Summer 2014 Boston Symphony Orchestra

boston symphony orchestra summer 2014

Andris Nelsons, Ray and Maria Stata Music Director Designate Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

133rd season, 2013–2014

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chair • William F. Achtmeyer, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Stephen B. Kay • Joyce Linde • John M. Loder • Nancy K. Lubin • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters

Life Trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Gabriella Beranek • 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† • Nancy J. Fitzpatrick • Thelma E. Goldberg • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • 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 • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • Peter C. Andersen • 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 • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • 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 • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton •

Programs copyright ©2014 Boston Symphony Orchestra, Inc. Cover photo by John Ferrillo Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • 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 • Paul F. Deninger • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • John P. Eustis II • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • 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 • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased 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 Kous- sevitzky 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— The tent at Holmwood, where the BSO played was inaugurated on July 7, 1994, providing a its first Berkshire Symphonic Festival concerts in modern venue throughout the summer for 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Celebrating its 20th Anniversary Season this summer, 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, Cheryl Studer, Sanford Sylvan, 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 28 through August 31. 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. This Summer’s Archival Exhibits at the Tanglewood Visitor Center

Seiji Ozawa on stage with the BSO at Tanglewood on the occasion of his conducting debut with the orchestra, August 16, 1964 (Whitestone Photo/ BSO Archives)

The historical displays in the Tanglewood Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information documenting the history of the Tanglewood property as well as the origins and early years of the Tanglewood Music Festival. This summer’s special exhibits at the Visitor Center mark the 50th anniversary of Seiji Ozawa’s conducting debut with the BSO, which took place at Tanglewood on August 16, 1964; the 50th anniversary of the Boston Symphony Chamber Players, who gave their first concert on November 8, 1964, at Sanders Theatre in Cambridge; and the 20th anniversary of Ozawa Hall, which opened to the public with the inaugural concert of July 7, 1994. Visitors can also continue to relive Tanglewood’s rich history through the Interactive Media Exhibit located in what was originally the Tappan House library, and which allows visitors to view historical film footage and other digitized content, as well as travel the Tanglewood Time Line.

Seiji Ozawa Hall under construction in the spring of 1993 (Walter H. Scott/BSO Archives)

Ralph Gomberg, Burton Fine, Jules Eskin, and Joseph Silverstein, who performed Mozart’s Oboe Quartet in the November 1964 inaugural concert of the Boston Symphony Chamber Players (Boris and Milton/BSO Archives)

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. The following are also not permitted at Tanglewood: solicitation or distribution of material; unauthorized ticket resales; animals other than approved service animals; motorized vehicles other than transport devices for use by mobility-impaired individuals. All bags, purses, backpacks, and other containers are subject to search. 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 purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431, e-mail [email protected], or visit tanglewood.org/access. 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 2:30 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 2:30 p.m., and from noon through intermission on Sun- days. 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 seventeen 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 $31 (front and boxes) and $21 (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 2014

ANDRISNELSONS BERNARDHAITINK SEIJI OZAWA THOMASWILKINS Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Designate Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity

First Violins Wendy Putnam* Violas Owen Young* Robert Bradford Newman John F. Cogan, Jr., and Malcolm Lowe chair, endowed in perpetuity Steven Ansell Mary L. Cornille chair, Concertmaster Principal endowed in perpetuity Charles Munch chair, Xin Ding* Charles S. Dana chair, endowed in perpetuity Kristin and Roger Servison endowed in perpetuity Mickey Katz* chair Stephen and Dorothy Weber Tamara Smirnova Cathy Basrak chair, endowed in perpetuity Associate Concertmaster Glen Cherry* Assistant Principal Helen Horner McIntyre Donald C. and Ruth Brooks Anne Stoneman chair, Alexandre Lecarme* chair, endowed in perpetuity Heath chair, endowed endowed in perpetuity Nancy and Richard Lubin in perpetuity chair Alexander Velinzon° Edward Gazouleas Assistant Concertmaster Yuncong Zhang* Lois and Harlan Anderson Adam Esbensen* Ronald G. and Ronni J. Robert L. Beal, Enid L., chair, endowed in perpetuity Blaise Déjardin* and Bruce A. Beal chair, Casty chair endowed in perpetuity Robert Barnes Elita Kang Second Violins Michael Zaretsky Basses Assistant Concertmaster Haldan Martinson Mark Ludwig* Edwin Barker Edward and Bertha C. Rose Principal chair, endowed in perpetuity Principal Rachel Fagerburg* Carl Schoenhof Family Harold D. Hodgkinson Julianne Lee chair, endowed in perpetuity Kazuko Matsusaka* chair, endowed in perpetuity Acting Assistant (position vacant) Rebecca Gitter* Lawrence Wolfe Concertmaster Assistant Principal Assistant Principal Wesley Collins* Bo Youp Hwang Charlotte and Irving W. Maria Nistazos Stata chair, John and Dorothy Wilson Rabb chair, endowed Jonathan Chu* endowed in perpetuity chair, endowed in perpetuity in perpetuity Daniel Getz* Benjamin Levy Lucia Lin Sheila Fiekowsky Leith Family chair, endowed Dorothy Q. and David B. Shirley and J. Richard in perpetuity Arnold, Jr., chair, endowed Fennell chair, endowed Cellos Dennis Roy in perpetuity in perpetuity Jules Eskin Joseph and Jan Brett Ikuko Mizuno Nicole Monahan Principal Hearne chair David H. and Edith C. Philip R. Allen chair, Joseph Hearne Jennie Shames* Howie chair, endowed endowed in perpetuity Ruth and Carl J. Shapiro in perpetuity James Orleans*§ chair, endowed in perpetuity Martha Babcock Ronan Lefkowitz Associate Principal Todd Seeber* Valeria Vilker Vernon and Marion Alden Eleanor L. and Levin H. Kuchment* Vyacheslav Uritsky* chair, endowed in perpetuity Campbell chair, endowed in Stephanie Morris Marryott perpetuity and Franklin J. Marryott Nancy Bracken* Sato Knudsen chair Aza Raykhtsaum* Mischa Nieland chair, John Stovall* endowed in perpetuity Tatiana Dimitriades* Bonnie Bewick* Thomas Van Dyck* Catherine and Paul Mihail Jojatu Buttenwieser chair James Cooke* Sandra and David Bakalar chair Si-Jing Huang* Victor Romanul* Mary B. Saltonstall chair, Bessie Pappas chair Jonathan Miller Richard C. and Ellen E. endowed in perpetuity Catherine French* Paine chair, endowed Jason Horowitz* in perpetuity Ala Jojatu* Flutes Bass Clarinet Thomas Siders Voice and Chorus Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward John Oliver Principal M. Lupean chair Tanglewood Festival Walter Piston chair, Chorus Conductor endowed in perpetuity Bassoons Michael Martin Alan J. and Suzanne W. Richard Svoboda Ford H. Cooper chair, Dworsky chair, endowed Clint Foreman endowed in perpetuity in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, endowed in perpetuity Trombones Librarians Elizabeth Ostling Associate Principal Suzanne Nelsen Toby Oft D. Wilson Ochoa Marian Gray Lewis chair, John D. and Vera M. Principal Principal endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Lia and William Poorvu Richard Ranti chair, endowed in perpetuity chair, endowed in perpetuity Piccolo Associate Principal Stephen Lange William Shisler Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, John Perkel Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed in perpetuity James Markey Associate Contrabassoon John Moors Cabot chair, Conductor endowed in perpetuity Oboes Gregg Henegar Marcelo Lehninger Helen Rand Thayer chair Anna E. Finnerty chair, John Ferrillo Tuba endowed in perpetuity Principal Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal Assistant James Sommerville Margaret and William C. Conductor Mark McEwen Principal Rousseau chair, endowed James and Tina Collias Helen Sagoff Slosberg/ in perpetuity Andris Poga chair Edna S. Kalman chair, endowed in perpetuity Keisuke Wakao Timpani Personnel Assistant Principal Richard Sebring Managers Farla and Harvey Chet Associate Principal Timothy Genis Krentzman chair, Margaret Andersen Sylvia Shippen Wells chair, Lynn G. Larsen Congleton chair, endowed endowed in perpetuity endowed in perpetuity Bruce M. Creditor in perpetuity Assistant Personnel English Horn Rachel Childers Percussion Manager John P. II and Nancy S. Robert Sheena Eustis chair, endowed J. William Hudgins Beranek chair, endowed in perpetuity Peter and Anne Brooke Stage Manager in perpetuity chair, endowed in perpetuity Michael Winter John Demick Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. William R. Hudgins Jason Snider Linde chair Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell participating in a system Jean-Noël and Mona N. * endowed in perpetuity Peter Andrew Lurie chair, of rotated seating Tariot chair endowed in perpetuity Michael Wayne § on sabbatical leave Matthew McKay on leave Thomas Martin Trumpets ° Associate Principal & E-flat clarinet Thomas Rolfs Harp Principal Stanton W. and Elisabeth Jessica Zhou K. Davis chair, endowed Roger Louis Voisin chair, endowed in perpetuity Nicholas and Thalia Zervas in perpetuity chair, endowed in perpetuity Benjamin Wright by Sophia and Bernard Gordon A Brief History of the Boston Symphony Orchestra

Now in its 133rd 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 esteemed 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. An (BSO Archives) 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

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Inter- national 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 Tangle- wood 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 Andris Nelsons conducting the BSO at Tanglewood, July 2012 William Steinberg. Seiji Ozawa (photo by Hilary Scott) became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.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 initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s fifteenth music director, a position he takes up in the 2014-15 season, following a year as music director designate. 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.

Table of Contents

Friday, August 15, 6pm (Prelude Concert) 2 HALDAN MARTINSON and ALA JOJATU, violins; CATHY BASRAK, viola; MIHAIL JOJATU, cello; NIKOLAI LUGANSKY, piano Music of Handel-Halvorsen and Franck

Friday, August 15, 8:30pm 9 BOSTON SYMPHONY ORCHESTRA STÉPHANE DENÈVE conducting; EMANUEL AX, piano; ELENA MANISTINA, mezzo-soprano; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Music of Beethoven and Prokofiev

Saturday, August 16, 8:30pm 28 BOSTON SYMPHONY ORCHESTRA BRAMWELL TOVEY conducting; NICHOLAS PHAN, ANNA CHRISTY, KATHRYN LEEMHUIS, FREDERICA VON STADE, BEAU GIBSON, PAUL LAROSA, RICHARD SUART, MATTHEW WORTH, STEPHEN CARROLL, VINCENT FESTA, CAIRAN RYAN, NATHAN WYATT, RYAN CASPERSON, and SAM FILSON PARKINSON, vocal soloists; TANGLEWOOD FESTIVAL CHORUS Leonard Bernstein’s “Candide” (concert performance)

Sunday, August 17, 2:30pm 44 TANGLEWOOD MUSIC CENTER ORCHESTRA CHARLES DUTOIT conducting; NIKOLAI LUGANSKY, piano Music of Rachmaninoff and Stravinsky

“This Week at Tanglewood” Again this summer, 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 Tangle- wood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, August 15, are scheduled to include conductor Bramwell Tovey, soprano Anna Christy, and tenor Nicholas Phan. The series continues through Friday, August 22, the final weekend of the BSO’s 2014 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 5; August 2, 23—Marc Mandel, BSO Director of Program Publications July 12, 19, 26; August 9—Robert Kirzinger, BSO Assistant Director of Program Publications

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

TANGLEWOODWEEK 7 TABLEOFCONTENTS 1 2014 Tanglewood

Prelude Concert Friday, August 15, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE BERNARD AND ELAINE ROBERTS CONCERT

HALDAN MARTINSON, violin (Handel-Halvorsen; 1st violin in Franck) ALA JOJATU, violin (2nd violin in Franck) CATHY BASRAK, viola MIHAIL JOJATU, cello NIKOLAI LUGANSKY, piano

HANDEL-HALVORSEN Passacaglia on a Theme of Handel, arranged by Johan Halvorsen for violin and cello

FRANCK Piano Quintet in F minor Molto moderato quasi lento—Allegro Lento, con molto sentimento Allegro non troppo ma con fuoco

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 all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

2 NOTES ON THE PROGRAM

Following decades of inattention and oblivion, Baroque music was rediscovered by the mid-19th-century Romantics, who relished its energy and drive, the irregularity of its phrase structures, and the passionate spirit of so much of the music. It was, of course, at precisely this time that Bach’s music began to be published in the first scholarly complete edition known to European music history. One way of spreading the word about this music was for musicians to make arrangements for their own instruments of music they particularly admired, often romanticizing the work in the process, because the point was interpretation, not historical re-creation. Probably the best-known example of this approach is the so-called “Air on the G-string” created from the Aria in Bach’s Orchestral Suite No. 3. The music of George Friderick Handel (1685-1759) also underwent this kind of transformation. The Passacaglia to be heard here is a reworking by the Norwegian conductor-composer-violinist Johan Halvorsen (1864-1935) of the finale from Handel’s Keyboard Suite No. 7 in G minor. (The suite now bears the number 432 in the modern thematic catalogue of Handel’s works, which has its “HWV” numbers— for “Handel Werke Verzeichnis,” or “Handel Works Index”—by analogy with the BWV numbers for Bach.) Halvorsen arranged this movement for violin with the accompaniment of either viola or cello; it was a favorite piece of the great violinist Jascha Heifetz, who recorded it. In more recent years the concern with “historically correct” performance has to some extent denied us the chance of hearing these romantic tributes to an older “romantic” music which brought that long-lost music to light again with deep affection. The work of an outwardly mild-mannered man, the Piano Quintet of César Franck is a chamber music behemoth that demands an explosive amount of sound and emotional power from its five players. In a late-career flowering when he wrote the quintet, Franck (1822-1890) was comfortably installed as a well-respected professor at the Paris Conservatoire, and was known for his organ music, improvisations, and large-scale sacred works. Yet the late 1870s brought a surge of creativity: symphonic poems and chamber music of unprecedented fervor and sensuality. The quintet’s premiere in 1880 stirred up suitably strong feelings on either side of the aisle: Franck’s students loved it and some audience members were reportedly moved to tears; meanwhile Liszt, unusually wary, voiced the opinion that the work might be better suited to an orchestral arrangement, and Franck’s wife publicly registered her aver- sion to its excesses. The biggest snub, however, came from the quintet’s erstwhile dedicate: Camille Saint-Saëns (who was apparently sight-reading the part at the premiere) stormed off the stage in disgust during the applause, flinging away the autographed score that Franck was attempting to present him. Take a scandalous premiere, the heated rivalries and acrimonious alignments of Paris’s musical elite, and a dash of forbidden lust—common speculation posits Franck’s unfulfilled infatuation with his charismatic student Augusta Holmès as one of the spurs to his renewed creativity—and the circumstances of the quintet’s birth do justice to its florid passion and cathartic, sweeping transformations. From Liszt, Franck had absorbed techniques of cyclical, interconnected structure; from Wagner, whose Prelude to Tristan und Isolde he had heard for the first time in 1874, he was inspired to take harmonic modulation farther than ever before. This feeling of repetition under a new guise, of constant doubling-back, permeates the quintet on both the macro—much of the thematic material of all three movements is derived from the first movement’s second theme—and micro levels. The first movement begins with a slow, searching introduction, marked Molto moderato quasi lento, in which torrid declamations from the string quartet alternate

TANGLEWOODWEEK 7 PRELUDEPROGRAMNOTES 3 4 with dreamy rhapsodies in the piano. The Allegro of the movement proper begins with a mounting flourish in the piano and a taut dotted-rhythm figure tossed back and forth. The crucial second theme, introduced by the violin, is a syncopated, breathless melody that rises briefly before an inevitable settling. The movement pro- gresses in undulations, with waves building and breaking—even, at the climactic moment, stopping abruptly at the peak before regrouping and rebuilding. Almost everything, from short motives to full-fledged melodies, is heard in sequences, each new figure added to the blocks with which Franck crafts his otherworldly harmonic landscape. The second movement, Lento, con molto sentimento (in case one needed a further exhortation to display of emotion), begins with a melody rendered by the first violin in fragmented gasps. Counterpoint to this is a throaty, chromatic rising line in the viola and piano. The movement evolves in an exploration of these dualities: contrary motion, soaring and rumbling, ecstatic and sinister. The third movement, Allegro non troppo ma con fuoco, opens with a manic, perpetual-motion whirlwind fore- shadowing Ravel. Even during the more insouciant melodies that follow, a churning undercurrent is omnipresent. Delirious outpourings of notes, obsessive repetition, whiplash dynamics: all the ingredients of the sort of true romanticism that subli- mates the overburdened heart are put to intense use in a grand testament of musical expression.

Notes by STEVEN LEDBETTER (Handel-Halvoresn) and ZOE KEMMERLING (Franck) Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998. Zoe Kemmerling is a Boston-based violist, Baroque violinist, and writer who was the 2012 Publications Fellow at the Tanglewood Music Center.

Artists

For a biography of Nikolai Lugansky, see page 54. Haldan Martinson joined the Boston Symphony Orchestra as a section violinist in November 1998 and in summer 2000 was appointed principal second violin, in which capacity he occupies the Carl Schoenhof Family Chair. As the BSO’s principal second violin, he is also a member of the Boston Symphony Chamber Players. Mr. Martinson made his solo debut with the Los Angeles Philharmonic in 1990 and his national television debut in 1988 performing on Johnny Carson’s Tonight Show. He has also been soloist with numerous other orchestras, including the Waterloo-Cedar Falls Symphony Orchestra, the Metamorphosen Chamber Orchestra, and the Yale Symphony Orchestra. He is the recipient of numerous prizes, scholarships, and

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 7 PRELUDEPROGRAMNOTES 5 awards, including the Spotlight Award of the Los Angeles Music Center, and has participated in the chamber music festivals of Ravinia, Taos, Santa Fe, and La Jolla. From 1996 to 1998 he was a member of the Metamorphosen Chamber Ensemble. From 1998 to 2002 he was a member of the critically acclaimed Hawthorne String Quartet. Mr. Martinson holds a B.A. in music from Yale College, where he was awarded the Louis Sudler Prize, one of the most prestigious awards granted by the university. He was concertmaster of the Yale Symphony Orchestra from 1991 to 1994 and received his master of music degree from the New England Conservatory in 1997. His teachers included Robert Lipsett, Endré Granat, David Nadien, Aaron Rosand, and James Buswell. Haldan Martinson is also a prize-winning composer whose works for string ensemble have been featured frequently in concert. One of his works, Dance of the Trolls for string orchestra, was commissioned by the Crossroads Chamber Orchestra in 1988 and has since been performed throughout Southern California. Ala Jojatu joined the Boston Symphony Orchestra’s violin section at the start of the 2011-12 season. Ms. Jojatu was a regular extra player with the Boston Symphony and Boston Pops Orchestras, and has also performed with the Philadelphia Orchestra,

6 New World Symphony, Boston Lyric Opera, New England String Ensemble, Portland (ME) Symphony, and as concertmaster of the Indian Hill Orchestra. Born in Moldova, she began her bachelor of music degree at the Bucharest National University of Music, where she studied with Stefan Gheorghiu, and then finished it as a full scholarship student at Boston Conservatory, studying with Lynn Chang and former BSO principal second violin Marylou Speaker Churchill. She completed her master of music degree as a student of BSO concertmaster Malcolm Lowe at Boston University. A Tanglewood Music Center Fellow in 2000 and 2001, she has won numerous com- petitions, resulting in performances of the Sibelius Violin Concerto with the Moldova National Orchestra and the Berg Violin Concerto with the Boston Conservatory Orchestra. She and her husband, BSO cellist Mihail Jojatu, are the proud parents of Maria Luiza and Gabriel Valentin. Cathy Basrak is assistant principal viola of the Boston Symphony Orchestra, occupying the Anne Stoneman Chair, and principal viola of the Boston Pops Orchestra. A native of the Chicago area, Ms. Basrak earned her bachelor’s degree from the Curtis Institute of Music in spring 2000. Her teachers included Joseph de Pasquale, principal viola of the BSO from 1947 to 1964, and Michael Tree of the Guarneri String Quartet. She has participated in the Marlboro Music Festival, Banff Centre for the Arts, and Norfolk Chamber Music Festival. In addition, she has performed with the Brandenburg Ensemble and Boston’s Metamorphosen Chamber Ensemble and appeared as soloist with the Philadelphia Orchestra, the Chicago, Detroit, and Bavarian Radio symphony orchestras, and the Boston Pops with John Williams. Ms. Basrak has won several awards, including grand prize in the Seventeen Magazine/ General Motors National Concerto Competition, first prize in the William E. Primrose Memorial Scholarship Competition, first prize in the Irving M. Klein International String Competition, and second prize in the 46th International Music Competition of the ARD in Munich. Ms. Basrak is married to BSO timpanist Timothy Genis; they have two daughters. Romanian-born cellist Mihail Jojatu joined the Boston Symphony Orchestra in 2001 and became fourth chair of the orchestra’s cello section at the start of the 2003-04 season, occupying the Sandra and David Bakalar Chair. Mr. Jojatu studied at the Bucharest Academy of Music before coming to the United States in 1996. He then attended the Boston Conservatory of Music, where he studied with former BSO cellist Ronald Feldman, and worked privately with Bernard Greenhouse of the Beaux Arts Trio. Through Boston University, he also studied with BSO principal cellist Jules Eskin. Mr. Jojatu has collaborated with such prestigious artists as Yefim Bronfman, Sarah Chang, Glenn Dicterow, Peter Serkin, Gil Shaham, members of the Juilliard and Muir string quartets, and Seiji Ozawa, who asked him to substitute for Mstislav Rostropovich in rehearsing the Dvoˇrák Cello Concerto with the Tanglewood Music Center Orchestra. A winner of the concerto competition at Boston University School for the Arts (subsequently appearing as soloist with Keith Lockhart and the Boston Pops Orchestra), he also won first prize in the Aria Concerto Competition at the Boston Conservatory and was awarded the Carl Zeise Memorial Prize in his second year as a Tanglewood Music Center Fellow. He has performed as guest soloist with the Radio Symphony Orchestra of Bucharest and has won numerous awards in Romania for solo and chamber music performance. A faculty member at the Longy School of Music, Mihail Jojatu is also a member of the Triptych String Trio, and a founding member, with his BSO colleagues Blaise Déjardin, Adam Esbensen, and Alexandre Lecarme, of the Boston Cello Quartet.

