“Stabat Mater” Week 17 Dvorák

2018–19 season andris nelsons bostonmusic director symphony orchestra

week 17 dvo rˇ ák “stabat mater”

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 17

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 2 3 a brief history of the bso 29 casts of character: the symphony statues by caroline taylor 3 6 this week’s program

Notes on the Program

38 The Program in Brief… 39 Dvoˇrák “Stabat Mater” 53 To Read and Hear More…

Guest Artists

55 Rachel Willis-Sørensen 57 Violeta Urbana 59 Dmytro Popov 61 Matthew Rose 63 Tanglewood Festival Chorus 65 James Burton

7 0 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on march 1 is given by bso director of program publications marc mandel.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Fibra One typeface © Latinotype™

February 27 – June 16

Generously supported by the Darwin Cordoba Fund for Latin American Art.

Frida Kahlo, Self-Portrait with Hummingbird and Thorn Necklace (detail), 1940. Oil on canvas. Nickolas Muray Collection of Modern Mexican Art, Harry Ransom Center, The University of Texas at Austin. © 2019 Banco de México Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F. / Artists Rights Society (ARS), New York. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Steve Kidder • Tom Kuo, ex-officio • Jeffrey Leiden • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Peter Palandjian • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich † • Arthur I. Segel • Wendy Shattuck • Nicole Stata • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees

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

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Corporation advisors of the boston symphony orchestra, inc.

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

Nathaniel Adams • James E. Aisner • Maureen Alphonse-Charles • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Darcey Bartel • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. •

week 17 trustees and advisors 3 We are honored to support the Boston Symphony Orchestra

as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . photos by Michael Blanchard and Winslow Townson

Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • John L. Klinck, Jr. • Gi Soo Lee, MD EdM • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Jean Park • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Marc Rubenstein • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jacqueline Togut • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti

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

Membership as of March 1, 2019

† Deceased

week 17 trustees and advisors 5

BSO News

Latest Andris Nelsons/BSO Shostakovich Release Wins Two Grammy Awards The latest release in Andris Nelsons and the BSO’s Shostakovich symphony cycle on Deutsche Grammophon—a two-disc set pairing symphonies 4 and 11 (The Year 1905), both recorded in concert at Symphony Hall last season—has won two 2019 Grammy Awards: for Best Orchestral Performance, and for Best Engineered Album, Classical (Shawn Murphy and Nick Squire, engineers; Tim Martyn, mastering engineer). Each of the two hour-long works in this set, which was released last summer to coincide with the BSO’s post- Tanglewood European tour, has a unique political backdrop. The premiere of the gargantuan Fourth was delayed a quarter-century due to Soviet authoritarianism, and the dramatic Eleventh was written to commemorate the fortieth anniversary of the Bolshevik Revolution. The two previous Shostakovich releases by Andris Nelsons and the BSO on Deutsche Grammophon, which include Shostakovich’s symphonies 5, 8, 9, and 10, won the 2016 and 2017 Grammy Awards for Best Orchestral Performance. Special thanks to Lloyd Axelrod, M.D., for his support of the Boston Symphony Orches- tra’s Shostakovich recording project. The 61st Annual Grammy Awards ceremony took place on February 10, 2019, at the Staples Center in Los Angeles. The latest two-disc set in the BSO’s continuing Shostakovich cycle led by Andris Nelsons for Deutsche Grammo- phon—live performances of Shostakovich’s symphonies 6 and 7 (Leningrad), filled out with the composer’s celebratory Festive Overture and a suite from his incidental music to a 1940 Leningrad production of Shakespeare’s King Lear—was released on February 22.

Tanglewood Learning Institute (TLI) Launching in Summer 2019 This summer, Tanglewood opens the Linde Center for Music and Learning, marking a transformational new era of programming in Tanglewood’s illustrious eighty-two-year history. The new Linde Center will serve as summer home for the Tanglewood Learning Institute, which will launch in 2019, introducing dynamic and leading-edge programs connecting patrons with musicians, artists, students, academics, and cultural leaders through wide-ranging activities, as part of a new initiative to inspire curiosity and foster a deeper

week 17 bso news 7 BOSTONS #1 GLOBAL CARRIER. Connecting you to 45+ destinations worldwide. PROUD TO BE THE OFFICIAL AIRLINE OF THE BOSTON SYMPHONY ORCHESTRA. experience of Tanglewood concerts and classical music, while exploring ideas resonant with the wider culture. Intended for both newcomers to Tanglewood and longtime festival patrons, TLI’s expan- sive programs will explore the ways in which music illuminates the human experience by linking Tanglewood performances to relevant themes from the worlds of visual arts, film, history, philosophy, and current events, offering experiences that dissolve the traditional barrier between performer and audience. TLI’s immersion weekends, interactive talks, films, open rehearsals, master classes, unconventional performances, and visual arts programs will use music as a point of departure and a gateway leading to spirited dialogue, designed for all who aspire to expand their horizons and connect with other curious knowledge- seekers. Within the atmosphere of the iconic Tanglewood grounds and beautiful vistas, TLI programs will encourage thought-provoking conversation and explore myriad ways, through the lens of music, to better understand our world. Tickets to the inaugural season of Tanglewood Learning Institute programs are now on sale. For complete program details, and to order tickets, please visit www.TLI.org or call 1-888-266-1200.

Boston Symphony Chamber Players at Jordan Hall at the New England Conservatory Sunday afternoon, March 3, at 3 p.m. For the third program of their four-concert Jordan Hall series this season, taking place on Sunday, March 3, at 3 p.m. at Jordan Hall, the Boston Symphony Chamber Players present a highlight of their 2018-19 season, the world premiere of Five Reflections on Water, for winds and strings, a new work commissioned by the BSO from the Russian-born British composer Elena Langer. Also on the program are Barber’s Summer Music for wind quintet, Opus 31; Rossini’s Duo in D for cello and double bass; and Michael Gandolfi’s Plain Song, Fantastic Dances, for winds and strings. Single tickets at $38, $29, and $22 are available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

BSO Community Chamber Concerts The BSO continues its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on selected Sunday afternoons at 3 p.m., followed by a coffee-and-dessert reception for the audience and musicians. This season’s next Community Chamber program—on Sunday, March 3, at WBUR Cityspace in Brighton, and on Sunday, March 10, at “The Tannery” at the Darrow School in New Lebanon, New York—features BSO members Bonnie Bewick and Ala Jojatu, violins; Si-Jing Huang, violin and viola; Mickey Katz, cello, and Lawrence Wolfe, bass, joined by guitarist Ken Bewick, in a Celtic-based program including music of Liz Carroll, Sheila Falls, Mark O’Connor, and Derek Bermel, plus Celtic-based sets by Bonnie and Ken Bewick. Admis- sion is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2018-19 Sunday-afternoon Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

week 17 bso news 9

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s speaker is Marc Mandel. Upcoming speakers for the remainder of the season include Robert Kirzinger (March 8 and May 2), composer/pianist Jeremy Gill (April 5), Elizabeth Seitz of The Boston Conservatory at Berklee (April 19), and Marc Mandel (April 26). individual tickets are on sale for all concerts in the bso’s 2018-2019 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The John F. Bok Memorial Concert of which he became chairman shaped Saturday, March 2, 2019 Boston between 1960 and 2000, and included the Boston Ballet, Boston Children’s Saturday evening’s performance by the Boston Museum, the Boston Municipal Research Symphony Orchestra has been named by Bureau, the Massachusetts Horticultural a gift from Joan Bok in memory of her late Society, the Citizen’s Housing and Planning husband, John Fairfield Bok (1930-2014). Association, the Boston Harbor Association, John was a lifelong Boston resident, attorney, the Community Builders, and the Beacon Hill and civic leader who helped to preserve Civic Association. Finally, John was a strong Boston’s history and shape its development. believer that keeping Boston a world-class He cared deeply about preserving the best city included actively supporting its great of Boston, as the general counsel of the performing arts organizations, such as the Boston Redevelopment Authority under Ed Boston Symphony Orchestra. Logue in the 1960s and then as a partner at Csaplar & Bok on such redevelopment projects as Quincy Market, Lewis Wharf, Old BSO Broadcasts on WCRB Boston City Hall, Union Wharf, and the Fort Point building that now houses the Boston BSO concerts are heard on the radio at Children’s Museum. John figured out, along 99.5 WCRB. Saturday-night concerts are with his partners, how to accomplish all this broadcast live at 8 p.m. with host Ron Della through federal historic rehabilitation tax Chiesa, and encore broadcasts are aired credits and other government programs. As on Monday nights at 8 p.m. In addition, he passionately believed in Boston remaining interviews with guest conductors, soloists, a residential city, he also worked on many and BSO musicians are available online large and small housing developments in at classicalwcrb.org/bso. Current and Boston, and played a critical role in creating upcoming broadcasts include this Saturday the state’s affordable housing financing agen- night’s performance under Andris Nelsons cies MassHousing and the Massachusetts of Dvoˇrák’s Stabat Mater (March 2; encore Housing Partnership. March 11); next week’s program led by BSO Artistic Partner Thomas Adès featuring the John F. Bok chaired many groups he was world premiere with pianist Kirill Gerstein involved with because he was willing of Adès’s BSO-commissioned Concerto for to do the hard work behind the scenes Piano and Orchestra, plus music of Liszt and and was skilled at bringing people together Tchaikovsky (March 9; encore March 18); and inspiring service in others. The groups and the following week’s all-Strauss program

week 17 bso news 11 under Maestro Nelsons featuring soprano at 4 p.m. and some Saturdays at 3:30 p.m. Renée Fleming in the final scene from the during the BSO season. Please visit bso.org/ opera Capriccio and closing with Also sprach tours for more information and to register. Zarathustra (March 16; encore March 25). BSO Members in Concert Go Behind the Scenes: The Irving W. and Charlotte F. Rabb Founded by former BSO cellist Jonathan Miller, the Boston Artists Ensemble per- Symphony Hall Tours forms a program entitled “Pierrot, Mystery, The Irving W. and Charlotte F. Rabb Sym- and Romance” on Friday, March 1, at 8 p.m. phony Hall Tours, named in honor of the at Hamilton Hall in Salem and on Sunday, Rabbs’ devotion to Symphony Hall through March 3, at 3 p.m. at St. Paul’s Episcopal a gift from their children James and Melinda Church, 15 St. Paul Street, Brookline. BSO Rabb and Betty (Rabb) and Jack Schafer, violinists Tatiana Dimitriades and Lucia Lin, provide a rare opportunity to go behind BSO violist Rebecca Gitter, and pianist Diane the scenes at Symphony Hall. In these free, Walsh join Mr. Miller for this program, which guided tours, experienced members of the includes Debussy’s Violin Sonata and Cello Boston Symphony Association of Volunteers Sonata, Schumann’s Piano Quintet in E-flat, unfold the history and traditions of the Bos- Op. 44, and a “mystery piece.” Tickets are ton Symphony Orchestra—its musicians, $30 (discounts for seniors and students), conductors, and supporters—as well as available at the door. For more information, offer in-depth information about the Hall visit bostonartistsensemble.org or call (617) itself. Tours are offered on select weekdays 964-6553.

NEW 2-CD SET! Following upon their previous Grammy-winning releases on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, this new, two-disc “Under Stalin’s Shadow” set from Andris Nelsons and the Boston Symphony Orchestra pairs live performances of the SYMPHONY NO. 7, “LENINGRAD,” from 1941, representing the resistance of the Russian people to the Nazi siege of that city, and the rarely heard, multi-faceted SYMPHONY NO. 6, from 1939. Filling out the set are the composer’s celebratory “Festive Overture,” Op. 96, and a suite from his incidental music to a 1940 Leningrad production of Shakespeare’s “King Lear.”

Available February 22! $21.95 In the Symphony Shop or at bso.org.

12 BSO members Lucia Lin, violin, and Owen our on-site video control room and robotic Young, cello, are soloists in Rózsa’s Variations cameras located throughout Symphony Hall. for Violin and Cello with the Pro Arte Cham- Please be aware that portions of this con- ber Orchestra under principal conductor cert may be filmed, and that your presence Kevin Rhodes, part of a program entitled acknowledges your consent to such photog- “Old Friends—New Music” on Saturday, raphy, filming, and recording for possible use March 2, at 8 p.m. at First Baptist Church, in any and all media. Thank you, and enjoy 848 Beacon Street, Newton. Also on the the concert. program are the suite from Copland’s Appalachian Spring and works by Newell Hendricks and Gabriela Lena Frank. Tickets Those Electronic Devices… are $20 to $70, available at proarte.org or As the presence of smartphones, tablets, and by calling (617) 779-0900. other electronic devices used for communication, note-taking, and photography has Retired BSO principal trombonist Ronald increased, there have also been continuing Barron, with pianist Larry Wallach, cornet expressions of concern from concertgoers player Allan Dean, percussionists David and musicians who find themselves dis- Fields and Bailey Forfa, and bass John tracted not only by the illuminated screens Suters, presents a recital of American music on these devices, but also by the physical for trombone on Sunday, March 3, at Rich- movements that accompany their use. For mond Congregational Church, 1515 State this reason, and as a courtesy both to those Road/Route 41, in Richmond, MA. The on stage and those around you, we respect- program includes music of Hindemith, Ives, fully request that all such electronic devices James Stephenson, Steven Winteregg, Tommy be completely turned off and kept from view Dorsey, and Clay Smith. Tickets not required; while BSO performances are in progress. donations (by check) accepted in support of In addition, please also keep in mind that the Emergency Fuel Assistance Fund. taking pictures of the orchestra—whether BSO members Cynthia Meyers, piccolo, and photographs or videos—is prohibited during Thomas Martin, clarinet, are soloists with concerts. Thank you very much for your the Bach, Beethoven, and Brahms Society, cooperation. Steven Lipsitt, music director, on Sunday, March 10, at 3 p.m. at Faneuil Hall. On the program are Vivaldi’s Piccolo Concerto, Comings and Goings... Molter’s Clarinet Concerto, Lipsitt’s Duettino Please note that latecomers will be seated Piccolino (Variations on a Theme by Mozart) by the patron service staff during the first featuring both soloists, and Haydn’s Sym- convenient pause in the program. In addition, phony No. 49, La passione. For tickets at please also note that patrons who leave the $20 to $80, or for more information, visit auditorium during the performance will not bbbsociety.org or call (617) 991-8721. be allowed to reenter until the next convenient- pause in the program, so as not to disturb the On Camera With the BSO performers or other audience members while the music is in progress. We thank you for The Boston Symphony Orchestra frequently your cooperation in this matter. records concerts or portions of concerts for archival and promotional purposes via

week 17 bso news 13 Understand ALL sides.

wgbhnews.org wgbhnews.org on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

TOP OF PAGE, LEFT TO RIGHT: Composer Amy Beach (1867-1944), c.1910 (Fraser Studios) An April 1947 program from a Symphony Hall concert featuring Billie Holiday and Louis Armstrong A young John Oliver at the keyboard, c.1960 (photographer unknown)

week 17 on display 15 Marco Borggreve

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons will lead fourteen of the BSO’s twenty-six subscription programs in 2018-19, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO from Thomas Adès, Sebastian Currier, Andris Dzenītis, and Mark-Anthony Turnage; the continuation of his complete Shostakovich symphony cycle with the orchestra, and concert performances of Puccini’s one-act opera Suor Angelica. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, he became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings both orchestras together for a unique multi-dimensional alliance. Immediately following the 2018 Tanglewood season, Maestro Nelsons and the BSO made their third European tour together, playing concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam. Their first European tour, following the 2015 Tanglewood season, took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals; the second, in May 2016, took them to eight cities in Germany, Austria, and Luxembourg.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tangle- wood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings

16 on Deutsche Grammophon of Shostakovich’s symphonies 4, 5, 8, 9, 10, and 11, The Year 1905, as part of a complete, live Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 6 and 7, Leningrad. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Marco Borggreve

week 17 andris nelsons 17 Boston Symphony Orchestra 2018–2019

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

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

18 photos by Winslow Townson and Michael Blanchard

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

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BSO Archives

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 138th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all back- grounds 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

week 17 a brief history of the bso 23

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

BSO Archives in the appointment of the legendary 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 International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians.

It was in 1936 that Koussevitzky led the orchestra’s first concerts Major Henry Lee Higginson, founder in the Berkshires; he and the players took up annual summer of the Boston Symphony Orchestra residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named

Music Director Laureate. In BSO Archives 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 Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orches tra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984.

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For more information, contact John Morey at 617-292-6799 or [email protected] 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 Tangle- wood Music Center; and in 2007 led the BSO in BSO Archives 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 next music director, a position he took up in the 2014-15 season, following a year as music director designate.

Rush ticket line at Symphony Hall, probably in the 1930s 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.

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This essay is taken from “Symphony Hall: The First 100 Years,” a large-format book including photographs, commentary, and essays tracing the more than hundred-year history of Symphony Hall. Published by the Boston Symphony Orchestra, “Symphony Hall: The First 100 Years” is available in the Symphony Shop.

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

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

The idea for the statues originated with the hall’s architects, McKim, Mead & White, and its acoustical adviser, Wallace Clement Sabine. Sabine saw the statuary as the solu- tion to two problems confronting them at the time: the beautiful casts could embellish large wall surfaces in the hall while providing places where acoustical adjustments could be made. If the hall’s acoustics needed to be altered, fabric or felt could be placed behind the statues without disturbing the decor. As it turned out, Symphony Hall was so masterfully designed that it was never necessary to change the acoustics in a significant way.

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

Apollo Belvedere (Vatican City)

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30 left, Apollo Citharoedus (Vatican City) right, Diana of Versailles (Paris)

The use of reproductions, explains Mrs. Wolsky, was extremely popular in the nine- teenth century. At the Paris Exposition of 1867, a resolution was passed that everyone in the world had the right to be exposed to quality reproductions of the great statues of Greece and Rome.

Mrs. Wolsky explains: “There were very strong feelings of cultural uplift at the time, much the same feeling that was behind Major Higginson’s impulse to found the Boston Symphony after he had traveled to Europe, had heard the great symphonies there, and seen the great art. People in Boston had a strong desire to bring great art to this country, since they believed it brought out the noblest instincts in man, and therefore created a better democracy.

“Since most Greek sculpture was rendered in bronze, not marble, most statuary was melted down. The Romans, however, adored Greek sculpture and made numerous cop- ies, in marble, of Greek statues, which have survived.”

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

According to Mrs. Wolsky, the actual selection of the Caproni plaster casts was entrusted to Mrs. John W. Elliot and a committee of about two hundred Friends of Symphony. The group pored over the Caproni brothers’ catalogues, eventually choosing the sixteen statues now in the hall.

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

week 17 casts of character 31 LIZA VOLL PHOTOGRAPHY LIZA VOLL

32 These statues, in Mrs. Wolsky’s opinion, may well have been chosen with an eye toward beauty, as well as for their relevance to music, art, literature, and oratory. Two of the statues depict Apollo, the god of music and poetry. The first—set second from the right as you face the stage—is known as Apollo Citharoedus (pictured on page 31). Copied from the Roman original in the Vatican Museums, it shows Apollo in the long robes of a musician. He is accompanying his songs and poetry on a cithara, an instrument similar to a lyre he is credited with inventing. On his head is a laurel wreath—the symbol of triumph in Greece and Rome—which was given to victors in the games and contests sacred to Apollo.

The second statue of Apollo—to the right, as you face the back of the hall—is the Apollo Belvedere (pictured on page 29), credited for generations as the highest ideal of male beauty. The original, in the Vatican Museums, is thought to be a Roman copy of a 4th- century B.C. work by Leochares, the court sculptor to Alexander the Great. Here, Apollo is shown as a divine hero, wearing a chlamys, or short cloak, and holding a bow in his left hand. A spray of the sacred laurel plant may once have rested in his other hand. A creature of earth and the underworld, the snake, is coiled around the tree stump, sym- bolizing Apollo’s role as a god of prophecy.

To the left of this statue stands Diana of Versailles (see page 31), currently in the Louvre and also a copy of a 4th-century B.C. work by Leochares. Diana—known to the Greeks as Artemis, goddess of the chase and the forests—is shown here in the woods, flanked by a small stag. Wearing her hunting costume, a short tunic, she once readied a bow in her left hand. Like her brother Apollo, Diana was a musician who often led her choir of muses and graces at Delphi on returning from the hunt.

Three statues represent satyrs, or fauns—mythological creatures human in form, with the ears and tail of a goat. Satyrs were followers of Dionysus, the god of drama and music. The first satyr—first to the right, as you face the stage—has the infant Bacchus, or Dionysus, riding on his shoulders, grasping a bunch of grapes. The satyr holds a pair of cymbals. On the stump beside him is a panther skin, sacred to Dionysus, as well as Pan-pipes, grapes, and vine leaves.

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

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

week 17 casts of character 33 Also represented in Symphony Hall are Demosthenes (fifth from the right as you face the stage); two statues of the Greek poet Anacreon (sixth from the right and sixth from the left, the former—the “Seated Anacreon”—shown opposite); Euripides (seventh from the right); Hermes (third from the left); Athena (fourth from the left); Sophocles (fifth from the left); and the Greek orator Aeschines (seventh from the left).

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

As beautiful as they are, the statues of Symphony Hall have not always been hailed as noble additions to the architecture. Since their installation, letters and comments have been registered from concertgoers concerned with the statues’ state of dishabille. As late as 1947, one gentleman wrote to the former Board president Henry B. Cabot: I dare say no two cocktail bars in Boston are as seductive a medium and raise so much havoc with virgins as does Symphony Hall by means of its suggestive display of male privates.... Symphony Hall is one of the remaining symbols of Boston culture. Let us keep it serene. I do not know how art would be affected if the privates on the statues should be covered. All these figures have some sort of scarf about the shoulders, might it not be brought down lower?

Responded Mr. Cabot: I am afraid that were we to take your advice, somebody might quote to us a stanza from the old rhyme by Anthony Comstock which, as I remember, is: So keep your temper, Anthony. Don’t mind the people’s roars. We’ll drape the tables’ dainty legs In cotton flannel drawers. We’ll cover all those nudities That your pure nature fret, And put a bustle on the nag To hide her red rosette.

caroline taylor was on the staff of the Boston Symphony Orchestra for more than twenty-five years and is currently a BSO Trustee.

34 Seated Anacreon (Copenhagen)

list of casts in symphony hall

As you face the stage, the casts on the right, beginning with the one nearest the stage, are: Faun with Infant Bacchus (Naples) Apollo Citharoedus (Vatican City) Girl of Herculaneum (Dresden) Dancing Faun (Rome) Demosthenes (Vatican City) Seated Anacreon (Copenhagen) Euripedes (Vatican City) Diana of Versailles (Paris)

The casts on the left, beginning from nearest the stage, are: Resting Satyr of Praxiteles (Rome) Amazon (Berlin) Hermes Logios (Paris) Lemnian Athena (Dresden; head in Bologna) Sophocles (Rome) Standing Anacreon (Copenhagen) Aeschines (Naples) Apollo Belvedere (Vatican City)

week 17 casts of character 35 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, February 28, 8pm Friday, March 1, 1:30pm Saturday, March 2, 8pm | the john f. bok memorial concert

andris nelsons conducting

this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. friday afternoon’s performance by the vocal soloists is supported by a gift in memory of hamilton osgood.

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season. friday-afternoon concert series sponsored by the brooke family Marco Borggreve

36 dvoˇrák “stabat mater,” opus 58 Stabat mater dolorosa (Quartet and Chorus) Quis est homo (Quartet) Eia, mater, fons amoris (Chorus) Fac ut ardeat cor meum (Bass solo and Chorus) Tui nati vulnerati (Chorus) Fac me vere tecum flere(Tenor solo and Chorus) Virgo, virginum praeclara (Chorus) Fac ut portem Christi mortem (Soprano and Tenor duet) Inflammatus et accensus(Alto solo) Quando corpus morietur (Quartet and Chorus) rachel willis-sørensen, soprano violeta urmana, mezzo-soprano dmytro popov, tenor matthew rose, bass tanglewood festival chorus, james burton, conductor Text and translation begin on page 45.

Please note that there is no intermission in this program.

Please note that Ain Anger has regretfully had to cancel his appearances in this week’s performances of Dvoˇrák’s “Stabat Mater” due to illness. We are fortunate that Matthew Rose was available to substitute for Ain Anger at very short notice.

The evening concerts will end about 9:40, the afternoon concert about 3:10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive 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 equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 17 program 37 The Program in Brief...

In 1876, some six months after losing a daughter who died two days after birth, Dvoˇrák sketched a setting with piano accompaniment of the 13th-century devotional text “Stabat Mater dolorosa” (“The grieving mother stood...”), which depicts and explores the suffering of Mary as she witnesses the crucifixion of her son Jesus. Upon subsequently losing two more very young children, one to accidental poisoning and the other to smallpox, Dvoˇrák returned to the work in the fall of 1877, completing it, now for four soloists, chorus, and orchestra, that November. Upon its publication by the German publisher Simrock, it was assigned the opus number 58 (vs. the composer’s intended “28”) to suggest a more maturely credentialed work. Following the success of the first performance, in December 1880 in Prague, further performances followed, notably the 1883 London premiere and an 1884 performance at London’s Royal Albert Hall led by Dvoˇrák himself, which not only helped solidify his international reputation (especially given England’s great choral tradition), but led directly to several works commissioned for performance in England: his folk-based oratorio The Spectre’s Bride at the Birmingham Festival, his religious oratorio St. Ludmila at the Leeds Festival, and his Symphony No. 7, the latter commissioned by the Royal Philharmonic Society.

Yet Dvoˇrák’s Stabat Mater remains seldom heard and little known, at least in this country. Aside from a one-off tour performance under Arthur Nikisch at the 1891 Louisville May Festival in Kentucky, the BSO has played it on just a single other occasion: in January 1980 under Seiji Ozawa, who led performances in Boston and at New York’s Carnegie Hall. The late, great choral and orchestral conductor Robert Shaw, who led and recorded it for the first time just shortly before his death, called it “a work of extraordinary vitality and almost mystical communication.”

The ten movements of Dvoˇrák’s Stabat Mater run nearly ninety minutes in performance. (By way of comparison, Verdi’s setting takes less than fifteen.) The piece is broad-breathed, even majestic, with frequent textual repetitions used to support the composer’s large- scale musical conception. Only in the outer movements, which are also the only ones to share musical material (altered in the final movement to prepare the closing fugal “Amen”), does Dvoˇrák use the entire performing force of solo quartet, chorus, and orchestra; the eight inner movements call for solo quartet, chorus alone, bass solo and chorus, tenor solo and chorus, soprano and tenor duet, and alto solo. At the very beginning, a succession of F-sharps rising from the orchestra’s low range to violins and flute at the top suggests to the composer’s biographer John Clapham (quoted also by Michael Steinberg) that the music is meant to “lead the eye upwards to the figure of Christ on the Cross,” the subsequent chromatic descents “disclos[ing] to us the sight of Mary weeping beneath.” Be that as it may, from beginning to end the work provides a sustained example not only of Dvoˇrák’s unique musical voice—he once described himself as “a plain and simple Bohemian Musikant”—but of his staunchly deep-seated religious faith.

Marc Mandel

38 Antonín Dvorákˇ “Stabat Mater,” Opus 58

ANTONÍN DVORÁKˇ was born in Nelahozeves (Mühlhausen), Bohemia (now the Czech Republic), near Prague, on September 8, 1841, and died in Prague on May 1, 1904. He sketched his “Stabat Mater” between February 19 and May 7, 1876, worked out the full score in the autumn of 1877, and completed the orchestration on November 13, 1877. The first performance took place in Prague on December 23, 1880, at a concert of the Association of Musical Artists; Adolf Cˇech conducted, the solo parts being taken by Eleanora Ehrenberg, Betty Fibich, Antonín Vávra, and Karel Cˇech.

IN ADDITION TO THE FOUR VOCAL SOLOISTS AND FOUR-PART MIXED CHORUS, the score of the “Stabat Mater” calls for an orchestra of two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, organ, and strings.

THE BACKGROUND Like Haydn, Dvoˇrák was blessed with a simple and unshakeable faith. He was not markedly devout, but the Catholic church played its traditional part at the crucial moments of his life, and like Haydn he wrote “Thanks be to God” (“Bohu díky!” in Czech) at the end of most of his manuscripts. Writing three large sacred works, a Stabat Mater, a Requiem, and a Te Deum, does not itself prove his commitment to faith, but these works presented no obstacle of conscience and, in the case of the Stabat Mater, served as consolation and inspiration. His choral music also included some psalm settings and an oratorio on St. Ludmila. Even so, in the latter part of his life Dvoˇrák was more absorbed by folk culture and the traditional stories of Bohemia than in religion, and his music seemed, to pious Victorians, for example, more distinctive for its exotic color than for any obvious sacred flavor.

The Stabat Mater was sketched early in 1876, soon after the composition of the Fifth Symphony and the Serenade for Strings. The previous September, the composer’s daughter Josefa had died two days after being born; pertinent to Dvoˇrák’s returning to his sketches a year later were the deaths of two older children: his eleven-month-

week 17 program notes 39 Program listing for the Boston Symphony Orchestra’s participation with conductor Arthur Nikisch in the 1891 Louisville May Festival in Louisville, Kentucky, including a complete performance that May 15—on the concert’s first half—of Dvoˇrák’s “Stabat Mater,” the second half consisting of Berlioz’s “Benvenuto Cellini” Overture and Beethoven’s Symphony No. 7 (BSO Archives)

40 Title page of the “Stabat Mater” score with signatures of Dvoˇrák (directly below the word “Mater”) and members of the orchestra following a performance on September 12, 1884, in Worcester, England

old daughter R˚užena (Josefa’s twin) in August 1876, due to accidental poisoning, and his three-and-a-half-year-old son Otakar, a month later, of smallpox. (Happily, the Dvoˇráks went on to have six more children, who survived.)

Dvoˇrák was already famous beyond the borders of Bohemia thanks to his friendship with Brahms and to his having a German publisher, Simrock of Berlin. His Slavonic Dances and Moravian Duets were hugely enjoyed, and the rhythms of Czech music were heard on countless German and (soon) English pianos. His motivation for composing a Stabat Mater rested partly on the thinking that a large sacred work would consolidate his international reputation in a style that was not obviously Czech and which set Latin words. He was not wrong, for after its first performance in Prague in 1880 it was quickly taken up in other Czech cities and abroad, reaching Budapest in 1882 and London on March 10, 1883. Its success in London led to an immediate invitation to Dvoˇrák to come in person to conduct it himself, which he did, the first of many visits to England, and the essential prelude to his celebrated engagement in the United States in 1892. Its success also led to commissions for several works written by Dvoˇrák for performance in England: the oratorio The Spectre’s Bride for the Birmingham Choral Festival, St. Ludmila for the Leeds Festival, and the Symphony No. 7 for the Royal Philharmonic Society.

The poem depicts Mary at the foot of the cross witnessing the death of her son Jesus. Written by an unknown Franciscan monk in the 13th century, it has been set to music

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THE MUSIC Today Dvoˇrák’s Stabat Mater is less frequently performed, perhaps for the very reason that it displays few of the obviously Bohemian traits familiar from his later work. By that standard it is an austere work, mostly moving at a slow pace, mostly in a minor key, not at all operatic in character (unlike Rossini’s setting), and, except at the concluding “Amen,” not the least like Handel’s oratorios, the benchmark of popular choral music.

I. Stabat mater dolorosa. The opening movement, however, is one of the most beautiful and most inspired pieces Dvoˇrák ever wrote, with its long falling phrase at the opening which matches both the rhythm and the pathos of the words “Stabat mater dolorosa” to perfection. It is a long movement, rising at regular intervals to a colossal chord on a

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week 17 program notes 43 diminished seventh, but infused throughout, even at the resigned close, with a depth of sorrow that perhaps only music can express. Stabat mater dolorosa The mother stood sorrowing juxta Crucem lacrimosa, by the cross, weeping dum pendebat Filius. while her Son hung there; Cuius animam gementem, Whose soul, lamenting, contristatam et dolentem sorrowing and grieving, pertransivit gladius. has been pierced by the sword. O quam tristis et afflicta O how sad and afflicted fuit illa benedicta, was that blessed mater Unigeniti! Mother of her only-begotten Son Quae mœrebat et dolebat, Who wept and grieved pia Mater, dum videbat and trembled to behold nati pœnas inclyti. the torment of her glorious child.

II. Quis est homo. Here once again the syllables of the opening words dictate the phrase with which the alto soloist begins. Her long phrase is taken up in turn by the tenor, then the bass, then the soprano, while each voice continues, forming a thickening counter- point. The mood of this movement is intense abjection, in contemplation of the suffering Jesus, with occasional very brief moments of warmth. Quis est homo qui non fleret, What man would not weep matrem Christi si videret if he saw the Mother of Christ in tanto supplicio? in such torment? Quis non posset contristari Who could not be sorrowful Christi Matrem contemplari to behold the pious mother dolentem cum Filio? grieving with her Son? Pro peccatis suæ gentis For the sins of His people vidit Iesum in tormentis, she saw Jesus in torment et flagellis subditum. and subjected to the whip. Vidit suum dulcem Natum She saw her sweet Son moriendo desolatum, dying, forsaken dum emisit spiritum. as He gave up the spirit.

III. Eia, mater. The chorus “Eia, Mater” is built on a steady, not brisk, march tempo, and its main section is repeated almost exactly, with a brief link before the return to the beginning. Eia, Mater, fons amoris Ah Mother, fount of love, me sentire vim doloris let me feel the force of grief, fac, ut tecum lugeam. that I may grieve with you.

IV. Fac ut ardeat. The bass solo pronounces the beginning of “Fac, ut ardeat” with con- siderable force, and with brass in support. Clarinets, then flutes, weaving in and out, offer a second section, and the women’s chorus takes charge of the second of the two

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verses, supported by the organ. The process is repeated with the men this time joining the women, and the bass takes the movement to its conclusion over the orchestra reit- erating his opening phrase. Fac, ut ardeat cor meum Make my heart burn in amando Christum Deum with the love of Christ, the God, ut sibi complaceam. that I may be pleasing to Him. Sancta Mater, istud agas, Holy Mother, bring this to pass, crucifixi fige plagas transfix the wounds of Him who is crucified cordi meo valide. firmly onto my heart.

V. Tui nati vulnerati. Only the word “pœnas” interrupts the smooth flow of lines in “Tui nati vulnerati.” Then Dvoˇrák unexpectedly decides to move the tempo forward and offer a much more positive setting of the opening words, with a strong climax. The inner flow is never stemmed, however, and the opening section returns as serene as before. Tui nati vulnerati, Of your wounded Son, tam dignati pro me pati, who deigns to suffer for my sake, pœnas mecum divide. let me share the pains.

VI. Fac me vere tecum flere. The sixth movement is given to the tenor soloist in close dialogue with the chorus. The second section, short but speedy, is much more dramatic, and the whole process is repeated, with a strong conclusion when both soloist and chorus voice their passionate longing. Fac me vere tecum flere, Make me truly weep with you, crucifixo condolere, grieving with Him who is crucified donec ego vixero. so that I may live. Juxta Crucem tecum stare, To stand by the cross with you, et me tibi sociare to be freely joined with you in planctu desidero. in lamentation is what I desire.

week 17 program notes 47 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives. www.naejuilliard.com/bisboston VII. Virgo, virginum praeclara. The choral writing of “Virgo virginum” is of a type all Victorian composers loved to emulate, even if they could not equal Dvoˇrák’s tasteful ingenuity. Restrained, devout, shapely—these are the qualities they admired most. Virgo virginum præclara, Virgin of virgins, resplendent, mihi iam non sis amara, do not now be harsh towards me, fac me tecum plangere. let me weep with you.

VIII. Fac ut portem. “Fac, ut portem” is a dialogue for soprano and tenor soloists. The tenor’s entry sets up a chug-chug accompaniment that continues through the central section and then gives way to a coda that comes to rest on a long tonic pedal. Fac ut portem Christi mortem, Let me carry Christ’s death, passionis fac consortem, the destiny of his passion, et plagas recolere. and meditate upon his wounds. Fac me plagis vulnerari, Let me suffer the wounds fac me Cruce inebriari, of that cross, steeped et cruore Filii. in the blood of your Son.

IX. Inflammatus et accensus. This movement for alto solo disguises its broad tempo with a Baroque walking bass line. The second section is more passionate and chromatic. The soloist has this entire, very satisfying movement to herself. Inflammatus et accensus Fired and excited per te, Virgo, sim defensus by you, O Virgin, let me be defended in die iudicii. on the day of judgement Fac me cruce custodiri, Let me be shielded by the cross, Morte Christi præmuniri, protected by Christ’s death, confoveri gratia. cherished by grace.

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50 X. Quando corpus morietur. For the close, Dvoˇrák returns to the opening movement, although its outstanding falling phrase is not heard until the full three-line verse has been sung, including a phrase for “paradisi gloria” that rises not to the colossal diminished-seventh that was heard five times in the opening movement, but to a blazing chord of G major, followed swiftly by another higher one, on A major. No clearer expression of the glory of Paradise could be imagined. The falling phrase immediately recurs, in the major key, and soon the traditional treatment of “Amen” as a double fugue brings the work to a conclusion at a speed and a level of energy that has been heard nowhere up to this point in the whole work. Quando corpus morietur, When my body dies, fac, ut animæ donetur let my soul be given paradisi gloria. the glory of paradise. Amen. Amen.

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

THE FIRST COMPLETE AMERICAN PERFORMANCE OF DVORÁKˇ ’S “STABAT MATER” was conducted by Theodore Thomas on April 3, 1884, at New York’s Steinway Hall with the “Chorus Society” and soloists Emma Juch, Emily Winant, Jacob Graff, and Max Heinrich, five movements of the piece having already been performed in Boston on January 24, 1884, with Benjamin J. Lang conducting the Cecilia Society. (B.J. Lang led the Cecilia Society in the first complete Boston performance on January 15, 1885.)

THE FIRST BOSTON SYMPHONY PERFORMANCE OF DVORÁKˇ ’S “STABAT MATER”was an out-of-town performance on May 15, 1891, at the Amphitheatre Auditorium in Louisville, Kentucky, as part of the orchestra’s participation in that year’s Louisville May Festival, with Arthur Nikisch leading the BSO, the “Festival Chorus,” and soloists Clémentine De Vere, Gertrude Edmands, Whitney Mockridge, and William Ludwig. (Following intermission, the second half of the concert included Berlioz’s “Benvenuto Cellini” Overture and Beethoven’s Symphony No. 7.) The only other BSO performances of Dvoˇrák’s complete “Stabat Mater” were led by Seiji Ozawa in January 1980 at Symphony Hall and then at New York’s Carnegie Hall with the Tanglewood Festival Chorus, John Oliver, conductor, and soloists Phyllis Bryn-Julson, Jan DeGaetani, Kenneth Riegel, and Benjamin Luxon. In October 1904, William Gericke led two sections of the work—“Inflammatus et accensus” (for alto solo and orchestra) and “Quis est homo” (for solo quartet and orchestra) as part of the opening program of the BSO’s 1904-05 season, with soloists Grace B. Williams, Louise Homer, Theodore Van Yorx, and L.B. Merrill.

week 17 program notes 51

To Read and Hear More...

John Clapham’s Dvoˇrák article from the 1980 edition of The New Grove Dictionary of Music and Musicians was reprinted in The New Grove Late Romantic Masters: Bruckner, Brahms, Dvoˇrák, Wolf (Norton paperback). Clapham is also the author of two books about the composer: Antonín Dvoˇrák: Musician and Craftsman (St. Martin’s) and the more purely biographical Antonín Dvoˇrák (Norton). The Dvoˇrák entry in the 2001 edition of The New Grove is by Klaus Döge. Alec Robertson’s Dvoˇrák in the Master Musicians series is another good biography (Littlefield paperback). Another very useful source of information is the website www.antonin-dvorak.cz. Dvoˇrák and his World, a collection of essays and documentary material edited by Michael Beckerman, draws upon recent research and also includes translations from important Czech sources (Princeton). Otakar Šourek published important source material on Dvoˇrák’s life in Antonín Dvoˇrák: Letters and Reminiscences (Artia). An essay by Michael Steinberg on Dvoˇrák’s Stabat Mater is included in his program note compilation Choral Masterworks– A Listener’s Guide (Oxford University paperback).

Currently available recordings of Dvoˇrák’s Stabat Mater include, among others (and listed alphabetically by conductor, with soloists specified only where they might be known to American audiences), Jiˇrí Bˇelohlávek’s with the Czech Philharmonic and Prague Philhar- monic Choir (Decca), Philippe Herreweghe’s with the Royal Flemish Philharmonic and the Collegium Vocale Gent (Phi), Mariss Jansons’s with the Bavarian Radio Symphony Orchestra and Chorus (BR Klassik), Neeme Järvi’s with the London Philharmonic Orchestra and Choir (LPO), Rafael Kubelik’s with the Bavarian Radio Symphony Orches- tra and Chorus (Deutsche Grammophon, with Edith Mathis, Anna Reynolds, Wieslaw Ochman, and John Shirley-Quirk), Helmuth Rilling’s with the Oregon Bach Festival Orchestra and Chorus (Hänssler Classic, with Thomas Quasthoff among the soloists), Robert Shafer’s with the Washington Chorus and Orchestra (budget-priced Naxos, with Christine Brewer, Marietta Simpson, and John Aler among the soloists), Wolfgang Sawallisch’s with the Czech Philharmonic Orchestra and Chorus (Supraphon, with Gabriela Beˇnaˇcková, Ortrun Wenkel, Peter Dvorský, and Jan-Hendrik Rootering), and Robert Shaw’s with the Atlanta Symphony Orchestra and Chorus (Telarc, with Christine Goerke, Marietta Simpson, Stanford Olsen, and Nathan Berg). Worth seeking is Václav Talich’s pioneering 1952 recording with the Czech Philharmonic Orchestra and Chorus (for a while available in a CD reissue on Supraphon).

Marc Mandel

week 17 read and hear more 53

Guest Artists

Rachel Willis-Sørensen Making her subscription series debut with this week’s performances, American soprano Rachel Willis-Sørensen is a regular guest at leading opera houses around the world, known for her diverse repertoire ranging from Mozart to Wagner. Opera engagements in the 2018-19 season include her role debut as Leonora (Il trovatore) at the Teatro Regio, Hélène (Les Vêpres siciliennes) at the Bayerische Staatsoper, Rosalinde in J. Strauss’s Die Fledermaus at Deutsche Oper Berlin and in a televised performance with the Staatskapelle Dresden, Donna Anna (Don Giovanni) at the Metropolitan Opera, and her role debut as the title character in Rusalka at San Francisco Opera. Previous engagements included the Marschallin (Der Rosenkavalier) at Glynde- bourne; Elsa (Lohengrin) at Deutsche Oper Berlin and Opernhaus Zurich; the Countess Almaviva (Le nozze di Figaro) at the Metropolitan Opera and the Wiener Staatsoper; Donna Anna at the Royal Opera House–Covent Garden, Wiener Staatsoper, Houston Grand Opera, and Semperoper Dresden; Eva (Die Meistersinger von Nürnberg) at San Francisco Opera and the Royal Opera House–Covent Garden; Fiordiligi (Così fan tutte) at Los Angeles Opera; Leonore (Fidelio) at the Accademia di Santa Cecilia in Rome; and Leonora (Il trovatore) at the Teatro Regio di Torino. Equally at home on the concert stage, she has performed Strauss’s Four Last Songs multiple times, including notably at HRH Prince Charles’s birthday celebration. Other repertoire includes Mahler’s Eighth Symphony

week 17 guest artists 55 CONCERT 4 2018-19 CHAMBER MUSIC SEASON Pierrot, Mystery, & Romance

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56 and Beethoven’s Ninth, the latter having served for her Boston Symphony and Tanglewood debuts in August 2016, her only previous BSO appearance. Ms. Willis-Sørensen was for three years a member of the ensemble at the Semperoper Dresden, where she sang the title role in Die Lustige Witwe as well as the roles of Fiordiligi (Così fan tutte), Vitellia (La clemenza di Tito), Elettra (Idomeneo), Diemut (Feuersnot), Rosalinde (Die Fledermaus), and Mimì (La bohème). She won first prize at the 2014 Operalia competition in Los Angeles and at the 2011 Hans Gabor Belvedere Singing Competition, and was a winner of the 2010 Metropolitan Opera National Council Auditions. She holds both bachelor and master of music degrees from Brigham Young University and is an alumna of the Houston Grand Opera Studio.

Violeta Urmana Born in Lithuania, Violeta Urmana is one of the most highly sought-after singers of dramatic German and Italian repertoire. At the very beginning of her career, Violeta Urmana made a name for herself worldwide as a highly acclaimed Kundry in Parsifal and as Eboli in Don Carlo. She also sang Azucena, Amneris, Didon, Santuzza, Fidès (Le Prophète), Léonor de Guzman (La Favorite), Judith, Laura (La Gioconda), Adriano Colonna (Rienzi), Fricka, and other roles at the world’s major opera houses. In the years 2001 and 2002 she made the transition to dramatic soprano, singing parts such as Amelia in Un ballo in maschera, Elisabetta in Don Carlo, Leonora in La forza del destino, the Lady in Macbeth, Odabella in Attila, Brünnhilde in Siegfried, Sieglinde in Die Walküre, Isolde in Tristan und Isolde, and the title roles in Aida, La Gioconda, Medea, Tosca, Norma, Iphigénie en Tauride, and Ariadne auf Naxos. As a highly acclaimed concert and recital singer, Ms. Urmana performs music by Mahler, Richard Strauss, Schoenberg, Berlioz, Wagner, and Verdi. She also appears on the world’s most famous opera stages, including New York’s Metropolitan Opera, the Teatro Real in Madrid, the Gran Teatre del Liceu in Barcelona, Opéra National de Paris, Deutsche Oper Berlin, the Vienna State Opera, Teatro alla Scala in Milan, and the Royal Opera House–Covent Garden, in London. Performances at major festivals have taken her to Bayreuth, Salzburg, Aix-en-Provence, and Edinburgh, as well as the BBC Proms and, in 2016, to Tanglewood, where she sang Amneris in a concert performance led by Andris Nelsons of Aida, Acts I and II, her debut appearance with the BSO. She has worked with such conductors as Claudio Abbado, Daniel Barenboim, Bertrand de Billy, Pierre Boulez, Semyon Bychkov, Riccardo Chailly, James Conlon, James Levine, Jesús López-Cobos, Fabio Luisi, Zubin Mehta, Riccardo Muti, Sir Simon Rattle, Donald Runnicles, Esa-Pekka Salonen, Franz Welser- Möst, and Christian Thielemann. Ms. Urmana has received many awards, including the Royal Philharmonic Society Music Award for singers and, in Vienna, the title Österre- ichische Kammersängerin. In her homeland of Lithuania she was awarded the title “Grand Duke Gedeminas of Lithuania” and in Italy “Commendatore dell’Ordine della Stella d’Italia.” The Academy for Music and Theatre in Vilnius has awarded her an honorary degree. Violeta Urmana is a UNESCO Artist for Peace. Ms. Urmana made her BSO subscription series debut last week, as the Zia Principessa in concert performances under Andris Nelsons of Puccini’s Suor Angelica.

week 17 guest artists 57 Your Winter Time Companion

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Download the App Dmytro Popov Making his BSO subscription series debut this week, Ukrainian tenor Dmytro Popov began his career as a soloist with the Kiev National Theatre, where he made his professional debut as Lensky (Eugene Onegin). He came to international attention in 2013 performing the role of Rodolfo (La bohème) at the Royal Opera House–Covent Garden. From there, his global career took off, and he has performed multiple roles across the world at significant opera houses, with highlights including Rodolfo at the Metropolitan Opera, Nicias (Thaïs) at Teatro Regio di Torino, Pinkerton (Madama Butterfly), Cavaradossi (Tosca) and Rodolfo (Luisa Miller) with Deutsche Oper Berlin, Vodemont (Iolanta) with Teatro Real Madrid, Macduff (Macbeth) with Opéra National de Lyon, Andrej (Mazeppa) with Opéra de Monte-Carlo, and Riccardo (Un ballo in maschera) at the Théâtre du Capitôle de Toulouse. Other operatic performances include Tosca at Oper Stuttgart and Dresden Semperoper, La traviata at the Wiener Staatsoper, and La bohème at Bayerische Staatsoper. This coming season, Mr. Popov returns to the Opéra National de Paris for Tchaikovsky’s Iolanta, Semperoper Dresden for Tosca, Oper Köln for Rusalka, and Deutsche Oper Berlin and the Bolshoi Theatre for Un ballo in maschera. Concert appearances will include a tour of Europe performing Verdi’s Requiem. Looking further ahead, Mr. Popov continues to perform at the world’s top opera houses, such as the Metropolitan Opera, Cologne Opera, Dutch National Opera, and Opernhaus Zürich. Last season featured performances of La bohème at the Metropolitan Opera, Semperoper Dresden, and Grand Théâtre de Genève, Rusalka at Wiener Staatsoper, Un ballo in maschera at Deutsche Oper Berlin, and Carmen at

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60 Opernhaus Zurich, followed by his BBC Proms debut performing Verdi’s Requiem. Mr. Popov is well established on the concert platform, having performed such works as Rachmaninoff’s The Bells with the Accademia Nazionale di Santa Cecilia in Rome conducted by Antonio Pappano, the Berlin Philharmonic conducted by Sir Simon Rattle, and the Gürzenich Orches- tra Cologne under Dmitri Kitayenko; this season he performs it with the Orchestre de Paris led by Gianandrea Noseda. Additional concert highlights include Verdi’s Requiem at Tangle- wood in July 2013 (his only previous appearance with the BSO), with the London Philharmonic Orchestra, and in a staged production with Staatsoper Hamburg; A Life for the Tsar at the Festival Radio France, Montpellier, and Carmen in concert at the Verbier Festival under Charles Dutoit. He has recorded Rachmaninoff’s The Bells with the Berlin Philharmonic conducted by Sir Simon Rattle and continues to work with such other conductors as Antonio Pappano, Valery Gergiev, Kent Nagano, Kazushi Ono, and Vladimir Jurowski. In 2003, Mr. Popov became the youngest-ever opera artist to be granted the title “Honored Artist of Ukraine,” which recognizes outstanding contributions to the performing arts. In 2007, he also became a winner of the prestigious Plácido Domingo Operalia Competition.

Matthew Rose Matthew Rose studied at the Curtis Institute of Music before becoming a member of the Young Artist Programme at the Royal Opera House–Covent Garden. In 2006 he made an acclaimed debut at Glyndebourne Festival Opera as Bottom in Britten's A Midsummer Night’s Dream, for which he received the John Christie Award, and he has since performed at opera houses throughout the world. He is artistic consultant to the Metropolitan Opera’s Lindemann Young Artist Development Program and an advisory member of the Mahler Foundation. During the 2017-18 season he was an artist-in- residence at the National Opera Studio in London. Mr. Rose has sung under the baton of Sir Colin Davis, Gustavo Dudamel, Sir Andrew Davis, Vladimir Jurowski, Sir Charles Mackerras, Yannick Nézet-Séguin, and Antonio Pappano. Already a critically acclaimed recording artist, he won a Grammy Award for Best Opera Recording for the role of Ratcliffe in Britten’s Billy Budd. His recordings also include Schubert’s Winterreise with pianist Gary Matthewman and Schwanengesang with Malcolm Martineau, Donizetti’s Poliuto, and Britten’s The Rape of Lucretia. Highlights of Matthew Rose’s 2018-19 season include a return to the Metropolitan Opera as Colline in La bohème and Ashby in Puccini’s La fanciulla del West, Pimen in Mussorgsky’s Boris Godunov at Covent Garden, and Bottom in A Midsummer Night’s Dream for Philadelphia Opera. Forthcoming concert appearances include Mozart’s Requiem with Manfred Honeck and the New York Philharmonic, Nick Shadow in Stravinksy’s The Rake’s Progress with Vladimir Jurowksi and the London Philhar- monic Orchestra, Bartók’s Cantata profana and Haydn’s Lord Nelson Mass with the London Symphony Orchestra, Berlioz’s L’Enfance du Christ with Edward Gardner and the BBC Symphony Orchestra, a recital at London’s Wigmore Hall, and a European concert tour with the Monteverdi Choir. His wide-ranging concert repertoire also includes, among other works, Bach’s B minor Mass and St. Matthew and St. John Passions, Beethoven’s Missa Solemnis, Ninth Symphony, and Mass in C, the title role of Mendelssohn’s Elijah, Verdi’s Requiem, Mussorgsky’s Songs and Dances of Death, Shostakovich’s Symphony No. 14, and Tippett’s A Child of Our Time. Matthew Rose’s only previous appearances with the Boston

week 17 guest artists 61 Exceptional healthcare is a concerted effort.

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Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder

The Tanglewood Festival Chorus joins the BSO this season for performances of Mahler’s Symphony No. 2 (October 25-30), Bach’s Christmas Oratorio (November 29-December 1), Puccini’s Suor Angelica (February 21 and 22), and Dvoˇrák’s Stabat Mater (February 28-March 2) all under Andris Nelsons, and Estévez’s Cantata Criolla (April 11-13) with guest conductor Gustavo Dudamel. Also in October, the TFC performed Maija Einfelde’s Lux aeterna with James Burton, BSO Choral Director and Conductor of the Tanglewood Fes- tival Chorus, making his subscription-series conducting debut. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor, the late John Oliver, who stepped down from his leadership position with the TFC at the end of the 2015 Tanglewood season. In February 2017, following appearances as guest chorus conductor at Symphony Hall and Tanglewood, and having prepared the chorus for that month’s BSO performances of Bach’s B minor Mass led by Andris Nelsons, James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Choral Director. Mr. Burton occupies the Alan J. and Suzanne W. Dworsky Chair on the Boston Symphony Orchestra roster.

Though first established for performances at the BSO’s summer home, the Tanglewood Fes- tival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall; the ensemble now performs year-round with the Boston Symphony and Boston Pops. It has performed with the BSO on tour in Hong Kong and Japan, and on two European tours, also giving a cappella concerts of its own on those two occasions. The TFC made its debut in April 1970 at Symphony Hall, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Per- formance of 1975. The TFC has since made dozens of recordings with the BSO and Boston

week 17 guest artists 63 Listen. The future of music, made here.

Exceptional music, every day. See musicians of tomorrow, today.

boston symphony chamber players at jordan hall sunday, march 3, 3pm Founded in 1964, the Boston Symphony Chamber Players combine the talents of BSO principal players BARBER Summer Music for wind and renowned guest artists to explore the full spectrum quintet, Op. 31 of chamber music repertoire. In March, the Chamber Elena LANGER Five Reflections Players present a highlight of their 2018-19 season, the on Water (world premiere; BSO world premiere of Five Reflections on Water, a new commission) work commissioned by the BSO from the Russian-born ROSSINI Duo in D for cello and British composer Elena Langer. The ensemble’s four- double bass concert series takes place on four Sunday afternoons at Michael GANDOLFI Plain Song, New England Conservatory’s Jordan Hall. Fantastic Dances, for strings and winds

Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

Season Sponsors Tickets: Call 617-266-1200

$38, $29, $22 or visit bso.org. sponsor supporting sponsorlead

64 Pops, with Seiji Ozawa, Bernard Haitink, James Levine, Leonard Bernstein, Sir Colin Davis, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music marking the TFC’s 40th anniversary; Ravel’s complete Daphnis et Chloé (a 2009 Grammy-winner for Best Orchestral Performance), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). On July 4, 2018, the Tanglewood Festival Chorus joined Keith Lockhart for the “Boston Pops Fireworks Spectacular” on the Charles River Esplanade.

Besides their work with the BSO, TFC members have also performed with Zubin Mehta and the Israel Philharmonic and in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan. The ensemble 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 be heard on the soundtracks of 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 and beyond to sing with the chorus in Boston and at Tanglewood. For more information about the Tanglewood Festival Chorus and upcoming auditions, please visit www.bso.org/tfc.

James Burton James Burton was appointed Conductor of the Tanglewood Festival Chorus, and to the newly created position of BSO Choral Director, in February 2017. He made his BSO subscription- series conducting debut in October 2018, leading the Tanglewood Festival Chorus in Maija Einfelde’s Lux aeterna. Born in London, Mr. Burton holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. He began his training at the Choir of Westmin- ster Abbey, where he became head chorister, and was a choral scholar at St. John’s College, Cambridge. He has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata. He made his debut with the Boston Pops in December 2017 and returned to the Pops podium this past December. He is a regular guest of the Orquestra Sinfónica Nacional of Mexico and returns this season to lead performances of Beethoven’s Symphony No. 9 in the Palacio de Bellas Artes in Mexico City. Opera credits include performances at English National Opera, English Touring Opera, Garsington Opera, and the Prague Summer Nights Festival, and he has served on the music staff of the Metropolitan Opera and Opéra de Paris. Mr. Burton’s extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Singers, with whom he performed in the inaugural season of Dubai’s Opera House in 2017. From 2002 to 2009 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. He was music director of Schola

week 17 guest artists 65 Cantorum of Oxford from 2002 to 2017. Mr. Burton is well known for his inspirational work with young musicians. In 2017 he was director of the National Youth Choir of Japan; he has recently conducted the Princeton University Glee Club, Yale Schola Cantorum, and Univer- sity of Kentucky Symphony. In 2018 he founded the Boston Symphony Children’s Choir. Mr. Burton has given conducting master classes at the Royal Academy of Music in London and at the Tanglewood Music Center, and founded a scholarship for young conductors at Oxford. His growing composition portfolio includes works for commissioners including the National Portrait Gallery in London, the 2010 World Equestrian Games, the Choir of St. John’s College, Cambridge, and the Exon Festival, where he was composer-in-residence in 2015. In July 2019, Mr. Burton will conduct the Boston Symphony Children’s Choir and Boston Symphony Orchestra in the world premiere of his The Lost Words, as part of next summer’s gala Tanglewood on Parade concert. He is currently working on a major new piece commissioned by the Hallé Orchestra. His works are published by Edition Peters. As BSO Choral Director and Conductor of the Tanglewood Festival Chorus, James Burton occupies the Alan J. and Suzanne W. Dworsky chair, endowed in perpetuity.

Sunday, March 17, 2019 12noon and 3pm Symphony Hall BOSTON YOUTH SYMPHONY Federico Cortese, Conductor Edward Berkeley, Stage Director Vocal soloists Sung in English, devised for children ages 6 and older TICKETS Adults $20, Children $5 Visit BYSOweb.org or call SymphonyCharge at 888-266-1200

BYSO/BSO: Partnering for the Future

66 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver (1939-2018), Founder

(Dvoˇrák Stabat Mater, February 28 and March 1 and 2, 2019)

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

Debra Benschneider • Michele Bergonzi # • Jeni Lynn Cameron • Catherine C. Cave # • Anna S. Choi • Tori Lynn Cook • Emily Cotten • Emilia DiCola • Sarah Evans • Jodie-Marie Fernandes • Diana Gamet • Bonnie Gleason • Jillian Griffin • Carrie Louise Hammond • Cynde Hartman • Alyssa Hensel • Donna Kim # • Lizabeth Malanga • Lisa Nielsen • Johanna Schlegel • Stephanie Steele • Dana R. Sullivan • Jessica Taylor • Sarah Telford # mezzo-sopranos

Virginia Bailey • Martha Reardon Bewick • Betsy Bobo • Lauren A. Boice • Janet L. Buecker • Abbe Dalton Clark • Olivia de Geofroy • Melanie Donnelly • Debra Swartz Foote • Amy Spound Friedman • Irene Gilbride* • Julie Hausmann • Susan L. Kendall • Yoo-Kyung Kim • Nora Kory • Sarah Labrie • Gale Tolman Livingston* • Kristen McEntee • Louise Morrish • Tracy Elissa Nadolny • Fumiko Ohara* • Andrea Okerholm Huttlin • Roslyn Pedlar # • Julie Steinhilber* • Lelia Tenreyro-Viana • Brittany Walker • Marguerite Weidknecht # • Karen Thomas Wilcox • Janet Wolfe tenors

Quincy Cason • Stephen Chrzan • Andrew Crain # • John Cunningham • Tom Dinger • Keith Erskine • Len Giambrone • William Hobbib • Kwan H. Lee • Lance Levine • Daniel Mahoney • Mark Mulligan • Dwight E. Porter§ • Guy F. Pugh • Peter Pulsifer • Miguel A. Rodriguez • Arend Sluis • Stratton Vitikos • Andrew Wang • Joseph Y. Wang • Hyun Yong Woo • Benjamin Woodard • Eytan Wurman basses

Scott Barton • Eric Chan • Matthew Collins • James W. Courtemanche • William Farrell • Jeff Foley • Jim Gordon • Jay S. Gregory # • Jeramie D. Hammond • David M. Kilroy • Paul A. Knaplund • Bruce Kozuma # • Timothy Lanagan # • Dan Ludden • Martin F. Mahoney II • Greg Mancusi-Ungaro • Ben Orenstein • Donald R. Peck # • Steven Rogers • Peter Rothstein§ • Jonathan Saxton • Karl Josef Schoellkopf # • Andrew Scoglio • Kenneth D. Silber • Nathan Simani • Charles Sullivan • Stephen Tinkham • Alex Weir • Andrew S. Wilkins • Lawson L.S. Wong

Ian Watson, Rehearsal Pianist and Assistant Chorus Conductor Brett Hodgdon, Rehearsal Pianist Jennifer Dilzell, Chorus Manager Micah Brightwell, Assistant Chorus Manager

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

ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous seven and one half million Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Sally ‡ and Michael Gordon five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

70 one million Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. ‡ • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Josh and Jessica Lutzker • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg ‡ • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert ‡ and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12) ‡ Deceased

week 17 the great benefactors 71 ONE DAY UNIVERSITY® at Tanglewood Sunday, June 23, 9:30am – 1:15pm Ozawa Hall at General Registration: $159 Impactful Immigration, register today! Life Changing Books event schedule & Musical Masterpieces

for One Day University, the acclaimed lifelong learning series, returns to june 23, 2019 Tanglewood for the ninth year! Join these award-winning professors from • lectures take place three renowned schools, each presenting their best lecture in Ozawa Hall. in ozawa hall • American Immigration: What’s Fact and What’s Fiction? 9:30–9:40am Introduction Jeffrey Engel, Founding Director of the Center for Presidential History at Southern Methodist University. 9:40–10:45am Jeffrey Engel, The United States is a nation of immigrants, a beacon of hope and liberty Southern Methodist peoples around the world have struggled to reach. Yet Americans have not University always welcomed new arrivals with open arms. From colonial days to the present, debates over immigration help define whom Americans are, what 10:45–10:55am Break they believe their country has and should be, and reveal most of all each 10:55am–12pm JOSEPH LUZZI, generation’s politics and priorities. Professor Engel will explore current Bard College debates over immigration reform and what does it actually mean to hold out a beacon to the world’s “tired, poor, huddled masses”? 12–12:10pm Break Three Remarkable Books That Changed America 12:10–1:15pm ANNA CELENZA, Joseph Luzzi, Professor of Literature at Bard College Georgetown What three books are a must for every lover of literature? And how did University each of these groundbreaking works, in its unique way, “change America”? Registration includes: Award-winning scholar and teacher Professor Joseph Luzzi will explore this question with participants in a presentation devoted to exploring the riches • All three professor presentations of literary expression. We will discuss world-renowned works including • VIP Parking Harper Lee’s To Kill a Mockingbird, Ralph Ellison’s Invisible Man, and • 10% off 6/23 Meals-to-Go Joseph Heller’s Catch 22. Participants will be encouraged to develop their own list of “essential reading,” as Professor Luzzi helps them acquire the skills necessary for enriching their encounters with books of all kinds in our ever-changing society.

Three Musical Masterpieces That Changed America Anna Celenza, Professor of Music at Georgetown University Music permeates our lives. Thanks to technology, it is always with us… via the radio, our smart phones, TV commercials, film music, even the streamed music at our local malls and favorite restaurants. Technology has made it easy for us to put music in the background. The goal of this lecture To register visit is to bring it front and center again. As Professor Celenza will demonstrate, music does not simply reflect culture…it changes it. To demonstrate tanglewood.org/onedayu just how such changes come about, she will highlight Three Musical Masterpieces That Changed America that changed America. These include: or call 888-266-1200 a bawdy 18th-century drinking tune that eventually defined American patriotism, a 1980s pop album that changed American foreign policy, and a hit Broadway musical that redefined the way many of us think about the founding of America and it’s earliest years as an independent country.

ONE DAY UNIVERSITY at Tanglewood • For more information, call Hester Breen at 617-638-9270 Administration

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Lisa Bury, Interim Chief Development Officer Sue Elliott, Judith and Stewart Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Leslie Wu Foley, Helaine B. Allen Director of Education and Community Engagement Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Chief Strategy Officer and Clerk of the Corporation Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Colin Bunnell, Library Administrative Assistant • Bridget P. Carr, Blanche and George Jones Director of Archives and Digital Collections • Jennifer Dilzell, Senior Chorus Manager • Sarah Funke Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the President and Chief Executive Officer • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

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

Kathleen Donahue, Controller • Mia Schultz, Director of Risk Management • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Accountant • Jared Hettrick, Business Office Administrator • Erik Johnson, Senior Financial Analyst • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Michael Scarlata, Accounts Payable Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 17 administration 73

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74 corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

Nina Jung Gasparrini, Director of Donor and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Interim Director of Individual Giving • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Laine Carlucci, Assistant Manager, Donor Relations • Diane Cataudella, Associate Director, Donor Relations • Stephanie Cerniauskas, Executive Assistant • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Individual Giving Coordinator • Emily Fritz-Endres, Assistant Director of Board Administration • Barbara Hanson, Senior Major Gifts Officer • Michelle Houle, Individual Giving Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Associate Director of Individual Giving, Annual Funds • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Francis Rogers, Major Gifts Officer • Laura Sancken, Board Engagement Officer • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer education and community engagement

Jenna Goodearl, Program Director, Youth and Family Initiatives • Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

week 17 administration 75 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter • Rob Williams, Human Resources Generalist information technology Timothy James, Director of Information Technology Andrew Cordero, IT Services Analyst • Ana Costagliola, Senior Database Analyst • Isa Cuba, IT Services Team Leader • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, IT Services Analyst public relations

Matthew Erikson, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications James T. Connolly, Program Publications Coordinator and Pops Program Editor • Robert Kirzinger, Associate Director of Program Publications sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs and Group Sales • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Thomas Vigna, Group Sales and Marketing Associate • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director and Dean of Fellows • Matthew Szymanski, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 17 administration 77 GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

Boston Gourmet is proud to be the exclusive caterer of the Boston Symphony Orchestra

GOURMETCATERERS.COM/BSO • BSO.ORG Boston Symphony Association of Volunteers executive committee Chair, Jerry Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

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

BOSTON PHILHARMONIC ORCHESTRA IVES & MAHLER FRIDAY, APRIL 26, 8:00PM SYMPHONY HALL BOSTON PHILHARMONIC YOUTH ORCHESTRA WAGNER/PROKOFIEV/TCHAIKOVSKY/MAHLER SUNDAY, APRIL 14, 3:00PM SYMPHONY HALL ASSAD & DVORAK SUNDAY, MAY 12, 3:00PM SANDERS THEATRE

TICKETS FROM $15 / STUDENTS $10 / CALL 617.236.0999 BUY TICKETS AT BOSTONPHIL.ORG

week 17 administration 79 Next Program…

Thursday, March 7, 8pm Friday, March 8, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) Saturday, March 9, 8pm

thomas adès conducting

liszt “mephisto waltz” no. 1

thomas adès concerto for piano and orchestra (2019)

I. Allegramente (q = 112)

II. Andante gravemente (e = 66 intimo)

III. Allegro giojoso (q = 120) kirill gerstein

{intermission}

tchaikovsky symphony no. 4 in f minor, opus 36 Andante sostenuto—Moderato con anima Andantino in modo di canzone Scherzo (Pizzicato ostinato): Allegro Finale: Allegro con fuoco

BSO Artistic Partner Thomas Adès returns for a program featuring the world premiere of his own second piano concerto—his Concerto for Piano and Orchestra—commissioned by the BSO and composed for Kirill Gerstein, a frequent collaborator. Whereas Adès’s first piano concerto,In Seven Days (also written for Kirill Gerstein), was a concerto doubling as tone poem with its narrative impetus derived from the Book of Genesis, his new Concerto for Piano and Orchestra comes from the abstract heart of the genre. The three-movement, fast-slow-fast overall form, within- movement architecture, and use of clearly audible motifs have their foundations in the tradition of Mozart, Beethoven, and Brahms, even as Adès’s individual musical voice is everywhere apparent.

Also in these concerts Mr. Adès leads the orchestra in two Romantic-era scores. Franz Liszt’s Mephisto Waltz depicts a scene from Nicolaus Lenau’s 1836 poem Faust in which Mephistopheles plays demonically on a fiddle during a wedding. Tchaikovsky’s emotionally intense and magnificently orchestrated Fourth Symphony, completed in 1878, represents the culmination of a traumatic period in the composer’s life.

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

Sunday, March 3, 3pm Thursday ‘C’ March 14, 8-9:40 Jordan Hall, New England Conservatory Friday Evening March 15, 8-9:40 (Non-subscription) BOSTON SYMPHONY CHAMBER PLAYERS Saturday ‘A’ March 16, 8-9:40 BARBER Summer Music for wind quintet, Op. 31 ANDRIS NELSONS, conductor ELENA LANGER Five Reflections on Water RENÉE FLEMING, soprano (world premiere; ALL- Sextet, Moonlight Music, BSO commission) STRAUSS and Final Scene from the ROSSINI Duo in D for cello and PROGRAM opera Capriccio double bass Also sprach Zarathustra MICHAEL Plain Song, Fantastic Dances, GANDOLFI for strings and winds Friday, March 15, 8pm Jordan Hall, New England Conservatory Thursday ‘A’ March 7, 8-10 Special recital, a co-presentation with Friday ‘B’ March 8, 1:30-3:30 Celebrity Series of Boston Saturday ‘B’ March 9, 8-10 THOMAS ADÈS, piano THOMAS ADÈS, conductor KIRILL GERSTEIN, piano KIRILL GERSTEIN, piano DEBUSSY En blanc et noir, for two pianos LISZT Mephisto Waltz No. 1 STRAVINSKY Symphony of Psalms, for two THOMAS ADÈS Concerto for Piano and pianos (arr. Shostakovich) Orchestra (world premiere; LUTOSŁAWSKI Variations on a Theme by BSO commission) Paganini TCHAIKOVSKY Symphony No. 4 DEBUSSY Lindaraja, for two pianos THOMAS ADÈS Concert paraphrase on Powder Her Face, for two pianos RAVEL Rapsodie espagnole, for two pianos

The BSO’s 2018-19 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

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

week 17 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Office at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 17 symphony hall information 83 Subscriber Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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