2017–18 season andris nelsons music director

week 8 beethoven bruckner

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 8

7 bso news 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 23 parallel paths in early 20th-century music by jean-pascal vachon 3 2 this week’s program

Notes on the Program

34 The Program in Brief… 35 Ludwig van Beethoven 43 Anton Bruckner 53 To Read and Hear More…

Guest Artist

57 Rudolf Buchbinder

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

the friday preview on november 24 is given by bso director of program publications marc mandel.

program copyright ©2017 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Hilary Scott cover design by BSO Marketing

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Two Japanese legends go head-to-head. Are you #TeamKuniyoshi or #TeamKunisada?

Through December 10

Presented with support from the Patricia B. Jacoby Exhibition Fund and an anonymous funder. Left: Utagawa Kuniyoshi, Nozarashi Gosuke (detail), about 1845. Woodblock print (nishiki-e); ink and color on paper. William Sturgis Bigelow Collection. Right: Utagawa Kunisada, The In-demand Type (Yoku ureso) (detail), 1820s. Woodblock print (nishiki-e); ink and color on paper. Nellie Parney Carter Collection—Bequest of Nellie Parney Carter. 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 137th season, 2017–2018 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Susan Bredhoff Cohen, Co-President • Robert J. Mayer, M.D., Co-President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • John M. Loder, Vice-Chair • Theresa M. Stone, Treasurer

William F. Achtmeyer • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Richard F. Connolly, Jr. • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Levi A. Garraway • Michael Gordon • Nathan Hayward, III • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Martin Levine, ex-officio • Joyce Linde • Nancy K. Lubin • Joshua A. Lutzker • Carmine A. Martignetti • Steven R. Perles • John Reed • Carol Reich • Arthur I. Segel • Wendy Shattuck • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • 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. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weber • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Eunice and Julian Cohen Managing Director • Evelyn Barnes, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc.

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

Nathaniel Adams • Noubar Afeyan • James E. Aisner • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • 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 • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Alexandra J. Fuchs • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. •

week 8 trustees and overseers 3

photos by Michael Blanchard and Winslow Townson

Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Mark Jung • Karen Kaplan • Steve Kidder • John L. Klinck, Jr. • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Lina S. Plantilla, M.D. • Irving H. Plotkin • 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. • 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. • Nicole Stata • Margery Steinberg, Ph.D. • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • 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 • Harriett Eckstein • 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 • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Everett L. Jassy • 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 • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

week 8 trustees and overseers 5 WEALTH IS MORE THAN ACCUMULATING ASSETS.

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Andris Nelsons Named 2018 Artist of the Year by “Musical America” BSO Music Director Andris Nelsons has been named Musical America’s 2018 Artist of the Year. Recognizing artistic excellence and achievement in the arts, the 57th annual Musical America Awards were announced on October 17. Maestro Nelsons and the other honor- ees will receive their awards in a special ceremony at Carnegie Hall in December, in an event also marking the publication of the 2018 Musical America International Directory of the Performing Arts, which will feature Andris Nelsons on its cover and, in addition to its comprehensive industry listings, pay homage to each of the 2018 winning artists in its editorial pages. Now in its third century, Musical America is an indispensable resource for the performing arts world. The other winners for 2018 are Mason Bates (Composer of the Year), violinist Augustin Hadelich (Instrumentalist of the Year), soprano Sondra Radvanovsky (Vocalist of the Year), and Francisco J. Núñez, who founded the Young People’s Chorus of New York City in 1988 (Educator of the Year). The article paying tribute to Andris Nelsons in Musical America’s 2018 International Directory is by Brian McCreath, producer of the BSO’s broadcasts for WCRB and WGBH, and can be read online at www.musicalamerica.com/features.

New England Conservatory and BSO Present “What I Hear” on Thursday, November 30, at 6pm, Free and Open to the Public at NEC’s Williams Hall For this season’s first “What I Hear” event, American composer Derek Bermel, whose Elixir (2006) will be performed by the BSO later the same evening, curates a free program of chamber music on Thursday, November 30, at 6 p.m. at New England Conservatory’s Williams Hall. Bermel and a student pianist will open the program with Leonard Bern- stein’s Sonata for clarinet and piano, followed by New England Conservatory musicians performing Bermel’s Coming Together for clarinet and cello, and his Death with Interruptions for piano trio. In addition, BSO Assistant Artistic Administrator Eric Valliere will lead a conversation with the composer.

week 8 bso news 7

“Boston Symphony Orchestra: Complete Recordings on Deutsche Grammophon” Available at Symphony Shop and at bso.org “Boston Symphony Orchestra: Complete Recordings on Deutsche Grammophon” is a limited-edition, 57-CD boxed set of the BSO’s recorded legacy on that label, reflecting the orchestra’s spirit and character over a period spanning the years 1969 to 2017. Conductors include music directors William Steinberg, Seiji Ozawa, and Andris Nelsons, as well as Claudio Abbado, Leonard Bernstein, Charles Dutoit, Eugen Jochum, Rafael Kubelik, André Previn, Michael Tilson Thomas, and John Williams. Instru- mental soloists include, among others, Christoph Eschenbach, Gidon Kremer, Anne-Sophie Mutter, Itzhak Perlman, Mstislav Rostropovich, Gil Shaham, and Krystian Zimerman. Among the contents are six discs of recordings by the Boston Symphony Chamber Players; the first release of Shostakovich’s Symphony No. 6 led by Andris Nelsons; and previously unreleased recordings under Seiji Ozawa of Brahms’s Symphony No. 2 and the overture to Rossini’s Semiramide. A lavishly illustrated booklet includes introductory essays by former recordings producer Thomas Mowrey and BSO Director of Program Publications Marc Mandel, and the individual CD sleeves repro- duce the cover artwork of the original releases. “Boston Symphony Orchestra: Complete Recordings on Deutsche Grammophon” is available for $199.95 in the Symphony Shop and at bso.org.

latest release on bso classics!

Recorded live at Symphony Hall in November 2016

Available at the Symphony Shop and at bso.org

3 CDs $34.99

week 8 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. The speakers for this fall include Marc Mandel (September 29, October 27, November 24), Robert Kirzinger (October 6, December 1), and composer/pianist Jeremy Gill (November 17). individual tickets are on sale for all concerts in the bso’s 2017-2018 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 Kristin and Roger Servison forty years of service, Roger held such Concert, Tuesday, November 21, 2017 executive roles as executive vice-president, The performance on Tuesday evening is managing director, president of Fidelity supported by a generous gift from Great Investments Retail Marketing Company, Benefactors Kristin and Roger Servison. senior vice-president of Fidelity Broker- Roger became a Life Trustee in 2016 and age Services, and senior vice-president of previously served on the BSO Board of Trust- Fidelity Capital. Roger and Kristin have been ees beginning in 2001. He was elected to involved with a number of non-profit orga- the BSO Board of Overseers in 1996 and pre- nizations, including Historic New England, viously served as a vice-chair of the Board of Museum of Fine Arts, Boston, Tenacity, Trustees from 2003 to 2013. Winsor School, Japan Society of Boston, Vincent Memorial Hospital, and Pioneer Kristin and Roger have been BSO subscribers Institute, among others. for nineteen years; they also attend Holiday Pops, Spring Pops, and Tanglewood perform- ances. “The BSO has been such an important BSO Broadcasts on WCRB part of our lives, and we’ve enjoyed introduc- BSO concerts are heard on the radio at ing our daughter to the joys of the Symphony 99.5 WCRB. Saturday-night concerts are through Tanglewood and the Family Concert broadcast live at 8 p.m. with host Ron Della programs,” they have said. Kristin and Roger Chiesa, and encore broadcasts are aired on have served on the benefactor committee Monday nights at 8 p.m. In addition, inter- for Opening Night at Pops and Symphony for views with guest conductors, soloists, and many years. They have endowed a BSO first BSO musicians are available online at clas- violin chair, currently held by Valeria Vilker sicalwcrb.org/bso. Current and upcoming Kuchment. The Servisons have also generously broadcasts include this Saturday’s program supported the Artistic Initiative, Immediate of Beethoven and Bruckner with Andris Impact Fund, Symphony Annual Fund, and Nelsons and pianist Rudolf Buchbinder Opening Nights. They are members of the Hig- (November 24; encore December 4); and ginson Society at the Virtuoso level, as well as music of Derek Bermel, Prokofiev, and the Walter Piston Society. Roger has served Strauss with Maestro Nelsons and violinist on many board committees over the years. Leonidas Kavakos (December 2; encore Roger is the former president of Strategic December 11). Saturday broadcasts in New Business Development of Fidelity December will continue with encore pre- Investments. He joined Fidelity in 1976 as sentations of concerts from the BSO’s 2017 vice-president of marketing. During his Tanglewood season: this past summer’s

week 8 bso news 11 TRIAL BY FIRE: JOAN OF ARC AND THE HUNDRED YEARS’ WAR

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12 August 6 program of Mozart and Schumann and access to the BSO’s online newsletter with cellist Yo-Yo Ma and conductor David InTune, as well as invitations to exclusive Zinman (December 9), and the July 14 donor events such as BSO and Pops working program of Ravel, Haydn, and Mozart with rehearsals, and much more. Friends member- Andris Nelsons and pianist Daniil Trifonov ships start at just $100. To join our commu- (December 16). nity of music lovers in the Friends of the BSO, contact the Friends Office at (617) 638-9276 or [email protected], or join online at Join Our Community of bso.org/contribute. Music Lovers— The Friends of the BSO Planned Gifts for the BSO: Attending a BSO concert at Symphony Hall Orchestrate Your Legacy is a communal experience—thousands of concertgoers join together to hear 100 There are many creative ways that you can musicians collaborate on each memorable support the BSO over the long term. Planned performance. Without an orchestra, there is gifts such as bequest intentions (through no performance, and without an audience, your will, personal trust, IRA, or insurance it is just a rehearsal. Every single person is policy), charitable trusts, and gift annuities important to ensuring another great expe- can generate significant benefits for you rience at Symphony Hall. There’s another now while enabling you to make a larger gift community that helps to make it all possible, to the BSO than you may have otherwise one that you might not notice while enjoying thought possible. In many cases, you could a concert—the Friends of the BSO. Every $1 realize significant tax savings and secure the BSO receives through ticket sales must an attractive income stream for yourself be matched by an additional $1 of contribut- and/or a loved one, all while providing valu- ed support to cover annual expenses. Friends able future support for the performances of the BSO help bridge that gap, keeping the and programs you care about. When you music playing to the delight of audiences all establish and notify us of your planned year long. In addition to joining a commu- gift for the Boston Symphony Orchestra, nity of like-minded music lovers, becoming you will become a member of the Walter a Friend of the BSO entitles you to benefits Piston Society, joining a group of the BSO’s that bring you closer to the music you cher- most loyal supporters who are helping to ish. Friends receive advance ticket ordering ensure the future of the BSO’s extraordi- privileges, discounts at the Symphony Shop, nary performances. Members of the Piston

Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance onon Huntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

week 8 bso news 13

Society—named for Pulitzer Prize-winning to Paradise Garden and Rimsky-Korsakov’s composer and noted musician Walter Piston, Scheherazade. For ticket information, visit who endowed the Principal Flute Chair with wellesleysymphony.org or call (781) 235-0515. a bequest—are recognized in several of our The Concord Chamber Music Society, found- publications and offered a variety of exclu- ed by BSO violinist Wendy Putnam, presents sive benefits, including invitations to various the Calidore String Quartet (Jeffrey Myers events in Boston and at Tanglewood. If you and Ryan Meehan, violins, Jeremy Berry, would like more information about planned viola, and Estelle Choi, cello) performing gift options and how to join the Walter Pis- works by Haydn, Caroline Shaw, and Men- ton Society, please contact Jill Ng, Director delssohn on Sunday, November 26, at 3 p.m. of Planned Giving and Senior Major Gifts (pre-concert lecture at 2 p.m.) at the Con- Officer, at (617) 638-9274 or [email protected]. cord Academy Performing Arts Center, We would be delighted to help you orches- 166 Main Street, Concord, MA. Tickets are trate your legacy with the BSO. $47 and $38 (discounts for seniors and students). For more information, visit www. Friday-afternoon Bus Service concordchambermusic.org or call (978) to Symphony Hall 371-9667. If you’re tired of fighting traffic and search- ing for a parking space when you come to Those Electronic Devices… Friday-afternoon Boston Symphony concerts, As the presence of smartphones, tablets, why not consider taking the bus from your and other electronic devices used for com- community directly to Symphony Hall? The munication, note-taking, and photography BSO is pleased to continue offering round- has increased, there have also been continu- trip bus service on Friday afternoons at cost ing expressions of concern from concertgoers from the following communities: Beverly, and musicians who find themselves distracted Canton, Cape Cod, Concord, Framingham, not only by the illuminated screens on these the South Shore, Swampscott, Wellesley, devices, but also by the physical movements Weston, and Worcester in Massachusetts; that accompany their use. For this reason, Nashua, New Hampshire; and Rhode Island. and as a courtesy both to those on stage and In addition, we offer bus service for selected those around you, we respectfully request concerts from the Holyoke/Amherst area. that all such electronic devices be completely Taking advantage of your area’s bus service turned off and kept from view while BSO per- not only helps keep this convenient service formances are in progress. In addition, please operating, but also provides opportunities also keep in mind that taking pictures of the to spend time with your Symphony friends, orchestra—whether photographs or videos— meet new people, and conserve energy. For is prohibited during concerts. Thank you very further information about bus transportation much for your cooperation. to Friday-afternoon Boston Symphony con- certs, please call the Subscription Office at (617) 266-7575. Comings and Goings... Please note that latecomers will be seated BSO Members in Concert by the patron service staff during the first convenient pause in the program. In addition, BSO cellist Owen Young is soloist in Tchai- please also note that patrons who leave the kovsky’s Variations on a Rococo Theme with auditorium during the performance will not the Wellesley Symphony Orchestra led by be allowed to reenter until the next conve- former BSO violinist Max Hobart on Sunday, nientpause in the program, so as not to dis- November 19, at 3 p.m. (pre-concert talk turb the performers or other audience mem- at 2:15) at MassBay Community College bers while the music is in progress. We thank Auditorium, 50 Oakland Street, Wellesley. you for your cooperation in this matter. Also on the program are Delius’s The Walk

week 8 bso news 15 Modern luxury and waterfront living. The perfect ensemble.

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617.657.1000 • LOVEJOYBOSTON.COM on display in symphony hall Using archival materials displayed on the orchestra and first-balcony evelsl of Symphony Hall, this season’s BSO Archives exhibit recognizes three significant anniversaries. celebrating the bernstein centennial Anticipating the 100th anniversary on August 25, 2018, next summer of Leonard Bernstein’s birth, the Archives has assembled materials documenting Bernstein’s Boston roots and his deep, lifelong connection with the BSO, Tanglewood, and the Tanglewood Music Center. • An exhibit in the Brooke Corridor focuses on Bernstein’s early connections with Boston and the BSO. • An exhibit case on the first balcony, audience-right, is devoted to the world premiere of Bernstein’s opera Trouble in Tahiti on June 12, 1952, as part of a Creative Arts Festival at Brandeis University in which many BSO members performed. • An exhibit case on the first balcony, audience-left, documents BSO performances of Bee- thoven’s Missa Solemnis at Tanglewood in 1951, 1955, and 1971 led by Leonard Bernstein in memory of his mentor, BSO conductor Serge Koussevitzky. • A display in the Cabot-Cahners Room of photographs, musical scores, and memorabilia documents the BSO premieres of works by Leonard Bernstein and BSO-commissioned works by Bernstein himself. marking the 100th anniversary of the bso’s first recordings in 1917 One hundred years ago the BSO traveled to Camden, New Jersey, to make its very first recordings for the Victor Talking Machine Co. (later RCA Victor). • An exhibit near the backstage door in the Brooke Corridor focuses on the turbulent World War I era during which the BSO’s first recordings were made. • A display on the first balcony, audience-left, documents the BSO’s first recording sessions of October 2-5, 1917. marking the 60th anniversary of the boston youth symphony orchestras (byso) • In the Hatch Corridor, material on loan from the BYSO Archives documents both its own history and its ongoing partnership with the BSO.

TOP OF PAGE, LEFT TO RIGHT: Leonard Bernstein and his mentor Serge Koussevitzky at Tanglewood, c.1946 (photo by Heinz H. Weissen- stein, Whitestone Photo) Label from one of the BSO’s first commercial recordings, the Prelude to Act III of “Lohengrin” led by Karl Muck BYSO’s founding music director, Dr. Marvin J. Rabin, with members of the orchestra, c.1960 (courtesy BYSO)

week 8 on display 17 Marco Borggreve

Andris Nelsons

In October 2017, BSO Music Director Andris Nelsons was named Musical America’s 2018 Artist of the Year. In 2017-18, his fourth season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in twelve wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in March. Also this season, in November, he and the orchestra toured Japan together for the first time, playing concerts in Nagoya, Osaka, Kawasaki, and Tokyo. In addition, in February 2018 Maestro Nelsons becomes Gewandhauska- pellmeister of the Gewandhausorchester Leipzig, in which capacity he will bring both orchestras together for a unique multi-dimensional alliance; under his direction, the BSO celebrates its first “Leipzig Week in Boston” that same month. In the summer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. Following the 2015 Tanglewood season, he and the BSO undertook a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany, Austria, and Luxembourg, took place in May 2016.

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 Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Sym- phony No. 2—was released in November 2014 on BSO Classics. April 2017 brought the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting, recorded live at Symphony Hall in November 2016. In an ongoing, multi- year collaboration with Deutsche Grammophon initiated in 2014-15, he and the BSO are making live recordings of Shostakovich’s complete symphonies, the opera Lady

18 Macbeth of Mtsensk, and other works by the composer. The first release in this series (the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk) won the 2016 Grammy Award for Best Orchestral Performance and Gramophone Magazine’s Orchestral Award. The second release (symphonies 5, 8, and 9, plus excerpts from Shostakovich’s 1932 incidental music to Hamlet) won the 2017 Grammy for Best Orchestral Performance. Also for Deutsche Grammophon, Andris Nelsons is record- ing the Bruckner symphonies with the Gewandhausorchester Leipzig and the Beetho- ven symphonies with the Vienna Philharmonic.

In 2017-18, Andris Nelsons is artist-in-residence at the Konzerthaus Dortmund and continues his regular collaboration with the Vienna Philharmonic, leading that orchestra on tour to China. He also maintains regular collaborations with the Royal Concert- gebouw Orchestra of Amsterdam, the Berlin Philharmonic, the Bavarian Radio Sym- phony Orchestra, and the Philharmonia Orchestra. Maestro Nelsons has also been a regular guest at the Bayreuth Festival and at the Royal Opera House, Covent Garden, where he conducts a new David Alden production of Lohengrin this season.

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. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 8 andris nelsons 19 Boston Symphony Orchestra 2017–2018

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

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

week 8 boston symphony orchestra 21 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. Parallel Paths in Early 20th-Century Music by Jean-Pascal Vachon

Canadian-born musicologist Jean-Pascal Vachon discusses five early 20th-century works being performed by the BSO in the coming months—Strauss’s “Alpine Symphony” (November 30-December 2), Webern’s Passacaglia (January 11-13), Stravinsky’s “Firebird” (also January 11-13), Ravel’s “Daphnis et Chloé” (February 15-17), and Debussy’s “Jeux” (March 1-3).

All the signs were there: after ruling Western music for centuries, tonality—a harmonic system that organizes musical compositions around a central pitch—was showing signs of fatigue, the Austro-German musical tradition was no longer considered as the only valid one, traditional musical forms seemed ready to burst at the seams.... As the Paris-born American composer Edgard Varèse put it: “composers could not live much longer by tradition. The world was changing and they had to change with it.” Béla Bartók also captured the feeling shared by several of his contemporaries: “[T]he excesses of the Romanticists began to be unbearable for many. There were composers who felt: ‘this road does not lead us anywhere; there is no other solution but a complete break with the 19th century.’” Obviously, this new century needed new music.

RICHARD STRAUSS embodies the conflicts faced by a composer of the 19th century facing the world in the 20th century. While admittedly one of the forefathers of mod- ernism—the depiction, for example, of sadistic and decadent characters in his opera Elektra was translated into harsh dissonances and vocal outbursts verging on cries that stretched tonality to its utter limits—Strauss owed his reputation to the essentially 19th-century genres of the tone poem—he composed six between 1888 and 1898—and opera, of which he composed a dozen between 1905 and the early 1940s.

A “symphony” in name only, “An Alpine Symphony,” Opus 64 (1911-15) is a tone poem made up of twenty-two continuous sections of music evoking the climb and descent of an Alpine mountain, from daybreak to dusk. Nothing is missing in this quasi- cinematographic evocation of nature, from the pasture to the glacier, from the waterfall to the storm. Completed in 1915, when the musical landscape now included Schoenberg, Stravinsky, and Bartók with jazz not too far away, this tone poem, the archetypal roman- tic form, seems like an anachronistic anomaly, albeit a glorious one. And Strauss knew it better than any other: An Alpine Symphony would be his last work in the genre.

Meanwhile, around the same time, Europe’s culture was dominated by two intellectual centers—Paris and Vienna. The latter, the capital of the Austro-Hungarian empire, was from a musical vantage point equidistant to the North and the South, where, to quote historian Eric Salzman: “the contrapuntal and instrumental techniques from the German mingled with the operatic and instrumental styles of Italy.” Vienna, whose musical life included Gustav Mahler at the head of the Court Opera, was enjoying a cultural and intellectual golden age, unaware that in only a few years Berlin would oust it as the Germanic musical capital. Despite the weight of conservatism intrinsic to turn-of-the

week 8 parallel paths 23 Boston ChamBer musiC soCiety

Debussy Centennial Highlighting the music of Debussy (1862–1918) with performances of his string quartet and three sonatas

Sun. 1/7 • 3 PM | Sanders Theatre Sun. 2/18 • 3 PM | Sanders Theatre Dohnányi Serenade in C for String Trio, Op. 10 Beethoven Serenade in D for Flute, Violin & Viola Debussy String Quartet in G minor, Op. 10 Walton Piano Quartet in D minor Dvořák String Sextet in A major, Op. 48 Debussy Sonata for Flute, Viola & Harp, L. 137 with violist Kim Kashkashian with flutist Paula Robison & harpist Jessica Zhou 617.349.0086 • www.bostonchambermusic.org

24 Richard Strauss (1864-1949) Anton Webern (1883-1945)

century Viennese society, a new generation of composers, headed by Arnold Schoen- berg, was determined to shake things up. And while Mahler became their hero in his fight against adversity, his conception of “symphony as world” was nevertheless reject- ed: music didn’t have to be “expressive” of, or reduced merely to serve, a narrative, but should, rather, become self-sufficient and claim its autonomy.ANTON WEBERN, espe- cially, adopted this stance.

Webern’s Passacaglia, Opus 1 (1908) plays a dual role in his evolution as a composer: a “passing examination” after four years of studying with Schoenberg, and the first step of a body of works characterized by musical integrity and technical fastidiousness. On the surface, the Passacaglia may seem to stand quite apart from the rest of his production. After all, Webern’s music is known for its extreme concision and concentration while the Passacaglia shows him at his most expansively romantic. Yet the individuality of the timbres, the refined sound, the care given to the structure, the scrupulous placement of each note, the use of silence—all are unmistakably “Webernian.” Composed in the aftermath of Webern’s mother’s passing, the Passacaglia, his longest continuous move- ment, is also his last piece for standard orchestra used in a conventional way.

Almost 800 miles to the west of Vienna, in Paris, literature and visual arts were flourishing and music was about to join them. While Gabriel Fauré, Erik Satie, laudeC Debussy, and Maurice Ravel had already contributed in making Paris a mainstay of musical modernism, a visionary Russian impresario—Sergei Diaghilev—was about to cause one of the biggest earthquakes in the history of music. Sensing the interest of the Parisian public for novelty and the spectacular following an exhibition and concert series dedicated to Russian art between 1906 and 1908, Diaghilev founded the Ballets Russes. But Diaghilev wanted more than mere ballets. With groundbreaking artistic collaborations among young choreographers, composers, designers, and dancers, Diaghilev and his Ballets Russes (who would never perform in Russia) became a not- to-be-missed attraction for Parisian art-lovers. Moreover, rather than banking on mere

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Stravinsky’s “The Firebird” (1909-10), not unlike Webern’s Passacaglia, is similarly both a conclusion and a beginning. Here, in a spectacular way, Stravinsky ends his appren- ticeship and makes his entrance on the international musical scene. Accustomed to the lavishness of Diaghilev’s productions, the Parisian public received its money’s worth

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28 Claude Debussy (1862-1918) Maurice Ravel (1875-1937)

with the lush and spectacular Firebird. And while certain aspects of Stravinsky’s music here clearly allude to Rimsky-Korsakov’s training, especially in the association of super- natural elements with chromaticism and human elements with diatonic themes, and in the traditionally tonal language as well as the adhesion to the 19th-century conceptions of melodic development, others point to the Stravinsky to come: sudden melodic shifts, the rhythmical ferocity of certain numbers, and the modernity of the orchestration. His ballets Petrushka (1912) and The Rite of Spring (1913) further developed and expanded on the embryonic ideas and concepts present in The Firebird, and contributed to make Stravinsky one of the most celebrated composers of the 20th century.

Even though the two best-known French composers of the period 1900-1920, CLAUDE DEBUSSY and MAURICE RAVEL, are often referred to as examples of “impressionism” in music, they take different approaches to their musical aesthetics. While Debussy constantly looked forward, Ravel, the younger of the two, was more conservative. Admittedly, Ravel was not interested in being at the forefront of modernism and rather preferred to remain true to the purity of line, the clarity of architecture, the sense of proportion, the transparency, and grace of style found in the classical forms. Valuing economy and objectivity, Ravel was an expert craftsman—“a Swiss watch-maker” said Stravinsky—who adopted François Couperin’s dictum that “I love rather what touches me than what surprises me.” Ravel’s harmonic language and precise articulation of transitions makes his music seem more “solid” and “grounded” than Debussy’s. And his quiet legacy may be found in the importance, not so frequent among his contemporar- ies, given to specific timbres and their combinations.

Ravel’s “Daphnis et Chloé” (1909-12), composed for the Ballets Russes, displays an orchestral refinement that recalls Debussy in its handling of colors, a combination of impassioned lyricism combined with typically “Ravelian” modesty, an infinite rhythmic variety, and an extraordinary lush orchestration typical of the impressionist move- ment. While these characteristics can be found in other works by Ravel, nowhere do

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Debussy was one of music’s great innovators, attempting to incorporate and synthe- size an astonishing range of influences, from exotic scales to ideas from impressionist painting and symbolist literature, from 18th century composers like Rameau to ragtime! While his orchestral music constantly evolved during his career, he always treated chords as individual sounds rather than parts of a functional harmonic progression. Furthermore, he vehemently rejected melodic development and despised such techniques inherited from previous centuries as variation form, classic harmonic progression, and modula- tion, and considered timbre an essential element of his musical language.

In this regard, “Jeux” (1912-13) is a manifesto of Debussy’s principles. Here, melody, which had dominated music for three centuries, steps back, making way for instru- mental color, and rhythm liberates itself from the traditional shapes. The work thus becomes an organic whole, unstable and elusive; its balance no longer depends on pre-established forms within which a composition develops. French composer Jean Barraqué also said: “The structures of…Jeux are based upon the superposition and jux- taposition of independent patterns which he subjected, both in their rhythmic texture and melodic outline, to a very free process of variation. Debussy split up the orchestra into single cells and used polyphony to outline them.”

After a lukewarm reception at its premiere—two weeks before the legendary and [in]famous premiere of The Rite of Spring—the misunderstood Jeux was relegated to oblivion until the mid-1950s, when composers of the “Darmstadt generation,” Pierre Boulez at their head, reappraised the work and found in it not only an important exam- ple of musical modernism, but also a link to Anton Webern’s intricate serial works in its use of a new musical material: the tone itself. The orchestra can thus take an active and functional role, creating, as Boulez put it, “a more delicate, more austere art, freer of immediate seductions but unequaled in richness of inspiration.” That generation’s linking of Debussy and Webern produced an apt posthumous reunion of two kindred musical minds unified in their efforts to create a new musical order seeking to celebrate the human imagination, far from preconceived hierarchies and outdated forms. Their combined influence continues to resonate today.

A freelance musicologist based in Vienna, Canadian-born jean-pascal vachon writes liner notes for BIS records and gives music history courses and lectures in Europe and North America at various institutions, including Webster University (in Saint Louis and Vienna) and the Donau-Universität in Krems, Austria. Essay ©2017 Jean-Pascal Vachon.

week 8 parallel paths 31 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 137th season, 2017–2018

Tuesday, November 21, 8pm | the kristin and roger servison concert Friday, November 24, 1:30pm Saturday, November 25, 8pm | the dr. lawrence h. cohn memorial concert

andris nelsons conducting

beethoven piano concerto no. 1 in c, opus 15 Allegro con brio Largo Rondo: Allegro rudolf buchbinder

{intermission}

friday afternoon’s performance of beethoven’s piano concerto no. 1 is supported by a gift from sue and joe paresky in honor of charles stampler. Marco Borggreve

32 bruckner symphony no. 4 in e-flat, “romantic” Bewegt, nicht zu schnell [With motion, not too fast] Andante quasi Allegretto Scherzo: Bewegt [With motion]; Trio: Nicht zu schnell. Keinesfalls schleppend [Not too fast. On no account dragging] Finale: Bewegt, doch nicht zu schnell [With motion, but not too fast]

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2017-18 season.

The evening concerts will end about 10:10, the afternoon concert about 3:40. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and 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 Limousine. 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 8 program 33 The Program in Brief...

Beethoven’s Piano Concerto No. 1 dates from early in his career, when he was in his twenties and first presenting himself as both composer and performer, while still working under the strong influence of Mozart and Haydn—though his adventurous and distinc- tive voice is nonetheless evident, particularly in his piano music. The C major concerto is typical in its three-movement form. The first begins with a march more cheerful than militant, which employs a Haydn trick that Beethoven wholeheartedly adopted: a very quiet passage followed by a loud one. The martial opening and many virtuosic passages are tempered by unexpected introspection, with extended minor-key episodes con- trasting with the airy home key of C major. Beethoven’s use of unusual keys in unusual contexts, particularly in the first movement, gives the work a touch of emotional depth that counters the sparkling virtuosity required of the soloist. The second movement is a suave, relaxed Largo, one of Beethoven’s movements that can almost seem suspended in time. The delightful finale again makes much of contrast, high versus low, loud versus soft, and of course solo versus ensemble.

Premiered in 1881 (the year the BSO was founded), Bruckner’s sonorous Symphony No. 4—to which he himself gave the nickname “Romantic”—operates on an entirely different scale, and at an entirely different temperature, from the work that opens this program. In his symphonies, Bruckner expanded the form established by Haydn and Mozart—four individual movements in the sequence fast-slow-fast-fast, even if the word “fast” seems hardly applicable in the Brucknerian context—to a size his Classical predecessors never envisioned. From this perspective, it’s useful to hear the individual movements of Bruckner’s symphonies as being built not on short, readily digestible themes, but instead in broad theme-paragraphs whose contrasts are based in ever- expanding changes of sonority, texture, and mood. The music will typically begin softly and build slowly to a great climax, followed, after a relatively brief transition, by more songlike, lightly scored material, sometimes suggesting the lilt of the Ländler, the Austrian folk-dance that was so much a part of Bruckner’s heritage, and of Schubert’s before him.

A product of Austrian peasant stock, Bruckner, upon moving to Vienna, found himself entirely out of place in the highly charged atmosphere of that musical center, where his emulation of Wagner (as reflected in the sound and size of his orchestra, as well as the expanse of his musical structures) put him seriously at odds with the more conservative followers of Brahms. A deeply religious man with a major inferiority complex, he took solace in his profound Catholic faith, and also in his abilities at the organ bench, where he professed to be more comfortable than anywhere else in public. Yet he persisted in pursuing his own vision: his massive symphonic structures—often referred to as “cathedrals in sound”—remain unique, and uniquely significant, accomplishments, offering rich rewards to the patient listener.

Robert Kirzinger (Beethoven)/Marc Mandel (Bruckner)

34 Ludwig van Beethoven Piano Concerto No. 1 in C, Opus 15

LUDWIG VAN BEETHOVEN was baptized in Bonn, Germany, on December 17, 1770, and died in Vienna on March 26, 1827. According to The New Grove Dictionary of Music and Musicians, he composed his C major concerto in 1795 and gave the first performance on December 18 that year in Vienna; but earlier sources hold that the concerto was written probably in 1796-97, completed in 1798, and premiered during Beethoven’s visit that year to Prague. He evidently revised the score somewhat before its publication in 1801. Beethoven himself wrote three different cadenzas for the first movement at a later date, presumably after 1804, judging by the keyboard range required.

IN ADDITION TO THE SOLO PIANO, the score calls for an orchestra of one flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. At these performances, Rudolf Buchbinder plays a first-movement cadenza by Beethoven.

Beethoven’s career was intimately bound up with the keyboard, from his teens as an organist and budding virtuoso to his years as a composer/pianist in Vienna, and even beyond that, after encroaching deafness put an end to his performing. In later years, almost stone-deaf, Beethoven still played alone and sometimes for friends, extemporiz- ing brilliantly as in the old days, when by then he could not hear a note he played. His fingers could still find the music in his inner ear.

So pervasive was the piano to Beethoven that we have to remind ourselves that he was part of the first generation to grow up playing the instrument, which had only recently replaced the harpsichord and was evolving rapidly. Haydn and Mozart came up playing the harpsichord and only later arrived at the piano. As musicians tend to be, Beethoven was critical of the competition. “Putsch, putsch, putsch,” he said of the flashy new virtu- osos, “and what does it all mean? Nothing!” He heard Mozart perform, he said, and the man was a harpsichordist. He didn’t know how to play the piano: no legato, no singing style. Part of his implication was that Mozart didn’t really know how to write for the piano either.

week 8 program notes 35 Program page for the first Boston Symphony Orchestra performance of Beethoven’s Piano Concerto No. 1 on December 12, 1895, in Cambridge, with Emil Paur conducting and soloist Marie Geselschap (BSO Archives)

36 On one hand this is familiar musicianly complaining about the rivals. On the other hand, in his terms, Beethoven was right. From the beginning the piano was his frame of refer- ence, and for a long time performing was the better part of his income. The consummate professional, he paid minute attention to finding new and idiomatic ways for playing and composing for the piano. Meanwhile he was an adviser to piano manufacturers, who listened to what he said. Mostly what he told them was, Make your pianos bigger and stronger. His music said the same thing. As soon as an instrument appeared with higher notes he used them, and the force of his conceptions demanded louder and richer instruments. Érard in Paris and Broadwood in England sent him pianos, hoping he would be pleased and endorse them.

In other words, as performer as well as composer, Beethoven looms large in the devel- opment of the modern instrument, in its playing and composing technique, and in its design. All that, in turn, is another symptom of the Beethoven approach to everything musical: a solid grounding in technique and tradition, but no less a relentless pushing of envelopes.

If you were a virtuoso in Beethoven’s day, a prime bread-and-butter medium was the concerto, and to his programs Beethoven often added solo improvisations. He was cele- brated for the power and velocity of his playing, the brilliance of his ornaments including triple trills, but above all for the fire and imagination of his extemporizing. Years before his music started to define the rising Romantic temperament, that wild and passionate spirit was prophesied in the music that flowed directly from his mind to his fingers.

Thus while the hoary division of Beethoven’s work into Early, Middle, and Late periods persists, one of the many caveats to that pattern is that when it came to his own instru- ment the piano, the Middle started early: the authentic Beethoven voice appears first in works including the piano sonatas and piano trios. It was in the last years of the 18th century, when he was composing the startling and prophetic piano trios of Opus 1, that he wrote the C major concerto with one foot in the past and the other in the future.

Even then Beethoven was often ill, but otherwise his life in those years was quite pleas- ant. He was a hot young virtuoso and composer playing in the best salons, and had not yet been forced to confront the specter of deafness. In the pattern familiar to Mozart and most composer/performers, as a soloist Beethoven needed to have a fresh concerto in his repertoire, written to strut his particular stuff. For that reason he didn’t publish his early piano concertos right away; they were for his own use, and he tinkered with them from performance to performance. When one concerto had lost its novelty he wrote another, and only then published the old one.

The Piano Concerto No. 1 in C was written after the Second in B-flat, and thus numbered because the C major was published first. The B-flat major concerto had a long and ram- bling gestation, starting in Bonn before he came to Vienna. In that period Beethoven was preoccupied with polishing his craft, mastering one genre after another. With one concerto already under his belt, however, he pulled together the C major in a relatively

week 8 program notes 37 “First Republic takes extraordinary care of us and provides fl awless service.”

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BostonSymphony 2017-18 Tomasson ND2017.indd 1 10/19/17 3:34 PM Announcement (in Italian) for a Vienna concert on January 8, 1796, in which—as listed halfway down— “Signor Beethoven will play a piano concerto” (which was likely his own B-flat piano concerto known to us as his No. 2)

short time, probably in 1795. That year a visitor to his flat found Beethoven, miserable with colic, with four copyists stationed in the hall, writing the finale two days before the premiere. The final version of the concerto is a score from 1800. Shortly after, Beethoven declared that he was unsatisfied with everything he’d written and intended to make a new beginning. Soon followed the epochal Symphony No. 3, Eroica.

If the opening of the C major concerto shouts some, it does not entirely shout Beethoven. It’s a military march, a fashionable mode in concertos of the time. The music begins softly, at a distance, in a stately dah, dit-dit dah figure; with aforte the parade is upon us. The martial first theme is followed by a lyrically contrasting second; the gesture is expected, the music attractive but impersonal. But the key is Beethovenian: a more highly spiced E-flat for a second key rather than the conventional G, a kind of harmonic move that will become a lifelong Beethoven thumbprint. The soloist enters not on the main theme but with something new—lyrical, quiet, and inward, which alerts us that the agenda of the soloist and the orchestra are not quite the same. In fact, for all the flamboyant passagework, the soloist never plays the martial main theme. The essential voice of the soloist breaks out above all in the middle, at the onset of the development: a suddenly rich and passionate, shrouded, almost minorish E-flat major section, in sound and import entirely Beethoven.

The first movement ends with a conventional martial fervor, and the second movement commences in A-flat major with a Largo version of the work’s opening rhythmic motto:

week 8 program notes 39 dah, dit-dit dah. But this movement picks up the mood of the middle of the first movement— atmospheric and introspective, gradually passionate. Again we hear that strangely shad- owed major. The main theme has a noble simplicity; the orchestral scoring is rich, warm, and touching; the piano garlands familiar from Classical slow movements are here not precious and galant so much as atmospheric and introspective. Here as elsewhere, some of the most moving and fresh music in early Beethoven are the slow movements. In the searching coda there is a striking and soulful duet between piano and clarinet.

So where does this story lead us? A first movement in which the orchestra is militant and the soloist tending more to thoughtful and expressive. A second movement where the latter qualities take over. Then, fun and games.

2017-18

Our upcoming JANUARY concerts Art of the Salem Friday Evenings at 8:00 in historic String Quintet Hamilton Hall Jan 5 | Mar 9 | Apr 20 Salem Fri.1/5 8:00 Brookline Sun. 1/7 3:00

String Quintet No. 1 in B-flat, K.174 Mozart String Quintet No. 3 in C, K.515 Brookline Sunday Afternoons String Quintet No. 2 in G, at 3:00 Brahms Opus 111 in beautiful St. Paul’s Church Jan 7 | Mar 11 | Apr 22 Peter Zazofsky, Bayla Keyes – violins, Beth Guterman Chu, Jonathan Chu – violas, Jonathan Miller – cello You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

40 All Beethoven’s concerto finales are rondos, and rondo finales were supposed to be light, rhythmical, quirky, with lots of teasing accompanying the periodic return of the rondo theme. Beethoven plays that game to the hilt, but pushes it: his rondo theme goes beyond merely folksy to a rumbustious, floor-shaking barn dance. For an added fillip, we’re not sure whether the main theme begins on an upbeat or a downbeat, so the metric sense gets amusingly jerked around. On its last appearance the rondo theme enters in the wrongest of wrong keys, B major, before getting chased back to the proper C major. The contrasting sections are largely given to brilliant virtuosity. The middle section features a jovial and jokey tune in A minor, perhaps to parallel the minorish major in the middle of the first movement.

For a telling last touch, just before the flashy last cadence there is a brief turn to lyrical and touching. That’s been the undercurrent all along of this concerto that on the surface purports to be militant and exuberant and more or less conventional, but also has an inner life prophetic of much Beethoven to come.

Jan Swafford jan swafford is a prizewinning composer and writer whose books include “Beethoven: Anguish and Triumph”; “Johannes Brahms: A Biography”; “The Vintage Guide to Classical Music,” and “Language of the Spirit: An Introduction to Classical Music.” An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart.

THE FIRST AMERICAN PERFORMANCE OF BEETHOVEN’S PIANO CONCERTO NO. 1 was given on March 19, 1857, by pianist Franz Werner with Frédéric Ritter and the Philharmonic Society at the Music Hall in Cincinnati. B.J. Lang was soloist in the first Boston performance on January 16, 1868, in a concert of the Harvard Musical Society, Carl Zerrahn conducting.

THE FIRST BOSTON SYMPHONY PERFORMANCE OF THE CONCERTO was a single perform- ance led by Emil Paur in Cambridge on December 12, 1895, with pianist Marie Geselschap, after which the BSO did not play the work again until February 15, 1932, with Serge Koussevitzky con- ducting and soloist Robert Goldsand. Subsequent Boston Symphony performances have featured Shirley Bagley (Koussevitzky conducting), Leonard Bernstein (conducting from the keyboard), Ania Dorfman and Sviatoslav Richter (Charles Munch), Claude Frank (Erich Leinsdorf and, later, Stanislaw Skrowaczewski), Rudolf Serkin and Jerome Lowenthal (Max Rudolf), Christoph Eschenbach (Seiji Ozawa), Misha Dichter (Michael Tilson Thomas), Emanuel Ax (Edo de Waart), Malcolm Frager (Klaus Tennstedt), Rudolf Serkin (Ozawa), Justus Frantz (Eschenbach), Eschenbach again (dou- bling as soloist and conductor), Alfred Brendel (Hiroshi Wakasugi and, on several later occasions, Ozawa), Rudolf Firkušný (Jesús López-Cobos), Maria Tipo (Robert Spano), Radu Lupu (Mariss Jansons), Richard Goode (Ozawa), André Watts (Alan Gilbert), Murray Perahia (Bernard Haitink), Gianluca Cascioli (Roberto Abbado), Lars Vogt (Andrey Boreyko), Piotr Anderszewski (Robert Spano), Imogen Cooper (Gustavo Dudamel), Leif Ove Andsnes (David Zinman), Lang Lang (the most recent Tanglewood performance, on August 3, 2013, with Charles Dutoit), Yefim Bronfman (Christoph von Dohnányi), and Garrick Ohlsson (the most recent subscription performances, in March 2016).

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JOSEPH ANTON BRUCKNER was born in Ansfelden, Upper Austria, on September 4, 1824, and died in Vienna on October 11, 1896. He began composing his Fourth Symphony late in 1873, completing a preliminary version in November of the following year. He undertook a thorough revision in 1878, bringing it to completion on June 5, 1880. The revision involved a substantial reworking (with considerable tightening) of the first and second movements, substantial rewriting of the fourth, and, finally, substitution of a completely different third movement, the so-called “hunting scherzo” that is now in the score. The first performance took place on February 20, 1881, in Vienna, with Hans Richter conducting. Since later changes, including some made for the unfortunate first edition of 1890, are of dubious authenticity (see below), it is the version of 1878-80—Bruckner’s conception of the work as it was first played in public—that is most con- vincingly taken as authentic, and that is the version (in the 1953 edition of Leopold Nowak) used by Andris Nelsons at these performances.

THE SCORE OF BRUCKNER’S SYMPHONY NO. 4 calls for two each of flutes, oboes, clarinets, and bassoons, four horns, three trumpets, three trombones, tuba, timpani, and strings.

Picture, if you will, Anton Bruckner at his arrival in Vienna in 1868. He was forty-four years old and had come to take up the professorship in harmony and counterpoint at the Vienna Conservatory. This position of considerable prestige in the elegant and fash- ionable capital of the Austro-Hungarian Empire had been bestowed on a composer of extraordinarily refined technique. (When Bruckner had been tested in 1861 for a diploma from the Conservatory, one of his judges exclaimed, “He should have examined us! If I knew one tenth of what he knows, I’d be happy.”) He had begun to make a name for himself as a composer of Masses, having already written his three major works in that medium, and he had composed his Symphony No. 1 (two earlier symphonic essays remained outside the official canon), though it was not yet known in the capital.

But for all his growing reputation as a composer and the support he had received in the reviews of the influential critic Eduard Hanslick, Bruckner must have been a strange

week 8 program notes 43 Program page for the first Boston Symphony performance of Bruckner’s Symphony No. 4 on February 11, 1899, with Wilhelm Gericke conducting (BSO Archives)

44 apparition. A child of the country, born and raised in rural Upper Austria, he continued to dress in the simplest costume characteristic of his peasant background—baggy black pants (ending above the ankles so as not to interfere with his pedal-work when playing the organ), a loose coat of notably unstylish cut, and comfortable white shirt with an unfashionably broad collar. Short and stocky, a valiant trencherman, bearing in his profile a sharp physiognomy, he could easily be taken for a peasant farmer. More important in its effect on his well-being and acceptance in Vienna was his characteristically simple nature—pious, trusting, deferential, and naive. He came, a true innocent, and found him- self in that musico-political snakepit that was Vienna. Utterly unable to be anything other than himself, Bruckner quite simply failed to understand the intricate pattern of backbiting, of personal grudges and attacks, of quid pro quo that made up the Viennese musical scene. He made one devastating political mistake and—characteristically—kept on repeating it, quite ignorant of its consequences to himself: he expressed and con- stantly reaffirmed a strong admiration for Wagner.

After arriving in Vienna Bruckner devoted almost his entire creative energy to the com- position of symphonies. The years 1871 to 1876 saw the pouring out of symphonies 2, 3, 4, and 5. The Vienna Philharmonic (then as now an ensemble of conservative, if not to say reactionary, taste) refused to play the First on account of its “wildness and dar- ing,” then the Second, claiming that it was “nonsense.” Yet when a patron was found to finance a performance of the Second, it received a standing ovation from the audience.

But it was the next symphony that really set the cap on Bruckner’s problems in Vienna. In sincere admiration of the musical accomplishments of Wagner, Bruckner showed

Insert announcing a change of order to the 1899 program that included the BSO’s first performance of Bruckner’s Symphony No. 4 (see opposite; courtesy BSO Archives)

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him the manuscript of the Third Symphony, in D minor, and even dedicated the score to him. He was delighted that Wagner accepted the dedication, and he ever after naively referred to the symphony in all his letters as “my Wagner Symphony,” apparently quite oblivious to the fact that he had thereby totally lost the good will of the critic Hanslick, who from that time on lost no opportunity to attack Bruckner and his works, even con- veniently forgetting the favorable things he had said in the past. The Wagner party in Vienna was delighted to find a composer of symphonies in their camp, and they promptly hailed Bruckner as a master they could use to browbeat the Brahmsians. But the entrenched powers were all in the Brahms camp, and though Brahms himself seems to have respected Bruckner’s work, the Brahmsians were relentless.

Thus, after a devastating performance in 1877 of the Third Symphony, which Bruckner himself had to conduct, at which he heard catcalls and jeers during the performance and saw the hall emptied of its audience before the end, leaving only some twenty- five young musicians (among them Mahler) to applaud the work, Bruckner began to revise his previously composed symphonies in an attempt to make them somehow more accessible. The Fourth underwent this process of rewriting without ever having been heard in public. But unlike most of his other symphonies, the revision of 1878-80 that produced the first definitive version was also the last time that Bruckner seriously attacked the score, so that the inevitable problem of choosing an “authentic” version is, for No. 4 at least, a relatively simple one.*

* Bruckner did, to be sure, make some changes in 1886 for Anton Seidl’s performances, but they were limited to minor adjustments of the orchestration—and, in any case, he made a new fair copy of the 1880 version as late as 1890, so that must be considered his final word on the subject. At about the same time, Bruckner’s devoted but misguided acolytes Franz Schalk and Ferdinand Löwe prepared a heavily cut version reorchestrated in the style of Wagner; it was this version that was published in 1890, but Bruckner himself refused to authorize it, and it has justly been repudiated.

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The first performance of the Fourth, which took place in Vienna in 1881, was a consider- able success, though it did not immediately overwhelm opposition to Bruckner. His sym- phonies are so individual and personal a treatment of the symphonic form inherited from his Viennese predecessors Haydn, Mozart, Beethoven, and Schubert that we still tend to misunderstand them. Until relatively recently Bruckner’s name was always linked in the same breath with Mahler’s, as if Bruckner-and-Mahler were no less inseparable than Gilbert-and-Sullivan. But though Bruckner and Mahler each wrote lengthy and demanding symphonies that were rarely performed, in other respects their music looked in opposite directions. Mahler’s symphonies involved (as he himself said) the creation of entire worlds, with all of the diversity that entails; they were, moreover, filled with existential doubt and anguish, and no matter how assertively positive the endings might be (in some cases), the search and the doubt always remain at the core.

Bruckner could hardly have been more different. Though he was in many respects insecure as an individual, when it came to composing symphonies his music reflects throughout the absolute conviction of his faith, and each symphony seems from the beginning to be aiming for a predestined conclusion of grandeur and almost heavenly glory. If Mahler’s symphonies are in some sense acts of self-psychoanalysis, Bruckner’s symphonies are liturgical acts. Or, to use a very different comparison: Haydn, another composer who came from the peasantry in the Austrian countryside, wrote Mass settings that were profoundly symphonic in character; Bruckner wrote symphonies that were deeply litur- gical. It is not only that he often quoted themes from his Masses in his symphonies, but rather the nature of the musical rhythm, the grand, measured progress from certainty to certainty, leading in confident assertion to the final glory, that gives his symphonies their special character. (And perhaps this is why today, in an age of endless questioning of values, Mahler’s symphonies seem to strike a more generally responsive chord than Bruckner’s.)

week 8 program notes 49 The Fourth is the only symphony to which Bruckner gave any kind of official nickname or programmatic guide. But the epithet Romantic hardly reveals anything that is not immediately apparent in the music itself. The romanticism in question here is that “forest romanticism” so characteristic of early 19th-century German literature—a love of pure unspoiled nature as depicted in the freshness of forests, field, and mountain, possibly a touch of antiquarianism in a passion for the simpler life of long ago, a celebration of the hunt and the joys of rural life. All of this can be found in the music, and would be found there whether Bruckner had assigned the nickname or not.

The first movement opens with a hushed rustle of string tremolos barely breaking the stillness. A solo horn call sounds the notes B-flat–E-flat–B-flat, then repeats the phrase, stretching the first note up an evocative half-step to C-flat, a note that will play an important role, both melodic and harmonic, throughout the symphony. The fanfare figure moves to the woodwinds over the continuing string tremolo to lead gradually to the first full orchestral tutti and a new thematic idea built of one of Bruckner’s favorite rhythmic gestures: two quarter-notes followed by three triplet quarters. This material provides the preparation for the dominant key of B-flat, though at the last moment Bruckner shifts to D-flat for the contrasting theme; its most noticeable element at first is the folk dance figure in the first violins, but gradually an interior line first heard in the violas takes on greater significance. A spacious tutti brings us around to the B-flat we were denied earlier for a shortened statement of the folk dance figure and the conclusion of the exposition. The development moves in grand, stately sequential steps through the harmonic universe culminating in a hushed string passage that treats the interior viola line of the secondary theme in an expressive expansion before moving—so quietly!—to the recapitulation with a new flute countermelody to the string tremolos and horn calls.

The slow movement has the character of a subdued, muted funeral march in C minor, first heard in the cellos against muted strings. At its restatement in the woodwinds an accompaniment of plucked cellos and basses sets up the sound of steady marching that

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50 remains in the ear even during a mysterious chorale followed in its turn by sustained cantabile melody in the violas that ends finally in C major. These various materials are developed richly in extended keys exploiting the brass and woodwinds (who have barely been heard to this point). An abbreviated restatement of the opening leads to a lengthy coda with wide-ranging expansion of the funeral march.

The scherzo was the last movement to be composed, when Bruckner wrote it to replace an earlier, discarded version. He himself described this as music for the hunt (with the Trio providing the musical entertainment at the hunt banquet). Again the musical ges- tures make this identification self-evident. The scherzo itself is a brilliant achievement, compounded of varying treatments of the composer’s favorite rhythm, one beat divided into two even eighth-notes followed by another divided into triplets. Nothing could be simpler and more homey than the Ländler of the Trio, though its second half has a chro- matic turn that would certainly not be found in peasant dances. The scherzo is repeated literally.

The finale begins in B-flat minor with a melodic figure in the clarinets and first horn (G-flat to F) that will recall the C-flat-to-B-flat heard at the very opening of the -sym phony; it is, in fact, an echo of that figure at the higher fifth. A lengthy crescendo leads to the main theme of the finale, a forceful unison statement in E-flat (with an important role for the polar alternative of C-flat). The finale itself is an extremely complicated movement filled with a number of diverse ideas (some of which may seem trivial for the role they are called upon to play), but at the end, Bruckner pulls himself together in a grand, organ-like coda that sets the universe ringing in E-flat with a hint of the opening fanfare now blared by the entire mass of brass instruments, while the single note of C-flat (which represented the first pitch outside of the tonic chord back at the beginning) con- tinues to assert its presence in the strings until the last possible moment.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

THE FIRST AMERICAN PERFORMANCE of Bruckner’s Symphony No. 4 was conducted by Anton Seidl in a concert at New York’s Chickering Hall on March 16, 1888.

THE FIRST BOSTON SYMPHONY PERFORMANCE of Bruckner’s Symphony No. 4 was given by Wilhelm Gericke on February 11, 1899, subsequent BSO performances being given by Serge Koussevitzky (October 1932), Erich Leinsdorf (in the 1965-66 season, including the orchestra’s first Tanglewood performance of the work), Eugen Jochum, Seiji Ozawa, Klaus Tennstedt, Gunther Herbig, Ozawa again (April 1990), Kurt Masur (subscription performances in April 2005, followed by the most recent Tanglewood performance on July 9 that year), and Christoph von Dohnányi (the most recent subscription performances, in February 2013).

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Edmund Morris’s Beethoven: The Universal Composer is a first-rate compact biography aimed at the general reader (Harper Perennial paperback, in the series “Eminent Lives”). Full-scale modern biographies include Jan Swafford’s Beethoven: Anguish and Triumph; Maynard Solomon’s Beethoven (Schirmer paperback), and Barry Cooper’s Beethoven in the “Master Musicians” series (Oxford University Press). Noteworthy, too, are Swafford’s chapter on Beethoven in The Vintage Guide to Classical Music (Vintage paperback), Lewis Lockwood’s Beethoven: The Music and the Life (Norton paperback), and Robert Simpson’s chapter, “Beethoven and the Concerto,” in A Guide to the Concerto, edited by Robert Layton (Oxford paperback). Dating from the 19th century, but still crucial, is Thayer’s Life of Beethoven as revised and updated by Elliot Forbes (Princeton paperback). Michael Steinberg’s program notes on the Beethoven concertos are in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s notes on Beethoven’s concertos are among his Essays in Musical Analysis (also Oxford). Still worth investigating among much older books are George Grove’s classic Beethoven and his Nine Symphonies, now more than a century old (Dover paperback), and J.W.N. Sullivan’s Beethoven: His Spiritual Development, published in 1927 but still fas- cinating and thought-provoking not only as a reflection of its day but for what’s elevantr to our own (Vintage paperback).

The Boston Symphony Orchestra recorded Beethoven’s five piano concertos in the 1980s with Rudolf Serkin under Seiji Ozawa’s direction (Telarc) and in the 1960s with Arthur Rubinstein under the direction of Erich Leinsdorf (RCA). Other noteworthy sets of the five concertos (listed alphabetically by soloist) include Leif Ove Andsnes’s as soloist and conductor with the Mahler Chamber Orchestra (Sony), Daniel Barenboim’s with Otto Klemperer and the Philharmonia Orchestra (EMI), Alfred Brendel’s recorded live with James Levine and the Chicago Symphony Orchestra (Philips), Yefim Bronfman’s with David Zinman and the Tonhalle Orchestra of Zurich (Arte Nova), Leon Fleisher’s with George Szell and the Cleveland Orchestra (Sony), Stephen Kovacevich’s with Colin Davis and the BBC Symphony and London Symphony orchestras (Decca), Paul Lewis’s with Jiˇrí Bˇelohlávek and the BBC Symphony Orchestra (Harmonia Mundi), Murray Perahia’s with Bernard Haitink and the Concertgebouw Orchestra of Amsterdam (Sony), and Mitsuko Uchida’s with Kurt Sanderling conducting the Bavarian Radio Symphony and the Royal Concertgebouw Orchestra of Amsterdam (Philips). Among historic issues, Artur Schnabel’s recordings from the 1930s with Malcolm Sargent conducting the Lon- don Philharmonic continue to hold a special place (various CD reissues).

week 8 read and hear more 53

The two good basic biographies of Anton Bruckner are Derek Watson’s Bruckner in the “Master Musicians” series (Schirmer hardcover or Oxford paperback) and Hans-Hubert Schönzeler’s well-illustrated Bruckner in the Library of Composers series (Calder; also Grossman paperback). The Cambridge Companion to Bruckner, edited by John William- son, in the series “Cambridge Companions to Music,” offers a compendium of essays primarily on Bruckner as symphonist, but also on the historical and cultural context in which he lived and worked, and on his choral music (Cambridge University paperback). Dika Newlin’s Bruckner, Mahler, Schoenberg links those three composers with regard to the Viennese musical tradition (Norton). Philip Barford’s Bruckner Symphonies in the series of BBC Music Guides provides a useful brief introduction to the composer’s symphonic output, including consideration of the authenticity questions surrounding certain scores (University of Washington paperback). A Guide to the Symphony, edited by Robert Layton, includes a chapter on Bruckner by Philip Coad (Oxford paperback). Robert Simpson’s The Essence of Bruckner subjects the symphonies to close critical and musical analysis (Gollancz paperback). Michael Steinberg’s program notes on Bruck- ner’s Fourth through Ninth symphonies are in his compilation volume The Symphony– A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s note on Bruckner’s Romantic Symphony is among his Essays in Musical Analysis (Oxford). Crucial to sorting out the different versions of Bruckner symphonies is Deryck Cooke’s “The Bruckner Problem Simplified,” a monograph based on a series of articles originally published in The Musical Newsletter and later restored to print in Vindications, a posthumous collec- tion of Cooke’s essays (Cambridge University Press).

Recordings of Bruckner’s Symphony No. 4, Romantic, include (among many others, and listed alphabetically by conductor) Daniel Barenboim’s with the Staatskapelle Berlin (Deutsche Grammophon), Berlin Philharmonic (Warner Classics), and Chicago Sym- phony (Deutsche Grammophon); Manfred Honeck’s with the Pittsburgh Symphony Orchestra (Reference Recordings), Marek Janowski’s with the Orchestre de la Suisse Romande (Pentatone), Eugen Jochum’s with the Berlin Philharmonic (Deutsche Gram- mophon) and Dresden Staatskapelle (EMI); Yannick Nézet-Séguin’s with the Orchestre Metropolitaine (Atma Classique), Klaus Tennstedt’s live with the London Philharmonic (LPO), Christian Thielemann’s on DVD with the Munich Philharmonic (C Major), and Georg Tintner’s with the Royal Scottish National Orchestra (Naxos). Important historic issues include two 1951 concert performances led by Wilhelm Furtwängler, both with the Vienna Philharmonic (from Stuttgart on Deutsche Grammophon and from Munich on Orfeo d’or).

Marc Mandel

week 8 read and hear more 55

Guest Artist

Rudolf Buchbinder

One of today’s legendary performers, Rudolf Buchbinder has appeared in concert all over the world with renowned orchestras and conductors for more than fifty years. For his 70th birthday in the 2016-17 season, he was celebrated in such venues as New York’s Carnegie Hall, Tokyo’s Suntory Hall, Vienna’s Musikverein, and Berlin’s Philharmonie. Other highlights of that anniversary season were concerts with the Berlin Philharmonic led by Christian Thielemann and tours with the Staatskapelle Dresden and the Vienna Philhar- monic. At the invitation of Mariss Jansons, Mr. Buchbinder served as artist-in-residence with the Bavarian Radio Symphony Orchestra. Both the Vienna Philharmonic and the Israel Philharmonic named him an honorary member. The 2017-18 season sees his return to the Staatskapelle Dresden, City of Birmingham Symphony Orchestra, and Filarmónica della Scala, among others, and to the Boston Symphony Orchestra led by Andris Nelsons. Mr. Buchbinder’s repertoire ranges from Bach to contemporary music. He has documented this broad artistic range with more than one hundred recordings, many of them award- winners. His readings of the works of Beethoven, in particular, have set new standards. With his cyclic performances of the thirty-two Beethoven piano sonatas, he has contrib- uted significantly to the development of the performance history of these works. To date, he has performed this cycle more than fifty times, in cities including Berlin, Beijing, Buenos Aires, Dresden, Istanbul, Milan, Munich, Shanghai, St. Petersburg, Vienna, and Zurich. In 2014 he became the first pianist to perform all of the Beethoven sonatas during one sum- mer season at the Salzburg Festival; the cycle was recorded live and released on DVD. A live recording of Brahms’s two piano concertos with the Vienna Philharmonic Orchestra

week 8 guest artist 57 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.

We look forward to welcoming you at one of our Open Houses: Wednesday Sunday Thursday Wednesday October 18 November 5 December 14 January 17 9:30 a.m. - 11:30 a.m. 11:00 a.m. - 1:00 p.m. 9:30 a.m. - 11:30 a.m. 9:30 a.m. - 11:30 a.m.

www.naejuilliard.com/bisboston and Zubin Mehta was released on DVD and CD in 2016. Mr. Buchbinder’s readings are based on meticulous study of source material. An avid collector of historic scores, he owns thirty-nine complete editions of Beethoven’s piano sonatas. His library also contains an extensive collection of first prints, original editions, and copies of Brahms’s original scores for both of his piano concertos. Rudolf Buchbinder has been the artistic director of the Grafenegg Festival since its founding in 2007; under his leadership, it has developed into one of Europe’s foremost festivals for orchestral music. So far, he has published two books: his autobiography, entitled Da Capo, and My Beethoven–Life With the Master. For further information, please visit www.buchbinder.net. Rudolf Buchbinder has appeared with the Boston Symphony Orchestra on two previous occasions: as soloist in Beethoven’s Piano Concerto No. 3 for his BSO debut in April 1986 with Jeffrey Tate conducting, and for performances of Brahms’s Piano Concerto No. 1 in October 2014 with Thierry Fischer on the podium. He makes his Tanglewood debut this coming July, in music of Mozart and Schumann with the Boston Symphony Chamber Players in Ozawa Hall, and as soloist in Brahms’s Piano Concerto No. 1 with Andris Nelsons conducting.

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week 8 guest artist 59 The Great Benefactors

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

ten million and above

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

seven and one half million

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

five million

Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • 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 • Mara E. Dole ‡ •

Eaton Vance Corporation • 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 • Cecile Higginson Murphy • 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)

60 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 and Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • 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 ‡ • 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 • 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 • 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 • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven 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 • The Helen F. Whitaker Fund • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

‡ Deceased week 8 the great benefactors 61

The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2016-17 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter A. Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Anonymous

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds peter c. andersen, vice-chair, symphony annual funds

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts to the Symphony Annual Fund provide more than $5 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by October 3, 2017. For further information on becoming a Higginson Society member, please contact Kara O’Keefe, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor. founders $100,000 and above Peter A. Brooke • Barbara and Amos Hostetter • Wendy Shattuck and Samuel Plimpton virtuoso $50,000 - $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Thomas and Winifred Faust • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous (2)

week 8 the maestro circle 63 encore $25,000 - $49,999 Amy and David Abrams • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo ‡ Beranek • Mrs. Philip W. Bianchi ‡ • Joan and John ‡ Bok • Mr. and Mrs. William N. Booth • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Roberta L. and Lawrence H. ‡ Cohn, M.D. • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Mr. and Mrs. Brent L. Henry • Elizabeth W. and John M. Loder • Josh and Jessica Lutzker • Sandra Moose and Eric Birch • Megan and Robert O’Block • William and Lia Poorvu • James and Melinda Rabb • Louise C. Riemer • Cynthia and Grant Schaumburg • Robert and Rosmarie Scully • Richard and Susan Smith Family Foundation: Richard and Susan ‡ Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (6) patron $12,000 - $24,999 Noubar and Anna Afeyan • Mr. and Mrs. Peter Andersen • Lois ‡ and Harlan Anderson • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Thomas Burger and Andree Robert • Joanne and Timothy Burke • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. ‡ Casty • Katherine Chapman and Thomas Stemberg ‡ • Ernest Cravalho and Ruth Tuomala • Sally Currier and Saul Pannell • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Drs. Anna L. and Peter B. Davol • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Happy and Bob Doran • Pamela Everhart and Karl Coiscou • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Rebecca Henderson and James Morone • Albert A. Holman III and Susan P. Stickells • Anne and Blake Ireland • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Mr. and Mrs. Mark A. Jung • Steve Kidder and Judy Malone • Dr. Nancy Koehn • Meg and Joseph Koerner • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Jane and Robert J. Mayer, M.D. • Kurt and Therese Melden • Jack and Elizabeth Meyer • Dr. Martin C. Mihm, Jr. • Kyra and Jean Montagu • Mr. and Mrs. Paul M. Montrone • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • Polly and Dan ‡ Pierce • Randy and Stephanie Pierce • Janet and Irv Plotkin • William and Helen Pounds • Linda H. Reineman • Graham Robinson and Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Sean Rush and Carol C. McMullen • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Ann and Phillip Sharp • Solange Skinner • Blair Trippe • Harvey and Joëlle Wartosky • Elizabeth and James Westra • Anonymous (2) sponsor $6,000 - $11,999 Nathaniel Adams and Sarah Grandfield • Ms. Deborah L. Allinson • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • Mr. and Mrs. Eugene F. Barnes III • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Jim and Nancy Bildner •

week 8 the higginson society 65 WAGNER: TANNHÄUSER OVERTURE TCHAIKOVSKY: PIANO CONCERTO NO. 1 GEORGE LI, PIANO PROKOFIEV: ROMEO AND JULIET

SUNDAY, NOVEMBER 26 AT 3:00 PM SYMPHONY HALL

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Sunday, January 28, 2018 at 3pm Sanders Theatre at Harvard University Boston Youth Symphony Federico Cortese, Conductor Edward Berkeley, Stage Director

BIZET CARMEN www.BYSOweb.org/carmen or 617-496-2222

66 Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Ronald and Judy Clark • Arthur Clarke and Susan Sloan • Mr. and Mrs. Frederic M. Clifford • Mrs. Abram Collier • Victor Constantiner • Ms. RoAnn Costin • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Robert and Sara Danziger • Charles and JoAnne Dickinson • Rachel and Peter Dixon • Richard Dixon and Douglas Rendell • Mrs. Richard S. Emmet • Shirley and Richard ‡ Fennell • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Jim and Becky Garrett • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael, Trustee • Mr. and Mrs. Paul B. Gilbert • Jordan and Sandy Golding • Adele C. Goldstein • Martha and Todd Golub • Jack Gorman • Raymond and Joan Green • Marjorie and Nicholas Greville • John and Ellen Harris • Carol and Robert Henderson • Mrs. Nancy R. Herndon • Drs. James and Eleanor Herzog • Mr. ‡ and Mrs. Richard D. Hill • Mr. James G. Hinkle and Mr. Roy Hammer • Mary and Harry Hintlian • Patricia and Galen Ho • Ms. Emily C. Hood • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Intercontinental Real Estate Corporation, Peter Palandjian • Nancy and G. Timothy Johnson • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Stephen B. Kay and Lisbeth L. Tarlow • Mr. Robert K. Kraft • Pamela S. Kunkemueller • Mr. and Mrs. ‡ Benjamin H. Lacy • Rosemarie and Alexander Levine • Betty W. Locke • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Nancy Lurie Marks Family Foundation • Dr. and Mrs. Joseph B. Martin • Ann Merrifield and Wayne Davis • Jo Frances and John P. Meyer • Anne M. Morgan • Betty Morningstar and Jeanette Kruger • Richard P. and Claire W. Morse Foundation • Ms. Cecilia O’Keefe • John O’Leary • Annette and Vincent O’Reilly • Jane and Neil Pappalardo • Mr. and Mrs. Joseph M. Paresky • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Rita and Norton Reamer • Peggy Reiser and Charles Cooney • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Debora and Alan Rottenberg • William and Kathleen Rousseau • Darin S. Samaraweera • Joanne Zervas Sattley • Norma and Roger A. Saunders • Lynda Anne Schubert • Betsy and Will Shields • Marshall Sirvetz • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Tiina Smith and Lawrence Rand • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Tazewell Foundation • Charlotte and Theodore Teplow • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • Mrs. Polly J. Townsend • John Travis • Mark and Martha Volpe • Linda and Daniel Waintrup • Eric and Sarah Ward • Mr. and Mrs. David Weinstein • Drs. Christoph and Sylvia Westphal • Lynn Dale and Frank Wisneski • Rosalyn Kempton Wood ‡ • Dr. and Mrs. Michael J. Yaremchuk • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (11) member $4,000 - $5,999 Mrs. Sonia Abrams • Dr. and Mrs. Menelaos Aliapoulios • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Sandy and David Bakalar • Fred and Joanne Barber • Donald P. Barker, M.D. • Hanna and James Bartlett • Clark and Susana Bernard • Mrs. Stanton L. Black • Neil and Margery Blacklow • Partha and Vinita Bose • Mr. Edgar W. Brenninkmeyer and Dr. John D. Golenski • Mr. Edgar Brenninkmeyer • Catherine Brigham • Mr. and Mrs. David W. Brigham • Ellen and Ronald Brown • Matthew Budd and Rosalind Gorin • Rick and Nonnie Burnes • James Catterton ‡ and Lois Wasoff • Mr. and Mrs. Dan Ciampa •

week 8 the higginson society 67 K8B<K@D<KF ;I<8D n`k_9fjkfeËjfecp)+&. ZcXjj`ZXcdlj`ZjkXk`fe Marjorie B. and Martin Cohn • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Albert and Hilary Creighton • Robert and Sarah Croce • Joanna Inches Cunningham • Alice and Stephen D. Cutler • Tamara P. and Charles H. Davis II • Pat and John Deutch • Relly and Brent Dibner • Nina L. and Eugene B. Doggett • Phyllis Dohanian • Robert Donaldson and Judith Ober • Joanne and Jerry Dreher • Mr. David L. Driscoll • Barbara and Seymour Ellin • Mrs. William V. Ellis • Elaine Epstein and Jim Krachey • Peter Erichsen and David Palumb • Mr. Donald J. Evans • Ziggy Ezekiel ‡ and Suzanne Courtright Ezekiel • Roger and Judith Feingold • Beth and Richard Fentin • Andrew and Margaret Ferrara • Mr. and Mrs. Peter Fiedler • Dr. Mark and Dr. Martha Fishman • Ms. Gail Flatto • Velma Frank • Ms. Dorothy Puhy • Myrna H. and Eugene M. ‡ Freedman • Rose and Spyros Gavris • Arthur and Linda Gelb • Nelson S. Gifford • Ms. Diane Gipson • Elizabeth T. and Roberto S. Goizueta • Drs. Alfred L. and Joan H. Goldberg • Mrs. Winifred P. Gray • Harriet and George Greenfield • Paula S. Greenman • Madeline L. Gregory • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Anne Blair Hagan • Elizabeth M. Hagopian • Mr. and Mrs. Thomas Hamilton III • Janice Harrington and John Matthews • Mr. Chip Hartranft • Daphne and George Hatsopoulos • Deborah Hauser • William Hawes and Mieko Komagata ‡ • Dr. Edward Heller, Jr. and Ms. Uni Joo • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Dr. Susan Hockfield and Dr. Thomas Byrne • Joan and Peter Hoffman • Pat and Paul Hogan • Charles and Judith Hood • Cerise Lim Jacobs, for Charles • William and Lisbeth Jannen • Mimi and George Jigarjian • Susan Johnston • Teresa Kaltz • The Karp Family Foundation • Elizabeth Kent • Paul L. King • Mrs. Thomas P. King • Mary S. Kingsbery • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • Susan G. Kohn • Dr. and Mrs. David Kosowsky •

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week 8 the higginson society 69 Go beyond headlines like this one.

Don’t settle for what’s on the surface. Expand your point of view.

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week 8 the higginson society 71 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

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We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Evelyn Barnes, Chief Financial Officer Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Thomas D. May, Senior Financial Advisor Kim Noltemy, Chief Operating and Communications Officer Bart Reidy, Director of Development Ray F. Wellbaum, Advisor to the Managing Director administrative staff/artistic

Bridget P. Carr, Director of Archives and Digital Collections • Jennifer Dilzell, Chorus Manager • Sarah Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Management Assistant • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • 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 Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Interim Director of Planning and Budgeting • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Kwan Pak, Payroll Specialist • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 8 administration 73 74 development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Susan Grosel, Director of Annual Funds and Donor Relations • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lydia Buchanan, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • 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 • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Laura Sancken, Assistant Director of Board Engagement • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Zakiya Thomas, Helaine B. Allen Executive Officer for Education, Community Engagement, and Inclusion Claire Carr, Associate Director of Education and Community Engagement • Elizabeth 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 • Michael Frazier, 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 human resources

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

week 8 administration 75 2017

keith lockhart conductor Join conductor Keith Lockhart and the Boston Pops in a performance filled with holiday music favorites, the traditional DECEMBER 5–31 Pops sing-along, and a visit from Santa Claus himself! SANTA appears during all pre-Christmas concerts. #HolidayPops

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76 information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Lead • Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Systems Architect • Brian Van Sickle, User Support Specialist public relations

Samuel Brewer, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Senior Director of Marketing and Branding • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Hester C.G. Breen, Corporate Partnerships Coordinator • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Leslie Wu Foley, Associate Director of Audience Development • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Manager of Digital Marketing and Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Digital Media Manager • Greg Ragnio, Subscriptions Representative • Ellen Rogoz, Marketing Manager • Daniel Sagastume, SymphonyCharge Representative • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • 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 James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 8 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Chair-Elect, Gerald L. Dreher Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Nancy Finn • Gabriel Kosakoff • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2017-18

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, Connie Hill • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

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week 8 administration 79 Next Program…

Thursday, November 30, 10:30am (Open Rehearsal; Pre-Rehearsal Talk at 9:30am in Symphony Hall) Thursday, November 30, 8pm Friday, December 1, 1:30pm (Friday Preview at 12:15pm in Symphony Hall) Saturday, December 2, 8pm

andris nelsons conducting

Derek bermel “elixir” (2006)

prokofiev violin concerto no. 2 in g minor, opus 63 Allegro moderato Andante assai Allegro ben marcato leonidas kavakos

{intermission}

strauss “an alpine symphony,” opus 64 Night—Sunrise—The Ascent—Entry into the Wood— Wandering by the Brook—At the Waterfall—Apparition— On Flowery Meadows—On the Alm—Through Thicket and Undergrowth on the Wrong Path—On the Glacier— Dangerous Moments—On the Summit—Vision—The Fog Rises—The Sun Gradually Becomes Obscured—Elegy— Calm Before the Storm—Thunderstorm. Descent—Sunset— Dying Away of Sound—Night

Greek-born violinist Leonidas Kavakos returns to Symphony Hall as soloist in Sergei Prokofiev’s Violin Concerto No. 2. Composed in the mid-1930s, the concerto is by turns beautifully lyrical and scintillatingly virtuosic, with a Spanish-flavored finale as a nod to Madrid, where the work was premiered in 1935. The BSO gave the U.S. premiere in December 1937 with soloist Jascha Heifetz. Opening these concerts is American composer Derek Bermel’s “spectral love potion” Elixir, which combines colorfully tranquil music for strings with exuberant, Messiaen-like exclamations from wind instruments deployed throughout the auditorium. Completing the program is Richard Strauss’s cinematic tone poem An Alpine Symphony, illustrating an excursion up, then down (at a faster pace!) a mountain, with a huge range of instrumental and compositional effects.

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 4-8:30 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.

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.

Thursday, November 30, 10:30am (Open Rehearsal) Thursday ‘A’ January 18, 8-9:45 Thursday ‘D’ November 30, 8-10:05 Friday ‘A’ January 19, 1:30-3:15 Friday ‘A’ December 1, 1:30-3:35 Saturday ‘B’ January 20, 8-9:45 Saturday ‘A’ December 2, 8-10:05 ANDRIS NELSONS, conductor ANDRIS NELSONS, conductor SUSAN GRAHAM, mezzo-soprano LEONIDAS KAVAKOS, violin WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, conductor DEREK BERMEL Elixir BSO CHILDREN’S CHOIR PROKOFIEV Violin Concerto No. 2 STRAUSS An Alpine Symphony MAHLER Symphony No. 3

Thursday ‘C’ January 4, 8-9:55 Sunday, January 21, 3pm Friday Evening January 5, 8-9:15 Jordan Hall, New England Conservatory (Casual Friday, with introductory comments BOSTON SYMPHONY CHAMBER PLAYERS by a BSO member and no intermission) with THOMAS ADÈS, piano Saturday ‘A’ January 6, 8-9:55 Tuesday ‘B’ January 9, 8-9:55 BEETHOVEN Quintet in E-flat for piano and winds, Op. 16 FRANÇOIS-XAVIER ROTH , conductor SCHUBERT Notturno in E-flat for piano, BENJAMIN GROSVENOR, piano violin, and cello, D.897 MÉHUL Overture to The Amazons, LIGETI Six Bagatelles, for wind quintet or The Founding of Thebes JANÁCˇEK Concertino for piano, two (Jan 4, 6, and 9 only) violins, viola, clarinet, horn, MOZART Piano Concerto No. 21 in C, and bassoon K.467 BEETHOVEN Symphony No. 5 Thursday ‘B’ January 25, 8-10:25 Friday ‘B’ January 26, 1:30-3:55 Thursday ‘D’ January 11, 8-9:55 Saturday ‘B’ January 27, 8-10:25 Friday ‘B’ January 12, 1:30-3:25 THOMAS ADÈS, conductor Saturday ‘A’ January 13, 8-9:55 AUGUSTIN HADELICH, violin FRANÇOIS-XAVIER ROTH , conductor BEETHOVEN Symphony No. 8 PIERRE-LAURENT AIMARD , piano LIGETI Violin Concerto, with cadenza WEBERN Passacaglia, Op. 1 by Thomas Adès BARTÓK Piano Concerto No. 1 ADÈS Suite from Powder Her Face STRAVINSKY The Firebird (complete) STRAVINSKY Divertimento from The Fairy’s Kiss

The BSO’s 2017-18 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.

week 8 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 infor- mation 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 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 avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger 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 pro- gram 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 8 symphony hall information 83 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to 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 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. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. 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 balco- ny, 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 infor- mation, 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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