TANGLEWOODWEEK 7 PRELUDEPROGRAMNOTES 7 The Jean Thaxter Brett Memorial Concert Friday, August 15, 2014 The Tanglewood concert on Friday evening is supported by a generous gift from Great Benefactors Jan Brett and Joseph Hearne. The concert is named in memory of Jan’s mother, Jean Thaxter Brett. A retired nursery school teacher, Jean taught for twenty-six years, and also founded and ran the Lazy Eye Clinic for the Hingham Visiting Nurse Association for twenty- six years. A lifelong Hingham resident, Jean worked to preserve her hometown’s character and beauty, helping to pioneer recycling in Hingham and secure land for conservation. She was a member of the Second Parish Church and choir in Hingham, the Ladies Committee for the Museum of Fine Arts, the Colonial Dames Society, and the Hingham Yacht Club. As a young child, BSO Trustee Jan Brett would often attend Symphony’s youth concerts with her mother. Jan served as a BSO Overseer from 1994 to 1999, and was elected a Trustee in 1999. Jan is a member of the Trustees Nominating Committee. Her husband, Joe Hearne, is the player with the longest term of service currently in the Boston Symphony Orchestra. In 2012, Joe celebrated his 50th anniversary with the orchestra as a double bassist, having joined the BSO bass section in 1962 fresh out of Juilliard. For Jan and Joe, the BSO is tightly woven into the fabric of their lives together in Boston and the Berkshires, and they support the organization on many levels. Jan and Joe have supported the BSO’s educational programs in addition to endowing a full fellowship for a bass player at the Tanglewood Music Center and naming a BSO bass chair. They provide ongoing support through the Annual Funds, and in 2006 served as chairs of the highly successful Opening Night at Tanglewood fundraiser. Jan and Joe are members of the Koussevitzky Society at the Encore level, as well as members of the Walter Piston Society. With more than 38 million books in print, Jan is one of the nation’s foremost authors and illustrators of children’s books. She has published more than thirty works in as many years, including The Hat; The Three Snow Bears; Gingerbread Baby; The Mitten, which celebrated its 20th anniversary in 2009; and Chicken Cinderella, which was released in 2013. In 2005, Jan received the Boston Public Library’s Lifetime Achievement Award. Stu Rosner

8 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Friday, August 15, 8:30pm THE JEAN THAXTER BRETT MEMORIAL CONCERT “UnderScore Friday” concert, including introductory comments from the stage by BSO bass player Thomas Van Dyck.

STÉPHANE DENÈVE conducting

BEETHOVEN Piano Concerto No. 5 in E-flat, Opus 73, “Emperor” Allegro Adagio un poco mosso Rondo: Allegro ma non troppo EMANUEL AX

{Intermission}

PROKOFIEV “Alexander Nevsky,” Opus 78, Cantata for mixed chorus and orchestra, with mezzo-soprano (Words by V. Lugovskoy and S. Prokofiev) Russia Beneath the Yoke of the Mongols Song about Alexander Nevsky The Crusades in Pskov “Arise, People of Russia” The Battle on the Ice The Field of the Dead Alexander’s Entry into Pskov ELENA MANISTINA, mezzo-soprano TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 17.

This evening’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Please also note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts. We appreciate your cooperation.

TANGLEWOODWEEK 7 FRIDAYPROGRAM 9 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Piano Concerto No. 5 in E-flat, Opus 73, “Emperor” First performance: November 28, 1811, Leipzig Gewandhaus Orchestra, Johann Philipp Christian Schulz cond., Friedrich Schneider, soloist. First BSO performances: January 1882, Georg Henschel cond., Carl Baermann, soloist. First Tanglewood performance: August 2, 1947, Serge Koussevitzky cond., Jacob Lateiner, soloist. Most recent Tanglewood performance: July 22, 2007, Jens Georg Bachmann cond., Marc-André Hamelin, soloist. “Nothing but drums, cannons, human misery of every sort!”: thus Beethoven wrote his publisher on July 26, 1809. The Fifth Piano Concerto is a magniﬁcent afﬁrma- tion asserted in terrible times. In 1809 Austria was at war with France for the fourth time in eighteen years. Throughout this crescendo of public wretchedness, Beethoven had been working with phenomenal intensity. Even so, one can understand that he was seriously tempted late in 1808 to accept the offer of a post as court composer to Jerome Bonaparte, puppet King of Westphalia. That gave the Viennese another cause for alarm, and three wealthy patrons banded together to guarantee him an income for life provided that he stay in Vienna or some other city within the Austrian Empire. Beethoven entered into this unprecedented agreement on March 1, 1809, and must have regretted it often during the subsequent months. On April 9 Austria once again declared war on France, this time with Britain and Spain as allies. One month later Napoleon’s army was in the suburbs of Vienna. The Empress left the capital with most of her family and household, and the French artillery began its terrifying assault. On the worst night of all, that of May 11,

10 Beethoven made his way through the broken glass, collapsed masonry, fires, and din to find refuge in the cellar of the house of his brother Caspar. There he covered his head with pillows, hoping thus to protect the remaining shreds of his hearing. Toward the end of the summer Beethoven regained his power to concentrate, and by year’s end he had completed several remarkable works, including the E-flat piano concerto. But Beethoven never again composed as prolifically as he had between 1802 and 1808. His biographer Maynard Solomon calls this period the composer’s “heroic decade.” The Sinfonia eroica in E-flat (1803-04) most forcefully defined the new manner. The Fifth Piano Concerto marks both its summit and its termination. In English-speaking countries, this concerto is called the “Emperor”—to Beethoven’s “profound if posthumous disgust,” as Donald Francis Tovey put it. The origins of the name are obscure, although there is a story, unauthenticated and unlikely, that at the first Vienna performance a French officer exclaimed at some point, “C’est l’Empereur!” Starting to sketch the Fifth Concerto, Beethoven turned his mind to the question of how one might begin in an original and striking manner. He introduces the piano sooner than an audience 193 years ago expected to hear it—not, however, with a lyric (or, indeed, any sort of) thematic statement, but in a series of cadenza-like flourishes. The opening E-flat chord, besides being magnificently imposing, is also instantly recognizable; it consists only of E-flats and G’s, and not until the piano comes in do we hear the B-flats that complete the triad. The piano responds to each of the three chords with fountains and cascades of arpeggios, trills, and scales. Each of the three “fountains” brings in new pianistic possibilities, and the entire first movement—the longest Beethoven ever wrote—is continually and prodigiously inventive in this department. Beethoven makes clear that the slow moment should not drag, qualifying Adagio with un poco mosso (“moving a bit”) and giving ¢ as the time signature (meaning that there should be two principal pulses in each measure). The chief music here is a chorale introduced by muted strings, to which the piano’s first response is an aria, pianissimo, espressivo, and mostly in triplets. Beethoven gives us two variations on the chorale, the first given to the piano, the second to the orchestra with the piano accompanying (but the accompaniment contains the melody, rhythmically “off” by a fraction and thus an instance of rhythmic dissonance). The music subsides into stillness. Then Beethoven makes one of his characteristically drastic shifts, simply dropping the pitch by a semitone from B-natural to B-flat (bassoons, horns, pizzicato strings, all pianissimo). This puts us right on the doorstep of E-flat major, the concerto’s home key. Remaining in the tempo of the slow movement and still pianissimo, Beethoven projects the outlines of a new theme, made, like all the others in this concerto, of the simplest imaginable stuff. Suddenly this new idea bursts forth in its proper tempo, that of a robust German dance, and fortissimo: the finale has begun. The dance theme is elaborated by exciting syncopation. Just before the end, the timpani attain unexpected prominence in a passage of equally unexpected quiet. But this descent into adagio and pianissimo is undone in a coda as lively as it is brief.

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

TANGLEWOODWEEK 7 FRIDAYPROGRAMNOTES 11

Sergei Prokofiev (1891-1953) “Alexander Nevsky,” Opus 78, Cantata for mixed chorus and orchestra, with mezzo-soprano First performance: May 17, 1939, Moscow, Prokofiev cond. First BSO (and first Tangle- wood) performance: August 25, 1963, Erich Leinsdorf cond., Lili Chookasian, contralto, Festival Chorus. Most recent Tanglewood performance: July 5, 2003, Kurt Masur cond., Denyce Graves, mezzo-soprano, Tanglewood Festival Chorus, John Oliver, cond. Sergei Eisenstein, the great Russian film director, marvelled at the speed and fluency with which Prokofiev created the music for films. While they were working on Alexander Nevsky, the director and composer would look at a new sequence destined to go into the finished product. The viewings would end near midnight, and as Prokofiev left, he would say, “You’ll have the music by twelve noon.” In 1946, after working with him on two films—Alexander Nevsky and Ivan the Terrible— Eisenstein published an essay about the “miracle” of Prokofiev the film composer: “Although it is now midnight, I feel quite calm. I know that at exactly 11:55 a.m. a small dark blue car will bring Sergei Prokofiev to the studio and that in his hands there will be the necessary piece of music for Alexander Nevsky.” The composer’s speed was no less remarkable, said Eisenstein, than the fact that Prokofiev could write music so perfectly attuned to the screen with no more information than the number of seconds a given passage had to run and two or, at most, three viewings of the finished segment. Eisenstein watched Pro- kofiev searching for the key to the musical score: “The hall is plunged in darkness. But the darkness does not prevent me from see- ing, in the patches of light coming from the screen, Prokofiev’s hands on the elbow-rests of his chair, those enormous, strong hands with steel fingers which force the keyboard to groan when he attacks it with all the elemental impetuosity of his temperament. “Pictures flash on the screen.... “And the relentlessly precise, long fingers of Prokofiev are nervously drumming on the elbow-rests, as if receiving telegraph signals. “Is Prokofiev beating time? “No, he is ‘beating’ something far more complex.” What Prokofiev finds in the flickering images, says Eisenstein, is the visual counterpoint that the filmmaker has created, “a cunning construction of three movements which do not coincide in rhythm, tempo, and direction: protagonist, group background, and poles flashing by in the foreground as the camera passes them.” The composer is completely absorbed in the tempo—or, rather, the several tempos—of the action and the editing, muttering under his breath sounds that Einsenstein considered “the embryo of a melodic equivalent to the scene on the screen.” Prokofiev’s concentration is total. “God forbid you should address him at such a time.” The Eisenstein-Prokofiev collaboration on Alexander Nevsky produced one of those very rare occasions in which a great film is accompanied by a superb score. Prokofiev had already written music to a film (Lieutenant Kije), but with Alexander Nevsky he reached his peak in this line (though he was to go on to another fine score for Eisenstein’s Ivan the Terrible). Both in its original form, accompanying the visual images of the film, and in its adaptation as a concert piece, Alexander Nevsky has become one of Prokofiev’s most popular scores.

TANGLEWOODWEEK 7 FRIDAYPROGRAMNOTES 13 The creation of the film was heavily bound up with the propaganda needs of the Soviet government in the late 1930s. The rise to power of the Nazis in Germany profoundly unsettled Stalin, who saw Hitler as his most formidable external foe. Alexander Nevsky was designed not only to raise the issue of the German menace, but also—and especially—to raise Russian morale for a potential war with Germany. The means to do this lay in Russian history: Eisenstein wrote a screenplay about a 13th- century Russian prince of Novgorod, Grand Duke Alexander, who in 1240 (at the age of twenty) had commanded a Russian victory over Swedish forces in a battle at the River Neva. For this accomplishment he became known as Alexander Nevsky, or “Alexander of the Neva.” His most famous accomplishment was the destruction of a large, well-armed invading force of German knights in a battle at Lake Chud in 1242; this battle, and the circumstances preceding it, form the subject matter of Eisenstein’s film. Not the least remarkable thing about Alexander Nevsky is the fact that, although it was motivated purely by the Soviet state’s propaganda needs, it remains one of the finest artistic achievements in the history of film. Eisenstein’s innovative work in film editing was already well known from such classic moments as the “Odessa steps” sequence in The Battleship Potemkin (1925) and the storming of the Winter Palace in October (Ten Days That Shook the World) (1928). He was a trained artist whose photo- graphic shots were always composed with extraordinary care, planned in dozens of sketches before filming started. And in Alexander Nevsky, his first “talkie” to be released, Eisenstein achieved—with Prokofiev’s help—an astonishing fusion of image, dialogue, sound effects, and music. And the film has remained influential; hardly any later scene of armies in hand-to-hand combat could exist without the example of Eisenstein’s visual montage, amounting almost to choreography, in the great battle on the ice.

14 In addition, Eisenstein had a genius for type-casting, finding actors whose physique and manner perfectly embodied the personality of the characters in his films, whether cheerful, generous-spirited Russian peasants or dehumanized German soldiers. (One of the helmets that Eisenstein has the German soldiers wear surely inspired George Lucas’s image of the mask of Darth Vader!) At the same time, he nonetheless created a film epic that is constantly illuminated by vignettes of individ- ual characters—both noble and villainous—whose personalities are revealed in their reactions to the events in which history has placed them. Nikolai Cherkassov, superbly playing the tall, fair-haired Alexander, calm, clear-eyed, a natural leader of men, naturally stands at the center of the film; but he is surrounded by marvelous characters—two wonderful peasant “types,” Buslai and Gavrilo, who are contending for the hand of the same beautiful Russian maiden; Vassilissa, the doughty maid of Pskov who herself joins in the battle after the Germans have killed her father; the cheerful elderly armorer, who provides himself with a coat of mail that is unfortu- nately a little too short; the self-serving Russian traitors, depicted as sniveling weasels. The propaganda need for Alexander Nevsky was so urgent in 1938 that entire units of the Russian army were dispatched to serve as extras, and the climactic battle scene (which in 1242 took place on a frozen lake) was filmed during a July heat wave on a vast leveled field covered with sodium silicate to give it the color and crys- talline texture of an ice-covered lake. When the film was released, in December 1938, it was received with unprecedented acclaim, and Eisenstein, who had been in trouble with the authorities more frequently than he had been in favor, was restored to his once prestigious position in the Soviet film world. But a few months later the film was withdrawn from circulation upon the signing of the German-Soviet Pact of 1939, when political convenience decreed that a film provoking anti-German senti- ments be suppressed. This may well have been one of the principal motivations for Prokofiev to adapt his musical score into a concert piece, which could serve as a general expression of patriotism rather than as provocation against a specific foe. Film music, in its original form, almost never makes satisfactory concert music, because in the film it is often chopped into short segments, faded to inaudibility in favor of the dialogue, or otherwise manipulated for cinematic purposes, which may not correspond to the inherent character of the music itself. Even when working with so musically knowledgeable a director as Eisenstein, Prokofiev knew that the score required considerable adjustment for the concert hall. The musical segments of the cantata are presented in the order in which they appear in the film—thus making it easy for the concertgoer to follow the main lines of the story through the music—but not one of the seven movements appears exactly as it is heard in the movie. Most are made up of several segments that have been connected and shaped into a traditional musical shape (like the ABA form of the first two movements) or into a much more complex unit, such as “The Battle on the Ice,” which involves many separate musical cues. The following summary is limited largely to the scenes represented by the musical score. Russia Beneath the Yoke of the Mongols The film opens on a scene of desolate empty steppes with the signs of past battle— broken weapons, partial skeletons with armor still attached. A title card informs the audience that Russia is largely under the control of the Mongols except for a few regions around Novgorod. Prokofiev’s musical equivalent to this desolation is a keening melody presented in unison, four octaves apart, with nothing but emptiness in between. The oboes’ lamenting tune suggests poignant loss, while the rapid turn- figure in the muted violas and violins is an image of the feather-grass blowing on the hillsides—the only thing in view that is moving.

TANGLEWOODWEEK 7 FRIDAYPROGRAMNOTES 15 Song about Alexander Nevsky A tranquil lake scene, with Alexander and his comrades fishing with extended nets. The chorus sings of Alexander’s victory over the Swedes two years earlier. The Crusaders in Pskov The town of Pskov has fallen to the invading Germans, partly through the treachery of a Russian turncoat. The Germans, who are representatives of the Roman form of Christianity, prepare fires at which they threaten to burn any citizens of Pskov who do not convert to their religion. The German soldiers in their metal helmets look scarcely human. They carry away the spokesmen of the town to be burned, then grab small children and throw them onto the fire as well, while the “noble” German knights look on impassively. The crusaders and the priests accompanying them chant in Latin while this gruesome activity is going on. Prokofiev did some research into 13th-century music before composing the crusaders’ part, but he found the musical style to be so foreign to contemporary understanding that he decided to invent his own chants. “Arise, People of Russia” Another choral movement accompanies the enthusiastic preparations of the citizens of Novgorod to defend the Motherland. The melody of the contrasting middle section—almost folklike in its directness—becomes the single most important theme of the film. The Battle on the Ice The longest movement in the cantata is a virtuosic orchestral depiction of the course of battle. Though it is April, Lake Chud is still frozen solid, and the Russian peasants and townspeople await the Germans in the shivering cold. From the distance the crusaders’ battle chant can be heard softly on the trombone. Immediately after this, we hear the rhythmic hoofbeats of the German horses trotting implacably forward, coming to meet the largely unmounted band of Russian patriots. A tuba theme hints at the brutal power of the attacking forces. The two armies meet (with slashing musical gestures in the violins and trumpets, and fanfares). The crusaders repeat their monotonous chant over the din of battle. The course of the fighting is well charac- terized by the heavy, rhythmic gallop of the German knights on the one hand and the heroic resistance of the Russian peasants (folklike marching song in the trumpet) on the other. The Russians have held more firmly than the Germans expected, and the tide begins to turn. Eventually Alexander personally challenges the leader of the German knights to combat and defeats him. The Germans now begin to retreat, gradually falling into disarray as the retreat becomes a rout and they find themselves

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16 the hunted. Suddenly in the spring sunshine the ice of Lake Chud cracks under the heavy armor of the mounted Germans, and most of the invading army sinks to its death in the icy waters. The battle ends with unexpected suddenness; the astonished peasants look out at what little remains of the enemy force. The orchestra plays a poignant and sweet recollection of the melody from the fourth movement. The Field of the Dead Night is falling on the battlefield. Many Russians lie dead or wounded where they have fallen. The voice of a young woman is heard, singing of her search for her brave lover. She has vowed to marry whichever of two men, Gavrilo and Buslai, has proven the bravest in battle. Both men are injured but alive. She helps them off the ﬁeld. Alexander’s Entry into Pskov The victory has been complete. Alexander’s troops return to the city of Pskov in triumph, bringing with them the captives they have taken in battle. Weddings are arranged, the dead are mourned, and traitors punished. But most of all, everyone celebrates the end of the ﬁghting. Alexander warns all who would attack his land that he or his children will punish future invaders. The chorus sings a paean of celebration.

STEVEN LEDBETTER

SERGEI PROKOFIEV “Alexander Nevsky” 1. Russia Beneath the Yoke of the Mongols 2. Song about Alexander Nevsky

CHORUS OF RUSSIANS A i bylo dyelo na Nyevyeryekye, It happened on the Neva River, Na Nyevyeryekye, na bolshoi vodye. On the Neva, the great water. Tam rubili my zloye voinstvo, There we slaughtered the evil army, Zloye voinstvo, voisko shvyedskoye. the evil army of the Swedes. Ukh! kak bilis my, kak rubilis my! Oh, how we fought, how we slashed! Ukh! Rubili korabli po dostochkam. Oh, we chopped their boats into kindling! Nashi krov’rudu nye zhalyeli my We did not spare our golden blood za vyelikuyu zyemlyu ruskuyu. in defense of the great Russian land. Gde proshel topor, byla ulitza. Where the axe passed, there was a street, Gde lyetyelo kop’yo pyerye ulochek. where the spear ﬂew, an alley. Polozhili my shvyedovnemchinov, We mowed down our Swedish enemies Kak kobyl’travu na sukhoi zyemlye. like feather-grass on dry soil. Nye ustupim my zyemlyu russkuyu. We shall not yield up the Russian land. Kto pridyot na Rus’, budyet nasmyert’ Whoever invades Russia, shall be bit. killed. Podnyalasya Rus; suprotiv vraga, Russia has arisen against the foe; podnimis’ na boi, slavnyi Novgorod! arise for battle, glorious Novgorod!

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TANGLEWOODWEEK 7 TEXTSANDTRANSLATIONS 17 3. The Crusaders in Pskov CRUSADERS Peregrinus expectavi pedes meos in A foreigner, I expected my feet to be cymbalis est. shod in cymbals.

4. “Arise, People of Russia” CHORUS OF RUSSIANS Vstavaitye, lyudi russkiye, Arise, people of Russia, na slavnyi boi, na smyertnyi boi, for the glorious battle, for the deadly battle, vstavaitye, lyudi vol’nye, arise, free people, za nashu zyemlyu chestnuyu. to defend our honest land. TENORS, BASSES Zhivym boitsam pochyot i chest’, To living warriors, respect and honor, a myortvym slava vechnaya. and to the dead, eternal glory. Za otchii dom, za russkii krai For our fathers’ home, our Russian territory, vstavaitye, lyudi russkiye. arise, people of Russia. CHORUS Vstavaitye, lyudi russkiye, Arise, people of Russia, na slavnyi boi, na smyertnyi boi, for the glorious battle, for the deadly battle, vstavaitye, lyudi vol’nye, arise, free people, za nashu zyemlyu chestnuyu. to defend our honest land.

18 WOMEN, THEN MEN Na Rusi rodnoi, na Rusi bol’shoi In our native Russia, in great Russia, nye byvat’ vragu. let no foe exist. Podnimaisya, vstan’, Raise yourself up, stand up, mat’ rodnaya Rus’! our own mother Russia! WOMEN Vstavaitye, lyudi russkiye, Arise, people of Russia, MEN na slavnyi boi, na smyertnyi boi, for the glorious battle, for the deadly battle, WOMEN vstavaitye, lyudi vol’nye, arise, free people, MEN za nashu zyemlyu chestnuyu. to defend our honest land. WOMEN Vragam na Rus’ nye kazhivat’, Let no foe march through Russia, polkov na Rus’ nye vazhivat’, let no regiments rove across Russia, putyei na Rus’ nye vidyvat’, let them not see the paths to Russia, polyei Rusi nye taptyvat’. let them not tread on the ﬁelds of Russia. CHORUS Vstavaitye, lyudi russkiye, Arise, people of Russia, na slavnyi boi, na smyertnyi boi, for the glorious battle, for the deadly battle, vstavaitye, lyudi vol’nye, arise, free people, za nashu zyemlyu chestnuyu. to defend our honest land.

5. The Battle on the Ice CRUSADERS Peregrinus expectavi pedes meos A foreigner, I expected my feet to be in cymbalis. shod in cymbals. Vincant arma crucifera. May the arms of the cross-bearers conquer! Hostis pereat! Let the enemy perish!

6. The Field of the Dead A RUSSIAN WOMAN Ya poidu po polyu byelomu, I shall go over the white field, polyechu po polyu smyertnomu. I shall fly over the deadly field. Poishchu ya slavnykh sokolov, I shall seek the glorious falcons, zhenikhov moikh, dobrykh molodtsyev. my bridegrooms, the sturdy young men. Kto lyezhit, myechami porublyennyi, One lies hacked by swords, kto lyezhit, stryeloyu poranyennyi. one lies wounded by the arrow. Napoili oni krov’yu aloyu With their crimson blood they have watered zyemlyu chestnuyu, zyemlyu russkuyu. the honest soil, the Russian land.

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TANGLEWOODWEEK 7 TEXTSANDTRANSLATIONS 19 Kto pogib za Rus’ smyert’yu dobroyu, Whoever died a good death for Russia, potseluyu togo v oghi myertvye, I shall kiss upon his dead eyes, a tomu molodtsu, shto ostalsya zhit’, and to that young man who remained alive, budu vyernoi zhenoi, miloi ladoyu. I shall be a faithful wife, a loving spouse. Nye voz’mu v muzh’ya krasivovo: I shall not marry a handsome man; krasota zyemnaya konchayetsya. earthly beauty comes to an end. A poidu ya za khrabrovo. But I shall wed a brave man. Otzovityesya, yasnyi sokolyi! Cry out in answer, bright falcons!

7. Alexander’s Entry into Pskov CHORUS OF RUSSIANS Na vyliki boi vykhodila Rus’. Russia marched out to mighty battle. Voroga pobyedila Rus’. Russia overcame the enemy. Na rodnoi zyemlye nye byvat’ vragu. On our native soil, let no foe exist. Kto pridyot, budyet nasmyert’ bit. Whoever invades, will be killed. WOMEN Vyesyelisya, poi, mat’ rodnaya Rus’! Be merry, sing, mother Russia! Na rodnoi Rusi nye byvat’ vragu. In our native Russia, let no foe exist. Nye vidat’ vragu nashikh russkikh syol. Let no foe see our Russian villages. Kto pridyot na Rus’, budyet nasmyert’ Whoever invades Russia will be killed. bit. MEN Nye vidat’ vragu nashikh russkikh syol. Let no foe see our Russian villages. Kto pridyot na Rus’, budget nasmyert’ Whoever invades Russia will be killed. bit. Na Rusi rodnoi, na Rusi bol’shoi In our native Russia, in great Russia, nye byvat’ vragu. let no foe exist. Na Rusi rodnoi, na Rusi bol’shoi In our native Russia, in great Russia, nye byvat’ vragu. let no foe exist. Vyesyelisya, poi, Be merry, sing, mat’ rodnaya Rus’! our own mother Russia! Na vyelikii prazdnik sobralasya Rus’. At the mighty festival, all Russia has gathered together. Vyesyelisya, Rus’! Be merry, Russia, rodnaya mat’! mother of ours!

20 Guest Artists

Stéphane Denève Stéphane Denève is chief conductor of the Stuttgart Radio Symphony Orchestra (SWR) and principal guest conductor of the Philadelphia Orchestra beginning with the 2014-15 season; in September 2015 he will become chief conductor of the Brussels Phil- harmonic and director of its Centre for Future Orchestral Repertoire (Cffor). From 2005 to 2012 he was music director of the Royal Scottish National Orches- tra (RSNO). Recognized internationally for the exceptional quality of his performances and programming, he regularly appears at major concert venues with the world’s leading orchestras and soloists. He has a special affinity for the music of his native France, and is a passionate advocate for new music. Recent European engagements have included appearances with the Royal Concertge- bouw Orchestra, Bavarian Radio Symphony, Munich Philharmonic, Vienna Symphony, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, London Symphony Orchestra, Philharmonia Orchestra, Deutsches Symphonie-Orchester Berlin, and Swedish Radio Symphony. In North America he made his Carnegie Hall debut in 2012 with the Boston Symphony Orchestra, with which he is a frequent guest both in Boston and at Tanglewood, and he appears regularly with the Philadelphia Orchestra, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, and San Francisco Symphony. He will make his New York Philharmonic debut in 2015. Mr. Denève enjoys close relationships with many of the world’s leading solo artists, including Jean-Yves Thibaudet, Leif Ove Andsnes, Yo-Yo Ma, Leonidas Kavakos, Frank Peter Zimmermann, Nikolaj Znaider, Gil Shaham, Piotr Anderszewski, Emanuel Ax, Lars Vogt, Nikolai Lugansky, Paul Lewis, Joshua Bell, Hilary Hahn, Vadim Repin, and Nathalie Dessay. In the field of opera, he has led productions at the Royal Opera House, Glyndebourne Festival, La Scala, Saito Kinen Festival, Gran Teatro de Liceu, Netherlands Opera, La Monnaie in Brussels, and at the Opéra National de Paris. As a recording artist, he has won critical acclaim for his recordings of works by Poulenc, Debussy, Roussel, Franck, and Guillaume Connesson. A two-time winner of the Diapason d’Or de l’année, he was shortlisted in 2012 for Gramophone’s Artist of the Year award, and won the prize for symphonic music at the 2013 International Classical Music Awards. A graduate of and prizewinner at the Paris Conservatoire, Stéphane Denève worked closely in his early career with Sir Georg Solti, Georges Prêtre, and Seiji Ozawa. Com- mitted to inspiring the next generation of musicians and listeners, he works regularly

TANGLEWOODWEEK 7 GUESTARTISTS 21 with young people in the programs of the Tanglewood Music Center and the New World Symphony. For further information, please visit stephanedeneve.com. Stéphane Denève made his BSO debut in April 2011 at Symphony Hall and has since also led the orchestra at Carnegie Hall and Tanglewood, where he conducts the Tanglewood Music Center Orchestra as well as the BSO. This is his fourth Tanglewood appearance this summer, following two performances with the Tanglewood Music Center Orchestra and his concert last weekend with the BSO. He returns to the Symphony Hall podium in February 2015, to lead the Boston Symphony Orchestra in music of Stravinsky, Prokofiev, Milhaud, and Poulenc.

Emanuel Ax Born in Lvov, Poland, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. He studied at the Juilliard School and Columbia University, cap- turing public attention in 1974 when he won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the coveted Avery Fisher Prize. The 2013-14 season began with appearances at the Barbican Centre and Lincoln Center with the London Symphony Orchestra under Bernard Haitink, as well as collaborations with the Concertgebouw Orchestra and Mariss Jansons in Amsterdam, Bucharest, China, and Japan during that orchestra’s worldwide centenary celebrations. The second half of the season brought the realization of a project inspired by Brahms, which includes new works linked to Brahms from composers Missy Mazzoli, Nico Muhly, Brett Dean, and Anders Hillborg, commissioned jointly by the Los Angeles Philharmonic, Cal Performances Berkeley, Chicago Symphony, and Carnegie Hall, and including the participation of collaborators Anne-Sophie von Otter and Yo-Yo Ma. The season con- cluded in Hong Kong and Australia, where he performed the complete Beethoven piano concertos with incoming chief conductor David Robertson in Sydney and with Sir Andrew Davis in Melbourne. In conjunction with Mr. Ax’s multiple weeks as artist- in-residence with the New York Philharmonic in 2012-13, Sony Classical released his latest recital disc of works from Haydn to Schumann to Copland, reflecting their different uses of the “variation” concept. He also joined the New York Philharmonic and Alan Gilbert on a European tour and returned to the orchestras of Los Angeles, St. Louis, Atlanta, Detroit, Washington, and Pittsburgh. An exclusive Sony Classical recording artist since 1987, Mr. Ax has received Grammy Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of Grammy-winning recordings with cellist Yo-Yo Ma of the Beethoven and Brahms cello sonatas. Recent releases include Mendelssohn trios with Mr. Ma and Itzhak Perlman, Strauss’s Enoch Arden narrated by Patrick Stewart, and discs of two-piano music by Brahms and Rachmaninoff with Yefim Bronfman. In recent years, Mr. Ax has turned his attention toward the music of 20th-century composers, premiering works by John Walter H. Scott

22 Adams, Christopher Rouse, Krzysztof Penderecki, Bright Sheng, and Melinda Wagner. Also devoted to chamber music, he has worked regularly with such artists as Young Uck Kim, Cho-Liang Lin, Mr. Ma, Edgar Meyer, Peter Serkin, Jaime Laredo, and the late Isaac Stern. Mr. Ax resides in New York City with his wife, pianist Yoko Nozaki. They have two children together, Joseph and Sarah. He is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Yale and Columbia universities. Please visit emanuelax.com for more information. Emanuel Ax first appeared with the Boston Symphony Orchestra in 1978 at Tanglewood and made his BSO subscription series debut in December 1980, subsequently appearing with the orchestra at both venues on frequent occasions. His most recent subscription appearances were in February 2012; his most recent Tanglewood appearance with the orchestra was in July 2012, when he also appeared with the TMC Orchestra as part of Tangle- wood’s 75th Anniversary Gala, a concert subsequently issued on DVD and Blu-ray. Last summer at Tanglewood he was soloist with the TMCO in its annual Leonard Bernstein Memorial Concert, and he returns to Symphony Hall in March 2015 as soloist with the Boston Symphony in music of Mozart and Strauss.

Elena Manistina Making her Boston Symphony Orchestra and Tanglewood debuts this evening, Russian mezzo-soprano Elena Manistina was born in Saratov, Russia; she trained at the Music School of Saratov, and later at the Moscow State Conservatory P.I. Tchaikovsky. She won first prize in the 2002 Operalia Competition and made her stage debut as Marfa in Mussorgsky’s Khovanshchina in Saratov. Her signature roles include Ulrica in Un ballo in maschera, which she has performed in numerous houses, including Opéra de Bordeaux, Oviedo Opera, Deutsche Oper Berlin, Opera du Rhin, the Royal Opera House–Covent Garden, Opéra de Paris Bastille, and the Teatro Municipale di Santiago. She also regularly performs the role of Azucena in Il trovatore, having recently sung it at the Liceu in Barcelona, Deutsche Oper Berlin, Washington Opera, and Opéra National de Paris Bastille, Opéra de Bordeaux, and Opéra de Marseille. Other major roles include Marina in Boris Godunov, which she has sung at the Royal Opera House–Covent Garden, and Mazeppa, which she has sung at Monte Carlo Opera, as well as Martha in Iolanta and Lyubasha in The Tsar’s Bride, both at Frankfurt Opera. She has worked with notable conductors including Vladimir Jurowski (Kashchey the Immortal at the BBC Proms), Daniel Oren (Amneris in Aida at the Arena di Verona), and Edward Gardner (Les Noces, also at the BBC Proms). Recent concert highlights have included Alexander Nevsky with the St. Louis Symphony Orchestra, a work she has also sung with the City of Birmingham Symphony Orchestra. Her concert repertoire also includes Shostakovich’s From Jewish Folk Poetry, which she has sung with the San Francisco Symphony under the baton of Michael Tilson Thomas, Mahler’s Symphony No. 3 with the Royal Scottish Symphony Orchestra, and Mahler’s Symphony No. 8 at the Hollywood Bowl under Esa-Pekka Salonen. Ms. Manistina’s 2012-13 season included her debut at the Metropolitan Opera as Azucena; she also sang that role to great acclaim at both the Bayerische Staatsoper and Canadian Opera Company. In the 2013-14 season she was Azucena at the Teatro Municipal de Santiago and in Munich. Other engagements have included Un ballo in maschera this season with Canadian Opera and previously with Amigos Canarios de la Opera in Las Palmas. She has recently sung The Enchantress at the Bolshoi Theatre and The Rake’s Progress at the Glyndebourne Festival. Engagements for 2014-15 include Un ballo in maschera at the Théâtre du Capitole Toulouse, Marfa in Khovanshchina with Glaamse Opera in Antwerp and Ghent, Amneris in Aida in Malmö, Ježibaba in Rusalka at Chile’s Teatro Municipal de Santiago, and a return to the Bayerische Staatsoper in Munich as the Fortune Teller in The Fiery Angel.

TANGLEWOODWEEK 7 GUESTARTISTS 23 Tanglewood Festival Chorus John Oliver, Conductor

This summer at Tanglewood with the Boston Symphony Orchestra, the Tanglewood Festival Chorus participates in performances of Mahler’s Symphony No. 2 with conductor Manfred Honeck (July 26), excerpts from Verdi’s Nabucco and Aida with Jacques Lacombe (July 27), Prokofiev’s Alexander Nevsky cantata with Stéphane Denève (August 15), a concert performance of Bernstein’s Candide with Bramwell Tovey (August 16), and Beethoven’s Choral Fantasy and Ninth Symphony with Charles Dutoit (August 24). In addition, the chorus under John Oliver’s direction performs its annual Friday Prelude Concert in Ozawa Hall, a program this year of music by Shostakovich and Tavener (August 22). Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and talent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston- area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now numbering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella

24 music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra, a BSO 125th Anniversary Commission composed specifically for the BSO and Tanglewood Festival Chorus. Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic at Tanglewood and at the Mann Music Center in Philadelphia; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month- long International Choral Festival given in and around Toronto. In February 1998, singing from the General Assembly Hall of the United Nations, the chorus represented the United States in the Opening Ceremonies of the Winter Olympics when Seiji Ozawa led six choruses on five continents, all linked by satellite, in Beethoven’s Ode to Joy. The chorus performed its Jordan Hall debut program at the New England Conservatory of Music in May 2004; had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics, and can also be heard on the soundtracks to Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the Tanglewood Festival Chorus has established itself as a favorite of conductors, soloists, critics, and audiences alike.

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and

TANGLEWOODWEEK 7 GUESTARTISTS 25 Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In Febru- ary 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide-ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. Last summer’s 2013 Tanglewood season marked the 50th anniversary of Mr. Oliver’s Tanglewood debut.

26 Tanglewood Festival Chorus John Oliver, Conductor (Prokofiev Alexander Nevsky, August 15, 2014)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. Sopranos

Alison Anderson • Michele Bergonzi # • Aimée Birnbaum • Joy Emerson Brewer • Jeni Lynn Cameron • Danni Leathers Cauley • Anna S. Choi • Lisa Conant • Emilia DiCola • Katherine Barrett Foley • Diana Gamet • Bonnie Gleason • Alexandra Harvey • Eileen Huang • Donna Kim • Nancy Kurtz • Farah Darliette Lewis • Sarah Mayo • Christiana Donal Meeks • Kieran Murray • Heather O’Connor • Avery Peterman • Laura Stanfield Prichard • Livia M. Racz • Adi Rule • Dana R. Sullivan • Sarah Telford # • Sarah Wesley • Lauren Woo Mezzo-Sopranos

Anete Adams • Virginia Bailey • Lauren A. Boice • Sharon Brown • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste • Paula Folkman # • Dorrie Freedman § • Irene Gilbride # • Denise Glennon • Irina Kareva • Yoo-Kyung Kim • Anne Forsyth Martín • Louise-Marie Mennier • Kendra Nutting • Fumiko Ohara # • Maya Pardo • Roslyn Pedlar # • Laurie R. Pessah • Amy Spound • Julie Steinhilber # • Lelia Tenreyro-Viana • Christina Wallace Cooper • Laura Webb • Marguerite Weidknecht # • Karen Thomas Wilcox Tenors

Brad W. Amidon • John C. Barr # • Ryan Casperson • Chad D. Chaffee • Jiahao Chen • Stephen Chrzan • Andrew Crain • Tom Dinger • Ron Efromson • Carey D. Erdman • Keith Erskine • Aidan Christopher Gent • Len Giambrone • J. Stephen Groff # • David Halloran # • Stanley G. Hudson # • Timothy O. Jarrett • James R. Kauffman # • Michael Lapomardo • Michael Lemire • Lance Levine • Henry Lussier § • David Norris # • Jonathan Oakes • Lukas Papenfusscline • Guy F. Pugh • Tom Regan • David Roth • Joshuah Rotz • Blake Siskavich • Don P. Sturdy # • Joseph Y. Wang • Hyun Yong Woo Basses

Scott Barton • Daniel E. Brooks # • David W. Brown • Nicholas A. Brown • Stephen J. Buck • Matthew Collins • Matthew E. Crawford • Arthur M. Dunlap • Michel Epsztein • Mark Gianino • Jay S. Gregory # • Andrew Gribbin • Mark L. Haberman # • Marc J. Kaufman • Nathan Kessel • David M. Kilroy • G.P. Paul Kowal • Bruce Kozuma • Timothy Lanagan # • Maxwell Levy • Daniel Lichtenfeld • Lynd Matt • Richard Oedel • Stephen H. Owades § • William Brian Parker • Michael Prichard # • Jonathan Saxton • Stefan Sigurjonsson • Alexander Teplansky • Samuel Truesdell • Bradley Turner # • Terry Ward • Peter J. Wender § • Lawson L.S. Wong

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Lidiya Yankovskaya, Russian Diction Coach Erik Johnson, Chorus Manager Emily Wilson, Assistant Chorus Manager

TANGLEWOODWEEK 7 GUESTARTISTS 27 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Saturday, August 16, 8:30pm

BRAMWELL TOVEY, conductor NICHOLAS PHAN, tenor (Candide) ANNA CHRISTY, soprano (Cunegonde) KATHRYN LEEMHUIS, mezzo-soprano (Paquette) FREDERICA VON STADE, mezzo-soprano (The Old Lady) BEAU GIBSON, tenor (Governor, Vanderdendur, Ragotski) PAUL LAROSA, baritone (Maximilian, Captain) RICHARD SUART, baritone (Voltaire, Pangloss, Martin, Cacambo) MATTHEW WORTH, baritone (Bear-keeper, Inquisitor III, Judge, Tsar Ivan) TMC Vocal Fellow STEPHEN CARROLL, tenor (Alchemist, Sultan Achmet) TMC Vocal Fellow VINCENT FESTA, tenor (Cosmetic Merchant, Inquisitor I, Charles Edward) TMC Vocal Fellow CAIRAN RYAN, baritone (Doctor, Inquisitor II) TMC Vocal Fellow NATHAN WYATT, baritone (Junkman, Hermann Augustus) TFC Member RYAN CASPERSON, tenor (Señor I) TFC Member SAM FILSON PARKINSON, bass (Señor II; Stanislaus, the former king of Poland) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Opera activities at Tanglewood are supported by a grant from the Geoffrey C. Hughes Foundation. This evening’s appearance by the Tanglewood Festival Chorus is supported by the Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus.

28 BERNSTEIN “Candide” (concert performance) A comic operetta in two acts 1993 concert version Music by Leonard Bernstein Lyrics by Richard Wilbur With additional lyrics by Stephen Sondheim, John LaTouche, Dorothy Parker, Lillian Hellman, and Leonard Bernstein

Concert narration by Leonard Bernstein and John Wells, adapted from the satire by Voltaire and the book by Hugh Wheeler, edited and supplemented by Erik Haagensen Orchestrations by Leonard Bernstein and Hershy Kay Musical continuity and additional orchestrations by John Mauceri By arrangement with Boosey & Hawkes, Inc,. Sole Agent for Leonard Bernstein Music Publishing Company LLC, publisher and copyright owner Scott Dunn, assistant conductor and rehearsal pianist

Tonight’s performance will end at approximately 11:25, including a single intermission. A synopsis of the story begins on page 31.

Program continues...

An engraving showing the devastating earthquake and flood in Lisbon in November 1755, an historic event central to the plot of “Candide”

TANGLEWOODWEEK 7 SATURDAYPROGRAM 29 ACT I Overture Westphalia Chorale (Chorus) Life Is Happiness Indeed/Life Is Absolute Perfection (Candide/Quartet: Maximilian, Cunegonde, Candide, Paquette) The Best of All Possible Worlds (Quintet: Pangloss, Cunegonde, Paquette, Candide, Maximilian) Universal Good (Quartet: Cunegonde, Paquette, Candide, Maximilian) Oh, Happy We (Duet: Candide & Cundegonde) It Must Be So (Candide’s First Meditation: Candide) Westphalia Chorale (Chorus) Battle Music (Instrumental) Candide’s Lament (Candide) Dear Boy (Pangloss & Chorus) Auto-da-fé (Candide, Pangloss, Bear-keeper, Cosmetic Merchant, Doctor, Junkman, Alchemist, Inquisitors, Judge & Chorus) Candide Continues His Travels/It Must Be Me (Candide’s Second Meditation: Candide) Glitter and Be Gay (Aria: Cunegonde) You Were Dead, You Know (Duet: Candide & Cundegonde) I Am Easily Assimilated (The Old Lady, Cunegonde, Señors I and II & Chorus) Quartet Finale (Candide, Cunegonde, The Old Lady, Captain & Chorus)

{Intermission}

ACT II My Love (Governor’s Serenade: Governor & Cunegonde) We Are Women (Polka: Cunegonde & The Old Lady) The Pilgrims’ Procession (Maximilian, Paquette, Candide & Chorus) Quiet (Trio: The Old Lady, Cunegonde, Governor) The Ballad of Eldorado (Candide & Chorus) Words, Words, Words (Martin’s Laughing Song: Martin) Bon Voyage (Hornpipe: Vanderdendur & Chorus) The Kings’ Barcarolle (Charles Edward, Candide, Hermann Augustus, Pangloss, Sultan Achmet, Tsar Ivan, Stanislaus) What’s the Use (Ensemble: The Old Lady, Ragotski, Maximilian & Chorus) The Venice Gavotte (Quartet: The Old Lady, Candide, Cunegonde, Pangloss) Nothing More Than This (Candide) Universal Good (Chorus) Make Our Garden Grow (Finale: Entire Company)

30 NOTES ON THE PROGRAM

Leonard Bernstein (1918-1990) “Candide” THE BACKGROUND The troubles and adventures of Leonard Bernstein’s Candide are nearly as varied and pitiable as those of Voltaire’s optimistic hero. Lillian Hellman may have suggested collaborating on Candide to Bernstein as early as 1950, a time when the composer was much involved in music theater projects. Trouble in Tahiti premiered in 1951 and Wonderful Town opened in 1953. (This was also the period when West Side Story was gestating.) In 1954 Hellman switched her attention—also diverted by a subpoena from the House Un-American Activities Committee—to The Lark, her adaptation of a play by Jean Anouilh. Bernstein wrote incidental music for it, and the following year The Lark opened on Broadway, where it ran for 229 performances. Thoroughly enthused about Candide, Bernstein persuad- ed Hellman to adapt it as a neo-Classical operetta, rather than the play with incidental music that she had envisioned. After a few out-of-town performances, the new work opened in New York City on December 1, 1956. It closed less than three months later, after 73 performances. For a contemporary opera, that would have been a phenomenal run—but for a Broadway show, it was a flop, for which Hellman’s book received most of the blame. Bernstein quickly moved on to other things, such as West Side Story and the music directorship of the New York Philharmonic. Candide had a few different performances in the 1950s and ’60s, and a new complete production in 1971 (with some new music by Bernstein), which opened in San Francisco and reached Los Angeles and Wash- ington, D.C., but not New York. In 1973, however, it got a complete makeover, with Bernstein’s permission but not his participation. Harold Prince directed a cut-down and rearranged one-act version, with new orchestrations and a new book, for which Hugh Wheeler won a Tony Award. This version was then expanded back into two acts, with much of the cut music restored (although also reordered) in orchestrations by John Mauceri. This version was premiered by New York City Opera in 1982. Mauceri then began yet another version for Scottish Opera, this time with Bernstein’s help. They restored much of the original order, with new work on the book (and connecting narrations) by John Wells (Wheeler having died). This was first performed in 1988 and also provided the basis for the 1989 concert version that Bernstein conducted and recorded as his final thoughts on the work. With some cuts and other alterations, that is the version being performed tonight.

THE STORY Act I Whatever the travails of Candide as a whole, its overture has become a hugely popular concert classic. Though it does touch on some of the show’s great tunes, the dashing overture is also a shapely sonata form with points of canonic imitation and a sparkling Rossini crescendo to close. The operetta opens in Westphalia. Affectionate parody is one of the key elements in the score, and Bernstein introduces Candide, the illegitimate nephew of the Baron

TANGLEWOODWEEK 7 SATURDAYPROGRAMNOTES 31 Thunder-ten-Tronck, and the Baron’s vain and beautiful children—Cunegonde (whom Candide loves) and Maximilian—with a mock Gavotte. The three young people and the maid Paquette summarize their philosophy lessons with Dr. Pangloss in the chorale-like 5/4 quartet “Universal Good,” on a text that Bernstein wrote for the final version. Candide and Cunegonde then declare their love in a duet, but the Baron is outraged and banishes Candide. Candide’s optimism takes another hit when he is forced into the Bulgar Army, which then attacks Schloss Thunder-ten- Tronck, killing everyone during an orchestral battle scene based on music first heard in the overture. “Candide’s Lament,” sung when he discovers Cunegonde’s corpse, was cut from the original 1956 version and only in the final version brought in this early. The phrases he sings on Cunegonde’s name will be an important recur- ring motif. Bernstein’s songs have a sense of spontaneity and capriciousness but are also architectural, Tovey notes. Some time later, Candide meets Pangloss, brought back to life and now disfigured by syphilis, but still confident that all is for the best. The next section takes place in Lisbon, where Candide and Pangloss have been arrested as heretics. The chorus celebrates the coming execution with the jaunty “Auto-da-fé” and Pangloss argues that he is too sick to die with another wry ode to syphilis, but after the inquisitors rule against him, he is hung in mid-oration. Candide is flogged and travels on, still avowing Pangloss’ philosophy. The setting moves to Paris, where Cunegonde, having mysteriously—“love will find a way”—survived her Westphalian demise, is the mistress of a rich Jew and the Arch- bishop. She sings the virtuosic jewel song “Glitter and Be Gay,” with its florid, syncopated laughing. Candide and Cunegonde are reunited in another duet, and then Candide accidentally kills both of Cunegonde’s lovers. They flee with Cunegonde’s jewels to Cádiz, where Cunegonde’s companion, the Old Lady, introduces herself with the tango “I Am Easily Assimilated.” They are robbed and still pursued by the French police, but Candide accepts a Jesuit commission to fight in South America that includes passage for Cunegonde and the Old Lady. Act I ends with a quartet that picks up that motif from Candide’s earlier lament.

Act II At the beginning of Act II, Candide, Cunegonde, and the Old Lady arrive in Buenos Aires, where the amorous Governor proposes to Cunegonde in a serenade that continues with themes from the Act I finale. Fearing that he is still pursued, Candide goes off into the jungle, and Cunegonde and the Old Lady celebrate their conquest of the Governor in a bravura polka. In the jungle Candide encounters a Jesuit mission, where the Father Superior and Mother Superior turn out to be Maximilian and Paquette, restored to life. Maximilian is outraged that Candide still expects to marry Cunegonde, and Candide—accidentally again—kills him. Back in Buenos Aires, Cunegonde and the Old Lady complain of their boredom with the Governor in a twelve-tone send-up. Meanwhile, Candide has discovered Eldorado, which he salutes in a 5/8 ballad, but he does not want to stay there without Cunegonde. He arranges a ransom for Cunegonde and to meet her in Venice. Candide himself travels through Surinam, where he meets Martin, a professional pessimist who turns Pangloss’ philosophy upside-down in a mocking 7/8 bolero that Bernstein wrote for the 1971 version. The conman Vanderdendur sells Candide and Martin a wreck of a ship that is, coincidentally, just leaving for Venice. The ship sinks and Martin drowns, but Candide is picked up mid-ocean by a raft rowed by Pangloss, undead again, with five deposed kings, who decide, in an ironic barcarolle, to live simply henceforth.

In Venice, Cunegonde and the Old Lady have become shills in a casino, and are masked for Carnival. After two ensembles, a waltz, and a gavotte (which recalls the Westphalia gavotte), the masks fall and Candide recognizes Cunegonde. At last completely disillusioned, Candide sings a wistful song, and falls silent for days. The chorus returns with another verse of the chorale “Universal Good,” suggesting a philo- sophical middle ground, and at last Candide speaks, initiating the richly reflective, cautiously hopeful finale, “Make Our Garden Grow.”

JOHN HENKEN John Henken is Director of Publications for the Los Angeles Philharmonic Association. His program note on Candide is copyright © Los Angeles Philharmonic Association and reprinted here courtesy of that organization.

“Absurd Optimism”

“[Pangloss] proved admirably that there cannot possibly be an effect without a cause and that in this best of all possible worlds, the Baron’s castle was the most beautiful of all castles and his wife the best of all possible Baronesses.” VOLTAIRE, “Candide,” translated by Robert M. Adams

Originally printed in 1759, Candide, or Optimism, was published under a pseudonym. In circles of Enlightenment philosophers, however, there was no doubt of its origin: Voltaire. The French philosopher had been exiled once before and imprisoned several times for his writings, and wanted to avoid a repeat. He correctly assumed that the novel—satirizing government, religion, philosophy, and other cornerstones of Western civilization—would inflame the censors. Even before it was published, he sent copies himself to printers in London, Paris, and Amsterdam, speeding up the common practice of pirate publishing of the era. Though he didn’t attach his name to it, the book represented the culmination of several years of consideration by its author and took on more than fifty years of established thought. The subtitle refers to Optimism, a thread of philosophy embodied in the novel, and here in Bernstein’s musical, through the character of Pangloss. His instruction of Candide is inspired primarily by the writings of Gottfried Wilhelm von Leibniz. In 1710, Leibniz published his influential Theodicee, a Voltaire (1694-1778) complex intellectual treatise. One aspect of Leibniz’s argument stated that God, being all-powerful and all-knowing, could have created any of an infinite number of worlds for man, and therefore this must be “the best of all possible worlds.” Voltaire, who had been optimistic and idealistic in his youth, soon recognized that Optimism about the world around us could only be maintained if it went hand-in- hand with Fatalism in order to explain disaster, war, disease, and other horrors. In the years just prior to writing Candide, Voltaire was deeply affected by the Lisbon earthquake of 1755. The earthquake was followed by a tsunami and widespread fires, and is estimated to have killed as many as 100,000 people. Voltaire wrote in a letter at the time: “One hundred thousand ants, our neighbors, crushed all of a sudden in our ant-heap, half of them perishing doubtless in inexpressible anguish.” Shortly after that, the Seven Years War began in 1756, and Voltaire was struck again by the hardship that seemed everywhere apparent. He penned many letters on the subject in addition to Candide, his most lasting work. Years later in 1764, for his

TANGLEWOODWEEK 7 SATURDAYPROGRAMNOTES 33 Dictionnaire Philosophique, Voltaire stated himself plainly: “What! To give birth in anguish to miserable and sinful children, who will suffer everything themselves and make everyone else suffer! What! To experience every sickness, feel every grief, die in anguish, and then in recompense to be roasted for eternity! This fate is really the best thing possible?” For Voltaire’s despondency and grim inspirations, the comic tone of his picaresque novella Candide is all the more remarkable, a sense of joy also being felt in this musical adaptation. As captured in Leonard Bernstein’s soaring and affecting score, Voltaire suggests that for all the unending disaster, there will always be improbable moments of love, friendship, and hope.

CHARLES HAUGLAND Charles Haugland is dramaturg of the Huntington Theatre Company, in whose program book this essay originally appeared. Copyright © Charles Haugland. Used by permission; all rights reserved.

34 Guest Artists

Bramwell Tovey Grammy and Juno award-winning conductor/composer Bramwell Tovey was appointed music director of the Vancouver Symphony Orchestra in 2000. Under his leadership the VSO has toured to China and Korea, as well as across Canada and the United States. Mr. Tovey is also the artistic adviser of the VSO School of Music, a state-of-the-art facility and recital hall that opened in downtown Vancouver in 2011, next to the Orpheum, the VSO’s historic home. His tenure has included complete symphony cycles of Beethoven, Mahler, and Brahms, as well as the establishment of an annual festival dedicated to contemporary music. In 2018, the VSO’s centenary year, Bramwell Tovey will become the orchestra’s music director emeritus. He is also principal guest conductor of the Los Angeles Philharmonic at the Hollywood Bowl and founding host and conductor of the New York Philharmonic’s Summertime Classics series. During the current season Mr. Tovey’s guest appearances have included the BBC and Royal philharmonics, the New York and Los Angeles philharmonics, the Boston Symphony, Philadelphia, and Cleveland orchestras, and the Toronto Symphony. Summer 2014 brings his debut with the Chicago Symphony at the Ravinia Festival, and in 2015 he will lead Korngold’s Die tote Stadt for Calgary Opera. In 2003 Bramwell Tovey won the Juno Award for Best Classical Composition for his choral and brass work Requiem for a Charred Skull. He has received commissions from the New York Philharmonic, Los Angeles Philharmonic, Toronto Symphony, and Calgary Opera, where his first full-length opera, The Inventor, was premiered in 2011. A recording of the work, featuring the VSO with University of British Columbia Opera and the original cast, is forthcoming from Naxos. Earlier this season, his trumpet concerto, Songs of the Paradise Saloon, was performed by the Los Angeles Philharmonic with soloist Alison Balsom, who will also perform the work with the Phila- delphia Orchestra in December 2014. Bramwell Tovey has appeared as pianist with many major orchestras, including those of New York, Sydney, Melbourne, Los Angeles, Pittsburgh, St. Louis, and Toronto, and the Royal Scottish Orchestra. In summer 2014 he will play/conduct Gershwin’s Rhapsody in Blue at the Hollywood Bowl with the Los Angeles Philharmonic and in Saratoga with the Philadelphia Orchestra. He has performed his own Pictures in the Smoke with the Melbourne and Helsingborg symphonies and the Royal Philharmonic. From 1989 to 2001 Mr. Tovey was music director of the Winnipeg Symphony Orchestra, where he founded the WSO’s celebrated New Music Festival. From 2002 to 2006 he was music director of the Luxembourg Philharmonic, leading tours of Europe, the U.S., China, and Korea. He opened Luxembourg’s Salle Philharmonie with the world premiere of Penderecki’s Eighth Symphony. A Fellow of the Royal Academy of Music in London and the Royal Conservatory of Music in Toronto, he holds honorary degrees from the universities of British Columbia, Manitoba, Kwantlen, and Winnipeg. In 2013 he was appointed an honorary Officer of the Order of Canada for services to music. Bramwell Tovey made his Boston Symphony debut at Tanglewood in August 2011, leading a concert performance of Gershwin’s Porgy and Bess. He made his subscription debut in January 2012 with Mendelssohn’s Lobgesang, returned to Tanglewood in 2012 for a BSO program of Copland, Barber, and Beethoven, and led the orchestra most recently to open the 2012-13 subscription season with Symphony Hall performances of Porgy and Bess.

Nicholas Phan (Candide) American tenor Nicholas Phan makes his Boston Symphony Orchestra debut this evening. The American tenor’s many engagements this season include appearances with the St. Louis Symphony, Philadelphia Orchestra, Toronto Symphony, Boston Baroque, Chicago Bach Project, Oratorio Society of New York in Carnegie Hall, and the National Arts Centre Orchestra in Ottawa, as well as recitals in Atlanta, Boston, Chicago, New York, and Istanbul. He returns to the Oregon Bach Festival this summer; in 2014-15 he returns to Houston Grand Opera for Sweeney Todd and appears in concert with the Cleveland Orchestra, San

TANGLEWOODWEEK 7 GUESTARTISTS 35 Francisco Symphony, National Symphony Orchestra, Cincinnati Symphony, and Baltimore Symphony. Besides his appearances with numerous orchestras on both sides of the Atlantic, he has toured extensively throughout Europe with Il Complesso Barocco, and appeared at the Oregon Bach, Ravinia, Marlboro, Edinburgh, Rheingau, and Saint-Denis festivals, as well as the BBC Proms. Among the conductors he has worked with are Harry Bicket, Pierre Boulez, James Conlon, Alan Curtis, Rafael Frühbeck de Burgos, Jane Glover, Manfred Honeck, Bernard Labadie, Nicholas McGegan, Zubin Mehta, John Nelson, Helmuth Rilling, David Robertson, and Michael Tilson Thomas. In vocal chamber music he has collaborated with pianists Mitsuko Uchida, Richard Goode, and Jeremy Denk; guitarist Eliot Fisk, and horn players Jennifer Montone and Gail Williams. He is a founder and the artistic director of the Collaborative Arts Institute of Chicago, which promotes the art song and vocal chamber music repertoire. On the opera stage, Mr. Phan recently appeared with Portland Opera as Fenton in Falstaff, Atlanta Opera as Don Ottavio in Don Giovanni, and Seattle Opera as Almaviva in Il barbiere di Siviglia. Other opera performances have included debuts at Glynde- bourne and at the Maggio Musicale in Florence, as well as appearances with Los Angeles Opera, Houston Grand Opera, Glimmerglass Opera, Chicago Opera Theater, Deutsche Oper am Rhein, and Frankfurt Opera. His growing repertoire includes Candide, Acis in Acis and Galatea, Nemorino in L’elisir d’amore, Fenton, Tamino in Die Zauberflöte, Don Ottavio in Don Giovanni, and Lurcanio in Ariodante. His solo albums on Avie, “Still Fall the Rain” and “Winter Words,” made several “best of the year” lists. His discography also includes the Grammy-nominated recording of Pulcinella with Pierre Boulez and the Chicago Symphony Orchestra and the opera L’Olimpiade with the Venice Baroque Orchestra. A graduate of the University of Michigan, Nicholas Phan is the 2012 recipient of the Paul C. Boylan Distin- guished Alumni Award. An alumnus of Houston Grand Opera Studio, he also studied at the Manhattan School of Music and the Aspen Music Festival and School, and was the recipient of a Sullivan Foundation Award and Richard F. Gold Career Grant from the Shoshana Foundation.

Anna Christy (Cunegonde) Soprano Anna Christy makes her Boston Symphony Orchestra debut, in her signature role of Cunegonde, with tonight’s performance of Candide. Ms. Christy made her role debut as Gilda in Rigoletto at English National Opera in the 2013-14 season; other season highlights include Adele in Die Fledermaus at Lyric Opera of Kansas City and Susanna in Le nozze di Figaro at Central City Opera. She began the 2012-13 season as Cleopatra in Handel’s Julius Caesar at English National Opera, followed by concert performances of Ravel’s L’Enfant et les sortilèges and Stravinsky’s Le Rossignol with Charles Dutoit and the NHK Symphony in Tokyo. She returned to the Metropolitan Opera as Lisette in Puccini’s La rondine, and was Lucia in Donizetti’s Lucia di Lammermoor in Toronto. She closed the season as Emily Webb in Ned Rorem’s Our Town with Central City Opera, followed by L’Enfant et les sortilèges at the Saito Kinen Festival under Seiji Ozawa. Ms. Christy has recently been seen as Olympia in Les Contes d’Hoffmann at Lyric Opera of Chicago, followed by her role debut as Zerbinetta in Ariadne auf Naxos. She was Morgana in Handel’s Alcina at Opéra National de Bordeaux and was featured in the annual Ford’s Theatre Gala in Washington, D.C. Other appearances have brought her to the Metropolitan Opera, Lyric Opera of Chicago, English National Opera, Santa Fe Opera, San Francisco Opera, the Paris Opera, and the Royal Opera House–Covent Garden. After singing Cunegonde at English National Opera, she made debuts at Teatro alla Scala and at Théâtre du Châtélet in the same production. Other opera credits include Lisette and Oscar with San Francisco Opera, Adele in Japan under Seiji Ozawa, Bianca in Rossini’s Bianca e Falliero with Washington Concert Opera, Constance in Dialogues des Carmélites at Lyric Opera of Chicago, and her Opéra de Lille debut as Cleopatra in Handel’s Giulio Cesare. On the concert stage, Ms. Christy was featured in the New York City Opera Gala “American Voices” and portrayed Angela in a semi-staged version of Kurt Weill’s The Firebrand of Florence at Carnegie Hall. She has performed Candide with the Los Angeles Philharmonic, Carmina burana with the St. Louis Symphony, and, with the Chicago Symphony at Ravinia, Mahler’s Symphony No. 4, Candide, and Die Entführung aus dem Serail.

36 Ms. Christy made her Metropolitan Opera debut as Papagena in Die Zauberflöte conducted by James Levine, followed by Hortense in the world premiere of Tobias Picker’s An American Tragedy. Two more debuts followed: Muffin in the world premiere of William Bolcom’s A Wedding at Lyric Opera of Chicago and Zemire in Zemire et Azor with Opera Theatre of Saint Louis.

Kathryn Leemhuis (Paquette) Kathryn Leemhuis makes her Boston Symphony Orchestra debut this evening. In recent seasons the American mezzo-soprano made her company debut as Carrie in Ash Lawn Opera’s production of Rodger and Hammerstein’s Carousel, and an acclaimed company debut at Fort Worth Opera as Dorabella in Mozart’s Così fan tutte. Other recent highlights include Haydn’s Missa in Angustiis with Chicago’s Music of the Baroque, Handel’s Messiah with the Apollo Chorus of Chicago, Berlioz’s Les Nuits d’été with the Richmond Symphony, and her role debut as Florence Pike in Britten’s Albert Herring with Florentine Opera. In previous seasons she made her role debut as Suzuki in DuPage Opera’s production of Puccini’s Madama Butterfly, sang the mezzo solo in Mendelssohn’s Die erste Walpurgisnacht with the Richmond Symphony, returned to Opera Theatre St. Louis as Dorabella, made her role and company debut at Chicago Opera Theater as Amaltea in Rossini’s Mosè in Egitto, was Paquette in Bernstein’s Candide both at Ravinia and with the Los Angeles Philharmonic at the Hollywood Bowl, sang the role of Zita in Puccini’s Gianni Schicchi for her DuPage Opera debut, and was Zerlina in Don Giovanni with Opera Theatre St. Louis. An alumna of the Ryan Opera Center at Lyric Opera of Chicago, where she made debuts as Donna Elvira in Mozart’s Don Giovanni and Rosina in Rossini’s Il barbiere di Siviglia, she has also been a member of Opera Theatre St. Louis’s Gerdine Young Artist Program, the Tangle- wood Music Center, where she performed Dorabella under the baton of James Levine, the Carmel Bach Festival, and the Steans Institute at Ravinia. At the Ryan Opera Center she also sang Giovanna in Verdi’s Ernani, Glasa in Janáˇcek’s Kátya Kabanová, Javotte in Massenet’s Manon, and the Kunstgewerblerin in Berg’s Lulu. She was Flora in La traviata at Opera Colorado under Stephen Lord, and Tulip in the collegiate premiere of Bolcom’s A Wedding at Indiana University. First place winner of the 2013 New York Lyric Opera Vocal Competition, the 2013 Opera at Florham Vocal Competition, the 2012 Bel Canto Competi- tion, and the 2012 Heida Hermanns Competition, she was second place winner of the 2013 Opera Birmingham Vocal Competition, the 2013 Florida Grand Opera Competition, the 2011 Gerda Lissner Foundation Vocal Competition, and the 2010 Fort Worth McCammon Competition. She has also received prizes from the Sullivan Foundation, the George London Foundation, the Licia Albanese-Puccini Competition, the Metropolitan Opera National Council Auditions, the Orpheus Vocal Competition, and the Opera Columbus Vocal Competition.

Frederica von Stade (The Old Lady) Known to family, friends, and fans by her nickname “Flicka,” mezzo-soprano Frederica von Stade has enriched the world of classical music for three decades, appearing in the world’s great opera houses and concert halls. Since receiving a contract from Sir Rudolf Bing during the Metropolitan Opera auditions, and her 1970 Met debut, she has sung nearly all of her great roles there. In January 2000, the company celebrated the 30th anniversary of her debut with a new production of The Merry Widow specifically for her; in 1995, as a celebration of her 25th anniversary, the Met created for her a new production of Pelléas et Mélisande. Ms. von Stade has appeared with every leading American opera company; in Europe at La Scala, Covent Garden, Vienna State Opera, and Paris Opera; and with the world’s most esteemed conductors and orchestras. She is acclaimed for such diverse roles as the bel canto heroines of Rossini and Bellini, the French roles of Mignon, Périchole, Marguerite, and Mélisande; and the trouser roles of Strauss and Mozart. Her artistry has inspired revivals of neglected works, and she has also taken roles in operetta and musical theater, including the

TANGLEWOODWEEK 7 GUESTARTISTS 37 title role in The Merry Widow and Desirée Armfeldt in A Little Night Music. She created the role of Tina in Dallas Opera’s world premiere production of Dominick Argento’s The Aspern Papers (a work written for her), as well as the roles of Madame de Merteuil in Conrad Susa’s Dangerous Liaisons and Mrs. Patrick De Rocher in Jake Heggie’s Dead Man Walking. In 2013-14 she created the role of Myrtle Bledsoe in the world premiere of Ricky Ian Gordon’s A Coffin in Egypt at Houston Grand Opera, a role she performed later that season at Opera Philadelphia and the Wallis Annenberg Center for the Performing Arts in Beverly Hills; in the coming season she will reprise the role at Chicago Opera Theater. On the concert stage she has garnered acclaim for Ravel’s Shéhérazade (which she recorded with Seiji Ozawa and the BSO for CBS/Sony Classical in 1979), Berlioz’s Les Nuits d’été, and Canteloube’s Les Chants d’Auvergne, the orchestrated songs of Debussy and Duparc, symphonic works of the great Austrian and German composers, and new American works. She collaborated with Richard Danielpour on the orchestral song cycle Elegies, a tribute to Ms. von Stade’s father, Charles von Stade, who was killed in the final days of World War II; the text is based on letters Mr. von Stade sent to his wife during the war—letters through which Frederica von Stade came to know her father, who died two months before her birth. Since its January 1998 premiere with the Jacksonville Symphony, Elegies has been recorded for Sony Classical and performed throughout North America and Europe. In recital, Ms. von Stade’s repertoire ranges from Mozart and Haydn to Broadway and such contemporary composers as Dominick Argento and Jake Heggie. Her seventy-plus recordings have earned numerous awards and include complete operas, aria albums, symphonic works, solo recital programs, and popular crossover albums. Ms. von Stade appears regularly on television, in numerous PBS and other broadcasts. She holds honorary doctorates from Yale University, Boston University, the San Francisco Conservatory of Music (which maintains a Frederica von Stade Distinguished Chair in Voice), the Georgetown University School of Medicine, and her alma mater, the Mannes School of Music. In 1998 she was appointed an officer of l’Ordre des Arts et des Lettres, and in 1983 she was honored with an award given at the White House by President Reagan in recognition of her significant contribution to the arts. Frederica von Stade made her BSO debut in October 1977 in Boston and at Carnegie Hall, as Béatrice in concert performances of Berlioz’s Béatrice et Bénédict led by Seiji Ozawa. Her first Tanglewood performance with the BSO was in August 1984, as Béatrice in a concert staging of the same opera. Besides her many Symphony Hall and Tanglewood appearances with the orchestra (including two Opening Night concerts at Symphony Hall), she has appeared with the BSO on four occasions at Carnegie Hall, as well as on tour in Salzburg and Prague. Her most recent BSO appearance was at Tanglewood in July 2005, when she sang Ravel’s Shéhérazade and selections from Canteloube’s Songs of the Auverne.

Beau Gibson (Governor, Vanderdendur, Ragotski) Making his BSO debut this evening, American tenor Beau Gibson is a recent alumnus of the Houston Grand Opera Studio and San Francisco’s Merola Program; he joined the ensemble of Oper Frankfurt in 2012-13 after making his house and European debut there in 2010-11 in Pizzetti’s Murder in the Cathedral. His roles at Oper Frankfurt during the 2013-14 season included Massimo in Gluck’s Ezio, Tamino in Die Zauberflöte, Alonso in The Tempest, the High Priest of Neptune in Idomeneo, and Joe in La fanciulla del West. He has also been Cassio in Otello and Froh in Das Rheingold in Frankfurt, and returns there in 2014-15. In recent seasons he has returned to Houston Grand Opera for Britten’s Peter Grimes (Bob Boles and cover Peter Grimes), Normanno in Donizetti’s Lucia di Lammermoor, Father Grenville in Jake Heggie’s Dead Man Walking, Beppe in I pagliacci, and Benedict in Beatrice and Benedict. Mr. Gibson made his Opera North (New Hampshire) debut as Don Ottavio in Don Giovanni, and his debut with the Los Angeles Philharmonic at the Hollywood Bowl in Candide under Bramwell Tovey. His San Francisco Opera debut was as the First Jew in Salome followed by Cassio in Otello, both conducted by Nicola Luisotti. He made his Los Angeles Opera debut as the First Armored Man in Mozart’s Die Zauberflöte and as Froh in Wagner’s Das Rheingold, part of a new Ring cycle directed by Achim Freyer and conducted by James Conlon. Also at Los Angeles Opera under Conlon, he sang Menaldo in Schreker’s Die

38 Gezeichneten as part of the Forgotten Voices Series. Other roles in Houston have included the Captain in Simon Boccanegra, the Messenger in Aida, Pásek in The Cunning Little Vixen, tenor soloist in the world premiere performances and recording of Christopher Theofanidis’s The Refuge, the Magistrate in Un ballo in maschera, the First Armored Man and First Priest in Die Zauberflöte, Parpignol in La bohème, and Maintop in Billy Budd. At Wolf Trap Opera Festival he sang Tamino in Die Zauberflöte, Edoardo in Verdi’s Un giorno di regno, Vander- dendur in Candide, and Brighella in Ariadne auf Naxos. He has also participated as a Young Artist in San Francisco Opera’s Merola Program and with Chautauqua Opera. A favorite with the National Symphony Orchestra, he has also performed with the Houston Grand Opera Orchestra, Houston Ballet, Utah Symphony and Opera, Orchestra Sinfonica dell’Opera Academy in Rome, Woodlands Symphony Orchestra, the Mercury Baroque Ensemble, and the Chautauqua Opera Orchestra. Recital performances have included a program with Steven Blier entitled “Tales from the Vienna Woods,” and works by Beethoven, Brahms, Britten, Hundley, Poulenc, Respighi, Rimsky-Korsakov, Schubert, Schumann, Strauss, Tosti, and Verdi.

Paul LaRosa (Maximilian, Captain) A graduate of the Juilliard Opera Center, baritone Paul LaRosa recently finished his third year as a member of Lyric Opera of Chicago’s Ryan Opera Center. He makes his Boston Symphony Orchestra debut this evening. Engagements for the 2013-14 season included debuts at Los Angeles Opera in Francesca Zambello’s production of Billy Budd under James Conlon, and Falke in Die Fledermaus with Lyric Opera of Kansas City. Other recent highlights include his role debut as Jack Rance in La fanciulla del West at the Castleton Festival under Lorin Maazel, his Cleveland Orchestra debut in Copland’s Old American Songs led by David Alan Miller, and appearances with Lyric Opera of Chicago as Jud Fry in Oklahoma!, Papageno in Die Zauberflöte, Hermann in Les Contes d’Hoffmann, and Nikitich in Boris Godunov. He returned to Chicago Opera Theater as Boris in Shostakovich’s Moscow, Cheryomushki and made his Central City Opera debut as Jud Fry. Also at Lyric Opera of Chicago, he has been Kuligin in Kátya Kabanová under Markus Stenz, Cascada in The Merry Widow under Emmanuel Villaume, and Morales in Carmen under Alain Altinoglu. With the Ryan Opera Center, he was Dandini in student matinee performances of La Cenerentola and, for his Opera Theatre of Saint Louis debut, Rambo/Officer in John Adams’s The Death of Klinghoffer. In a return engagement with the Castleton Festival, he reprised the role of Don Quijote in Falla’s Master Peter’s Puppet Show and was the Armchair in L’Enfant et les sortilèges, both under Lorin Maazel. Recent symphonic debuts include Maximilian in a concert pres- entation of Candide with the Los Angeles Philharmonic under Bramwell Tovey, and Brahms’s German Requiem under Maazel with the Orchestra della Svizzera Italiana. At Juilliard, Mr. LaRosa appeared in Krenek’s Die Ehre der Nation under James Conlon, in Verdi’s Falstaff in a production by Stephen Wadsworth conducted by Keri-Lynn Wilson, in Adams’s The Death of Klinghoffer under the baton of the composer, and in Rossini’s Le comte Ory. He has been heard in Britten’s The Rape of Lucretia for the Chateauville Foundation under Maazel, in Handel’s Giulio Cesare at Glimmerglass Opera, and in Rossini’s La Cenerentola during a summer residency with San Francisco Opera’s Merola Program. A graduate of Williams College, Mr. LaRosa has also has performed with Steven Blier under the auspices of the New York Festival of Song.

Richard Suart (Voltaire, Pangloss, Martin, Cacambo) Making his BSO debut this evening, baritone Richard Suart was born in Lancashire and studied at St. John’s College‚ Cambridge‚ and the Royal Academy of Music‚ where he was elected a Fellow in 2004. Recent and future engagements include Punch in Punch and Judy (Berlin), Major-General Stanley in The Pirates of Penzance (Scottish Opera‚ and with the RTE Concert Orchestra), Judge Turpin in Sweeney Todd (Nederlandse Reisopera), Jack Point in The Yeomen of the Guard and the Major-General (RTE Concert Orchestra)‚ Pangloss in Candide (Los Angeles Philharmonic at the Hollywood Bowl)‚ Mr. Walter in Afterlife

TANGLEWOODWEEK 7 GUESTARTISTS 39 (Melbourne Festival‚ Holland Festival‚ l’Opéra National de Lyon, and the Barbican)‚ Ko-Ko in The Mikado (ENO)‚ and the Lord Chancellor in Iolanthe (San Francisco Symphony). Mr. Suart has worked in all the major British opera houses and is much sought after for musical theater‚ contemporary opera, and as a comedian in the standard repertoire. Since 1988 he has been a member of the D’Oyly Carte, with which he has sung many of the Savoy operas‚ as well as Orpheus in the Underworld and La Vie parisienne. His involvement with the works of Gilbert and Sullivan has led him to create “As a Matter of Patter‚” which he has performed with his wife in the UK‚ South Africa, and the Middle East. Generally considered the leading patter man of his generation‚ Mr. Suart has appeared at the BBC Proms as the Duke of Plaza-Toro in The Gondoliers‚ the Lord Chancellor, and Sir Joseph Porter in HMS Pinafore, and made many other appearances at gala concerts in the UK‚ North America, and Canada. He has also given performances of The Parson’s Pirates (Opera della Luna‚ Bridewell Theatre‚ London) and took part in the Venetian premiere of The Mikado at the Palafenice. A regular visitor to the International Gilbert and Sullivan Festival held in Buxton each summer‚ he is a vice-president of the Gilbert and Sullivan Society. Productions outside the UK have included Donizetti’s L’ajo nell’imbarazzo, Peter Maxwell Davies’s Eight Songs for a Mad King, Mason’s Chaplinoperas with the Ensemble Modern‚ and world premiere performances of Param Vir’s Snatched by the Gods and his Broken Strings. Mr. Suart has sung Chaplinoperas and Schoenberg’s Ode to Napoleon with the Ensemble Intercontemporain; Ligeti’s Le Grand Macabre at the Salzburg Festival and the Châtelet; Peter Grimes‚ Reigen, and The Mikado for Reisoper‚ Holland; Dido and Aeneas in Bremen and Turin‚ and Les Noces in Brussels. He has sung Ko-Ko in The Mikado twice with New York City Opera, and in Vancouver and Penang. During his long association with Diva Opera, he has appeared as Dr. Bartolo‚ Gianni Schicchi, and Dulcamara, and has directed and appeared in the operettas Trial by Jury‚ Die Fledermaus, and Cox and Box. His recordings include Eight Songs for a Mad King, Turnage’s Greek‚ Candide‚ A Mid- summer Night’s Dream‚ The Fairy Queen and Orpheus in the Underworld, The Geisha‚ The Maid of the Mountains, Sullivan’s The Contrabandista‚ and Rachel Portman’s The Little Prince. Savoy opera recordings include The Gondoliers and Iolanthe (D’Oyly Carte), and The Mikado‚ Pirates of Penzance‚ HMS Pinafore‚ Yeomen of the Guard, and Trial by Jury under Sir Charles Mackerras.

Matthew Worth (Bear-keeper, Inquisitor III, Judge, Tsar Ivan) In 2013 baritone Matthew Worth created the role of Father Flynn in the world premiere of Doubt at Minnesota Opera opposite soprano Christine Brewer as Sister Aloysius. He will return there in the 2014-15 season as Sergeant Raymond Shaw in the world premiere of The Manchurian Candidate, the second opera from Pulitzer Prize-winning composer Kevin Puts and librettist Mark Campbell. His 2014 performances include Starbuck in the east coast premiere of Moby-Dick with Washington National Opera, a return to Pittsburgh Opera as the title character in Philip Glass’s Orphée, a role he first sang at Virginia Opera, and Zurga in Les Pêcheurs de perles with Dayton Opera. The fall of 2014 brings his debut as Lieutenant Audebert in Silent Night at Wexford Festival Opera in Ireland. Also lauded for his work in the standard operatic repertoire, he earned critical acclaim as Guglielmo in Così fan tutte with Boston Lyric Opera. Other notable roles include Figaro (Il barbiere di Siviglia), Mercutio (Roméo et Juliette), Valentin (Faust), Harlequin (Ariadne auf Naxos), and Tarquinius (The Rape of Lucretia). He has performed leading roles at Santa Fe Opera, Lyric Opera of Chicago, the Castleton Festival, Boston Lyric Opera, and Opera Theatre of St. Louis, under such noted conductors as James Levine, Lorin Maazel, and Sir Andrew Davis. A committed recitalist and active concert soloist, he performed Schumann’s Dichterliebe and Mahler’s Songs of a Wayfarer with the Santa Fe Chamber Music Festival in 2013, and this season continues his collaboration with pianist Tyson Deaton in a program of American classics. While still a student at the Juilliard Opera Center, he made his Carnegie Hall debut as a soloist in Brahms’s German Requiem under James DePreist. His Alice Tully Hall debut was with the Richmond Choral Society in Carmina burana, a work he also performed under Robert Spano with the Atlanta Symphony and will perform next season with Louis Langrée and the Cincinnati Symphony. Matthew Worth has sung with the Philadelphia Orchestra and the Boston Pops Orchestra (2008’s concert performance of Sondheim’s A Little Night Music led by Keith

40 Lockhart), and has performed with conductors Donald Runnicles and James Conlon. He makes his Boston Symphony Orchestra debut in tonight’s performance of Candide.

Stephen Carroll (Alchemist, Sultan Achmet) Tenor Stephen Carroll is currently an artist diploma student at the University of Cincinnati College-Conservatory of Music, where he recently performed the roles of Hérisson (Chabrier’s L’Étoile) and Lechmere (Britten’s Owen Wingrave). Other performances at CCM include the tenor solo in Mahler’s Das Lied von der Erde with chamber orchestra and a master class with Graham Johnson. Recent roles outside of CCM include Frederic (The Pirates of Penzance), Roméo (Roméo et Juliette), and Don Ottavio (Don Giovanni) at the University of North Texas, where he received his master’s degree, as well as Lt. Joseph Cable (South Pacific) with Opera North. While at UNT, he covered Richard Croft in the premiere of Jake Heggie’s Ahab Symphony. Mr. Carroll has performed with the Asheville Symphony Orchestra as the tenor soloist in Haydn’s Lord Nelson Mass. He has held apprenticeships with Opera North, Central City Opera, and Sarasota Opera and will join Kentucky Opera in 2015. As a Tanglewood Music Center Vocal Fellow this summer, he is the recipient of the TMC’s Richard F. Gold Memorial Scholarship/Mary H. Smith Scholarship.

Vincent Festa (Cosmetic Merchant, Inquisitor I, Charles Edward) Tenor Vincent Festa is establishing himself on concert and opera stages alike, in repertoire spanning Baroque, classical, bel canto, and contemporary. He recently appeared at Bard College as Peter Quint in Britten’s The Turn of the Screw under the direction of Nic Muni. Other recent performances include Bach’s St. John Passion conducted by Leon Botstein, Beethoven’s Mass in C conducted by James Bagwell, and a concert of arias and duets from Street Scene and Candide. Mr. Festa made his Albany Symphony Orchestra debut in December 2013 in selections from Handel’s Messiah and Bach’s Christen, ätzet diesen Tag, BWV 63. A native Italian-American New Yorker, Mr. Festa is a recent graduate of the Graduate Vocal Arts Program at Bard College Conservatory under the direction of Dawn Upshaw. A graduate of the Juilliard School, where he received his bachelor’s degree, Mr. Festa began his vocal training at Juilliard’s Pre-College Division at age seventeen. In September 2014 he will begin his graduate diploma studies at New England Conservatory. As a TMC Vocal Fellow this summer, he is recipient of the Dr. Raymond and Hannah H. Schneider Fellowship/ Pearl and Alvin Schottenfeld Fellowship.

Cairan Ryan (Doctor, Inquisitor II) Making his BSO debut this evening, baritone Cairan Ryan has recently completed his second year as a young artist at the Atelier Lyrique de l’Opéra de Montréal. In the 2013-14 season, he sang Marcello in Jeunesses Musicales Canada’s La bohème and the Father in Opera de Montréal’s Hänsel und Gretel. He made his French debut at Chorégies d’Orange in May 2014 and will make his Netherlands Radio Philharmonic debut in November 2015. In the 2012-13 season, he made his Opéra de Montréal debut as the Commissionaire in La traviata, performed the roles of Melchior and Bob in the Atelier Lyrique de l'Opéra de Montréal’s Amahl and the Night Visitors/The Old Maid and the Thief, and made his Montreal Appassionata Chamber Orchestra debut as baritone soloist in Haydn’s Lord Nelson Mass. In 2011-12 he sang Pish-Tush in Virginia Opera’s The Mikado and covered the role of Koko. Mr. Ryan holds degrees in performance from the Guildhall School of Music & Drama and the University of Victoria, and obtained his artist diploma in voice performance at McGill University’s Schulich School of Music, under the tutelage of Sanford Sylvan and Michael McMahon. Further education and training was undertaken at the Banff Centre, the Green Mountain Opera Festival, Opera on the Avalon, Opera Nuova, the Salzburg-Mozarteum Meisterkursen, and the Canadian Vocal Arts Institute (CVAI). He is a 2011, 2012, and 2013 laureate of the Jeunes Ambassadeurs Lyriques, winning the Prix du Jeunes Ambassadeurs at

TANGLEWOODWEEK 7 GUESTARTISTS 41 the Gala in November 2012. As a Tanglewood Music Vocal Fellow this summer, he is recipient of the TMC’s Stephen and Persis Morris Fellowship/Eugene Cook Scholarship.

Nathan Wyatt (Junkman, Hermann Augustus) Baritone Nathan Wyatt makes his Boston Symphony Orchestra debut in tonight’s performance of Candide. A dedicated performer of new music, Mr. Wyatt has premiered works by some of the most prominent American composers today, including Jake Heggie, William Bolcom, and Nico Muhly. In March 2014 he made his debut with the Cincinnati Symphony Orchestra in the world premiere of Muhly’s Pleasure Ground, presented as part of the 2014 MusicNOW Festival. Other recent performances include the Abbot in Mark Morris’s Tanglewood Music Center production of Britten’s Curlew River last summer, Marullo in Rigoletto with Annapolis Opera, Count Almaviva in Le nozze di Figaro with the Zeiders American Dream Theater, and the Speaker in Honegger’s Jeanne d’Arc au bûcher with the Baltimore Symphony Orchestra. Mr. Wyatt was a Stern Fellow at SongFest in 2011 and 2012, a Vocal Fellow at Tanglewood in 2013, and a Fall Island Vocal Arts Seminar Fellow in 2014. As a TMC Vocal Fellow this summer, he is the recipient of the Tanglewood Music Center’s Ushers/Programmers Harry Stedman Vocal Fellowship.

To read about the Tanglewood Festival Chorus and John Oliver, see pages 24-26.

42 Tanglewood Festival Chorus John Oliver, Conductor (Bernstein Candide, August 16, 2014)

In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. Sopranos

Alison Anderson • Michele Bergonzi # • Aimée Birnbaum • Jeni Lynn Cameron • Anna S. Choi • Emilia DiCola • Diana Gamet • Alexandra Harvey • Eileen Huang • Nancy Kurtz • Farah Darliette Lewis • Sarah Mayo • Christiana Donal Meeks • Kieran Murray • Heather O’Connor • Adi Rule • Dana R. Sullivan • Sarah Telford # • Sarah Wesley • Lauren Woo Mezzo-Sopranos

Anete Adams • Virginia Bailey • Lauren A. Boice • Sharon Brown • Abbe Dalton Clark • Kathryn DerMarderosian • Diane Droste • Dorrie Freedman § • Irene Gilbride # • Irina Kareva • Yoo-Kyung Kim • Anne Forsyth Martín • Louise-Marie Mennier • Kendra Nutting • Maya Pardo • Lelia Tenreyro-Viana • Christina Wallace Cooper • Laura Webb • Karen Thomas Wilcox Tenors

Ryan Casperson • Chad D. Chaffee • Stephen Chrzan • Andrew Crain • Tom Dinger • Ron Efromson • Keith Erskine • Aidan Christopher Gent • Stanley G. Hudson # • Michael Lemire • Henry Lussier § • David Norris # • Jonathan Oakes • Lukas Papenfusscline • Guy F. Pugh • Tom Regan • David Roth • Joshuah Rotz • Blake Siskavich • Don P. Sturdy # Basses

Nicholas A. Brown • Stephen J. Buck • Matthew Collins • Matthew E. Crawford • Michel Epsztein • Andrew Gribbin • Nathan Kessel • David M. Kilroy • G.P. Paul Kowal • Bruce Kozuma • Timothy Lanagan # • Maxwell Levy • Stephen H. Owades § • Sam Filson Parkinson • Michael Prichard # • Jonathan Saxton • Stefan Sigurjonsson • Alexander Teplansky

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Eileen Huang, Rehearsal Pianist Erik Johnson, Chorus Manager Emily Wilson, Assistant Chorus Manager Stu Rosner

TANGLEWOODWEEK 7 GUESTARTISTS 43 2014 Tanglewood Boston Symphony Orchestra 133rd season, 2013–2014

Sunday, August 17, 2:30pm THE LEONARD BERNSTEIN MEMORIAL CONCERT

TANGLEWOOD MUSIC CENTER ORCHESTRA CHARLES DUTOIT conducting

STRAVINSKY “Scherzo fantastique”

RACHMANINOFF Piano Concerto No. 3, Opus 30 Allegro ma non tanto Intermezzo: Adagio Alla breve NIKOLAI LUGANSKY

{Intermission}

44 STRAVINSKY “The Firebird” (complete)

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

The 2014 Leonard Bernstein Memorial Concert is supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. Schneider, and Diane H. Lupean.

NOTES ON THE PROGRAM

Igor Stravinsky (1882-1971) “Scherzo fantastique,” Opus 3 First performance: February 6, 1909, Alexander Siloti (the work’s dedicatee) cond. First BSO performance: January 8, 1970, William Steinberg cond. Only previous Tanglewood performance by the BSO: July 24, 1982, Hiroshi Wakasugi cond. Every great composer—even one so distinctive and original as Stravinsky—begins in a tradition. Stravinsky grew up in a musical family (his father was a leading operatic bass and possibly Tchaikovsky’s favorite singer), so he naturally knew a great deal of music through early subconscious absorption. Stravinsky’s early Scherzo fantastique contains reflections of much earlier music from Germany, France, and Russia. He

TANGLEWOODWEEK 7 SUNDAYPROGRAM 45 conducted some performances of the work late in his life—a half-century after he had composed it—and was pleased to discover that the music did not embarrass him. By then, of course, he was able to recognize and identify all of the various influences, citing his teacher Rimsky-Korsakov, but more especially Tchaikovsky, Dukas, Wagner, and Debussy. Stravinsky always regarded his teacher as musically conservative (though he was a political radical), but Rimsky was certainly able to appreciate the style of this early work. In fact, when Robert Craft once asked Stravinsky what reaction Rimsky had had to his compositions, Stravinsky’s response was: “He had seen the manuscript of my Scherzo fantastique, but his death prevented him from hearing it. He never complimented me; but he was always very close-mouthed and stingy in praising his pupils. But I was told by his friends after his death that he spoke with great praise of the Scherzo score.” Today we may hear in this piece particularly an echo of Dukas’s wonderful orchestral scherzo The Sorcerer’s Apprentice (which, in turn, owed a good deal to Russian models, especially the characteristic augmented triads of its mysterious, hushed introduction, which seems to have particularly impressed Stravinsky). But this early work is still constructed with tight four-bar phrases—an element that was soon to change dramatically. He seems to have thought of this scherzo as a purely abstract instrumental work, but later it was attached to a literary program derived from Maeterlinck’s Life of the Bees—and this might, in turn, have been suggested by his teacher’s “Flight of the Bumblebee” in the opera Tsar Saltan. In later life Stravinsky tried to disavow any literary connection, but in July 1907 he wrote to Rimsky explain- ing the origin of the program and adding to the title “Fantastic Scherzo” the subtitle “Bees.” The Scherzo fantastique was for Stravinsky an expansion of his involvement with musical chromaticism, but in one respect, at least, it is utterly atypical of the mature composer: he himself noted late in life that the phrases were all of an even four measures’ length, “which is monotonous,” but in that respect he was closer to the tradition of the past than to his own future creations—and, in any case, the harmonic language of the scherzo already shows us glimpses of the composer of The Firebird. STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1997 to 1998.

46 Sergei Rachmaninoff (1873-1943) Piano Concerto No. 3 in D minor, Opus 30 First performance: November 28, 1909, New York Symphony Society, Walter Damrosch cond., Rachmaninoff, soloist. First BSO performances: October/November 1919, Pierre Monteux cond., Rachmaninoff, soloist. First Tanglewood performance: July 26, 1958, Charles Munch cond., Byron Janis, soloist. Most recent Tanglewood performance: August 14, 2009, Boston Symphony Orchestra, Michael Tilson Thomas cond., Yefim Bronfman, soloist. When Rachmaninoff came to write his Third Piano Concerto, he had a far different problem from the one that had faced him when composing the Second. At the time he started the earlier concerto, there was a question whether he would ever compose again at all. His confidence and self-esteem had been shattered by the catastro- phic premiere of his First Symphony in 1897. (The best-known of the reviewers at that premiere, the acid-tongued composer César Cui, had commented, “If there were a conservatory in Hell, if one of its talented students were instructed to write a program symphony on ‘The Seven Plagues of Egypt,’ and if he were to compose a symphony like Mr. Rachmaninoff’s, then he would have fulfilled his task brilliantly and would bring delight to the inhabi- tants of Hell.”) It took him two years to develop the courage to compose again, and then only after extensive counseling sessions, partly under hyp- nosis, with a psychiatrist. The result, though, was the C minor concerto, which instantly established itself as an audience favorite. Thus, by 1909, when he began work on the Third, he had to compete with his young self. In addition to the success of the Second Concerto, his Second Symphony had just won the Glinka Award of 1,000 rubles, beating out Scriabin’s Poem of Ecstasy, which took second place, for the honor. He spent the summer of 1909 planning his first American tour, which began in Northampton, Massachusetts, on November 4 and continued until January. But the culminating event took place in New York City on November 28 when he premiered the new piano concerto with Walter Damrosch and the New York Symphony Society. The same forces repeated it two days later at Carnegie Hall and Rachmaninoff played it once more on January 16, 1910, this time with the Philharmonic and Mahler conducting. It was considered a qualified success— respected, though by no means the instant hit of the previous concerto. The general tone of critical response—and this from critics who had heard the work three times in the space of seven weeks—was that, despite its many and undoubted beauties, the concerto was too long and rather full of notes. The New York Herald pre- dicted that “it will doubtless take rank among the most interesting piano concertos of recent years” but added the observation—as true today as it was then—that “its great length and extreme difficulties bar it from performances by any but pianists of exceptional technical powers.” Of course Rachmaninoff himself was a pianist of “exceptional technical powers,” among the most utterly gifted of keyboard artists of all time, and he was, in the first instance, writing specifically for himself. Yet he opened the concerto not with a stunning blast of keyboard virtuosity but with a muted muttering in the strings of a subdued march character and then, after two measures, a long, simple melody presented in bare octaves in the piano. Like so many Russian tunes—and so many of Rachmaninoff’s—this one circles round and round through a limited space, only gradually reaching up or down to achieve a new high or low note. Rachmaninoff was often asked whether this was a folk tune, and he always insisted that it was completely original and had simply come into his mind freely while working on the concerto.

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 47 Musicologist Joseph Yasser has discovered a marked similarity between this theme and an old Russian monastic chant, which the composer might have heard as a boy when, while visiting his grandmother in Novgorod, they made visits to the local monasteries. The distant, buried memory of the chant might then have appeared unbidden, to be further shaped by the mature composer, into the concerto’s main theme. In any case, its essentially Russian quality is palpable. The theme itself, and its rustling accompaniment, will both play a role in the progress of the movement. The orchestra takes over the theme while the piano begins rapid figuration to a solo climax and preparation for the second theme. This begins with a dialogue between soloist and orchestra emphasizing a rhythmic motif that soon appears in a leisurely, romantic cantabile melody sung by the piano. A literal restatement of the concerto’s opening bars marks the beginning of the development, which employs mostly material from the main theme and its accompaniment. This culminates in a gigantic solo cadenza which takes the place of the normal recapitula- tion, commenting in extenso on the motivic figures of first the principal theme, then the secondary theme. After its close, a brief reference to both themes suffices to bring the movement to a close. The slow movement, entitled “Intermezzo,” seems to start in a “normal” key, A major (the dominant of D minor), with a brief languishing figure in the strings that gener- ates an elegiac mood in its extensive development. But the piano enters explosively to break the mood and carry us to the decidedly untypical key of D-flat, where Rach- maninoff presents a sumptuous and lavishly harmonized version of the main theme in a texture filled with dense piano chords. A bright contrast comes in a seemingly new theme, presented as a light waltz in 3/8 time, heard in the solo clarinet and bassoon against sparkling figuration in the piano. But Rachmaninoff has a very subtle trick up his sleeve here: the “new” theme is, in fact, note-for-note, the opening theme of the entire concerto, but beginning at a different pitch level of the scale (the third instead of the tonic) and so changed in its rhythm as to conceal the connection almost perfectly! This passage leads back to D-flat and an orchestral restatement of the opening. The soloist “interrupts” the end of the slow movement with a brief cadenza that leads back to the home key of D minor for the finale. This is virtually a ne plus ultra of virtuosic concerto finales, filled with impetuous and dashing themes, rhythmically driving, syncopated, and sunny by turns. An extended Scherzando section in E-flat fills the middle of the movement. This involves acrobatic and lightly spooky variations on a capricious theme which seems new at first but turns out to be related to the opening of the finale and the second theme of the first movement. Moreover, between the increasingly ornate miniature variations, Rachmaninoff inserts a reminder of both themes of the first movement. Following the restatement of all the thematic material, the piano builds a long and exciting coda that brings this most brilliant and challenging of concertos to a flashing, glamorous close.

STEVEN LEDBETTER

48 Igor Stravinsky (1882-1971) “The Firebird” (complete) First performance: June 25, 1910, Ballets Russes at the Paris Opéra, Gabriele Pierné cond., with Tamara Karsavina (the Firebird), Michel Fokine (Prince Ivan), Vera Fokina (the Tsarevna), and Alexis Bulgakov (Kashchei). First Boston Symphony performance of the complete score (as opposed to the frequently heard “Firebird” Suite): March 1974, Seiji Ozawa cond. First Tanglewood performance of the complete score: August 24, 1974, Ozawa cond. Most recent Tanglewood performance of the complete score: July 29, 2006, Boston Symphony Orchestra, Hans Graf cond. The Firebird may be the only case of a major Stravinsky ballet that was not the composer’s own idea, at least in its original germ. The Russian legend of the Firebird had been discussed as a possible subject for a ballet by Diaghilev and his staff early in 1909, and Michel Fokine, who was to create the choreography, worked out the scenario combining several Russian fairy tales. The choice of composer was problematic; Diaghilev wanted his old harmony teacher Liadov, but the latter was notoriously slow about finishing scores. So in the fall of 1909, the impresario approached the twenty-seven-year-old Stravinsky, whose Fireworks he had heard earlier in the year. Stravinsky was then deeply engrossed in his opera The Nightingale, having just completed the first of two acts, but he naturally recognized at once the extraordinary opportunity that a Ballets Russes commission represented, and he was excited about the possibility of writing the big, formal dance numbers. He did have reservations about the necessity of writing gestural music to fit the dramatic passages of mime that related the story (in the style derided as “Mickey Mousing” when used to reflect the action in animated cartoons). In fact, much later, in Expositions and Developments, one of his series of published “conversations” with Robert Craft, he claimed, “The Firebird did not attract me as a subject. Like all story ballets, it demanded descriptive music of a kind I did not want to write.” Nonetheless, given the likely boost to his career from such a commission, he was prepared to drop work on the opera and take up The Firebird at once. So willing was he, in fact, that he began the composition in November, six weeks before Diaghilev was able to offer a definite commission. He composed the opening pages at a dacha belonging to the Rimsky-Korskov family about seventy miles south of St. Petersburg. Returning to the city in December, he continued quickly with his work, finishing the composition by March and the full score by the following month. The final date on the manuscript, May 18, 1910, reflects a last period of refinements of detail. The premiere of the lavishly colorful score marked a signal triumph for the Ballets Russes and put the name of Stravinsky on the map. Diaghilev could hardly wait to get another work from him, and in the ensuing years he quickly turned out Petrushka and finally the epoch-making Rite of Spring—all this before having time to return to his unfinished opera! When he finally did get back to The Nightingale, Stravinsky was already among the most famous and influential composers of the century, but he was a vastly different composer from the one who had written the first act of that oddly divergent work. For much of the rest of his life Stravinsky claimed a cordial dislike for The Firebird, calling it “too long and patchy in quality.” But even if we acknowledge that there is some truth in his self-criticism, we must also recognize that his irritation stems partly from the fact that one of his most popular scores remained completely unprotected by copyright in the United States (this cost him a fortune in potential royalties) and partly from his frustration with listeners who were willing to follow him through

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 49 Firebird to Petrushka and perhaps even to The Rite of Spring—but no farther. Stravinsky is by no means the first composer to denigrate a popular early work in the hope of attracting attention to his more recent music. The scenario of The Firebird involves the interaction of human characters with two supernatural figures, the magic Firebird, a sort of good fairy, and the evil sorcerer Kashchei, a green-taloned ogre who cannot be killed except by destroying his soul, which is preserved in a casket in the form of an egg. Stravinsky needed to find a way to distinguish musically between the human and the supernatural elements of the story, and he used the same means employed by Rimsky-Korsakov in his last (and best-known) opera, The Golden Cockerel (which had not yet been performed when Stravinsky started work, though he certainly knew it in score): the humans are represented by diatonic, often folklike, melodies, the supernatural figures by chromatic ideas, slithery for Kashchei and his realm or shimmering arabesques for the Firebird (whose music is largely derived from a single motive). The Firebird is most often heard in one or another of Stravinsky’s suites. But this narrative ballet is really a danced opera, with “recitative” (the gestural music) and “arias” (the set pieces). Stravinsky claimed—late in life—that he had not wanted to write gestural music, yet there is no question that while he was actually composing, he shaped his music to follow Fokine’s scenario in elaborate and effective detail. Thus, hearing only the suite is like listening to a record of the favorite arias from a popular opera without ever hearing the dramatic links. The full score allows the set dances a chance to “breathe,” to grow out of something and find their motivation. The full score of the ballet is thus a much more satisfying artistic experience than simply hearing the suite of popular dances. Only in a hearing of the complete music is it possible to appreciate the confidence and imagination of the young composer writing his first ballet score, which showed at once that he was born to the field. His music reflects—and creates—the motion and the emotions of the characters on the stage in all their color and variety. A short, hushed prologue creates a mood of magical awe. The double basses present a melodic figure (two semitones and a major third) that lies behind all the music of the Firebird. Following a culminating shower of brilliant harmonics on the violins (played with a new technique discovered by Stravinsky for this passage), a muted horn call signals the rise of the curtain on a nocturnal scene in the “Enchanted

50 Garden of Kashchei,” which continues the mysterious music of the opening (a chromatic bassoon phrase foreshadows the sorcerer). Suddenly the Firebird appears (shimmering strings and woodwinds), pursued by a young prince, Ivan Tsarevich. The Firebird performs a lively dance, all shot through with brilliant high interjec- tions from the upper woodwinds. But Ivan Tsarevich captures the magic bird (horn chords sforzando) as it flutters around a tree bearing golden apples. The Firebird appears to be freed in an extended solo dance, but Ivan takes one of its feathers—a magic feather—before allowing it to depart. Ivan is left alone in the garden, though the unseen presence of Kashchei is still recalled by the bassoon. Thirteen enchanted princesses, the captives of Kashchei, are allowed into the garden only at night. They appear—tentatively at first—and shake the apple tree. At the second try some golden apples come tumbling down (this is evident in the music), and they begin to play a game of catch. Ivan Tsarevich rudely interrupts the lively game they are playing, for he has fallen in love with one of them. They dance a khorovod (a stately slow round dance) to one of the favorite passages of the score, a melody first introduced by the solo oboe (this is an actual folk song). As day breaks (cock-crow being represented by solo trumpets with an augmented fourth), he learns that they are under the ogre’s spell and must return to his castle. In pursuit of them, Ivan Tsarevich penetrates into the palace, but a magic carillon (a masterfully scored series of superimposed ostinatos) warns the monsters that serve as Kashchei’s guards of the stranger’s approach, and they capture the prince. All the tintinnabulation brings the immortal Kashchei himself for a fierce encounter with the prince. He begins an interrogation of ever-changing moods (bringing back several themes from earlier in the ballet). The princesses attempt to intercede, but in vain. Kashchei begins to turn Ivan into stone, making a series of magic gestures: one—two—... But before he can make the third and final gesture, Ivan Tsarevich remembers the Firebird’s feather; he waves it, summoning the Firebird to his aid. Kashchei’s followers are enchanted by the magic bird, who sets them dancing to an “infernal dance” of wild syncopation and striking energy. The Firebird, in a slow gentle dance like a lullaby, reveals Kashchei’s secret to the prince who, as the ogre wakes up from his enchantment, finds the casket and smashes the egg, destroying the monster’s soul. A profound darkness yields to the dawn of a new day; the palace and the followers of Kashchei have disappeared. All the knights that had been turned to stone before come back to life (in a sweetly descending phrase of folklike character) and all take part in a dance of general happiness (a more energetic version of the same phrase). The Firebird has disappeared, but her music, now rendered more “human” in triadic harmony, sounds in the orchestra as the curtain falls. Though much of the matter is a piece with Rimsky-Korsakov’s fairy tale opera composed only a short time previously, there are things in the manner of The Firebird that already foreshadow the revolutionary composer to come: the inventive ear for new and striking sounds, the love of rhythmic irregularities (though there is much less of it here than in the later ballets), and the predilection for using ostinatos—repeated fragments of a melodic and rhythmic idea—to build up passages of great excitement, a procedure that will reach the utmost in visceral force with The Rite of Spring. As seen from the vantage point of today, The Firebird is almost a romantic work of the last century, but the dancers at the first performance found the music demanding, challenging them to the utmost. If, in listening to this familiar score, we can cast our minds back into the framework of 1910, we may be able to sense afresh the excitement of being on the verge of a revolution.

STEVEN LEDBETTER

TANGLEWOODWEEK 7 SUNDAYPROGRAMNOTES 51 52 Guest Artists

Charles Dutoit Since his initial Boston Symphony appearances in February 1981 at Symphony Hall and August 1982 at Tanglewood, Charles Dutoit has returned frequently to the BSO podium at both venues. He led both the BSO and the Tanglewood Music Center Orchestra here last summer, and this past spring, substituting at short notice for Lorin Maazel, led the final three programs of the BSO’s 2013-14 subscription season, as well as, immediately following those concerts, the orchestra’s tour to China and Japan. He conducts two programs next weekend with the BSO, including the traditional season-ending performance of Beethoven’s Ninth Symphony next Sunday afternoon. In February and March 2015, he returns to Symphony Hall for a program of Stravinsky, Debussy, and Brahms, and concert performances of Szymanowski’s opera King Roger, which he has championed. Captivating audiences throughout the world, Maestro Dutoit is one of today’s most sought-after conductors, having performed with all the major orchestras on most stages of the five continents. Currently artistic director and principal conductor of London’s Royal Philharmonic Orchestra, he recently celebrated his thirty-year artistic collaboration with the Philadelphia Orchestra, which, in turn, bestowed upon him the title of conductor laureate. He collaborates each season with the orchestras of Boston, Chicago, San Francisco, New York, and Los Angeles and is also a regular guest on the concert stages of London, Berlin, Paris, Munich, Moscow, Sydney, Beijing, Hong Kong, and Shanghai, among others. His more than 200 recordings for Decca, Deutsche Grammophon, EMI, Philips, and Erato have garnered multiple awards and distinctions, including two Grammys. For twenty-five years, Charles Dutoit was artistic director of the Montreal Symphony Orchestra, a dynamic musical team recognized the world over. From 1991 to 2001 he was music director of the Orchestre National de France. In 1996 he was appointed principal conductor of the NHK Sym- phony Orchestra in Tokyo, becoming its music director soon thereafter; today he is music director emeritus of that orchestra. He was music director of the Philadelphia Orchestra’s season at the Mann Music Center for ten years and at the Saratoga Per- forming Arts Center for twenty-one years. Charles Dutoit’s interest in the younger generation has always held an important place in his career; he has successively been music director of the Sapporo Pacific Music Festival and Miyazaki International Music Festival in Japan, as well as the Canton International Summer Music Academy in Guangzhou. In 2009 he became music director of the Verbier Festival Orchestra. When still in his early twenties, Charles Dutoit was invited by Herbert von Karajan to conduct Stu Rosner

TANGLEWOODWEEK 7 GUESTARTISTS 53 the Vienna State Opera. He has since conducted at Covent Garden in London, the Metropolitan Opera in New York, Deutsche Oper Berlin, Rome Opera, and the Teatro Colón in Buenos Aires. In 1991 he was made Honorary Citizen of the City of Philadelphia; in 1995, Grand Officier de l’Ordre National du Québec, and in 1996, Commandeur de l’Ordre des Arts et des Lettres by the government of France. In 1998 he was invested as Honorary Officer of the Order of Canada. In 2007 he received the Gold Medal of the city of Lausanne, his birthplace, and in 2014 he was given the Lifetime Achievement Award from the International Classical Music Awards. Charles Dutoit holds honorary doctorates from McGill, Montreal, and Laval universities, and from the Curtis School of Music. A globetrotter motivated by his passion for history and archaeology, political science, art, and architecture, he has traveled in all 196 nations of the world.

Nikolai Lugansky Pianist Nikolai Lugansky is noted for his performances of works by Mozart and Chopin, as well as Rachmaninoff and Prokofiev. Summer 2014 brings debuts at the festivals of Aspen and Tanglewood, where he is soloist this afternoon for the Tanglewood Music Center Orchestra’s annual Leonard Bernstein Memorial Concert, performing the work with which he made his BSO debut at Symphony Hall in October 2012. Concerto highlights for the 2014-15 season and beyond include returns to the London Philharmonic, Philharmonia Orchestra, Czech Philhar- monic, Budapest Festival Orchestra, Montreal Symphony, and Orchestre de Paris. He tours with the Orchestre de la Suisse Romande under Charles Dutoit in the United States and the Oslo Philharmonic under Vasily Petrenko, the Russian National Orchestra under Mikhail Pletnev, and the St. Petersburg Philharmonic under Yuri Temirkanov. Concerto highlights for the 2013-14 season included his debut with the London Symphony under Gianandrea Noseda, as well as return engagements with the Czech Philharmonic under Jiˇrí Bˇelohlávek, the Philharmonia Orchestra under Pablo Heras-Casado, the St. Petersburg Philharmonic under Yuri Temirkanov, and the Rotterdam Philharmonic under Yannick Nézet-Séguin. Upcoming recital and chamber music performances take him to the Alte Oper Frank- furt, London’s Wigmore Hall, the Konzerthaus Berlin, Vienna’s Konzerthaus, Paris’s Théâtre des Champs-Élysées, New York’s 92nd St. Y, the Great Hall of the Moscow Conservatoire, and the Great Hall of the St. Petersburg Philharmonia. His chamber music collaborators include Mischa Maisky, Vadim Repin, and Alexander Kniazev. Nikolai Lugansky regularly appears at such distinguished festivals as the BBC Proms, La Roque d’Anthéron, Verbier, Rheingau, and the Edinburgh International Festival. An award-winning recording artist, he records exclusively for the Naïve-Ambroisie label. His recital CD featuring Rachmaninoff’s piano sonatas won the Diapason d’Or and an ECHO Klassik Award, and his recording of concertos by Grieg and Prokofiev with Kent Nagano and the Deutsches Symphonie-Orchester Berlin was a Gramophone Editor’s Choice. His earlier recordings have also won awards, including a Diapason d’Or, BBC Music Magazine Award, and ECHO Klassik prize. His most recent disc, featuring the two Chopin piano concertos, was released in summer 2014. Artistic director of the Tambov Rachmaninov Festival, Mr. Lugansky is also a supporter of, and regular performer at, the Rachmaninoff Estate and Museum of Ivanovka. In June 2014 he performed the composer’s Piano Concerto No. 3 at the closing concert of the inaugural Ivanovka Rachmaninoff Festival with the Russian National Orchestra and Mikhail Pletnev. Nikolai Lugansky studied at Moscow’s Central Music School and the Moscow Conservatory, where his teachers included Tatiana Kestner, Tatiana Nikolayeva, and Sergei Dorensky. In April 2013 he was awarded the honor of People’s Artist of Russia.

54 Tanglewood Music Center Orchestra (August 17, 2014)

Violin I Madeleine Tucker Rachelle Jenkins Sarah Atwood Nathan Watts Parker Nelson^ Benjamin Carson Bing Wei Sarah Sutherland Anna Czerniak#* Matt Zucker Julian Zheng Aika Ito Double Bass Trumpet Emily Jackson Jacob Joyce Mariya-Andoniya Andonova Tristan Clarke^ Jordan Koransky Zachery Camhi George Goad* Sodam Lim Michael Chiarello Mark Grisez Cheuk-Yin Clement Luu Nina DeCesare Daniel Henderson Lucia Nowik Evan Hulbert Ansel Norris# Alanna Jones Sarah Peters Trombone Maria Semes^ Nathan Varga#*^ Zachary Guiles* Melissa Wilmot Flute Joseph Peterson^ Ludek Wojtkowski Catherine Baker# Lifan Zhu Masha Popova^ Bass Trombone Violin II Kelly Zimba* Scott Hartman Hen-Shuo Steven Chang Alto Flute Tuba Kuan-Yu Annie Chen#* Kelly Zimba Andrew Abel Autumn Chodorowski Minhye Helena Choi Piccolo Harp Thomas Hofmann Johanna Gruskin#^ Greta Asgeirsson˚ Chi Li Masha Popova Katherine Siochi^ Avi Nagin Kelly Zimba Annabelle Taubl# Julia Noone Samuel Park Oboe Timpani Danielle Seaman Geoffrey Sanford Kirk Etheridge* Heather Thomas^ Corbin Stair* Tomasz Kowalczyk^ Samuel Weiser Nicholas Tisherman# Percussion Michelle Zwi^ Viola Jeffrey DeRoche* Camilla Berretta English Horn Kirk Etheridge Sekyeong Cheon Corbin Stair# Tomasz Kowalczyk# Mary Ferrillo Nicholas Tisherman^ Andres Pichardo-Rosenthal˚ Caroline Gilbert Nicholas Taylor^ Michael Lloyd Jones Clarinet Celesta Aekyung Kim Eric Anderson^ # Meredith Kufchak Ran Kampel Sasha Burdin Bryan Lew Daniel Parrette#* Livan^ Charlotte Malin^ Bass Clarinet Personnel Manager Linda Numagami Ryland Bennett Elizabeth Oka#* Patrick Graham Erica Schwartz E-ﬂat Clarinet Librarians Jacob Shack Ran Kampel John Perkel Madeline Sharp Melissa Steinberg Bassoon Cello Sujie Kim (TMC Fellow) Thomas English# Aspen McArthur (TMC Thomas Carpenter Sean Maree^ Fellow) Renée Delgado Harrison Miller * Antoinette Gan Francesca McNeeley Contrabassoon # Principal, “Scherzo Mo Mo Thomas English fantastique” Clare Elizabeth Monfredo Shuo (Shelly) Li# ^ * Principal, Rachmaninoff Jakob Alfred Paul Nierenz#* ^ Principal, “Firebird” Sofia Nowik^ Horn Patricia Ryan Anthony Delivanis* ˚ Guest musician Benjamin Stoehr Kevin Haseltine#

TANGLEWOODWEEK 7 GUESTARTISTS 55 FELLOWS OF THE 2014 TANGLEWOOD MUSIC CENTER

Violin Ludek Wojtkowski, Tucson, AZ Sarah Atwood, East Dummerston, VT Haskell and Ina Gordon Fellowship William Randolph Hearst Foundation Fellowship Lifan Zhu, Shanghai, China Benjamin Carson, Holliston, MA Starr Foundation Fellowship Judy Gardiner Fellowship Viola Hen-Shuo Steven Chang, Taitung County, Taiwan Camilla Berretta, Perugia, Italy Mr. and Mrs. Allen Z. Kluchman Memorial Dan and Gloria Schusterman Fellowship/ Fellowship Winkler/Drezner Fellowship Kuan-Yu Annie Chen, Kaohsiung, Taiwan Sekyeong Cheon, Jeju, South Korea Jerome Zipkin Fellowship Lia and William Poorvu Fellowship Autumn Chodorowski, Woodstock, IL Mary Ferrillo, Harvard, MA Robert Baum and Elana Carroll Fellowship/ Merrill Lynch Fellowship Gerald Gelbloom Memorial Fellowship Caroline Gilbert, Bloomington, IN Minhye Helena Choi, Toronto, ON, Claire and Millard Pryor Fellowship Canada Michael Lloyd Jones, Oklahoma City, OK Frelinghuysen Foundation Fellowship Leo L. Beranek Fellowship/Daniel and Shirlee Anna Czerniak, Houston, TX Cohen Freed Fellowship Juliet Esselborn Geier Memorial Fellowship Aekyung Kim, Long Island, NY Thomas Hofmann, Toyama, Japan The Edward Handelman Fund Fellowship/ Bill and Barbara Leith Fellowship Morningstar Family Fellowship Aika Ito, Tokyo, Japan Meredith Kufchak, Westerville, OH Akiko Shiraki Dynner Memorial Fellowship Ethel Barber Eno Scholarship/R. Amory Thorndike Emily Jackson, Lawrenceville, GA Fellowship Herzog-Simon Friendship Fellowship Bryan Lew, Lehi, UT Ivana Jasova, Baˇcki Petrovac, Serbia Miriam H. and S. Sidney Stoneman Fellowship Leslie and Stephen Jerome Fellowship Charlotte Malin, Westwood, MA Jacob Joyce, Ann Arbor, MI Carolyn and George R. Rowland Fellowship in honor of Reverend Eleanor J. Panasevich Jonathan and Ronnie Halpern Fellowship Jordan Koransky, Laguna Hills, CA Linda Numagami, Pottstown, PA Casty Family Fellowship/Dorothy and Montgomery Max Winder Memorial Fellowship Chi Li, Taipei, Taiwan Crane Scholarship William F. and Juliana W. Thompson Fellowship Elizabeth Oka, Monrovia, CA Sodam Lim, Seoul, South Korea Robert and Luise Kleinberg Fellowship Ann and Gordon Getty Foundation Fellowship Erica Schwartz, Albany, NY Cheuk-Yin Clement Luu, Hong Kong Linda J.L. Becker Fellowship Lucy Lowell Fellowship/Edward G. Shufro Fund Jacob Shack, Andover, MA Lost & Foundation Fellowship Fellowship Avi Nagin, Pomona, NY Madeline Sharp, Wilmette, IL Helene R. and Norman L. Cahners Fellowship/ Adele and John Gray Memorial Fellowship/ KMD Foundation Fellowship Philip and Bernice Krupp Fellowship Julia Noone, Worcester, MA Cello Fitzpatrick Family Fellowship Lucia Nowik, North Plainfield, NJ Thomas Carpenter, Charlottesville, VA Arlene and Donald Shapiro Fellowship Ushers and Programmers Fellowship Samuel Park, Gilbert, AZ Renée Delgado, Arlington, MA Bay Bank/BankBoston Fellowship Susan B. Kaplan Fellowship Sarah Peters, Tokyo, Japan Antoinette Gan, Arlington, TX Morris A. Schapiro Fellowship George and Roberta Berry Fellowship Danielle Seaman, Havertown, PA Francesca McNeeley, Port-au-Prince, Haiti Mr. and Mrs. Jay Marks Fellowship Edward S. Brackett, Jr. Fellowship Maria Semes, Philadelphia, PA Mo Mo, Beijing, China Fassino Family Fellowship Samuel Rapaporte, Jr. Family Foundation Fellowship Clare Elizabeth Monfredo, Seal Harbor, ME Heather Thomas, Northeast Harbor, ME Stephen and Dorothy Weber Fellowship Frederic and Juliette Brandi Fellowship Jakob Alfred Paul Nierenz, Lüneburg, Samuel Weiser, Westport, CT Germany Albert L. and Elizabeth P. Nickerson Fellowship Daphne Brooks Prout Fellowship Melissa Wilmot, Kelowna, BC, Canada Sofia Nowik, North Plainfield, NJ Penny and Claudio Pincus Fellowship Valerie and Allen Hyman Family Fellowship

56 Patricia Ryan, San Diego, CA Bass Clarinet Luke B. Hancock Foundation Fellowship Patrick Graham, Ottawa, ON, Canada Benjamin Stoehr, Cincinnati, OH Harry and Mildred Remis Fellowship Marion Callanan Memorial Fellowship/ Dr. Marshall N. Fulton Memorial Fellowship Bassoon Madeleine Tucker, Andover, MA Thomas English, Carmel, IN Alfred E. Chase Fellowship Robert G. McClellan, Jr. & IBM Matching Grants Nathan Watts, Oaklyn, NJ Fellowship James and Caroline Taylor Fellowship Shuo (Shelly) Li, Wuxi, Jiangsu, China Bing Wei, Shandong Province, China Ushers/Programmers Instrumental Fellowship, Mr. and Mrs. David B. Arnold, Jr. Fellowship/ in honor of Bob Rosenblatt Sagner Family Fellowship Sean Maree, Springfield, VA Matt Zucker, Cleveland Heights, OH Dennis and Diana Osgood Tottenham Fellowship Ruth S. Morse Fellowship Harrison Miller, New Canaan, CT Double Bass Dr. Lewis R. and Florence W. Lawrence Tanglewood Fellowship/Sherman Walt Memorial Fellowship Activities of the Double Bass Section are sponsored by June Wu. Horn Anthony Delivanis, Mountain View, CA Mariya-Andoniya Andonova, Plovdiv, T. Donald and Janet Eisenstein Fellowship/ Bulgaria Mr. and Mrs. Daniel Pierce Fellowship Dr. John Knowles Fellowship Kevin Haseltine, Houston, TX Zachery Camhi, Indianapolis, IN Edward I. and Carole J. Rudman Fellowship Dr. Richard M. Shiff Fellowship Rachelle Jenkins, Fort Myers, FL Michael Chiarello, Setauket, NY Steve and Nan Kay Fellowship Jan Brett and Joe Hearne Fellowship Parker Nelson, Aurora, IL Nina DeCesare, Baltimore, MD Joel and Susan Cartun Fellowship/KMD BSO Members’ Association Fellowship Foundation Fellowship Evan Hulbert, Tacoma, WA Sarah Sutherland, Clinton Corners, NY George and Ginger Elvin Fellowship Red Lion Inn/Blantyre Fellowship Alanna Jones, Auckland, New Zealand Julian Zheng, Melbourne, Australia Darling Family Fellowship Rosamund Sturgis Brooks Memorial Fellowship Nathan Varga, Cleveland, OH Caroline Grosvenor Congdon Memorial Fellowship Trumpet Flute Tristan Clarke, Alexandria, VA André M. Côme Memorial Fellowship Catherine Baker, Houston, TX George Goad, Rockford, MI Merwin Geffen, M.D. and Norman Solomon, M.D. Armando A. Ghitalla Fellowship Fellowship Mark Grisez, Fresno, CA Johanna Gruskin, Duluth, MN Northern California Fellowship Messinger Family Fellowship Daniel Henderson, Perth, Western Masha Popova, Oak Park, IL Australia Suzanne and Burt Rubin Fellowship William E. Crofut Family Scholarship/Arthur and Kelly Zimba, Bethel Park, PA Barbara Kravitz Fellowship Eduardo and Lina Plantilla Fellowship Ansel Norris, Madison, WI Oboe Edward G. Shufro Fund Fellowship Geoffrey Sanford, Shaker Heights, OH Trombone Omar Del Carlo Fellowship Activities of the Trombone Sections are Corbin Stair, Warsaw, IN sponsored by Ronald and Karen Rettner. Steinberg Fellowship/Augustus Thorndike Fellowship Nicholas Tisherman, Katonah, NY Zachary Guiles, Williamstown, VT Leaves of Grass Fellowship Tappan Dixey Brooks Memorial Fellowship Michelle Zwi, Great Falls, VA Joseph Peterson, Bothell, WA Fernand Gillet Memorial Fellowship Donald Law Fellowship Clarinet Bass Trombone Eric Anderson, Wilmette, IL Scott Hartman, Orlando, FL Edwin and Elaine London Family Fellowship Arno and Maria Maris Student Memorial Fellowship Ran Kampel, Tel-Aviv, Israel Lola and Edwin Jaffe Fellowship Tuba Daniel Parrette, Cornwall, NY Andrew Abel, Issaquah, WA Sydelle and Lee Blatt Fellowship/Andrea and Kenan Kingsbury Road Charitable Foundation Fellowship Sahin Fellowship

TANGLEWOODWEEK 7 GUESTARTISTS 57 Harp Reilly Nelson, Sault Ste. Marie, ON, Katherine Siochi, Iowa City, IA Canada Kathleen Hall Banks Fellowship/Miriam Ann Everett and Margery Jassy Fellowship/Tisch Kenner Memorial Scholarship Foundation Scholarship Annabelle Taubl, New Haven, CT Loralee Songer, Upland, IN John and Susanne Grandin Fellowship Richman/Auerbach Family Fellowship/Cynthia L. Spark Scholarship Percussion Tenor Jeffrey DeRoche, Skokie, IL Barbara Lee/Raymond E. Lee Foundation Stephen Carroll, Scotch Plains, NJ Fellowship Richard F. Gold Memorial Scholarship/Mary H. Kirk Etheridge, Kendallville, IN Smith Scholarship Saville Ryan and Omar Del Carlo Fellowship Vincent Festa, Albertson, NY Joseph Kelly, Asbury, NJ Dr. Raymond and Hannah H. Schneider Fellowship/ Anonymous Fellowship/Avedis Zildjian Fellowship, Pearl and Alvin Schottenfeld Fellowship in honor of Vic Firth Jason Weisinger, Baldwin, NY Tomasz Kowalczyk, Krakow, Poland Athena and James Garivaltis Fellowship Brookline Youth Concerts Awards Committee Baritone Fellowship/Harry and Marion Dubbs Fellowship Nicholas Taylor, Racine, WI Conor McDonald, Minneapolis, MN Pokross/Curhan/Wasserman Fellowship Michael and Sally Gordon Fellowship Cairan Ryan, Calgary, AB, Canada Piano (Instrumental) Stephen and Persis Morris Fellowship/Eugene Sasha Burdin, Bryansk, Russia Cook Scholarship Mr. and Mrs. Joseph L. Cohen Fellowship Nathan Wyatt, Chapel Hill, NC Mari Kawamura, Tokyo, Japan Ushers/Programmers Harry Stedman Vocal Paul Jacobs Memorial Fellowship Fellowship Livan, Taipei, Taiwan Conducting Marie Gillet Fellowship Mika Sasaki, Demarest, NJ Activities of the Conducting Class are sponsored by Leonard Bernstein Fellowship the Seiji Ozawa Fellowship Fund. Piano (Vocal) Karina Canellakis, New York, NY Edward H. and Joyce Linde Fellowship Daniel Fung, Vancouver, BC, Canada Daniel Cohen, Natanya, Israel Felicia Montealegre Bernstein Fellowship/Nat Cole Maurice Abravanel Scholarship/Evelyn and Phil Memorial Fellowship Spitalny Fellowship Rachael Kerr, Grand Rapids, MI Peggy Rockefeller Memorial Fellowship Composition ChoEun Lee, Ulsan, South Korea Yi Yiing Chen, Taipei City, Taiwan Wilhelmina C. Sandwen Memorial Fellowship Elliott Carter Memorial Composer Fellowship Richard Valitutto, Greensboro, NC Arne Gieshoff, Mainz, Germany Billy Joel Keyboard Fellowship William and Mary Greve Foundation-John J. Soprano Tommaney Memorial Fellowship David Hertzberg, Los Angeles, CA Lucy Fitz Gibbon, Davis, CA Leonard Bernstein Fellowship Eunice Alberts and Adelle Alberts Vocal Studies Andrew Hsu, Fremont, CA Fellowship Patricia Plum Wylde Fellowship Marie Marquis, Fulton, MS Elizabeth A. Kelly, Los Angeles, CA Kandell Family Fellowship/Andrall and Joanne Otto Eckstein Family Fellowship Pearson Scholarship Claudia Rosenthal, Scarsdale, NY Library Hannah and Walter Shmerler Fellowship Sujie Kim, Seoul, South Korea Laura Strickling, Chicago, IL Harold G. Colt, Jr. Memorial Fellowship Thelma Fisher Fellowship Aspen McArthur, Columbus, OH Angela Vallone, Haworth, NJ C. D. Jackson Fellowship Leah Jansizian Memorial Scholarship/Bernice and Lizbeth Krupp Fellowship Piano Tech Mezzo-Soprano Alex Moore, St. Louis, MO Anna Sternberg and Clara J. Marum Fellowship Sara LeMesh, San Rafael, CA Lauren Sturm, Gales Ferry, CT Naomi and Philip Kruvant Family Fellowship Stephanie Morris Marryott & Franklin J. Marryott Fellowship

58 Publications New Fromm Players Matthew Mendez, Ossining, NY Katherine Dowling, piano, Regina, SK, Miriam H. and S. Sidney Stoneman Fellowship Canada Samantha Bennett, violin, Ames, IA Audio Engineering Sarah Silver, violin, Pittsburgh, PA Teng Chen, Beijing, China Jocelin Pan, viola, Leawood, KS Jane W. Bancroft Fellowship Jesse Christeson, cello, Daytona Beach, FL Kevin Fallis, Toronto, ON, Canada Mary E. Brosnan Fellowship The New Fromm Players is an ensemble of musi- James Perrella, Niskayuna, NY cians drawn from recent TMC alumni who have Stanley Chapple Fellowship distinguished themselves in the performance of new Brandon Wells, Toronto, ON, Canada music. These artists will concentrate almost exclu- BSAV/Carrie L. Peace Fellowship sively on this literature, performing works by the TMC Composition Fellows and works demanding Conducting Workshop (July 22-31) lengthy and intensive preparation during the Nathan Aspinall, Stijn Berkouwer, Festival of Contemporary Music. The New Fromm Yuga Cohler, Norman Huynh, Players ensemble has been funded by a generous Nico Olarte-Hayes, & Christian Reif grant from the Fromm Music Foundation. The Conducting Workshop Program is sponsored by the Claudia and Steven Perles Family Foundation.

TMC Class Sponsors: The Clowes Fund • John F. Cogan, Jr., and Mary L. Cornille • Estate of Margaret Lee Crofts • Charles E. Culpeper Foundation • Cora and Ted Ginsberg • Dorothy and Charlie Jenkins • Elizabeth W. and John M. Loder • The Theodore Edson Parker Foundation • Surdna Foundation TMC Class Co-Sponsors: Joan and Richard Barovick • Catherine and Paul Buttenwieser • Ranny Cooper and David Smith • Carol and George Jacobstein • Norma and Jerry Strassler

TANGLEWOODWEEK 7 GUESTARTISTS 59 Society Giving at Tanglewood

The following recognizes gifts of $3,000 or more made since September 1, 2013 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 as Bernstein or Koussevitzky Society members during the 2013-2014 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Susan B. Cohen, Co-chair, Tanglewood Annual Fund Ranny Cooper, Co-chair, Tanglewood Annual Fund

Koussevitzky Society Founders

Michael L. Gordon • Dorothy and Charlie Jenkins • 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 • Joyce Linde • Kate and Al ‡ Merck • Mrs. Irene Pollin • Susan and Dan ‡ Rothenberg • Stephen and Dorothy Weber Encore

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ginger and George Elvin • Scott and Ellen Hand • Drs. James and Eleanor Herzog • Elizabeth W. and John M. Loder • Jane and Robert J. Mayer, M.D. • The Claudia and Steven Perles Family Foundation • Claudio and Penny Pincus • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Ronald and Karen Rettner • June Wu Benefactor

BSO Members’ Association • Joseph and Phyllis Cohen • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Ronnie and Jonathan Halpern • The Edward Handelman Fund • Larry and Jackie Horn • Valerie and Allen Hyman • Leslie and Stephen Jerome • Jay and Shirley Marks • Henrietta N. Meyer • Jonathan D. Miller and Diane Fassino • Suzanne and Burton Rubin • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Hannah and Walter Shmerler • Carol and Irv Smokler • The Ushers and Programmers Fund Maestro

Mr. Gerald Appelstein • Liliana and Hillel Bachrach • Joan and Richard Barovick • Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Susan and Joel Cartun • Ronald G. and Ronni J. Casty • The Cavanagh Family • John F. Cogan, Jr. and Mary L. Cornille • James and Tina Collias • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ranny Cooper and David Smith • Dr. T. Donald and Janet Eisenstein • Beth and Richard Fentin • Jane Fitzpatrick ‡ • Nancy J. Fitzpatrick and Lincoln Russell • Mr. and Mrs. Jeffrey Garber • Dr Lynne B Harrison • 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 • Mr. and Mrs. Michael Monts • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. ‡ Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Dr. and Mrs. Harvey B. Simon • Norma and Jerry Strassler • Linda and Edward Wacks • Mr. and Mrs. Edwin A. Weiller III • Mr. Jan Winkler and Ms. Hermine Drezner • Robert and Roberta Winters • Anonymous

60 Prelude

Gideon Argov and Alexandra Fuchs • Norm Atkin MD and Joan Schwartzman • Brad and Terrie Bloom • Gigi Douglas and David Fehr • Arlene and Jerome Levine • Elaine and Ed London • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Elaine and Simon Parisier • Elaine and Bernard Roberts • Lucinda and Brian Ross • Maureen and Joe Roxe/The Roxe Foundation • Sue Z. Rudd • Malcolm and BJ Salter • Marcia and Albert Schmier • Anne and Ernest Schnesel • JoAnne and Joel Shapiro • Lynn and Ken Stark • Lois and David Swawite • Aso O. Tavitian • Gail and Barry Weiss • Anonymous Member

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Mr. and Mrs. Ira Anderson • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • 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 • Mr. Michael Bloomberg • Drs. Judith and Martin Bloomﬁeld • Betsy and Nathaniel 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 • Carol and Randy Collord • Judith and Stewart Colton • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Richard H. Danzig • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan and Lisa Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Eitan and Malka Evan • Marie V. Feder • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond ‡ Friedman • Audrey and Ralph Friedner • 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 • Robert and Stephanie Gittleman • 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 • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Carol B. Grossman • Mr. David Haas • Ms. Bobbie Hallig • Joseph K. and Mary Jane Handler • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Nathan and Marilyn Hayward • Ricki Tigert Helfer and Michael S. Helfer • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • 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 E. 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 • Phyllis and Walter F. Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • The Messinger Family • Wilma and Norman Michaels • Mr. and Mrs. Raymond F. Murphy, Jr. • The Netter Foundation • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Barbara and Michael Rosenbaum • Milton B. Rubin • 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 • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Evelyn and Ronald Shapiro • Lois and Leonard Sharzer • The Shields Family • The Silman Family • Marion A. Simon •

TANGLEWOODWEEK 7 SOCIETYGIVINGATTANGLEWOOD 61 Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Mr. and Mrs. Richard Stair • Lynn and Lewis Stein • Suzanne and Robert Steinberg • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Ms. Pat Strawgate • Roz and Charles Stuzin • Mr. Eric Swanson and Ms. Carol Bekar • Dorothy and Gerry Swimmer • Ingrid and Richard Taylor • Jerry and Roger Tilles • Mr. and Mrs. Wilmer J. Thomas, Jr. • Jacqueline and Albert Togut • Bob Tokarczyk • Barbara and Gene Trainor • Stanley and Marilyn Tulgan • Myra and Michael Tweedy • Antoine and Emily van Agtmael • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • The Wittels Family • Marillyn Zacharis • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein Society

Dr. and Mrs. Bert Ballin • Mr. Michael Beck and Mr. Beau Bufﬁer • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Louis and Bonnie Biskup • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Sandra L. Brown • Rhea and Allan Bufferd • Mr. and Mrs. Scott Butler • Mrs. Laura S. Butterﬁeld • Antonia Chayes • Lewis F. Clark, Jr. • Herbert B. and Jayne Cohan • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Betty and Jack Fontaine • Herb and Barbara Franklin • Mr. David Friedson and Ms. Susan Kaplan • Thomas M. Fynan, M.D. • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Rita Sue and Alan J. Gold • Michael and Muriel Grunstein • Dena and Felda Hardymon • Mrs. Deborah F. Harris • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Ms. Jennifer Hersch • Ms. Patricia A. Insley • Jean and Ken Johnson • Miriam and Gene Josephs • Henrietta and Marc Katzen • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Dr. and Mrs. Stephen Kulvin • Ira Levy, Lana Masor and Juliette Freedman • Mr. and Mrs. Anthony J. Limina • Dr. Nancy Long and Mr. Marc Waldor • Mr. and Mrs. Arthur S. Loring • Susan and Arthur Luger • Michael Mancollis • Soo Sung and Robert Merli • Mr. and Mrs. Michael A. Miller • Mrs. Suzanne Nash • Linda and Stuart Nelson • Mike, Lonna and Callie Offner • Ellen and Mickey Rabina • Mr. Sumit Rajpal and Ms. Deepali A. Desai • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Mary and Lee Rivollier • Edie and Stan Ross • Barbara Rubin • Elisabeth Sapery and Rosita Sarnoff • Ms. Susan Schaeffer • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Florence and Warren Sinsheimer • Maggie and Jack Skenyon • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Flora and George Suter • J and K Thomas Foundation • John Lowell Thorndike • Diana O. Tottenham • Mr. and Mrs. Jonathan Turell • Mr. and Mrs. Howard J. Tytel • Mr. and Mrs. Alex Vance • Mr. William Wallace • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Ms. Pamela A. Wickham • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin • Cheryl and Michael Zaccaro • Anonymous (2)

‡ Deceased BSO Archives

August at Tanglewood

Friday, August 1, 6pm (Prelude Concert) Friday, August 8, 6pm (Prelude Concert) MEMBERS OF THE BSO MEMBERS OF THE BSO Music of Schnittke and Shostakovich Music of Szymanowski and Debussy

Friday, August 1, 8:30pm Friday, August 8, 8:30pm The Serge and Olga Koussevitzky BSO—LEONARD SLATKIN, conductor Memorial Concert GIL SHAHAM violin BSO—MARCELO LEHNINGER, conductor JOHN FERRILLO, oboe JEAN-YVES THIBAUDET, piano BOLCOM Circus Overture (world premiere; THOMAS ROLFS, trumpet (Shostakovich) BSO commission) TCHAIKOVSKY Serenade for Strings BARLOW The Winter’s Past, for oboe and SHOSTAKOVICH Piano Concerto No. 1 strings SCHUMANN Symphony No. 4 BARBER Violin Concerto ELGAR Enigma Variations Saturday, August 2, 10:30am Celebrating Leonard Slatkin’s 70th birthday Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 3 Saturday, August 9, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Saturday, August 2, 8:30pm BSO program of Sunday, August 10 John Williams’ Film Night BOSTON POPS ORCHESTRA Saturday, August 9, 8:30pm JOHN WILLIAMS, conductor BSO—STÉPHANE DENÈVE, conductor LEONIDAS KAVAKOS, violin Sunday, August 3, 2:30pm DEBUSSY Prelude to The Afternoon of a Faun BSO—JUANJO MENA, conductor SZYMANOWSKI Violin Concerto No. 2 AUGUSTIN HADELICH, violin TCHAIKOVSKY Symphony No. 4 HAYDN Symphony No. 6, Morning MOZART Violin Concerto No. 4 in D, K.218 Sunday, August 10, 2:30pm BEETHOVEN Symphony No. 2 BSO—DAVID ZINMAN, conductor YO-YO MA, cello Tuesday, August 5, 8:30pm (Gala Concert) Tanglewood on Parade ALL-TCHAIKOVSKY PROGRAM (Grounds open at 2pm for music and Polonaise from Eugene Onegin; Andante activities throughout the afternoon) cantabile for cello and strings; Variations on a Rococo Theme, for cello and orchestra; BSO, BOSTON POPS ORCHESTRA, and Symphony No. 6, Pathétique TMC ORCHESTRA STÉPHANE DENÈVE, KEITH LOCKHART, Monday, August 11, 8pm ANDRIS POGA, LEONARD SLATKIN, and TMC Orchestra—STÉPHANE DENÈVE and JOHN WILLIAMS, conductors TMC Fellow DANIEL COHEN, conductors Music of Shostakovich, Gershwin, Glinka, TMC Vocal Fellows Brubeck, Williams, and Tchaikovsky All-Berlioz program Fireworks to follow the concert Wednesday, August 13, 8pm Wednesday, August 6, 8pm JEREMY DENK, piano THE DEUTSCHE KAMMERPHIL- Music of Ives and J.S. Bach HARMONIE BREMEN PAAVO JÄRVI, conductor Thursday, August 14, 7:30pm LARS VOGT, piano PHILHARMONIA BAROQUE ORCHESTRA All-Brahms program NICHOLAS MCGEGAN, conductor AMANDA FORSYTHE, AMY FRESTON, Thursday, August 7, 8pm DOMINIQUE LABELLE, CÉLINE RICCI, EMANUEL AX, piano ROBIN BLAZE, DREW MINTER, and JEFFREY LEONIDAS KAVAKOS, violin FIELDS, vocal soloists YO-YO MA, cello HANDEL Teseo All-Brahms program Extended concert; sung in Italian with English supertitles

Friday, August 15, 6pm (Prelude Concert) Friday, August 22, 8:30pm MEMBERS OF THE BSO BOSTON POPS ORCHESTRA NIKOLAI LUGANSKY, piano KEITH LOCKHART, conductor Music of Handel-Halvorsen and Franck “Oz with Orchestra” The Boston Pops Orchestra plays Harold Arlen’s Friday, August 15, 8:30pm musical score live as a newly re-mastered print BSO—STÉPHANE DENÈVE, conductor of the classic 1939 MGM film The Wizard of EMANUEL AX, piano Oz is screened with the original vocals and ELENA MANISTINA, mezzo-soprano dialogue intact. TANGLEWOOD FESTIVAL CHORUS Saturday, August 23, 10:30am BEETHOVEN Piano Concerto No. 5, Emperor Open Rehearsal (Pre-Rehearsal Talk, 9:30am) PROKOFIEV Alexander Nevsky BSO program of Sunday, August 24

Saturday, August 16, 10:30am Saturday, August 23, 2:30pm Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Family Concert featuring the BSO program of Saturday, August 16 BOSTON CELLO QUARTET

Saturday, August 16, 8:30pm Saturday, August 23, 8:30pm BSO—BRAMWELL TOVEY, conductor BSO—CHARLES DUTOIT, conductor Vocal soloists including NICHOLAS PHAN, KIRILL GERSTEIN, piano ANNA CHRISTY, KATHRYN LEEMHUIS, FREDERICA VON STADE, BEAU GIBSON, BERLIOZ Roman Carnival Overture PAUL LAROSA, and RICHARD SUART RACHMANINOFF Rhapsody on a Theme of Paganini BERNSTEIN Candide RESPIGHI Roman Trilogy: Roman Festivals; Concert performance sung in English Fountains of Rome; Pines of Rome Sunday, August 17, 2:30pm Sunday, August 24, 2:30pm The Leonard Bernstein Memorial Concert BSO—CHARLES DUTOIT, conductor TMC ORCHESTRA—CHARLES DUTOIT, YEFIM BRONFMAN, piano conductor NICOLE CABELL, MEREDITH HANSEN, NIKOLAI LUGANSKY, piano TAMARA MUMFORD, NOAH STEWART, STRAVINSKY Scherzo fantastique ALEX RICHARDSON, and JOHN RELYEA, RACHMANINOFF Piano Concerto No. 3 vocal soloists STRAVINSKY The Firebird (complete) TANGLEWOOD FESTIVAL CHORUS

Sunday, August 17, 8pm ALL-BEETHOVEN PROGRAM Choral Fantasy; Symphony No. 9 “THE LAST SOUTHERN GENTLEMEN” with ELLIS MARSALIS, piano, and his son, Sunday, August 24, 8pm DELFEAYO MARSALIS, trombone, perform- MARIA SCHNEIDER ORCHESTRA ing standards and original compositions from their album of the same name Thursday, August 28, 8pm Monday, August 18, 7pm WAIT WAIT…DON’T TELL ME! THE BEACH BOYS Friday, August 29, 7pm Friday, August 22, 6pm (Prelude Concert) TRAIN TANGLEWOOD FESTIVAL CHORUS Saturday, August 30, 7pm JOHN OLIVER, conductor JOSH GROBAN with the Music of Shostakovich and Tavener BOSTON POPS ESPLANADE ORCHESTRA KEITH LOCKHART, conductor MEMBERS OF THE TANGLEWOOD FESTIVAL CHORUS

Sunday, August 31, 2:30pm TONY BENNETT with special guest ANTONIA BENNETT

Programs and artists subject to change. 2014 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available through Tanglewood box office or SymphonyCharge Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 29, 10am Sunday, July 13, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Saturday, July 19, 6pm Monday, June 30, 10am, 1pm, and 4pm Prelude Concert STRING QUARTET MARATHON Sunday, July 20, 10am One ticket provides admission to all three concerts. Chamber Music (Festival of Contemporary Wednesday, July 2, 2:30pm Music) Opening Exercises (free admission; open to Saturday, July 26, 6pm the public; performances by TMC faculty) Prelude Concert Saturday, July 5, 6pm Sunday, July 27, 10am Prelude Concert Chamber Music Sunday, July 6, 10am Monday, July 28, 6pm Chamber Music Prelude Concert Sunday, July 6, 8pm * Monday, July 28, 8pm * The Phyllis and Lee Coffey Memorial Concert The Margaret Lee Crofts Concert TMC ORCHESTRA—STEFAN ASBURY and TMC ORCHESTRA—Conductors to include TMC Fellow KARINA CANELLAKIS, TMC Fellows DANIEL COHEN and KARINA conductors CANELLAKIS Music of HINDEMITH and BRUCKNER TMC Fellows LAURA STRICKLING and Tuesday, July 8, 8pm LORALEE SONGER, vocal soloists Vocal Concert Music of BEETHOVEN and SIBELIUS Saturday, July 12, 6pm Saturday, August 2, 6pm Prelude Concert Prelude Concert Saturday, July 12, 8:30pm (Shed) * Sunday, August 3, 10am The Caroline and James Taylor Concert Chamber Music TANGLEWOOD GALA Sunday, August 3, 8pm BSO and TMC ORCHESTRA—ANDRIS Vocal Concert NELSONS, conductor SOPHIE BEVAN, ANGELA DENOKE, and ISABEL LEONARD, vocal soloists Music of STRAUSS, RACHMANINOFF, and RAVEL

TMC Orchestra Concerts in Ozawa Hall (July 6, 28, August 11), $53, $43, and $34 (lawn admission $11). TMC Recitals, $11. Festival of Contemporary Music Concerts, $11. BUTI Young Artists Orchestra Concerts, $11. BUTI Young Artists Wind Ensemble and Chorus Concerts, Free admission. TMC Chamber and BUTI Orchestra Concerts are cash/check only. GENERAL PUBLIC and TANGLEWOOD DONORS up to $75: For TMC concerts, tickets are available in advance online, or in person up to one hour before concert start time at the Ozawa Hall Bernstein Gate only (except for TMC Orchestra concerts). Please note: availability for 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 most TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding TMC Orchestra concerts) by presenting their membership cards 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 visit tanglewood.org/contribute. Tuesday, August 5 * Thursday, July 17—Monday, July 21 TANGLEWOOD ON PARADE 2014 FESTIVAL OF CONTEMPORARY 2:30pm: TMC Chamber Music MUSIC 3:30pm: TMC Chamber Music John Harbison and Michael Gandolfi, 5:00pm TMC Vocal Concert: “Sing America!” Festival Directors with Stephanie Blythe The 2014 Festival of Contemporary Music 8:00pm: TMC Brass Fanfares (Shed) highlights works of American composers, 8:30pm: Gala Concert (Shed) including music by Jacob Druckman and TMC ORCHESTRA, BSO, and Steve Mackey, and the world premieres of BOSTON POPS ORCHESTRA two TMC commissions: Bernard Rands’s STÉPHANE DENÈVE, KEITH LOCKHART, Folk Songs and Benjamin Scheuer’s Voices. ANDRIS POGA, LEONARD SLATKIN, and Thursday July 17, 8pm JOHN WILLIAMS, conductors Chamber Music Music of SHOSTAKOVICH, GERSHWIN, TMC FELLOWS GLINKA, BRUBECK, WILLIAMS, and Music of MATHESON, WEESNER, OH, TCHAIKOVSKY DRUCKMAN, LERDAHL, and HARBI- Fireworks to follow the concert SON Saturday, August 9, 6pm Friday July 18, 2:30pm The Judy and Richard J. Miller Concert Chamber Music Prelude Concert TMC FELLOWS Sunday, August 10, 10am Music by TMC Composition Fellows Chamber Music Saturday July 19, 2:30pm Monday, August 11, 6pm Chamber Music Prelude Concert TMC FELLOWS Music of PERLE, MAKAN, LASH, Monday, August 11, 8pm DZUBAY, NATHAN, and CHEUNG The Daniel Freed and Shirlee Cohen Freed Memorial Concert Sunday July 20, 10am TMC ORCHESTRA— STÉPHANE DENÈVE Chamber Music and TMC Fellow DANIEL COHEN, TMC FELLOWS conductors Music of BOYKAN and GANDOLFI; TMC VOCAL FELLOWS SCHEUER Voices (TMC commission; ALL-BERLIOZ PROGRAM world premiere); RANDS Folk Songs (TMC commission; world premiere) Saturday, August 16, 2:30pm Vocal Concert (Free admission) Sunday July 20, 8pm STEPHANIE BLYTHE and TMC VOCAL Theatrical Works FELLOWS TMC FELLOWS “The Sonnet Project” SOPER Helen Enfettered WAGGONER This Powerful Rhyme Saturday, August 16, 6pm Prelude Concert Monday, July 21, 8pm The Fromm Concert at Tanglewood Sunday, August 17, 10am TMC ORCHESTRA Chamber Music STEFAN ASBURY and TMC Fellows Sunday August 17, 2:30pm (Shed) * DANIEL COHEN and KARINA The Leonard Bernstein Memorial Concert CANELLAKIS, conductors TMC ORCHESTRA—CHARLES DUTOIT, Music of SESSIONS, MACKEY, BRAY, conductor and ADAMS NIKOLAI LUGANSKY, piano Music of RACHMANINOFF and STRAVINSKY The Festival of Contemporary Music has been endowed in perpetuity by the generosity of Dr. Raymond H. and Mrs. Hannah H. Schneider, with additional support in 2014 from the Aaron Copland Fund for Music, the Fromm 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 participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 49th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive 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, educators, 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. (photo by Kristin Seavey, 2012) If you would like further information about the Boston University Tangle- wood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2014 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 12, 2:30pm, Tito Muñoz conducts Adès’s Dances from ‘Powder Her Face,’ Beethoven’s Symphony No. 7, and Dvoˇrák’s Carnival Overture. Saturday, July 26, 2:30pm, Ken-David Masur conducts Rimsky-Korsakov’s Scheherazade, Sibelius’s Pohjola’s Daughter; and Strauss’s Till Eulenspiegel. Saturday, August 9, 2:30pm, Paul Haas conducts Haas’s Father and Mahler’s Symphony No. 5.

WINDENSEMBLEPROGRAMS: Sunday, July 13, 2:30pm, David Martins conducts Camphouse, Galante, Hesketh, Persichetti, Reineke, and Jenkins. Sunday, July 27, 2:30pm, H. Robert Reynolds conducts Bernstein/Grundman, Bach/Cailliet, Hindemith, Bernstein/Bencrisutto, Turrin (featuring David Krauss, trumpet and Ronald Barron, trombone), and Ticheli.

VOCAL PROGRAMS: Saturday, August 2, 2:30pm, Ann Howard Jones conducts Copland, Feigenbaum, Foster/Washburn, Fine, Muhly, Paulus, Thompson, and Wachner.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 28; Wednesday, July 30; Thursday, July 31.

Tickets available one hour before concert time. Admission is $11 for orchestra and vocal program concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431. For a full listing of BUTI events visit http://www.bu.edu/cfa/ tanglewood/performance_calendar. FAVORITERESTAURANTSOFTHEBERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. 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 • Alexander Henry, Assistant to the Artistic Administrator, Tanglewood • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services

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 • Leah Monder, Production Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician

Boston Pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • 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 • Natasa Vucetic, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • 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 Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Anne Gregory, Assistant Manager of Education and Community Engagement • 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 • Alana Forbes, 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/Set-up Coordinator • 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 • 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, IT Asset Manager • Ana Costagliola, Database Business Analyst • Stella Easland, Telephone Systems Coordinator • 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 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 and Administrator of Visiting Ensemble Events • 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 • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator Box Office Representatives John Lawless • 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

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

Stephen Curley, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Ben Kaufman, Visitor Center Manager • Jason Lyon, Tanglewood Front of House Manager • Eileen Doot, Business Office Manager • Peggy and John Roethel, Seranak Managers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Boston Audley H. Fuller Vice-Chair, Tanglewood Martin Levine Secretary Susan Price

Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern

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

Tanglewood Project Leads 2014 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Shelly Holtzberg and Maureen O’Hanlon Krentsa • Friends Office, Alan and Toby Morganstein • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Newsletter, Sylvia Stein • Off-Season Educational Resources, Susan Geller and Alba Passerini • Recruit, Retain, Reward, Alexandra Warshaw • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, JJ Jones, Charlotte Schluger, and Marsha Wagner • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark and Pam Levit Beiderman and David and Janet Rothstein • Tour Guides, Mort and Sandra Josel • Young Ambassadors, William Ballen and Ed Costa; Carole Siegel, Mentor Lead

Tanglewood Major Corporate Sponsors 2014 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following organizations and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

Visit Sarasota County is proud to sponsor the Boston Pops at Tanglewood this summer, and proud to be the Official Sponsor of Inspiration. As in the Berkshires, the arts just come naturally in Sarasota County, Where Artistic Expression and Inspiration Meet! Is it the crystal blue waters or the warm, balmy air that artists and performers find so inspirational? Who knows for sure. But you will find it every night and day in our performance halls, theatres, opera house, museums and galleries. Discover it yourself in Sarasota County. You’ll see why we’re known as Florida’s Cultural Coast. Learn more at VisitSarasotaArts.org.

Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come. Tanglewood Business Partners The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2014 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 Services Berkshire Tax Services • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • Emery B. Sheer, CPA, CVA/ABV Advertising/Marketing/Consulting Ed Bride Associates • The Cohen Group • L.A. Communications • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm - architecture | engineering | management • Foresight Land Services, Inc. • Greylock Design Associates • Hill - Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler Architecture, LLC Art/Antiques Elise Abrams Antiques • HISTORY OF TOYS GALLERY • Hoadley Gallery • Schantz Galleries Contemporary Glass • Stanmeyer Gallery & Shaker Dam Coffeehouse Automotive Balise Lexus • BIENER AUDI • Haddad Toyota - Subaru – Hyundai Aviation Lyon Aviation, Inc. 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 • TD Bank Building Supplies/Hardware/Home/Lawn & Garden Equipment, Supplies E. Caligari & Son • Carr Hardware and Supply Co., Inc. • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. • Pittsfield Lawn & Tractor Building/Contracting ALLEGRONE COMPANIES • Berkshire Landmark Builders • Great River Construction Co. Inc. • LB Corporation • 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 Education AMERICAN INSTITUTE FOR ECONOMIC RESEARCH • Belvoir Terrace, Visual and Performing Arts and Sports Summer Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Marty Rudolph’s Math Tutoring Service • Thinking in Music, Inc. Energy ESCO Energy Services Company • VIKING FUEL OIL COMPANY, INC. Financial Services AMERICAN INVESTMENT SERVICES, INC. • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • SUSAN AND RAYMOND HELD • HIGH PEAKS VENTURE CAPITAL LIMITED • Integrated Wealth Management • Kaplan Associates L.P. • Keator Group, LLC • Nest Egg Guru & Financial Planning Hawaii • The Sherman Investment Group of RBC Wealth Management • TD Wealth • True North Financial Services • UBS Food/Beverage Wholesale Barrington Coffee • Big Elm Brewing • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE • SOCO CREAMERY Insurance Bader Insurance Agency Inc. • BERKSHIRE INSURANCE GROUP • BERKSHIRE LIFE INSURANCE COMPANY OF AMERICA, A GUARDIAN COMPANY • SA Genatt LLC • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK LLP • Michael J. Considine, Attorney at Law • Deely & Deely • GOGEL AND GOGEL • Hellman Shearn & Arienti LLP • Hochfelder & Associates, P.C. • Lazan Glover & Puciloski, LLP • LINDA. LEFFERT J.D. RET. • Norman Mednick, Esq. • The Law Office of Zick Rubin • Lester M. Shulklapper • Susan M. Smith, Esq. • Bernard Turiel, Esq. Lodging 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Days Inn • Berkshire Fairfield Inn & Suites • Birchwood Inn • BLANTYRE • the Briarcliff Motel • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel – Berkshires • Devonfield Inn • Eastover Estate and Retreat • An English Hideaway Inn •• The Garden Gables Inn • Gateways Inn & Restaurant • Hampton Inn & Suites • Inn at Green River • The Inn at Stockbridge • THE PORCHES INN AT MASS MOCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Consumer Products Bell Container Corp. • Barry L. Beyer, Packaging Consultant • BROADWAY LANDMARK CORPORATION • General Dynamics • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • J. Mark Albertson, D.M.D. • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Carol R. Kolton, LCSW • Dr. Charles Mandel OD PC • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Putnoi Eyecare • Dr. Robert and Esther Rosenthal • Royal Health Care Services of NY • Chelly Sterman Associates • Suburban Internal Medicine • Dr. Natalya Yantovsky DMD, P.C. Moving/Storage Quality Moving & Storage • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • THE HIGH MEADOW FOUNDATION • Kimball Farms Lifecare Retirement Community Nursery/Tree Service/Florist Garden Blossoms Florist • Peerless Since 1945, Inc. • Ward’s Nursery & Garden Center • Windy Hill Farm, Inc. Printing/Publishing BERKSHIRE EAGLE • QUALPRINT • SOL SCHWARTZ PRODUCTIONS LLC Real Estate BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Berkshire Mountain Club at Catamount • Brause Realty, Inc. • Cohen + White Associates • Robert Gal L.L.C. • Barbara K. Greenfeld • Hill Realty, LLC • Edith and Larry Hurwit • LD Builders • McLean & McLean Realtors, Inc. • Patten Family Foundation • Pennington Management Company • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Wheeler & Taylor Real Estate • Tucker Welch Properties Resort /Spa CANYON RANCH IN LENOX • CRANWELL RESORT, SPA & GOLF CLUB Restaurant Alta Restaurant & Wine Bar • Bagel & Brew • Bistro Zinc • Bizen Gourmet Japanese Restaurant & Sushi Bar • Brava • Café Lucia • Chez Nous • Church Street Café • Cork ’N Hearth • CRANWELL RESORT, SPA & GOLF CLUB • Electra’s • Firefly New American Bistro & Catering Co. • Flavours of Malaysia • Frankie’s Ristorante • John Andrews • Mazzeo’s Ristorante • No. Six Depot Roastery and Café • Rouge Restaurant Retail: Clothing Arcadian Shop • Bare Necessities.com • Ben’s • The Gifted Child • Glad Rags • twigs Retail: Food Berkshire Co-op Market • BIG Y SUPERMARKETS • Chocolate Springs Café • Guido’s Fresh Marketplace • The Meat Market & Fire Roasted Catering Retail: Home COUNTRY CURTAINS • The Floor Store • MacKimmie Co. • Paul Rich & Sons Home Furnishings + Design Retail: Jewelry Charland Jewelers • Laurie Donovan Designs • McTeigue & McClelland Retail: Wine/Liquor GOSHEN WINE & SPIRITS • Nejaime’s Wine Cellars • Queensboro Wine & Spirits • Spirited Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Services 2Filter.com • CLASSICAL TENTS AND PARTY GOODS • Edward Acker, Photographer • Aladco Linen Services • Braman Termite & Pest Elimination • Dery Funeral Homes • Shire Cleaning and Janitorial Specialty Contracting R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Pignatelli Electric • Michael Renzi Painting Co. Transportation/Travel ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • Allpoints Driving Service • Tobi’s Limousine Service, Inc. • The Traveling Professor Video/Special Effects/Fireworks Atlas Advanced Pyrotechnics, Inc. • MYRIAD PRODUCTIONS Yoga/Wellness/Health Berkshire Training Station • KRIPALU CENTER FOR YOGA & HEALTH The Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • 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 • State Street Corporation and State Street Foundation • Thomas G. Stemberg • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (2)

One Million

Alli and Bill Achtmeyer • Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. • AT&T • 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 • Ronald G. and Ronni J. Casty • 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 ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • 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 McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Polly and Dan ‡ Pierce • 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 • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (8) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall