States. Last season, among many other engagements, he made his UK conducting debut with the Scottish Chamber Orchestra, toured the U.S. as soloist with the Irish Chamber Orchestra, and was conductor/soloist with the Toronto Symphony Orchestra. As a featured artist with the Lincoln Center Chamber Music Society, he led a chamber music master class that was streamed nationwide. Mr. Fleisher holds master classes worldwide, recently leading the first Carnegie Hall Workshop at Japan’s Suntory Hall. He currently holds positions at the Peabody Conservatory, Curtis Institute, and Toronto’s Royal Conservatory of Music. From 1986 to 1997 he was artistic director of the Tanglewood Music Center. He launched his conducting career as co-founder of the Theater Chamber Players in Baltimore, then with the Annapolis and Baltimore symphony orchestras. The extraordinary renaissance of Leon Fleisher’s career has been extensively documented, particularly around the 2004 release of his critically acclaimed album “Two Hands,” which he has since followed with “The Journey” (2006); his work as soloist on the Emerson String Quartet’s “Brahms,” featuring the Piano Quintet in F minor (2007); the world premiere recording of Hindemith’s Klaviermusik mit Orchester (2009), and his first two- hand concerto recording in forty years, featuring Mozart piano concertos (2009). The award-winning documentarian Mark Kidel directed two feature films on Leon Fleisher for ARTE (Franco-German Television): the award-winning Lessons of A Master and Recital for Two Hands. Fleisher’s story is also the subject of the 2006 Oscar- and Emmy- nominated documentary film Two Hands, written and directed by Nathaniel Kahn. All of Mr. Fleisher’s Sony recordings have been re-issued as CDs or digital downloads. This month, to mark his 85th birthday, Sony released a 23-CD box paying tribute to this legendary artist, including, among other things, his touchstone performances with George Szell and the Cleveland Orchestra that remain a gold standard among the repertoire they recorded together. Leon Fleisher made his Boston Symphony Orchestra debut in January 1954 performing Brahms’s Piano Concerto No. 1, repeat- ing that work for his Tanglewood debut in July 1958—a performance included among the Tanglewood 75th-anniversary downloads issued by the BSO last summer. His most recent appearance with the BSO was a Tanglewood performance of Mozart’s A major concerto, K.488, with James Levine conducting. Mr. Fleisher has also conducted, on several occasions, both the Boston Symphony Orchestra and Tanglewood Music Center Orchestra.

TANGLEWOODWEEK 2 GUESTARTISTS 17 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Saturday, July 13, 8:30pm THE CANYON RANCH CONCERT

DAVID NEWMAN conducting

All “West Side Story” photos courtesy of MGM

18 West Side Story® AssociatesSM Presents WEST SIDE STORY

MIRISCH PICTURES presents “WEST SIDE STORY” A ROBERT WISE Production

Starring NATALIE WOOD RICHARD BEYMER RUSS TAMBLYN RITA MORENO GEORGE CHAKIRIS Directed by ROBERT WISE & JEROME ROBBINS Screenplay by ERNEST LEHMAN Associate Producer SAUL CHAPLIN Choreography by JEROME ROBBINS Music by LEONARD BERNSTEIN Lyrics by STEPHEN SONDHEIM Based upon the Stage Play Produced by ROBERT E. GRIFFITH and HAROLD S. PRINCE Book by ARTHUR LAURENTS Play Conceived, Directed, and Choreographed by JEROME ROBBINS Film Production Designed by BORIS LEVEN Music Conducted by JOHNNY GREEN Presented by MIRISCH PICTURES, INC. In Association with SEVEN ARTS PRODUCTIONS INC.

Filmed in PANAVISION® TECHNICOLOR®

“West Side Story” 50th Anniversary Blu-ray and Limited Edition Blu-ray Box Set available now.

Tonight’s program is a presentation of the complete film “West Side Story” with live performance of the film’s entire score. The program runs 2 hours and 34 minutes, plus an intermission. It also includes the underscoring played by the orchestra during the Saul Bass-designed End Credits. We ask that, out of respect for the music, for the musicians playing it, and for your fellow audience members, you remain in your seats until the End Credits are completed.

TANGLEWOODWEEK 2 SATURDAYPROGRAM 19 NOTES ON THE PROGRAM

West Side Story Notes by Steven Smith Fifty years after the 1961 release of its internationally beloved screen adaptation, the winner of 10 Academy Awards, West Side Story made its return to the venue that played an important, if little known, role in its creation—the Hollywood Bowl—when David Newman conducted the live- orchestra version of West Side Story on July 8 and 9, 2011, with the Los Angeles Philharmonic. In 1955, it was a conducting engagement at the Hollywood Bowl that brought 36-year-old composer Leonard Bernstein to Los Angeles. That August, a chance meeting at the Beverly Hills Hotel with playwright Arthur Laurents reignited the two artists’ stalled plan to collaborate on a musical. Seven years earlier, choreographer/director Jerome Robbins had approached Bernstein with what the composer called in his diary “a noble idea: a modern version of Romeo and Juliet set in slums at the coincidence of Easter-Passover celebrations. Feelings run high between Jews and Catholics… Street brawls, double death – it all fits.” The idea lay dormant until that day in 1955, when an L.A. newspaper headline about Latino gang problems inspired an exciting new path. With the hiring of 25-year-old composer Stephen Sondheim, who reluctantly signed on to provide lyrics only, the final pieces fell into place. After two years of rewriting and struggles to raise financing, West Side Story’s 1957 Broadway opening elicited reactions that ranged from passionate raves to stunned walk-outs. The latter were sparked by the musical’s depiction of gang warfare and prejudice, and its near unprecedented body count for a musical on the Great White Way. The show was largely snubbed at the Tony Awards in favor of a more accessible rival, The Music Man. Nevertheless, audiences in New York and London (where the show was an instant smash) quickly caught up with the innovations of Robbins’s explosive, character- driven choreography, Laurents’s ingenious transposition of Shakespeare, and the thrilling Bernstein score, with lyrics by Sondheim that included “Tonight” and “Maria.” When Jerome Robbins and Robert Wise joined forces to co-direct the 1961 screen version for United Artists, starring box office favorite Natalie Wood and Richard Beymer (The Diary of Anne Frank), the result was one of the decade’s greatest commercial and critical triumphs. The film’s co-stars, George Chakiris (Bernardo) and Rita Moreno (Anita), took home Academy Awards for Best Supporting Actor and Actress. Their victories were echoed by Oscars for Best Art Direction-Set Decoration, Color; Best Cinematography, Color; Best Costume Design, Color (winner Irene Sharaff also worked on the Broadway original); Best Film Editing; Best Music, Scoring of a Musical Picture; Best Sound; Best Director (for both Robbins and Wise, the first time this award was shared); and Best Picture. Jerome Robbins also received an honorary Academy Award “for his brilliant achievements in the art of choreography on film.” Tonight, more than half a century after its original release, West Side Story the motion picture will be presented in a format that brings its own innovations. MGM has created

a restored, high-definition print of the film that reveals details unseen since 1961. A new sound technology developed by Paris-based Audionamix and utilized by Chace Audio by Deluxe, one of the film industry’s top restoration companies, has isolated vocal tracks from the feature, using new source-separation technology that separates elements within a monophonic soundtrack. In the case of West Side Story, Audionamix “taught” its technology to recognize and then remove orchestral elements on the sound track while retaining vocals, dialogue, and effects. This allows tonight’s conductor, David Newman, to accompa- ny the vocals with the Boston Symphony Orchestra, in a first-ever live performance of the complete Bernstein score at Tanglewood (with repeat performances planned for February 2014 at Symphony Hall in Boston). Although the original musical materials for the movie arrangements were lost, fourteen months of research by Eleonor M. Sandresky of The Leonard Bernstein Office brought to light a trove of important finds in private collections and library archives around the country. From materials discovered in the papers of orchestrator Sid Ramin, as well as in the archives of conductor/music supervisor Johnny Green, director Robert Wise, and producer Walter Mirisch, she was able to assemble a mock-up short score of the complete film. Garth Edwin Sunderland, Senior Music Editor for the Bernstein Office, restored and adapted the orchestration for live performance. At the same time, Sun- derland oversaw the creation of a brand new engraving of the entire film score, right down to last-minute modifications made on the scoring stage in 1961— resulting in a presentation of West Side Story unlike any in the history of this screen musical, and offered now at a concert venue—Tanglewood—with direct ties to Leonard Bernstein—a pro- tégé of legendary BSO conductor Serge Koussevitzky who was a student in the very first session of the Tanglewood Music Center in 1940, subsequently taught there for decades, and led his very last concert there on August 19, 1990, with the Boston Symphony Orchestra— while at the same time celebrating the best in American music and the best of Hollywood filmmaking, two categories in which West Side Story will forever reside.

STEVEN SMITH is an Emmy-nominated documentary producer, journalist, and author of the biography A Heart at Fire’s Center: The Life and Music of Bernard Herrmann.

TANGLEWOODWEEK 2 SATURDAYPROGRAMNOTES 21 Production Credits Producer: Paul H. Epstein for The Leonard Bernstein Office, Inc. Associate Producer: Eleonor M. Sandresky for The Leonard Bernstein Office, Inc. Production Supervisor: Steven A. Linder Techncial Director: Mike Runice Sound Engineer: Matt Yelton Music Supervision: Garth Edwin Sunderland Original Orchestrations: Leonard Bernstein, Sid Ramin, Irwin Kostal Additional Orchestrations: Garth Edwin Sunderland & Peter West Music Preparation: Peter West Original Manuscript Reconstruction: Eleonor M. Sandresky Technical Consultant: Laura Gibson Soundtrack Adaptation – Chace Audio by Deluxe: Robert Heiber, Chris Reynolds, Andrew Starbin, Alice Taylor Sound Separation Technology provided by Audionamix Click Tracks and Streamers created by: Kristopher Carter and Mako Sujishi With special thanks to: Arthur Laurents and his Estate, Stephen Sondheim, The Robbins Rights Trust, The Johnny Green Collection at Harvard University, The Sid Ramin Collection at Columbia University, The Robert Wise Collection at the University of Southern California, Lawrence A. Mirisch, David Newman, Metro-Goldwyn-Mayer Studios Inc., MGM HD, Twentieth Century Fox Home Entertainment LLC, Ken Hahn and Sync Sound

West Side Story is a registered trademark of The Leonard Bernstein Office, Inc. in the US and other countries.

22 Guest Artist

David Newman Making his Boston Symphony Orchestra debut tonight at Tanglewood, David Newman is one of today’s most accomplished creators of music for film. In his twenty-five-year career, he has scored more than 100 films, ranging from War of the Roses, Matilda, Bowfinger, and Heathers to the more recent The Spirit and Serenity. His music has brought to life the critically acclaimed dramas Brokedown Palace and Hoffa, and top-grossing comedies Norbit, Scooby-Doo, Galaxy Quest, The Nutty Professor, The Flintstones, and Throw Mama From the Train, as well as the award-winning animat- ed films Ice Age, The Brave Little Toaster, and Anastasia, earning an Academy Award nomination for his Anastasia score. He was the first composer showcased in the Los Angeles Philharmonic’s “Filmharmonic” Series; his piece 1001 Nights was performed by the orchestra under Esa-Pekka Salonen. Mr. Newman has conducted such orchestras as the Los Angeles Philharmonic, Royal Philharmonic, National Orchestra of Belgium, New Japan Philharmonic, Utah Symphony, and Ameri- can Symphony. He has led subscription weeks with the Los Angeles Philharmonic at Walt Disney Concert Hall and regularly conducts the Hollywood Bowl Orchestra at the Hollywood Bowl, including multiple appearances leading the annual movie night. He is currently on a mini-tour performing live with orchestra the film score to West Side Story, having led performances in Los Angeles, New York, Chicago, Philadelphia, and Sydney. His compositions have been performed by the Los Angeles Philharmonic, Indianapolis Symphony, Long Beach Symphony, and at the Ravinia Festival, Spoleto Festival USA, and Chicago’s Grant Park Music Festival. For violinist Sarah Chang, he recently composed a suite for violin and orchestra based on songs from West Side Story. Having spent considerable time unearthing and restoring film music classics for the concert hall, David Newman headed the Sundance Institute’s music preservation program in the late 1980s. During his tenure there, he led the Utah Symphony in his newly composed score for the classic silent motion picture Sunrise, which opened the 1989 Sundance Film Festival. In 2007 he was elected President of the Film Music Society, a nonprofit organization formed by entertainment industry professionals to preserve and restore motion picture and television music. Passionate about nurturing the next generation of musicians, Mr. Newman serves as President of the Board of the American Youth Symphony, a pre-professional orchestra based in Los Angeles, where he launched the three-year “Jerry Goldsmith Project” and another three-year project presenting the music of Danny Elfman. In 2007 he wrote the children’s melodrama Yoko and the Tooth Fairy for Crossroads School in Santa Monica, California, and in 2010 he served on the faculty of the Aspen Music Festival’s Film Scoring Program. David Newman is also on the Board of Governors of the Motion Picture Academy of Arts and Sciences. When his schedule permits, he visits Los Angeles-area high schools and universities to speak about film scoring and to mentor young composers. The son of nine-time Oscar-winning composer Alfred Newman, David Newman was born in Los Angeles in 1954. He trained in violin and piano from an early age and earned degrees in orchestral conducting and violin from the University of Southern California. From 1977 to 1982 he worked extensively in the motion picture and television industry as a violinist, playing on the soundtracks for such films as E.T., Twilight Zone–the Movie, and the original Star Trek film.

TANGLEWOODWEEK 2 GUESTARTIST 23 The Caroline and James Taylor Concert Sunday, July 14, 2013 The performance on Sunday afternoon is supported by a generous gift from BSO Trustee Caroline “Kim” Taylor and her husband, James Taylor. As Great Benefactors, the Taylors have given generously to the Tanglewood and Symphony Annual Funds, Opening Nights, and capital projects on the Tanglewood campus, including the Tanglewood Forever Fund. They have also endowed a full fellowship for a cellist at the Tanglewood Music Center. As members of the Koussevitzky Society at the Chairman’s level, Kim and James are among the most generous supporters of the Tanglewood Annual Fund. Kim was a member of the BSO staff for more than twenty years, serving most recently as senior advisor to Managing Director Mark Volpe. During her career at the BSO, Kim also worked closely with Music Director Laureate Seiji Ozawa and Boston Pops Conductor Laureate John Williams. Kim was elected to the BSO Board of Overseers in September 2007, and she became a Trustee in September 2009. In fall 2012, the Taylors together performed fifty-two events in living rooms and field offices across the country for the campaign to re-elect President Obama. In December 2011, along with their twin boys, Henry and Rufus, Kim and James were featured in the Berkshire Theatre Group’s production of A Christmas Carol. Kim will also appear in an adaptation of Edith Wharton’s Roman Fever in the Berkshire Theatre Group’s Fall Festival this October. Although James Taylor is taking a tour hiatus in 2013 to continue work on a new album, he performed in a private concert with Kim for the victim families of Newtown, CT, the memorial service for Officer Sean Collier, and The One Fund benefit concert in May. He was a featured performer at President Barack Obama’s inauguration ceremony in January 2013. Last year, James was conferred the distinguished honor of Chevalier of the Order of Arts and Letters (Ordre des Arts et des Lettres), which was established by the French government in 1957 to recognize eminent artists and writers, as well as people who have contributed significantly to furthering the arts in France and throughout the world. In March 2011, James was awarded the National Medal of Arts by President Obama in a ceremony at the White House. The medal is the nation’s highest honor for artistic excellence, recognizing “outstanding achievements and support of the arts.” Stu Rosner

24 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Sunday, July 14, 2:30pm THE CAROLINE AND JAMES TAYLOR CONCERT

RAFAEL FRÜHBECK DE BURGOS conducting

STRAVINSKY Suite from the ballet “Pulcinella” I. Sinfonia (Overture): Allegro moderato II. Serenata: Larghetto (a) Scherzino (b) Allegro (c) Andantino III. Tarantella Toccata: Allegro IV. Gavotta con due variazoni V. Vivo VI. (a) Molto moderato (b) Finale: Allegro assai

HAYDN Cello Concerto No. 1 in C Moderato Adagio Allegro molto LYNN HARRELL

{Intermission}

BEETHOVEN Symphony No. 8 in F, Opus 93 Allegro vivace e con brio Allegretto scherzando Tempo di menuetto Allegro vivace

TANGLEWOODWEEK 2 SUNDAYPROGRAM 25 26 NOTES ON THE PROGRAM

Igor Stravinsky (1882-1971) Suite from the ballet “Pulcinella” First performance (complete ballet): May 15, 1920, Ballets Russes at the Paris Opera, Ernest Ansermet cond. First BSO performance of suite (American premiere; five movements, from manuscript): December 1922, Pierre Monteux cond. First BSO performance of complete ballet score (also the first Tanglewood performance): August 6, 1954, Lukas Foss, cond. First Tanglewood performance of suite: July 19, 1970, Michael Tilson Thomas cond. Most recent Tanglewood performance of suite: July 16, 1999, Seiji Ozawa cond. Most recent Tanglewood performance of complete score: August 3, 2009, Tanglewood Music Center Orchestra, Raphael Frühbeck de Burgos cond. After the end of World War I, Serge Diaghilev was eager to bring his prize composer, Igor Stravinsky, back into the fold of his Ballets Russes, where he had achieved such epochal pre-war successes as Firebird, Petrushka, and The Rite of Spring. Big ballet productions had not been practical during the war, and Stravinsky had worked during that time with a Swiss writer, C.F. Ramuz, in the creation of a small stage work, The Soldier’s Tale, which had been produced with great success. Diaghilev was jealous and sought a project to attract Stravinsky’s interest. The Ballets Russes had recently produced a piece based on old works by Scarlatti dressed up in new orchestrations, and Diaghilev thought Stravinsky might enjoy a similar undertaking. The new idea was first proposed to Stravinsky in a letter of June 10, 1919, from Ernest Ansermet, who was then conducting the Ballets Russes. When Stravinsky first learned that Diaghilev wanted him to arrange the music of Pergolesi, the composer thought the impresario had taken leave of his senses. He knew little of Pergolesi’s work—only the little intermezzo La serva padrona and one liturgical work, the Stabat mater—and he didn’t think much of that little. Diaghilev, who was an experienced musician as well as an impresario, had already gathered pieces that he thought might be suitable in a bal- letic context (mostly by buying them from a Neapolitan professor who had a lucra- tive sideline in selling copies of music from the Naples Conservatory), and he finally persuaded Stravinsky at least to look at what he had collected—much of it, he said, completely unknown. The composer fell in love with what he saw and agreed at once to accept the commission. We do not know exactly when he reached this deci- sion, but he began actively composing in early September, though he only signed a contract for the ballet in December. Diaghilev, Stravinsky, and the choreographer Massine jointly created a scenario for the course of the action, and Stravinsky set to work choosing and “coloring” the 200-year-old scores. Stravinsky did not realize at the time, though we now know, that of the selections he finally used in his ballet, fewer than half were actually by Pergolesi, so the official title of the full work—“Pulcinella, Ballet in One Act for Small Orchestra and Three Solo Voices, Based on Music of Pergolesi”—is actually, at least in retrospect, seriously misleading. And, considering that the genuine Pergolesi is to be found almost entirely in the songs (which are not included in the orchestral suite), the title is even more thoroughly incorrect for the suite. The other composers, who have since been identified, are almost entirely unknown, though no doubt worthy in their own way: Domenico Gallo and Alessandro Parisotti. Gallo, in particular, composed the original material on which Stravinsky based the Overture; the Scherzino, Allegro, and Andantino group; and the Finale. The Tarantella comes from a series of six Concerti armonici once considered to be among Pergolesi’s most famous works, but actually they are by a Dutch count named Unico Wilhelm von Wassenaer (these

TANGLEWOODWEEK 2 SUNDAYPROGRAMNOTES 27 were copied out from originals in the British Museum by the Belgian musicologist E. van der Straeten). The Toccata and the following Gavotta are from a harpsichord work by that favorite composer, “anon.” And, ﬁnally, the Serenata, the Trio of the Scherzino, the Vivo, and the Minuetto are based on originals by Pergolesi himself. When doing his work of “recomposition,” Stravinsky often worked directly on the manuscripts sent for his consideration, working out the details of his own version before then writing them directly into the full score, as he reported he was doing on December 5. Of course, the actual source of the originals need not trouble us in the slightest when listening to Stravinsky’s witty score. What matters in the concert hall is the use to which Stravinsky put these borrowed ideas, and on that point there has been general agreement from the very beginning: they have become thoroughly and delightfully Stravinskyized. For the most part he retained the original melodies and bass parts, but he made the phrases less regular using unexpected repetitions or elisions, and he elaborated the harmonies by adding ostinatos or prolonging chords beyond the point at which they would normally change. He chose to write for a fairly standard classical orchestra—woodwinds in pairs without clarinets, no percussion, and the strings divided in concertino and ripieno sections. The one rather unlikely component

28 (from the 18th-century point of view) is the trombone, but Stravinsky’s amusing writing for that instrument, especially in conjunction with the double bass in the Vivo, more than justiﬁes its inclusion. Stravinsky confessed that he had a wonderful time working on this score, and although it had no immediate repercussions in his next compositions, it undoubtedly brought home to him some unexplored possibilities of 18th-century style treated anew in the twentieth century and ultimately led to such neoclassical marvels as Oedipus Rex, the Symphony in C, and The Rake’s Progress. And quite aside from the role Pulcinella played in engineering Stravinsky’s turn to neoclassicism, the joyous wit inherent in the score itself remains its own justiﬁcation.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

Joseph Haydn (1732-1809) Cello Concerto No. 1 in C First performance: Unknown, but the work was probably composed about 1765, and most likely for Joseph Weigl, principal cellist at Eszterháza, where Haydn was employed. First BSO (and first Tanglewood) performance: July 9, 1965, Erich Leinsdorf cond., Jules Eskin, cello. Most recent Tanglewood performance: July 31, 2011, Christoph Eschenbach cond., Alisa Weilerstein, soloist. Haydn wrote relatively few concertos compared to most composers of his day, and most of those few have survived only by accident, often in a single copy. One dramatic example of this is the C major cello concerto, which was completely lost and known only through a two-measure entry of its principal theme in Haydn’s personal thematic catalogue of his works until an old copy turned up in Prague in 1961, one of the most significant and exciting rediscoveries of Haydn research in the twentieth century. For here was a prime example of Haydn in his early maturity, a work almost certainly written for and played by the principal cellist in the Esterházy establishment, Joseph Weigl. (The cadenzas played by Alisa Weilerstein in the first and second movements are derived from the cello part of the Prague copy.) The concerto was the most popular and successful instrumental form of the Baroque, coming out of Italy, where it had been stamped with the signature of Vivaldi; its very success meant that composers tended to use the traditional tech- niques even as a new approach to harmonic organization, texture, and thematic structure was having a powerful effect on the nascent symphony and string quartet. The concerto thus became somewhat old-fashioned and retained far longer than the symphony the beat-marking rhythms of the Baroque and the concatenation of small rhythmic motives to build up a theme rather than classically balanced phrases. Formally, too, the concerto still built upon the Baroque ritornello form, which stated the principal material as blocks in a series of different keys linked by virtuosic passages for the soloist, although the ritornello arrangement gradually achieved détente with the sonata-form layout that became standard in the symphony. Haydn’s C major concerto is a splendid example of this transitional period; we can almost hear Haydn breaking the ties with the Baroque and becoming more “classical”

TANGLEWOODWEEK 2 SUNDAYPROGRAMNOTES 29 as the work progresses, since the ﬁrst movement has a great deal more of the small rhythmic cells and the standard syncopation that became such a cliché in the late concerto, although it also makes a bow to sonata form. But the last movement comes from the world of the contemporary symphonies, with scarcely a glance backward. In between comes a serenade-like Adagio that focuses attention on the graceful lyri- cism almost throughout.

STEVEN LEDBETTER

Ludwig van Beethoven (1770-1827) Symphony No. 8 in F, Opus 93 First performance: February 27, 1814, Vienna, Beethoven cond. First BSO performance: February 18, 1882, Georg Henschel cond. First Tanglewood performance: August 5, 1947, Boston Symphony Orchestra, Serge Koussevitzky cond. Most recent Tanglewood performance: August 5, 2011, Rafael Frühbeck de Burgos cond.. In the summer of 1812, Beethoven was seeking relief from chronic digestive problems: at doctor’s orders, he traveled from Teplitz to Karlsbad, then, after a brief stay at Franzensbad, back to Teplitz, where he had a passing affair with Amalie Sebald. From there he journeyed to Linz, where he lodged with his brother Johann and where one of his principal concerns was to break up Johann’s relationship with Therese Obermeyer, the sister-in-law of a doctor renting space in Johann’s house. Therese had been employed by Johann as a housekeeper but the relationship became much more personal. She already had an illegitimate daughter and supposedly had had a number of lovers. But Johann’s reaction to his brother’s meddling was, of course, to marry the woman, and when things became difﬁcult for the couple in later years, he did not hesitate to blame brother Ludwig for the unhappy circumstances. But Beethoven was occupied with composing, too, and it was at Linz, while staying at Johann’s house, that he completed his Eighth Symphony; the auto- graph bears the inscription “Linz, October 1812.” Just as Beethoven’s Fifth and Sixth symphonies are paired with respect to genesis and early performance history—they were premiered at a single concert, on December 22, 1808—likewise were the composer’s Seventh and Eighth symphonies linked together. The Seventh was completed just four months before the Eighth and was ﬁrst played on December 8, 1813. The Eighth was introduced on February 27, 1814, at a Sunday concert in Vienna that also included the Seventh Symphony, Beethoven’s Battle Symphony (Wellington’s Victory), and a vocal trio reworked by Beethoven from a piece he had actually composed ten years earlier (even though he had promised a new trio as well as a new symphony for the occasion). Needless to say, the new Eighth Symphony was somewhat overshad- owed by the larger Seventh, which opened the concert, but the real hit of the event was Wellington’s Victory, whose “battle” section was encored. Regarding the Eighth’s relatively cool reception, the reviewer for Vienna’s Allgemeine Musik-Zeitung observed that “the cause of this was not in its weaker or lesser artistic workmanship...but partly in the mistake of allowing the symphony to follow the one in A major [the Seventh], and partly in the satiety that followed the enjoyment of so much that was beautiful and excellent, whereby natural apathy was the result.” As reported by his biographer Thayer, Beethoven’s rather peeved explanation for the Eighth’s lack of immediate success was “because it is so much better than the other [the Seventh],” but it would seem that the Eighth has still not attained the recognition it deserves:

TANGLEWOODWEEK 2 SUNDAYPROGRAMNOTES 31 32 it is the least performed of all the composer’s symphonies except, perhaps, for the Second. Toward the end of the nineteenth century, George Grove articulated the reason for this situation, citing, in the main, “the overflowing fun and realism of the music.... Not only is every movement pervaded by humour, but each has some special stroke of boisterous merriment, which to those whose minds were full of the more digni- fied movements of the Eroica, the C minor, or the Number Seven, may have made it difficult to believe that the composer was in earnest and that his composition was to be taken seriously.” Likewise, Philip Hale points to the Eighth as the product of a composer “in reckless mood, delighting in abrupt contrasts... characterized by mad jollity, and a playfulness that at times approaches buffoonery.” Beethoven’s own word for this was “aufgeknöpft,” “unbuttoned,” and this is the term commentators have seized upon to characterize this symphonic product of his cheerful nature. The first movement, Allegro vivace e con brio, contrasts a bright but forceful idea with a waltzlike second theme of comic bent. There is constant alternation of bright and dark, and a preponderance of the sforzato accents and rhythmic drive so typical of Beethoven; the end of the development virtually barrels into the recapitulation. The second movement, marked Allegretto scherzando, suggests in its sixteenth-note staccato accompaniment the ticking of a metronome; the main tune may have been based upon, or given rise to, a canon Beethoven contrived in honor of Johann Nepomuk Maelzel, Vienna’s “Court Mechanician” and inventor of the “musical chronometer.” The playful character of this brief movement resides in its overlaying of trills, accents, and sudden fortissimo tremolos. The third movement is marked “Tempo di Menuetto” but actually parodies the courtly minuet of Mozart and Haydn. The original trumpet-and-drums reinforcement of the downbeat—and note that the opening two notes of the movement constitute an upbeat—is displaced during the course of the minuet, and the dolce (“sweet”) horn melody of the Trio is offset by a scampering cello accompaniment that suggests a quite different sort of character. The Allegro vivace finale moves like the wind: the triplets that form the upbeat to the main idea and pervade the accompaniment are barely distinguishable to the ear. As in the first movement, there are fits and starts, juxtapositions of pianissimo and fortissimo, with bouncing octaves in bassoon and timpani contributing to the fun. So much energy is accumulated along the way that, to wind things up, Beethoven writes a coda as long as the entire main part of the movement, and, at the end, we can almost imagine him grabbing us by the shoulders, shaking us hard, and laughing.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

TANGLEWOODWEEK 2 SUNDAYPROGRAMNOTES 33 Guest Artists

Rafael Frühbeck de Burgos A regular guest with North America’s notable orchestras, Rafael Frühbeck de Burgos conducts the major ensembles of Boston, Cincinnati, Detroit, Los Angeles, New York, Pittsburgh, and Toronto in the 2012-13 season. He appears annually at Tangle- wood, where he conducts both the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, and regularly with the Chicago Symphony, National Symphony, and Philadelphia Orchestra. Born in Burgos, Spain, in 1933, Rafael Frühbeck de Burgos studied violin, piano, music theory, and composition at the conservatories in Bilbao and Madrid, and conducting at Munich’s Hochschule für Musik, where he graduated summa cum laude and was awarded the Richard Strauss Prize. From 2004 to 2011 he was chief conductor and artistic director of the Dresden Philharmonic; in the current season he assumes his post as chief conductor of the Danish National Orchestra. He has made extensive tours with such ensembles as the Philharmonia of London, the London Symphony Orchestra, the National Orchestra of Madrid, and the Swedish Radio Orchestra, and has toured North America with the Vienna Symphony, the Spanish National Orchestra, and the Dresden Philharmonic. Named Conductor of the Year by Musical America in 2011, he has received numerous other honors and distinctions, among them the Gold Medal of the City of Vienna, the Bundesverdienstkreuz of the Republic of Austria and Germany, the Gold Medal from the Gustav Mahler International Society, and the Jacinto Guerrero Prize, Spain’s most important musical award, conferred in 1997 by the Queen of Spain. In 1998 Rafael Frühbeck de Burgos was appointed Emeritus Conductor by the Spanish National Orchestra. He has received an honorary doctorate from the University of Navarra in Spain and since 1975 has been a member of the Royal Academy of Fine Arts of San Fernando. Rafael Frühbeck de Burgos has recorded extensively for EMI, Decca, Deutsche Grammophon, Columbia (Spain), and Orfeo, including acclaimed releases of Mendelssohn’s Elijah and St. Paul, Mozart’s Requiem, Orff’s Carmina burana, Bizet’s Carmen, and the complete works of Manuel de Falla. Rafael Frühbeck de Burgos made his Boston Symphony Orchestra debut in January 1971. Since an August 2000 appearance at Tanglewood, he has been a frequent guest leading the BSO in a wide range of repertoire both at Symphony Hall and at Tangle- wood. This summer at Tanglewood he leads three concerts with the Boston Symphony Orchestra (July 5, 6, and 14, including music of Tchaikovsky, Mahler, Stravinsky, Haydn, and Beethoven) and conducts the Tanglewood Music Center Orchestra in Beethoven’s Symphony No. 5 (July 8). He returns to the Symphony Hall podium for two subscription programs in November, leading music of Mozart, Prokofiev, Schumann, Beethoven, Neikrug (the world premiere of the composer’s BSO-commissioned Concerto for Bassoon and Orchestra, with BSO principal Richard Svoboda), Falla, and Brahms. BSO Archives

34 Lynn Harrell Lynn Harrell’s presence is felt throughout the musical world as soloist, chamber musician, recitalist, conductor, and teacher. A frequent guest of the leading orchestras of Boston, Chicago, New York, Philadelphia, San Francisco, Ottawa, Pittsburgh, and the National Symphony, he has also appeared with the orchestras of London, Munich, Berlin, Dresden, Leipzig, Zurich, and Israel, and collaborates regularly with such noted conductors as Levine, Marriner, Masur, Mehta, Previn, Rattle, Slatkin, Temirkanov, Tilson Thomas, and Zinman. He has toured extensively to Australia and New Zealand as well as the Far East, including Japan, Korea, Malaysia, Taiwan, and Hong Kong. In the summer of 1999, Mr. Harrell was featured in a three-week “Lynn Harrell Cello Festival” with the Hong Kong Philhar- monic. Recent, current, and upcoming engagements include concerts with the Los Angeles Philharmonic and Frühbeck de Burgos, the Detroit Symphony and Slatkin, the Edmonton Symphony and William Eddins, and the symphonies of Taiwan and Singapore, both with Lan Shui. A European tour with the Gewandhaus Orchestra and Riccardo Chailly brings him to Leipzig, Paris, and Birmingham. In May 2013 he was featured with the Tokyo String Quartet at the 92nd Street Y. In recent seasons he has particularly enjoyed collaborating with violinist Anne-Sophie Mutter and pianist André Previn; in January 2004 they performed the Beethoven Triple Concerto with Kurt Masur and the New York Philharmonic. Mr. Harrell appears regularly at summer festivals including the Verbier Festival in Switzerland, the Aspen and Grand Teton festivals, and Tanglewood. In 1994 he appeared with the Royal Philharmonic at the Vatican, for an audience including Pope John Paul II and the Chief Rabbi of Rome, in a concert dedicated to the memory of the six million Jews who perished in the Holocaust. Also that year he appeared live at the Grammy Awards with Itzhak Perlman and Pinchas Zukerman, performing an excerpt from their Grammy-nominated recording of the complete Beethoven string trios on Angel/EMI. Highlights of his extensive discography include the Bach cello suites, the world premiere recording of Victor Herbert’s Cello Concerto No. 1 with the Academy of St. Martin in the Fields led by Marriner, the Walton Concerto with Rattle and the City of Birmingham Symphony Orchestra, and the Donald Erb Concerto with Slatkin and the St. Louis Symphony. Together with Itzhak Perlman and Vladimir Ashkenazy, he received two Grammy Awards—for the Tchaikovsky Piano Trio and for the complete Beethoven piano trios, both on Angel/EMI. Most recently he has recorded Tchaikovsky’s Rococo Variations, Shostakovich’s Cello Concerto No. 2, and Prokofiev’s Symphony-Concerto for cello and orchestra with Gerard Schwarz and the Royal Liverpool Philharmonic (Classico). In June 2010, with his wife, violinist Helen Nightengale, Mr. Harrell founded the HEART- beats Foundation, a charitable organization that strives to help children facing the challenges of poverty and conflict harness the power of music. Mr. Harrell serves as a board officer and Artist Ambassador, a capacity that allows him to work directly with children in need. He plays a 2008 Dungey cello and makes his home in Santa Monica, California. Lynn Harrell made his Boston Symphony debut in November 1978 and has since appeared frequently with the orchestra in Boston and at Tanglewood, most recently as soloist for the world premiere of Augusta Read Thomas’s Cello Concerto No. 3 this past March, with Christoph Eschenbach conducting.

TANGLEWOODWEEK 2 GUESTARTISTS 35 Society Giving at Tanglewood

The following recognizes gifts made since September 1, 2012, to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support of $3,000 or more during the 2012-13 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Dr. Robert J. Mayer, Chair, Tanglewood Annual Fund

Chairman’s

Sally ‡ and Michael Gordon • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Dorothy and Charlie Jenkins • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan Rothenberg • Kitte ‡ and Michael Sporn • Stephen and Dorothy Weber Encore

Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Scott and Ellen Hand • Elizabeth W. and John M. Loder • Jonathan D. Miller and Diane Fassino • Claudio and Penny Pincus • Ronald and Karen Rettner Benefactor

BSO Members' Association • Joseph and Phyllis Cohen • Ginger and George Elvin • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Drs. James and Eleanor Herzog • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • James A. Macdonald Foundation • Jay and Shirley Marks • Jane and Robert J. Mayer, M.D. • Henrietta N. Meyer • The Claudia & Steven Perles Family Foundation • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Evelyn and Ronald Shapiro • The Ushers and Programmers Fund Maestro

Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger • Dr. T. Donald and Janet Eisenstein • Jane Fitzpatrick • Nancy J. Fitzpatrick and Lincoln Russell • Robert and Stephanie Gittleman • Ronnie and Jonathan Halpern • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Rebecca and Nathan Milikowsky • Mr. and Mrs. Daniel Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Suzanne and Burton Rubin • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Carol and Irv Smokler • Linda and Edward Wacks • Mr. Jan Winkler and Ms. Hermine Drezner Prelude

Dr. Norman Atkin • Joan and Richard Barovick • James and Tina Collias • Dr Lynne B Harrison • Tanny and Courtney Jones • Arlene and Jerome Levine • Elaine and Ed London • Mr. and Mrs. Michael Monts • Jerry and Mary Nelson • Mike, Lonna and Callie Offner • Elaine and Bernard Roberts • Maureen and Joe Roxe/The Roxe Foundation • Malcolm and BJ Salter •

36 Marcia and Albert Schmier • Mr. and Mrs. Ernest Schnesel • JoAnne and Joel Shapiro • Suzanne and Robert Steinberg • Norma and Jerry Strassler • Lois and David Swawite • Aso O. Tavitian • Mr. and Mrs. Edwin A. Weiller III • Anonymous (2) Koussevitzky

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Alli and Bill Achtmeyer • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Brad and Terrie Bloom • Drs. Judith and Martin Bloomfield • Mr. and Mrs. Nat Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Lynn and John Carter • Susan and Joel Cartun • The Cavanagh Family • Carol and Randy Collord • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • In memory of D.M. Delinferni • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Monroe B. England • Eitan and Malka Evan • Marie V. Feder • Mr. David Fehr • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Audrey and Ralph Friedner • Mr. David Friedson and Ms. Susan Kaplan • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Carol B. Grossman • Mr. David Haas • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Mr. and Mrs. Nathan Hayward III • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Jim Hixon • Enid and Charles Hoffman • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Rhonda Judy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Mr. Chaim and Dr. Shulamit Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Drs. Gail and Allen Meisel • The Messinger Family • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Paul Neely • The Netter Foundation • John and Mary Ellen O'Connor • Mr. and Mrs. Gerard O'Halloran • Karen and Chet Opalka • Dr. and Mrs. Simon Parisier • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Walter and Karen Pressey • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Mary and Lee Rivollier • Barbara and Michael Rosenbaum • Lucinda and Brian Ross • Ruth and Milton Rubin • Sue Z. Rudd • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • The Shields Family • Hannah and Walter Shmerler • The Silman Family • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Marion A. Simon • Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind •

TANGLEWOODWEEK 2 SOCIETYGIVINGATTANGLEWOOD 37 Elaine Sollar and Edwin R. Eisen • Lauren Spitz • Lynn and Ken Stark • Lynn and Lewis Stein • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Mrs. Pat Strawgate • Roz and Charles Stuzin • Dorothy and Gerry Swimmer • Bill and Adrienne Taft • John Lowell Thorndike • Jerry and Roger Tilles • Jacqueline and Albert Togut • Barbara and Gene Trainor • Mr. and Mrs. Stanley Tulgan • Myra and Michael Tweedy • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Stephen M. Weiner and Donald G. Cornuet • Gail and Barry Weiss • Carol Andrea Whitcomb • Carole White • Robert and Roberta Winters • The Wittels Family • Pamela and Lawrence Wolfe • June Wu • Patricia Plum Wylde • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein

Mark and Stephanie Abrams • Dr. Burton Benjamin • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Anne and Darrel Brodke • Sandra L. Brown • Rhea and Allan Bufferd • Antonia Chayes • Lewis F. Clark, Jr. • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Leslie and Richard Daspin • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Sanford P. Fagadau • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Doucet and Stephen Fischer • John M. and Sheila Flynn • Betty and Jack Fontaine • Herb and Barbara Franklin • Myra and Raymond Friedman • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Charlotte and Sheldon Gross • Michael and Muriel Grunstein • Mrs. Deborah F. Harris • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Richard Holland • Hunt Alternatives Fund/Fern Portnoy and Roger Goldman • Jean and Ken Johnson • Miriam and Gene Josephs • Ms. Lauren Joy • Charlotte Kaitz and Family • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Ms. Phyllis B. Lambert • Mr. and Mrs. Ira S. Levy • Mr. and Mrs. Bill Lewinski • Phyllis and Walter F. Loeb • Gloria and Leonard Luria • Dr. and Mrs. Malcolm Mazow • Wilma and Norman Michaels • Mrs. Suzanne Nash • Linda and Stuart Nelson • Frank M. Pringle • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Edie and Stan Ross • Ms. Nancy Whitson-Rubin • Robert M. Sanders • Elisabeth Sapery and Rosita Sarnoff • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Mr. and Mrs. Warren Sinsheimer • Maggie and Jack Skenyon • Mr. Peter Spiegelman and Ms. Alice Wang • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Mr. and Mrs. George A. Suter, Jr. • Ingrid and Richard Taylor • J and K Thomas Foundation • Bob Tokarczyk • Diana O. Tottenham • Mr. and Mrs. Howard J. Tytel • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Michelle Wernli and John McGarry • Ms. Pamela A. Wickham • Elisabeth and Robert Wilmers • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin

‡ Deceased Stu Rosner

July at Tanglewood

Friday, July 5, 6pm (Prelude Concert) Friday, July 12, 8:30pm MEMBERS OF THE BSO BSO—KAZUSHI ONO, conductor Music of Wolf and Tchaikovsky LEON FLEISHER, piano

Friday, July 5, 8:30pm WAGNER Siegfried Idyll Opening Night at Tanglewood RAVEL Piano Concerto for the left hand RIMSKY-KORSAKOV Scheherazade BSO—RAFAEL FRÜHBECK DE BURGOS, conductor Saturday, July 13, 10:30am JOSHUA BELL, violin Open Rehearsal (Pre-Rehearsal Talk, 9:30am) ALL-TCHAIKOVSKY PROGRAM BSO program of Saturday, July 13 Violin Concerto; Symphony No. 5 Please note that the complete film will not be shown, and that the music may not be performed in its entirety. Saturday, July 6, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, July 13, 8:30pm BSO program of Saturday, July 6 BSO—DAVID NEWMAN, conductor BERNSTEIN West Side Story Saturday, July 6, 8:30pm Bernstein’s score played live by the BSO, as a BSO—RAFAEL FRÜHBECK DE BURGOS, newly re-mastered HD print is shown with the conductor original vocals and dialogue intact ANNE SOFIE VON OTTER, mezzo-soprano TANGLEWOOD FESTIVAL CHORUS Sunday, July 14, 2:30pm PALS CHILDREN’S CHORUS BSO—RAFAEL FRÜHBECK DE BURGOS, MAHLER Symphony No. 3 conductor LYNN HARRELL, cello Sunday, July 7, 2:30pm STRAVINSKY Suite from Pulcinella BOSTON POPS ORCHESTRA HAYDN Cello Concerto No. 1 KEITH LOCKHART, conductor BEETHOVEN Symphony No. 8 VINCE GILL, special guest Monday, July 15, 8pm Monday, July 8, 8pm TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—RAFAEL FRÜHBECK TMC CONDUCTING FELLOWS, conductors DE BURGOS and TMC CONDUCTING LAURA STRICKLING, soprano FELLOWS, conductors BRITTEN Prince of the Pagodas—Pas de six REILLY NELSON, mezzo-soprano BRITTEN Les Illuminations KODÁLY Dances of Galánta SHOSTAKOVICH Symphony No. 11, HARBISON Closer to My Own Life The Year 1905 BEETHOVEN Symphony No. 5 Wednesday, July 17, 8pm Thursday, July 11, 7:30pm BORODIN STRING QUARTET ORCHESTRA AND CHORUS OF Music of Brahms and Tchaikovsky EMMANUEL MUSIC RYAN TURNER, artistic director and Thursday, July 18, 8pm conductor BRYN TERFEL, baritone GORDON GIETZ, DEVON GUTHRIE, NATALIA KATYUKOVA, piano KATHERINE GROWDON, KRISTA RIVER, Program of German and English art songs LYNN TORGOVE, CHARLES BLANDY, ALEX RICHARDSON, DAVID KRAVITZ, Friday, July 19, 6pm (Prelude Concert) JAMES MADDALENA, DANA WHITESIDE, BOSTON CELLO QUARTET and FRIENDS DAVID CUSHING, and DONALD WILKIN- Music of Debussy, Falla, Fauré, Tchakovsky, SON, vocal soloists D’Rivera, and Déjardin, plus world premieres HARBISON The Great Gatsby, Opera in two acts by Hoshii and Hudgins Concert performance, sung in English with Friday, July 19, 8:30pm supertitles BSO—VLADIMIR JUROWSKI, conductor Friday, July 12, 6pm (Prelude Concert) JEAN-YVES THIBAUDET, piano MEMBERS OF THE BSO WAGNER Prelude to Die Meistersinger KATHERINE DOWLING and NICOLAS LISZT Totentanz, for piano and orchestra NAMORADZE, pianists BRAHMS Symphony No. 1 Music of Britten and Stravinsky

Saturday, July 20, 10:30am Friday, July 26, 8:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO—CHRISTOPH ESCHENBACH, BSO program of Sunday, July 21 conductor and piano CHRISTINE SCHÄFER, soprano Saturday, July 20, 8:30pm ALL-MOZART PROGRAM BSO—LOTHAR KOENIGS, conductor “Ch’io mi scordi di te…Non temer, amato Cast to include bene,” Concert aria for soprano and orchestra KATARINA DALAYMAN, soprano with piano obbligato, K.505; Piano Concerto (Brünnhilde) No. 12 in A, K.414; Symphony No. 41, Jupiter AMBER WAGNER, soprano (Sieglinde) BRYN TERFEL, bass-baritone (Wotan) Saturday, July 27, 10:30am WAGNER Die Walküre, Act III Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Sung in German with English supertitles BSO program of Sunday, July 28

Sunday, July 21, 2:30pm, Shed Saturday, July 27, 8:30pm MEMBERS OF THE BSO BSO—ANDRIS NELSONS, conductor PINCHAS ZUKERMAN, conductor, violin, KRIST¯INE OPOLAIS, LIOBA BRAUN, and viola DMYTRO POPOV, and FERRUCCIO ELIZABETH ROWE, flute FURLANETTO, vocal soloists JOHN FERRILLO, oboe TANGLEWOOD FESTIVAL CHORUS THOMAS ROLFS, trumpet VERDI Requiem AMANDA FORSYTH, cello Sunday, July 28, 2:30pm Concertos of VIVALDI and TELEMANN BSO—CHRISTOPH ESCHENBACH, J.S. BACH Concerto No. 2 in E for violin conductor and strings; Brandenburg Concerto No. 2 GARRICK OHLSSON, piano Monday, July 22, 8pm, Ozawa Hall DVORÁKˇ Carnival Overture TMC ORCHESTRA—STÉPHANE DENÈVE PROKOFIEV Piano Concerto No. 3 and TMC CONDUCTING FELLOWS, DVORÁKˇ Symphony No. 9, From the New World conductors JESSICA ZHOU, harp Monday, July 29, 7pm ALL-DEBUSSY PROGRAM STEVE MILLER BAND Prélude à l’Après-midi d’un faune; Jeux; Danses Tuesday, July 30, 8pm, Theatre sacrée et profane, for harp and orchestra; La Mer Film Screening Tuesday, July 23, 7pm JURO MOTOMASA Sumidagawa BARENAKED LADIES, BEN FOLDS FIVE, Free event; in Japanese with English subtitles and GUSTER A filmed performance of the 15th-century “Last Summer on Earth Tour 2013” Noh play that inspired Benjamin Britten’s Curlew River, an English-language setting for Wednesday, July 24, 8pm voices and instruments of the same story, to be performed July 31 and August 1 PAUL LEWIS, piano All-Schubert program Wednesday, July 31, 7:30pm (Sonatas in C minor, D.958; A, D.959; Thursday, August 1, 7:30pm and B-flat, D.960) MARK MORRIS DANCE GROUP Thursday, July 25, 8pm TMC FELLOWS GARRICK OHLSSON, piano MARK MORRIS, choreographer and director Music of Beethoven, Schubert, Griffes, and STEFAN ASBURY, conductor (Purcell) Chopin CHRISTINE VAN LOON and ALLEN MOYER, costume designers Friday, July 26, 6pm (Prelude Concert) JAMES F. INGALLS, lighting designer MEMBERS OF THE BSO ROBERT BORDO and ALLEN MOYER, Music of Stravinsky, Britten, and Mozart scenic designers BRITTEN Curlew River PURCELL Dido and Aeneas Fully-staged productions, sung in English

Programs and artists subject to change. 2013 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available only through the Tanglewood Box Office, SymphonyCharge, or online at bso.org Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 30, 10am Sunday, July 14, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Monday, July 15, 6pm Monday July 1, 11am and 2:30pm Prelude Concert Tuesday July 2, 11am Monday, July 15, 8pm * STRING QUARTET MARATHON The Daniel Freed and Shirlee Cohen Freed One ticket provides admission to all three Memorial Concert concerts. TMC ORCHESTRA—STEFAN ASBURY and Tuesday July 2, 2:30pm TMC CONDUCTING FELLOWS, conductors Opening Exercises (free admission; open to LAURA STRICKLING, soprano the public; performances by TMC Faculty) Music of BRITTEN and SHOSTAKOVICH Wednesday July 3, 7pm Saturday, July 20, 6pm Vocal Concert: “Fables, Folk Songs, and Prelude Concert Fantasies” Sunday, July 21, 10am Saturday, July 6, 6pm Chamber Music Prelude Concert Sunday, July 21, 7pm Sunday, July 7, 10am Vocal Concert Chamber Music Monday, July 22, 6pm Monday, July 8, 6pm Piano Prelude: Music of Debussy Piano Prelude Monday, July 22, 8pm * Monday, July 8, 8pm * The Margaret Lee Crofts Concert The Phyllis and Lee Coffey Memorial Concert TMC ORCHESTRA—STÉPHANE DENÈVE TMC ORCHESTRA—RAFAEL FRÜHBECK and TMC CONDUCTING FELLOWS, DE BURGOS and TMC CONDUCTING conductors FELLOWS, conductors Music of DEBUSSY REILLY NELSON, mezzo-soprano Saturday, July 27, 6pm (Theatre) Music of KODÁLY, HARBISON, and Prelude Concert BEETHOVEN Sunday, July 28, 10am (Theatre) Wednesday, July 10, 8pm Chamber Music Vocal Concert Saturday, July 13, 6pm Prelude Concert

TICKETS FOR TMC CONCERTS other than TMC Orchestra concerts are available at $11 in advance online, or in person one hour prior to concert start time only at the Ozawa Hall Bernstein Gate. Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orches- tra concerts of July 8, 15, and 22 and August 12 are available in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at tanglewood.org. Please note that availability of seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, TMC Orchestra concerts, and the August 12 FCM concert opera) by presenting their membership cards with bar code at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or (413) 637-5261, or visit tanglewood.org/contribute. Wednesday, July 31, 7:30pm * Thursday, August 8—Monday, August 12 Thursday, August 1, 7:30pm * 2013 FESTIVAL OF CONTEMPORARY MARK MORRIS DANCE GROUP MUSIC TMC FELLOWS Pierre-Laurent Aimard, Festival Director MARK MORRIS, choreographer and director Directed by Pierre-Laurent Aimard, the STEFAN ASBURY, conductor (Purcell) 2013 Festival of Contemporary Music CHRISTINE VAN LOON and ALLEN MOYER, highlights works of composers Helmut costume designers Lachenmann and Marco Stroppa, with JAMES F. INGALLS, lighting designer performances also of music by György ROBERT BARDO and ALLEN MOYER, Ligeti, Conlon Nancarrow, and Steve scenic designers Reich; TMC commissions by Elliott Carter BRITTEN Curlew River (east coast premiere) and Christian Mason PURCELL Dido and Aeneas (world premiere); and, to close the festi- Fully-staged productions, sung in English val, a concert performance of George Benjamin’s critically acclaimed opera Saturday, August 3, 6pm Written on Skin in its U.S. premiere. Prelude Concert Thursday, August 8, 6pm (Prelude Concert) Sunday, August 4, 10am THE NEW FROMM PLAYERS Chamber Music Music of CARTER Tuesday, August 6 * Thursday, August 8, 8pm TANGLEWOOD ON PARADE The Fromm Concert at Tanglewood 2:30pm: TMC Cello Ensemble TMC FELLOWS 3:30pm: TMC Piano Music: Liszt piano BRIAN CHURCH, narrator transcriptions of Verdi and Wagner MICHELE MARELLI, basset horn 5:00pm: TMC Vocal Concert: cabaret songs Music of MASON, STROPPA, CARTER, 8:00pm: TMC Brass Fanfares (Shed) and LACHENMANN 8:30pm: Gala Concert (Shed) Friday, August 9, 2:30pm TMC ORCHESTRA, BSO, and PIERRE-LAURENT AIMARD, piano BOSTON POPS ORCHESTRA THE NEW FROMM PLAYERS STÉPHANE DENÈVE, CHARLES DUTOIT, JACK Quartet KEITH LOCKHART, and JOHN WILLIAMS, conductors Music of CARTER, LACHENMANN, and STROPPA Music of Borodin, Gershwin, Bernstein, and Tchaikovsky Saturday, August 10, 6pm (Prelude Concert) PIERRE-LAURENT AIMARD, piano Saturday, August 10, 6pm ELIZABETH KEUSCH, soprano Prelude Concert STEPHEN DRURY, piano Saturday, August 17, 11am THE NEW FROMM PLAYERS COMPOSER PIECE-A-DAY CONCERT Music of STROPPA, LACHENMANN, Free admission and CARTER Saturday, August 17, 6pm Sunday, August 11, 10am Prelude Concert TMC FELLOWS Sunday, August 18, 10am MICKEY KATZ, cello Vocal Concert Music of NANCARROW, STROPPA, “On This Island: The Great English Poets” LIGETI, and REICH Sunday, August 18, 1pm Monday, August 12, 8pm Vocal Prelude TMC FELLOWS Schubert’s Winterreise GEORGE BENJAMIN, conductor TMC FELLOWS Sunday August 18, 2:30pm (Shed) * BENJAMIN Written on Skin (U.S. premiere; The Leonard Bernstein Memorial Concert concert performance) Supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. The Festival of Contemporary Music has been Schneider, and by Diane H. Lupean endowed in perpetuity by the generosity of Dr. TMC ORCHESTRA—CHRISTOPH Raymond and Mrs. Hannah H. Schneider, VON DOHNÁNYI, conductor with additional support in 2013 from the EMANUEL AX, piano Aaron Copland Fund for Music, the Fromm Music of MOZART and MAHLER Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participat- ed in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlim- ited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 48th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive (photo by Kristen Seavey) programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, edu- cators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported, by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2013 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 13, 2:30pm, Tito Munoz conducts Copland’s Billy the Kid, Dvoˇrák’s Symphony No. 8, and Cowell’s Ancient Desert Drone. Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem featuring the BUTI Vocal Program, along with Britten’s Sinfonia da Requiem and Schnittke’s (K)ein Sommernachtstraum. Saturday, August 10, 2:30pm, Paul Haas conducts Respighi’s Fountains of Rome and Stravinsky’s The Rite of Spring.

WIND ENSEMBLE PROGRAMS: Sunday, July 14, 2:30pm, David Martins conducts Bernstein, Gillingham, Hart, Grainger/Rogers, Welcher, Sparke, and Navarro. Sunday, July 28, 8pm, Tanglewood Theatre, H. Robert Reynolds conducts Whitacre, Gandolfi, Tichell/Green, Turrin, Bach, and Grantham.

VOCAL PROGRAMS: Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem with the Young Artists Orchestra and Vocal Program.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Tuesday, July 30; Wednesday, July 31; Thursday, August 1.

SPECIAL CONCERT: BUTI Honors Recital, Saturday, August 3, 2:30pm, featuring select solo and chamber music ensembles from all of the BUTI Young Artist Programs.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431.

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs

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

Human Resources

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

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

Public Relations

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

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

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Jason Lyon, Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager Box Office Representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

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

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House and Visitor Center Manager • Edward Collins, Logistics Operations Supervisor • Eileen Doot, Business Office Manager • Thomas Finnegan, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Peggy and John Roethel, Seranak Innkeepers For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected] Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller

Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine

Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld

Tanglewood Project Leads 2013 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Maureen O’Hanlon Krentsa and Susan Price • Friends Office, Anne Hershman and Marilyn Schwartzberg • Guide’s Guide, Audley H. Fuller and Renee Voltmann • History Project, Alexandra Warshaw • Newsletter, Sylvia Stein • Off-Season Educational Resources, Norma Ruffer • Recruit, Retain, Reward, Toby Morganstein and Carole Siegel • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, Dianne Orenstein, Mark Orenstein, and Charlotte Schluger • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman, Pam Levit Beiderman, David Rothstein, and Janet Rothstein • Tour Guides, Mort Josel and Sandra Josel FAVORITE RESTAURANTS OF THE BERKSHIRES

295 NORTH ST. PITTSFIELD 413-442-2290 www.madjacksbbqonline.com Call us for a TANGLEWOOD Picnic Pack.

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITE RESTAURANTS OF THE BERKSHIRES William Mercer Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2013 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Preparation Berkshire Tax Service, Inc. • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA Advertising/Marketing Ed Bride Associates • The Cohen Group • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm – architecture . engineering . management • Foresight Land Services • Hill Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler, AIA, Architect Art /Antiques Elise Abrams Antiques • Hoadley Gallery Automotive Biener Audi • Haddad Toyota – Subaru - Hyundai Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank and Trust Co. • TD Bank Building Supplies/Hardware/Home E. Caligari & Son • Carr Hardware • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE CONSTRUCTION CO. • Berkshire Landmark Builders • Great River Construction Co., Inc. • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • Savory Harvest Catering Consulting Barry L. Beyer • Robert Gal LLC • General Systems Company, Inc. Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Quest Connect • Marty Rudolph’s Math Tutoring Service • Thinking in Music Energy/Utilities ESCO Energy Services Company • VIKING FUEL OIL CO., INC. Financial Services American Institute for Economic Research • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • THE BERKSHIRES CAPITAL INVESTORS • Financial Planning Hawaii • MR. AND MRS. ROBERT HABER • SUSAN AND RAYMOND HELD • Kenneth R. Heyman, CFP • Kaplan Associates L.P. • Keator Group, LLC • TD Wealth • True North Financial Services • WILMINGTON TRUST Food/Beverage Wholesale Barrington Coffee Roasting • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE Insurance Bader Insurance Agency, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. • GUARDIAN LIFE INSURANCE COMPANY OF AMERICA • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK, LLP • Michael J. Considine, Attorney at Law • Deely & Deely, Attorneys • Hochfelder & Associates, PC • MS. LINDA LEFFERT • Norman Mednick, Esq. • The Law Office of Zick Rubin • Susan M. Smith, Esq. • Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lodging/Resorts 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Comfort Inn & Suites • Berkshire Days Inn • Berkshire Holiday Inn Express & Suites • Berkshire Howard Johnson Lenox • Berkshire Travelodge Suites • Birchwood Inn • BLANTYRE • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel - Berkshires • Days Inn Lenox • Devonfield Inn • Eastgate Inn Bed & Breakfast • Eastover Hotel and Resort LLC • English Hideaway B&B • Federal House Inn • The Garden Gables Inn • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed and Breakfast Inn • Inn at Green River • The Inn at Stockbridge • Jiminy Peak Mountain Resort • Mayflower Inn & Spa • THE PORCHES INN AT MASSMOCA • THE RED LION INN • The Rookwood Inn • SEVEN HILLS INN • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products AMERICAN TERRY, CO. • CRANE & CO., INC. • IREDALE MINERAL COSMETICS • New Yorker Electronics Co., Inc. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • Austen Riggs Center • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • For Eyes Optical • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Dr. Charles Mandel/Optical Care Associates • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Donald Wm. Putnoi, M.D. • Dr. Robert and Esther Rosenthal • Royal Health Care Services of New York • Chelly Sterman Associates • Suburban Internal Medicine Moving/Storage Mullen Moving, Storage & Logistics Company • Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • BERKSHIRE THEATRE GROUP • Berkshire United Way • Kimball Farms Retirement Community Printing/Publishing/Photography Edward Acker, Photographer • Our Berkshire Green Publishing • QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS Real Estate Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST • Brause Realty Inc. • Cohen & White Associates • Barbara K. Greenfeld, Broker Associate at Roberts & Associates Realty • Hill Realty, LLC • McLean & McLean Realtors, Inc. • PATTEN FAMILY FOUNDATION • Pennington Management Co. • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Tucker Welch Properties Restaurant Alta Restaurant • Bagel & Brew • Bistro Zinc • Brava • Café Lucia • Chez Nous • Cork ’N Hearth • Firefly • Flavours of Malyasia • Mazzeo’s Ristorante • Prime Italian Steakhouse & Bar • Rouge Restaurant • Route 7 Grill Retail: Clothing Arcadian Shop • Bare Necessities • Ben’s • The Gifted Child • Glad Rags Retail: Food & Wine Barrington Bites • Bizalion’s Fine Food • Berkshire Co-op Market • Chocolate Springs Café • GOSHEN WINE & SPIRITS, INC. • Guido’s Fresh Marketplace • Nejaime’s Wine Cellars • Price Chopper Supermarkets • Queensboro Wine & Spirits • Spirited Retail: Home & Garden COUNTRY CURTAINS AT THE RED LION INN • Garden Blossoms Florist • Paul Rich & Sons • Wards Nursery & Garden Center • Windy Hill Farm, Inc. Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Specialty Contracting and Services Aladco Linen Services • R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Braman Termite & Pest Elimination • Camp Wagalot Boarding & Daycare for Dogs • Dery Funeral Homes • Pignatelli Electric • Michael Renzi Painting Company • Shire Cleaning and Janitorial • A Touch of Comfort Therapeutic Massage Travel & Transportation ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • AllPoints Drivers • Lyon Aviation • The Traveling Professor Video MYRIAD PRODUCTIONS Yoga/Wellness KRIPALU CENTER FOR YOGA & HEALTH (Note: List of donors accurate as of June 13, 2013.) Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

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

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall