2017–18 season andris nelsons music director

week 22 all-wagner program

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 22

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 casts of character: the symphony statues by caroline taylor 30 this week’s program

Notes on the Program All-Wagner Program 32 The Program in Brief… 33 “Siegfried Idyll” 41 “Tristan und Isolde,” Act II 53 To Read and Hear More…

Guest Artists

57 Camilla Nylund 59 Jonas Kaufmann 61 Mihoko Fujimura 63 Georg Zeppenfeld 65 Andrew Rees 67 David Kravitz

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

program copyright ©2018 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 Egon Schiele Nude Self-Portrait (detail), 1910. Watercolor and black chalk on wrapping paper. The Albertina Museum, Vienna.

Rarely seen drawings from the Albertina Museum in Vienna

On view through May 28

Gustav Klimt Lady with Plumed Hat (detail), 1908. Presented with support from the Cordover Exhibition Fund, the Alexander M. Levine and Dr. Rosemarie D. Bria-Levine Exhibition Fund, the MFA Associates/MFA Senior Ink, graphite, colored pencil, and watercolor on Associates Exhibition Endowment Fund, the Museum Council Special Exhibition Asian paper. The Albertina Museum, Vienna. Fund, John H. Deknatel and Carol M. Taylor, and Stanley and Mary Ann Snider. 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 • 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. • Stuart Hirshfield •

week 22 trustees and overseers 3

photos by Michael Blanchard and Winslow Townson

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 22 trustees and overseers 5

BSO News

BSO 101, the BSO’s Free Adult Education Series, Wednesday, April 18, 5:30-7 p.m. at Symphony Hall “BSO 101: Are You Listening?” offers the opportunity to enhance your listening abilities and increase your enjoyment of BSO concerts. In these sessions, BSO Director of Program Publications Marc Mandel is joined by a member of the orchestra to discuss upcoming BSO repertoire, examining and illuminating aspects of musical shape and form, and of the composers’ individual musical styles. Each session includes recorded musical examples and is self-contained, so no prior musical training, or attendance at any previous session, is required. This season’s final BSO 101 session, on Wednesday, April 18, from 5:30-7 p.m. at Symphony Hall, focuses on “Hearing Brahms,” anticipating the BSO’s performances in late April and early May of the composer’s Violin Concerto, Piano Concerto No. 2, and Symphony No. 2. Though admission to BSO 101 is free, we ask that you make a reserva- tion to secure your place. For further details, please visit bso.org and go to “Education & Community” on the home page.

Boston Symphony Chamber Players at Jordan Hall at the New England Conservatory Sunday afternoon, April 22, at 3 p.m. The Boston Symphony Chamber Players, joined by pianist David Deveau, perform the final concert of their four-concert Jordan Hall series on Sunday, April 22, at 3 p.m. The program includes a selection from Bruch’s Eight Pieces for clarinet, viola, and piano, Opus 83; Boulanger’s Nocturne and Cortège for cello and piano; Stacy Garrop’s Bohemian Café for flute, oboe, clarinet, horn, bassoon, and double bass; and Mozart’s tringS Quintet in C, K.515. Single tickets at $38, $29, and $22 are available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets may only be purchased at Jordan Hall.

BSO Broadcasts on WCRB BSO concerts are heard on the radio at 99.5 WCRB. Saturday-night concerts are broadcast live at 8 p.m. with host Ron Della Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, interviews with guest conductors, soloists, and BSO musi- cians are available online at classicalwcrb.org/bso. Current and upcoming broadcasts include this week’s Saturday-night all-Wagner program under Andris Nelsons pairing the composer’s Siegfried Idyll and Act II of Tristan und Isolde with Camilla Nylund and Jonas Kaufmann in the title roles (April 7; encore April 16), and, following the BSO’s three mid-April Carnegie Hall concerts, two upcoming programs led by conductor Tugan Sokhiev: music of Britten, Chopin—his Piano Concerto No. 1 with Jan Lisiecki—and Mendelssohn (April 21; encore April 30); and music of Brahms—the Violin Concerto

week 22 bso news 7 60TH ANNIVERSARY CELEBRATION

April 29, 2018 at 3:30pm MESSIAEN Les offrandes oubliées Symphony Hall COPLAND Four Motets BERNSTEIN Chichester Psalms BYSO is delighted to welcome the Leipzig choirs to Boston for this special celebration RAVEL Daphnis and Chloe, Suite Nos. 1 and 2 as part of a new international residency and exchange initiative. BYSO looks forward Boston Youth Symphony to travelling to Leipzig in June to perform Federico Cortese, Conductor at the Gewandhaus concert hall as part of with Leipzig Gewandhaus Youth Choir Bachfest, the renowned international festival and Leipzig Opera Youth Choir featuring the works of J.S. Bach and his contemporaries.

Tickets: $25–30 with support from: Call Symphony Charge at 617-266-1200 or visit www.BYSOweb.org

8 with Vadim Gluzman—and Prokofiev (April 28; encore May 7). On April 14 and 23, WCRB offers a rebroadcast of Andris Nelsons’ Tanglewood concert of July 16, 2017, including Markings by John Williams, Berlioz’s Symphonie fantastique, and Tchaikovsky’s Violin Concerto with soloist Anne-Sophie Mutter. 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 Theresa M. and Metropolitan Opera Club. Rick is chair of the Charles F. Stone III Concert board of trustees of the Paul Taylor Dance Thursday, April 5, 2018 Foundation and a longtime member of the board of the MacDowell Colony. He recently Thursday evening’s concert is supported by chaired the Foundation Board of the North a generous gift from BSO Trustee Theresa Carolina School of Science and Mathemat- M. Stone and Charles F. Stone III. BSO sub- ics, and he is also chair of the Council for the scribers and Symphony Annual Fund sup- Arts at MIT. porters since 2008, Terry and Rick are currently members of the Higginson Society Both Terry and Rick earned master’s degrees at the Encore level. They have also gener- in management from the MIT Sloan School ously supported the BSO Endowment and of Management. Rick grew up in Atlanta and Symphony and Tanglewood galas. Terry was attended Princeton; Terry attended Welles- elected to the BSO Board of Overseers in ley. Their son, Charlie, graduated from Har- 2009 and to the Board of Trustees in 2010; vard Business School and currently resides she was elected its Treasurer in 2012. In her in London. role, Terry serves as chair of the Finance Committee, as well as a member of the The Catherine and Paul Audit and Investment Committees. Terry Buttenwieser Guest Artists attended Girls’ Latin School in Boston and Thursday, April 5, 2018 was a member of the Greater Boston Youth Symphony Orchestra in its founding year. The appearances by the vocal soloists on Having admired the Boston Symphony since Thursday evening are supported by a gen- childhood, she feels privileged to serve as erous gift from Great Benefactors Catherine one of its Trustees. and Paul Buttenwieser. Elected a BSO Over- seer in 1998 and Trustee in 2000, Paul was Terry is the former executive vice-president elevated to Life Trustee in 2017. He served and treasurer of the Massachusetts Institute as President of the Board of Trustees from of Technology. She is a life member of the 2014 to 2017 and a Vice-Chair of the Board MIT Corporation; she previously served on of Trustees from 2010 to 2013. the Executive Committee and chaired the board of the MIT Investment Management Paul’s interest in music began at a young Company. Terry serves on the board of age, when he studied piano, violin, clarinet, directors of American International Group and conducting as a child and teenager. (AIG) Inc. and is a former director of Prog- Paul and Katie developed their lifelong love ress Energy Inc. Terry and Rick are active of music together, and they have attended on a number of not-for-profit cultural and the BSO’s performances at Symphony Hall education boards. Terry is a trustee of the and Tanglewood for more than fifty years. Museum of Fine Arts, Boston and Harold The Buttenwiesers have generously sup- Alfond Foundation. She serves on the boards ported numerous BSO initiatives, including of the Harvard Musical Association and the BSO commissions of new works, guest artist

week 22 bso news 9 WEALTH IS MORE THAN ACCUMULATING ASSETS.

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FiduciaryTrustBoston.com Contact Randy Kinard at 617-574-3432 or [email protected] appearances at Symphony Hall and Tangle- years. It has been Ronney and Stephen’s wood, fellowships at the Tanglewood Music great job to raise their children on a heavy Center, and Opening Nights at Symphony diet of opera, classical music, and jazz, and and Tanglewood. They also endowed a BSO to expose them to the great performers at first violin chair, currently held by Jennie the BSO, Boston Pops, and Tanglewood, as Shames. Paul and Katie, who have served well as through Family Concerts, Popular on many gala committees, chaired Opening Artist concerts, and other special events Night at Symphony for the 2008-09 season. at Symphony Hall. That love has become a Paul was a member of the Search Com- passion for Ronney and Stephen’s grandchil- mittee recommending the appointment of dren, Hannah, Dana, and Baird Feeney. Baird Andris Nelsons as the BSO’s Ray and Maria had the honor of singing with his high school Stata Music Director. choir as they performed with the Boston Pops in December 2014. The Traynor family The Buttenwiesers support many arts orga- extends its thanks to the BSO for inspiring nizations in Boston and are deeply involved many generations. with the community and social justice. In 2014, Paul stepped down as chairman of the Institute of Contemporary Art, Boston, Go Behind the Scenes: after a decade of leading the Board of Trust- The Irving W. and Charlotte F. Rabb ees. He is a trustee and former chair of the Symphony Hall Tours American Repertory Theater and received the A.R.T. Angel Award in 2018. He is also The Irving W. and Charlotte F. Rabb Sym- a trustee of Partners in Health, honorary phony Hall Tours, named in honor of the trustee of the Museum of Fine Arts, Boston, Rabbs’ devotion to Symphony Hall through fellow of the American Academy of Arts and a gift from their children James and Melinda Sciences, member of the President’s Advi- Rabb and Betty (Rabb) and Jack Schafer, sory Council at Berklee College of Music provide a rare opportunity to go behind and the Director’s Advisory Council of the the scenes at Symphony Hall. In these free, Harvard University Art Museums, and for- guided tours, experienced members of the mer overseer of Harvard University. In 1988, Boston Symphony Association of Volunteers Paul and Katie founded the Family-to-Family unfold the history and traditions of the Bos- Project, an agency that works with homeless ton Symphony Orchestra—its musicians, families in eastern Massachusetts. Katie, conductors, and supporters—as well as offer who is a social worker, spent most of her in-depth information about the Hall itself. career in early child development before Tours are offered on selected weekdays at moving into hospice and bereavement work. 4:30 p.m. and some Saturdays at 5 p.m. She is a graduate of Mount Holyoke College during the BSO season. Please visit bso.org/ and Boston University School of Social Work. tours for more information and to register. Paul is a psychiatrist who specializes in chil- dren and adolescents, as well as a writer. Join Our Community of He is a graduate of Harvard College and Music Lovers— Harvard Medical School. The Friends of the BSO Attending a BSO concert at Symphony Hall The Traynor Family Concert is a communal experience—thousands Saturday, April 7, 2018 of concertgoers join together to hear 100 The performance on Saturday evening is musicians collaborate on each memorable supported by a generous gift from longtime performance. Without an orchestra, there is BSO patrons Stephen and Ronney Traynor no performance, and without an audience, and their daughters, Wendy Traynor and it is just a rehearsal. Every single person is Roberta Traynor. The Traynor family has sub- important to ensuring another great expe- scribed to the BSO for more than thirty-five rience at Symphony Hall. There’s another

week 22 bso news 11 LOCAL EXPERTS, GLOBAL REACH Now accepting consignments in all categories for our auctions in New York, London and Hong Kong.

To obtain a complimentary auction estimate, SALVADOR DALI please contact: (SPANISH, 1904-1989) Amy Corcoran Sold for £1,805,000 Director, New England ($2,512,000) +1 (617) 742 0909 [email protected]

bonhams.com/boston LOCAL EXPERTS, GLOBAL REACH Now accepting consignments in all categories for our auctions community that helps to make it all possible, for Violin and Cello, the world premiere of in New York, London and Hong Kong. one that you might not notice while enjoying Scott Wheeler’s Songs Without Words for a concert—the Friends of the BSO. Every $1 cello and piano, and Dvoˇrák’s Piano Trio in To obtain a complimentary auction estimate, SALVADOR DALI the BSO receives through ticket sales must F minor, Opus 65, are BSO violinist Lucia please contact: (SPANISH, 1904-1989) be matched by an additional $1 of contribut- Lin and pianist Diane Walsh. Tickets are Amy Corcoran ed support to cover annual expenses. Friends $30 (discounts for seniors and students), Director, New England of the BSO help bridge that gap, keeping the available at the door. For more information, +1 (617) 742 0909 music playing to the delight of audiences all visit bostonartistsensemble.org or call (617) [email protected] year long. In addition to joining a commu- 964-6553. nity of like-minded music lovers, becoming a Friend of the BSO entitles you to benefits that bring you closer to the music you cher- Those Electronic Devices… ish. Friends receive advance ticket ordering As the presence of smartphones, tablets, privileges, discounts at the Symphony Shop, and other electronic devices used for com- and access to the BSO’s online newsletter munication, note-taking, and photography InTune, as well as invitations to exclusive has increased, there have also been continu- donor events such as BSO and Pops working ing expressions of concern from concertgoers rehearsals, and much more. Friends member- and musicians who find themselves distracted ships start at just $100. To join our commu- not only by the illuminated screens on these nity of music lovers in the Friends of the BSO, devices, but also by the physical movements contact the Friends Office at (617) 638-9276 that accompany their use. For this reason, or [email protected], or join online at and as a courtesy both to those on stage and bso.org/contribute. those around you, we respectfully request that all such electronic devices be completely BSO Members in Concert turned off and kept from view while BSO per- formances are in progress. In addition, please BSO cellist Mickey Katz is soloist in Dvoˇrák’s also keep in mind that taking pictures of the Cello Concerto with the North Shore Philhar- orchestra—whether photographs or videos— monic Orchestra led by Joel Bard on Sunday, is prohibited during concerts. Thank you very April 15, at 3 p.m. at Swampscott High School. much for your cooperation. Also on the program are Khachaturian’s Masquerade Suite and Haydn’s Symphony No. 70. General admission is $25 (discounts Comings and Goings... for seniors and students; free for children Please note that latecomers will be seated under thirteen). For tickets and further infor- by the patron service staff during the first mation, visit nspo.org or call (781) 214-0624. convenient pause in the program. In addition, Founded by former BSO cellist Jonathan please also note that patrons who leave the Miller, the Boston Artists Ensemble performs auditorium during the performance will not a program entitled “Finale & Premiere” on be allowed to reenter until the next conve- Friday, April 20, at 8 p.m. at Hamilton Hall nientpause in the program, so as not to dis- in Salem and on Sunday, April 22, at 3 p.m. turb the performers or other audience mem- at St. Paul’s Episcopal Church, 15 St. Paul bers while the music is in progress. We thank Street, Brookline. Joining Mr. Miller for this you for your cooperation in this matter. program, which includes Ravel’s Sonata

week 22 bso news 13 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 22 on display 15 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 April. 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 became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he will bring both orchestras together for a unique multi-dimensional alliance; under his direction, the BSO celebrated its first “Leipzig Week in Boston” that same month. In the sum- mer of 2015, following his first season as music director, his contract with the Bos- ton 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

16 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 22 andris nelsons 17 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 Adam Esbensen* Robert Bradford Newman chair, Assistant Principal Richard C. and Ellen E. Paine Malcolm Lowe endowed in perpetuity Anne Stoneman chair, endowed chair, endowed in perpetuity Concertmaster in perpetuity Charles Munch chair, Xin Ding* Blaise Déjardin* endowed in perpetuity Danny Kim Glen Cherry* Lois and Harlan Anderson chair, Oliver Aldort* Tamara Smirnova Lisa Ji Eun Kim* endowed in perpetuity First Associate Concertmaster basses Helen Horner McIntyre chair, Rebecca Gitter endowed in perpetuity second violins Michael Zaretsky* Edwin Barker Principal Alexander Velinzon Haldan Martinson Mark Ludwig*° Harold D. Hodgkinson chair, Associate Concertmaster Principal endowed in perpetuity Robert L. Beal, Enid L., and Carl Schoenhof Family chair, Rachel Fagerburg* Bruce A. Beal chair, endowed endowed in perpetuity Lawrence Wolfe Daniel Getz* in perpetuity Assistant Principal Julianne Lee° Maria Nistazos Stata chair, Elita Kang Rebekah Edewards* Assistant Principal endowed in perpetuity Assistant Concertmaster Charlotte and Irving W. Rabb Leah Ferguson* Edward and Bertha C. Rose chair, chair, endowed in perpetuity Benjamin Levy endowed in perpetuity Kathryn Sievers* Leith Family chair, endowed Sheila Fiekowsky in perpetuity Yuncong Zhang Shirley and J. Richard Fennell John and Dorothy Wilson chair, chair, endowed in perpetuity cellos Dennis Roy endowed in perpetuity Nicole Monahan (position vacant) Joseph Hearne Lucia Lin David H. and Edith C. Howie Principal James Orleans* Dorothy Q. and David B. Arnold, chair, endowed in perpetuity Philip R. Allen chair, endowed Jr., chair, endowed in perpetuity in perpetuity Todd Seeber* Ronan Lefkowitz§ Ikuko Mizuno Sato Knudsen Eleanor L. and Levin H. Campbell Ruth and Carl J. Shapiro chair, Vyacheslav Uritsky* Acting Principal chair, endowed in perpetuity Mischa Nieland chair, endowed endowed in perpetuity Nancy Bracken* John Stovall* in perpetuity Bo Youp Hwang Aza Raykhtsaum* Thomas Van Dyck* Mary B. Saltonstall chair, Mihail Jojatu endowed in perpetuity Bonnie Bewick* Sandra and David Bakalar chair flutes Jennie Shames* James Cooke* Martha Babcock Catherine and Paul Buttenwieser Vernon and Marion Alden chair, Elizabeth Rowe chair Victor Romanul* endowed in perpetuity Principal Walter Piston chair, endowed Catherine French* Owen Young* Valeria Vilker Kuchment* in perpetuity Kristin and Roger Servison chair Jason Horowitz* John F. Cogan, Jr., and Mary L. Cornille chair, endowed Clint Foreman § Tatiana Dimitriades* Ala Jojatu* in perpetuity Myra and Robert Kraft chair, Donald C. and Ruth Brooks endowed in perpetuity Heath chair, endowed Bracha Malkin* Mickey Katz* in perpetuity Stephen and Dorothy Weber Elizabeth Ostling chair, endowed in perpetuity Associate Principal Si-Jing Huang* violas Marian Gray Lewis chair, Ronald G. and Ronni J. Casty Alexandre Lecarme* Steven Ansell endowed in perpetuity chair Nancy and Richard Lubin chair Principal Charles S. Dana chair, endowed in perpetuity

18 photos by Winslow Townson and Michael Blanchard

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

week 22 boston symphony orchestra 19 Ride to work with an old friend.

Joe Mathieu, now on Morning Edition.

wgbhnews.org Casts of Character: The Symphony Statues by Caroline Taylor

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

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

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

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

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

Apollo Belvedere (Vatican City)

week 22 casts of character 21

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

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

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

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

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

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

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

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Ten Post Office Square, Suite 1125S, Boston, MA 02109 North Shore Office: 48 Central Street, Manchester-by-the-Sea, MA www.landvest.com These statues, in Mrs. Wolsky’s opinion, may well have been chosen with an eye toward beauty, as well as for their relevance to music, art, literature, and oratory. Two of the statues depict Apollo, the god of music and poetry. The first—set second from the right as you face the stage—is known as Apollo Citharoedus (pictured on page 23). Copied from the Roman original in the Vatican Museums, it shows Apollo in the long robes of a musician. He is accompanying his songs and poetry on a cithara, an instru- ment similar to a lyre he is credited with inventing. On his head is a laurel wreath—the symbol of triumph in Greece and Rome—which was given to victors in the games and contests sacred to Apollo.

The second statue of Apollo—to the right, as you face the back of the hall—is the Apollo Belvedere (pictured on page 21), credited for generations as the highest ideal of male beauty. The original, in the Vatican Museums, is thought to be a Roman copy of a 4th- century B.C. work by Leochares, the court sculptor to Alexander the Great. Here, Apollo is shown as a divine hero, wearing a chlamys, or short cloak, and holding a bow in his left hand. A spray of the sacred laurel plant may once have rested in his other hand. A creature of earth and the underworld, the snake, is coiled around the tree stump, sym- bolizing Apollo’s role as a god of prophecy.

To the left of this statue stands Diana of Versailles (see page 23), currently in the Louvre and also a copy of a 4th-century B.C. work by Leochares. Diana—known to the Greeks as Artemis, goddess of the chase and the forests—is shown here in the woods, flanked by a small stag. Wearing her hunting costume, a short tunic, she once readied a bow in her left hand. Like her brother Apollo, Diana was a musician who often led her choir of muses and graces at Delphi on returning from the hunt.

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

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

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

week 22 casts of character 25 Also represented in Symphony Hall are Demosthenes (fifth from the right as you face the stage); two statues of the Greek poet Anacreon (sixth from the right and sixth from the left, the former—the “Seated Anacreon”—shown opposite); Euripides (seventh from the right); Hermes (third from the left); Athena (fourth from the left); Sophocles (fifth from the left); and the Greek orator Aeschines (seventh from the left).

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

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

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

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

26 Seated Anacreon (Copenhagen)

list of casts in symphony hall

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

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

week 22 casts of character 27

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

Thursday, April 5, 8pm | the theresa m. and charles f. stone iii concert Saturday, April 7, 8pm | the traynor family concert

andris nelsons conducting

all-wagner program

“siegfried idyll”

{intermission}

Announcement for the premiere of “Tristan und Isolde” on June 10, 1865, in Munich

30 “tristan und isolde,” act ii camilla nylund, soprano (isolde) jonas kaufmann, tenor (tristan) mihoko fujimura, mezzo-soprano (brangäne) georg zeppenfeld, bass (king marke) andrew rees, tenor (melot) david kravitz, baritone (kurwenal)

English supertitles by Sonya Friedman, ©2012 Sonya Friedman, assigned to Miriam Lewin SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA Melissa Wegner, supertitles caller Casey Smith, supertitles technician

thursday evening’s appearances by the vocal soloists are supported by a gift from catherine and paul buttenwieser.

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

These concerts will end about 10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. 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 22 program 31 The Program in Brief...

When one thinks of Richard Wagner, the first music that comes to mind typically includes such demanding, plus-sized stage works as Tristan und Isolde, Die Meistersinger von Nürnberg, and his seventeen-hour, four-opera tetralogy Der Ring des Nibelungen. But the Siegfried Idyll is another story altogether. Wagner composed this chamber-musical, seventeen-minute piece as a birthday gift for his wife Cosima, surprising her with the first performance on Christmas morning, December 25, 1870, her birthday. The name of the piece refers not to the title character of Siegfried, Wagner’s third Ring opera, but to Richard and Cosima’s infant son Siegfried, who was not yet two years old when the Idyll was composed. In fact, at least one of the themes shared between the two works originated years earlier, when Wagner was planning a string quartet that he never fin- ished. But the specific sentiments attached to the shared themes as heard in the final act of Siegfried—where they give rise to expressions of everlasting devotion between Siegfried and Brünnhilde—should not be ignored, given Wagner’s use of these themes in a musical gift intended for Cosima in so intimate and personal a domestic setting.

Wagner composed Tristan und Isolde between 1857 and 1859, during a break from his massive Ring cycle. Hopes for production of his Ring-in-progress were all but gone; negotiations with his publishers were getting nowhere; he had had no new work staged since Lohengrin in 1850—and so it was obviously time for something more likely to be produced than the Ring. Wagner looked to the medieval legend of Tristan and Isolde. Already in December 1854 he had written to Liszt: “Since never in my whole life have I tasted the real happiness of love, I mean to raise a monument to that most beauti- ful of dreams.... I have in my mind a plan for Tristan und Isolde, the simplest but most full-blooded conception.” Now he was determined to finishTristan “at once, on a mod- erate scale.... For so much I may assume that a thoroughly practicable work, such as Tristan is to be, will quickly bring me a good income and keep me afloat for a time.” (He would express similarly naïve thoughts about Die Meistersinger, the other product of his break from the Ring.) Another incentive to the work on Tristan was his move to a cottage on the Zurich estate of his friends Otto and Mathilde Wesendonck. Here Wagner and Mathilde were drawn intimately together; there is no question that the intensity of their relationship is to be felt in the music Wagner composed during that time.

Tristan und Isolde is about love: love repressed and unacknowledged, then helplessly and haplessly expressed, and fulfilled, after emotional torment, only through death. Wagner’s use of dissonance in Tristan was startlingly new, and came to represent a turning point in the 19th century’s treatment of tonality. The emphasis on unresolved dissonance— built into the very first phrases of the opera’s Prelude, and magnified at the interrupted climax of the Act II love duet—was perfectly suited to the work’s depiction of height- ened longing.

Marc Mandel

32 Richard Wagner “Siegfried Idyll”

WILHELM RICHARD WAGNER was born in Leipzig, Saxony, on May 22, 1813, and died in Venice on February 13, 1883. He wrote the “Siegfried Idyll” as a birthday gift for his second wife, Cosima, and conducted its premiere on the staircase of the Wagner home at Tribschen, near Lake Lucerne in Switzerland, on Christmas morning, December 25, 1870, Cosima’s thirty- third birthday. (Hans Richter, soon to emerge as one of the great conductors of his generation and already a valuable assistant to Wagner, learned the trumpet for the occasion so he could play the twelve-measure part assigned to that instrument.) The first public performance was given at Mannheim on December 20, 1871, Wagner again conducting. Pressed for money, Wagner reluctantly consented to the publication of the “Idyll” in 1878.

THE “SIEGFRIED IDYLL” is scored for flute, oboe, two clarinets, bassoon, two horns, trumpet, and strings.

“When I woke up I heard a sound, it grew ever louder, I could no longer imagine myself in a dream, music was sounding, and what music! After it had died away, R. came in to me with the five children and put into my hands the score of his ‘symphonic birthday greeting.’ I was in tears, but so, too, was the whole household; R. had set up his orches- tra on the stairs and thus consecrated our Tribschen forever! The Tribschen Idyll—so the work is called....”

Thus Cosima Wagner’s diary entry for Sunday, December 25, 1870. “R.” is of course Richard, Richard Wagner; “the five children” are ten-year-old Daniela and seven-year- old Blandine, daughters of Cosima and Hans von Bülow; five-year-old Isolde and three- year-old Eva, daughters of Cosima von Bülow and Richard Wagner; and Siegfried, Wagner’s only son, born to Cosima on June 6, 1869, fourteen months before her marriage to Wagner on August 25, 1870. Tribschen was the country villa near Lucerne, rented for him by King Ludwig II of Bavaria, into which Wagner had moved in April 1866—he had taken his hasty leave of the Munich court the preceding December and had lived for a short while near Geneva—and where Cosima had joined him the following month; and

week 22 program notes 33 Program page for the first Boston Symphony performance of Wagner’s “Siegfried Idyll” on February 17, 1883, part of an (almost) all-Wagner program led by Georg Henschel (who was also one of three vocal soloists) four days after the composer’s death (BSO Archives)

34 “Tribschen Idyll” was the original name of that chamber-musical, intimate Wagnerian composition sent off to the publisher Schott eight years later, prefaced by a dedicatory poem in praise of Cosima and the infant Siegfried (see page 36), and made public property as the Siegfried Idyll.*

No easy task, this sorting out of names, dates, places, relationships in the life of Richard Wagner. No easy task, either, coming to grips with the character of this individual about whom more has probably been written than any other composer. In December 1865, the Bavarian Minister of State, Ludwig Freiherr von der Pfordten, wrote to Ludwig II of “Wagner’s unparalleled presumption and undisguised meddling in other than artistic spheres,” of his being “despised, not for the democratic views he airs... but for his ingratitude and betrayal of patrons and friends, for his wanton and dissolute self-indulgence and squan- dering, for the shameless way he exploits the undeserved favor he has received from Your Majesty....”

However colored by political intrigues, however shaded by the Wagner-Bülow scandal which had become the talk of the Munich court, one cannot avoid a certain ring of truth in this assessment: if one needed to choose a single word summing up Wagner’s charac- ter and world-view, it might very well be “self-serving.” In his attitude toward friends, relatives, creditors, landlords, and publishers, in his views on art, politics, and religion, he was a man with a mission, with a goal so important that everyone around him was expected to recognize it. And it says something of his faith in that mission, and of the power he exerted on those around him, that the “illustrious benefactor” upon whom he called in his preface to the 1863 edition of his Ring poem did appear, in the person of Bavaria’s Ludwig II, to make possible the productions of Tristan, Die Meistersinger von

* As inscribed on the manuscript, the full title was “Tribschen Idyll with Fidi-birdsong and Orange Sunrise”—”Fidi” being a pet name for the infant Siegfried, and “orange sunrise” apparently referring to the brightly reflective color of the wallpaper in Cosima’s bedroom.

2O17 2O18 SEASON Dancing in Time APRIL 28, 2O18 8PM David Rakowski Water Music WORLD PREMIERE Sebastian Currier Time Machines BOSTON PREMIERE Danielle Maddon, violin Bernard Hoffer Three Pieces for Orchestra WORLD PREMIERE Maurice Ravel Bolero

TSAI PERFORMANCE CENTER, BOSTON UNIVERSITY NEPHILHARMONIC.ORG MUSIC DIRECTOR

week 22 program notes 35 Richard Wagner’s dedicatory poem, written as preface to the score of the “Siegfried Idyll”

Es war Dein opfermuthig hehrer Wille, Thy noble sacrifice, thy fearless faith divine, der meinem Werk die Werdestätte fand, Found sanctuary for this work of mine. von Dir geweiht zu weltentrückter Stille, ’Tis thou, who love-lit calm on me bestows wo nun es wuchs und kräftig uns Wherein the wondrous hero-world in erstand, spirit grows, die Heldenwelt uns zaubernd zum Shining with magic beauty like a star Idylle, uraltes Fern zu trautem Heimathland. Born in some ancient home of heaven afar: Erscholl ein Ruf da froh in meine Sudden upon my ears a joyous message Weisen: came— “Ein Sohn ist da!”—der musste A son is thine, Siegfried shall be his Siegfried heissen. name. Für ihn und Dich durft’ ich in Tönen And now for both my loved ones happy danken,— songs awake, wie gäb’ es Liebesthaten hold’ren Lohn? My soul in music as thy love gift take, Sie hegten wir in uns’res Heimes The joy of memory in secret shrine Schranken, enclose, die stille Freude, die hier ward zum Soft as the folded sweetness of a rose. Ton. Die sich uns treu erwiesen ohne Reveal thy grace, let friendship watch Wanken, above, so Siegfried hold, wie freundlich Siegfried, our son, the guerdon of our uns’rem Sohn, love, mit Deiner Huld sei ihnen jetzt And all the faithful hearts in steadfast erschlossen, band was sonst als tönend Glück wir still The message of this song will under- genossen. stand.

Trans. H.N. BANTOCK

36 Cosima, Siegfried, and Richard Wagner

Nürnberg, and, ultimately, Der Ring des Nibelungen; and that so talented a musician as Hans von Bülow, whose career was so closely tied to Wagner’s success and yet whose personal life was so severely altered by the figure he idolized and had first met in Dresden in 1846, could write to his wife Cosima from Munich on June 17, 1869, in response to her request for a divorce: “You have preferred to devote your life and the treasures of your mind and affection to one who is my superior, and, far from blaming you, I approve your action from every point of view and admit that you are perfectly right.”

Wagner first met Cosima, the second illegitimate child of Franz Liszt’s liaison with the Countess Marie d’Agoult, in Paris, late in 1853, shortly after experiencing the seemingly visionary trance in which he conceived the E-flat opening for the music ofDas Rheingold. Cosima and Hans von Bülow, who was a student of Liszt’s, were married on August 18, 1857, and, eleven days later, arrived for a three-week stay with Wagner at the Asyl, the Wagner cottage on the estate near Zurich of the wealthy German merchant Otto Wesen- donck and his wife Mathilde. On another visit to the Asyl a year later, the von Bülows were witness to the disintegration of the atmosphere in which Wagner had been com- posing his Tristan und Isolde, and to a crucial stage in the collapse of his marriage to his first wife, Minna, in the face of his relationship with Mathilde Wesendonck.

Cosima’s attitude toward Wagner, twenty-four years her senior, had been cool; but repeated encounters and visits by Wagner to the von Bülows’ Berlin home changed this: in the course of one of these visits, on November 28, 1863, they acknowledged their love for each other. Cosima developed a sense of purpose as strong as Wagner’s own, and, as Richard saw it, writing from Lucerne a year before their marriage, “she knew what would help me once and for all, and knew how it might be achieved, and did not hesitate for a moment to offer me that help in the possession of herself.”

The intimacy and warmth of the Siegfried Idyll are a measure of Wagner’s love for Cosima— making the thematic relationship between the Idyll’s music and the final duet from

week 22 program notes 37 38 Siegfried (the third opera of the Ring tetralogy), in a general sense, incidental—even though Cosima will have recognized much from the already completed Siegfried in the Idyll. What one comes to realize is that the “Siegfried” of the published Idyll’s title is not the opera’s title character, but the Wagners’ infant son. So the point is not one of “which came first?” but of understanding that both theIdyll and the Siegfried duet are manifestations of the same emotional impulse on the composer’s part. In fact, Wagner conceived the Idyll’s principal musical idea some years earlier as the theme for a pro- jected string quartet in the summer of 1864, following a visit to him by Cosima at the Villa Pellet near Lake Starnberg in Bavaria; their first child, Isolde, was born less than a year later, on April 10, 1865. The lullaby that is the basis for the Idyll’s second episode appears among sketches for both Siegfried and Tristan dating from the late 1850s. And the horn call heard in the Idyll along with other motives familiar from Siegfried first came to Wagner during his work on the third act of Tristan, though he immediately recognized it as more appropriate to the hero of the Ring.

But the specific sentiments attached to theIdyll ’s themes as they are heard in the final act of Siegfried should not be altogether ignored. The Idyll’s third main idea, introduced after the lullaby episode, is allied in the opera with the words “O Siegfried! Herrlicher! Hort der Welt!” (“O glorious Siegfried, treasure of the world!”), and the principal theme and horn call mentioned earlier give rise in the opera to expressions of everlasting devo- tion between Siegfried and Brünnhilde. So we have in both the opera Siegfried and the Siegfried Idyll an overflowing of Wagner’s personal emotions into, on the one hand, a comparatively small segment in an overall musical project—Der Ring des Nibelungen—of mammoth proportion and significance, and, on the other hand, into music intended for the most intimate of domestic situations. But where so much of Wagner’s music cannot achieve its intended effect when transferred from the opera house to the concert hall, the Siegfried Idyll not only survives the change from its original setting, but tells us something very special about Wagner the man, and in a way so much else of his music does not.

Marc Mandel marc mandel is Director of Program Publications of the Boston Symphony Orchestra.

THE FIRST AMERICAN PERFORMANCE of the “Siegfried Idyll” was given by Theodore Thomas with his orchestra on February 28, 1878, at New York’s Steinway Hall; the program on that occasion carried the notation “received from Europe only this week.”

THE FIRST BOSTON SYMPHONY PERFORMANCE of the “Siegfried Idyll” was given by Georg Henschel on February 16, 1883, just a few days after the composer’s death (see page 34), subse- quent BSO performances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Bruno Walter, Charles Munch, Erich Leinsdorf, Michael Tilson Thomas, Klaus Tennstedt, Gunther Herbig, Christof Perick, Jeffrey Tate, Ilan Volkov, Robert Spano, Asher Fisch, Kazushi Ono (the most recent Tanglewood performance, on July 12, 2013), and Andris Nelsons (the most recent subscription performances, in October 2013).

week 22 program notes 39

Richard Wagner “Tristan und Isolde,” Act II

WILHELM RICHARD WAGNER was born in Leipzig, Saxony, on May 22, 1813, and died in Venice on February 13, 1883. He began the prose sketch for “Tristan und Isolde” on August 28, 1857, and completed the poem the following September 18. The music was composed between October 1, 1857, and July 19, 1859, the autograph score being completed by August 6, 1859. The music of Act II was composed between May 4, 1858, and March 9, 1859. The first performance of “Tristan und Isolde” took place on June 10, 1865, at the Königliches Hof- und Nationaltheater in Munich. Hans von Bülow conducted, with Ludwig Schnorr von Carolsfeld (Tristan), Malvina Schnorr von Carolsfeld (Isolde), Anna Deinet (Brangäne), and Messrs. Zottmayer (King Marke), Mitterwurzer (Kurwenal), and Heinrich (Melot).

IN ADDITION TO THE VOCAL SOLOISTS, the score of “Tristan und Isolde,” Act II, calls for an orchestra of three flutes, piccolo, two oboes and English horn, two clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, harp, and strings, plus six horns offstage. The duration of the act, which is performed complete in these concerts, is about seventy-five minutes.

THE BACKGROUND When Tristan und Isolde had its premiere in 1865, nothing like this music had ever been written, and it is still among the most powerful and emotionally manipulative ever heard. The music aside, Tristan has been considered from every possible point of view, including Wagner’s approach to and interpretation of myth, legend, and folklore; his immersion in the philosophy of Schopenhauer, particularly relevant to the “Liebesnacht” (“night of love”) of Act II and the death-yearnings that inform the opera as a whole; and the psychological aptness of the composer’s interest in the Tristan-Isolde-Marke trian- gle given his own personal entanglement with Mathilde Wesendonck, the wife of his German businessman friend Otto Wesendonck, at the time Tristan was being written.

Surely an incentive to the work on Tristan und Isolde was Wagner’s move to a cottage

week 22 program notes 41 Program page for the first Boston Symphony Orchestra performances of Wagner’s “Tristan und Isolde,” Act II, William Steinberg conducting, with James King and Eileen Farrell in the title roles (BSO Archives)

42 Mathilde Wesendonck (1828-1902)

on the Wesendonck estate in Zurich. Mathilde had become an ardent Wagner devotee following a concert performance of the Tannhäuser Overture led by the composer in 1851. Otto was a successful German businessman and partner in a New York silk com- pany. The Wesendoncks first settled in Zurich in 1851, and it was at Mathilde’s instiga- tion that Wagner and his wife Minna were later provided lodging on the Wesendonck estate in a cottage christened “the Asyl” (meaning “asylum” or “refuge”), so-called after a reference in Mathilde’s letter of invitation to Minna. Here Wagner and Mathilde Wesendonck were drawn intimately to one another. The history books hedge on whether their relationship was physical as well as intellectual and spiritual—Minna, of course, assumed the worst, especially after intercepting a covert letter from Wagner to Mathilde in early April 1858—but there is no question that the intensity of their relationship is to be felt in the music written during that time. Wagner separated from Minna and left the Asyl on August 17, 1858, traveling to Venice and taking up residence during the winter of 1858-59 in the Palazzo Giustiniani, where he composed the second act of Tristan. The third act would be composed in the Hotel Schweizerhof in Lucerne, where Wagner relocated in March of 1859.

By the time Wagner completed Tristan during a break from working on his massive Ring cycle (see page 32), he knew that his plan for “a thoroughly practicable work” had given rise to something rather different. In August 1860, writing to Mathilde, he noted that “upon reading it through again, I couldn’t believe my eyes or my ears.... I’ve over- stepped whatever lies within the power of execution.” Attempts to stage the work in Karlsruhe in 1861 and in Vienna the following year were abandoned. But circumstances changed. In 1863, Wagner published a new edition of his Ring poem, calling in the pref- ace for “a German prince” who might come to his aid and to the aid of German opera. The following May his entreaty was answered by the eighteen-year-old Ludwig II of Bavaria, who had ascended the throne in March 1864. Ludwig settled Wagner’s debts, commissioned Wagner to complete the Ring, and made possible the first performance

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BostonSymphony 2017/18 ISG ND2017.indd 1 4/21/17 4:40 PM of Tristan on June 10, 1865, in Munich. The conductor was Hans von Bülow, whom Wagner had had Ludwig appoint court pianist in Munich; whom he described as “the very man who once accomplished the impossible, making a piano reduction of this score that can actually be played, although nobody yet understands how he contrived to do so”; and whose wife Cosima, the daughter of Franz Liszt, had just had her first child by Wagner in April, and would leave Bülow for Wagner several years later.

THE MUSIC Of course it is ultimately the music that matters most and which sweeps so much, often even the sense of Wagner’s text, before it. The importance of Tristan und Isolde to the history of music cannot be overestimated: the opening measures of the Act I prelude alone, which recur only briefly toward the end of Act II though they play a crucial struc- tural role in the fabric of Act I, literally changed the face of musical expression, bringing the notion of “Romantic music” to its height and opening new harmonic pathways for the next generation of composers. Even now, there is no disputing Hans von Bülow’s assessment in August 1859 that Tristan represented “the summit of all music to date.”

On October 29, 1859, writing to Mathilde Wesendonck, Wagner himself fastened spe- cifically upon Act II ofTristan as precisely embodying “the special fabric” of his music, his ability “to interlink and interrelate every element of transition between the most extreme moods.” This letter, one of the most important statements we have from Wag-

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week 22 program notes 45

King Ludwig II of Bavaria (1845-1886)

ner regarding his approach to musical composition, is worth quoting at some length: ...I should now like to call my deepest and most subtle art the art of transition, for the whole fabric of my art is built up on such transitions.... My greatest masterpiece of the art of the most subtle, most gradual transition is certainly the big scene in the second act of Tristan und Isolde. This scene begins with pulsating life at its most passionate—and ends with the most mystical, innermost longing for death.... If you only knew to what extent that guiding principle has led me to musical ideas here—of rhythmic, harmonic, and melodic development—such as I could never hit on before.

This touches not at all upon the notion of the leitmotif (which was not Wagner’s own term), or “leading motive,” which Wagner analysts have analyzed ad infinitum since early in the 20th century. These musical units provide a certain relationship between text and music via their association with the characters portrayed in Wagner’s music dramas and even with ideas and attitudes expressed during the course of the action. Whereas increasing familiarity with the motives of the seventeen-hour Ring may truly enhance one’s appreciation of how Wagner organized his musical and dramatic edi- fice, this is of considerably less importance when consideringTristan . More important here (and of considerable importance also in the Ring) are the repetitions of extended segments of music to unify the large-scale musical structure, as, for example, the afore- mentioned recurrence of prelude material during the course of Act I, and the recapitu- lation and reinterpretation of the interrupted Act II Liebesnacht, which finds resolution only in Isolde’s Liebestod (“Love-death”) at the opera’s end. Another relevant example is the prelude to Act II, serving originally to depict Isolde’s eager anticipation of Tristan’s appearance, and then returning to heighten the urgency and excitement of his arrival at the beginning of the second scene.

Act II of Tristan und Isolde takes place in the garden outside Isolde’s chamber in King Marke’s castle in Cornwall. In the first act, set on board Tristan’s ship bearing the

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Developed by Massachusetts General Hospital Proudly Celebrating Over 25 Years! Ludwig and Malvina Schnorr von Carolsfeld as Tristan and Isolde in the 1865 premiere in Munich

Irish princess Isolde as bride-booty to Marke, the pair’s passion for one another was unleashed through the device of the “Liebestrank” (“love potion”) substituted by Isolde’s handmaid Brangäne for the “Todestrank” (“death potion”) ordered up by her mistress to release the two from the torment of their subconsciously acknowledged but unex- pressed love. At the start of Act II, the sound of distant hunting horns is heard: Tristan’s jealous friend Melot has arranged a nocturnal hunt to draw Marke from the castle so that Isolde and Tristan can rendezvous. Brangäne suspects Melot’s motives, but her attempts to keep Isolde from quenching the signal-torch and thereby alerting Tristan to join her are fruitless: Isolde is devoted to Night, Death, and Frau Minne, the goddess of Love. Aspects of Wagner’s orchestral writing worth attention in this scene include the urgency of the prelude; the “soft, rippling fountain” of clarinets, second violins, and violas; and the sinister winds and muted brass that accompany Brangäne’s description of the evil Melot. With Isolde’s invocation of Frau Minne (“Die im Busen mir die Glut enfacht...”/“She who enkindles this flame in my breast...”) the scene reaches its climax, and the crucial symbols of Wagner’s poetry—light (with respect to both the torchlight and life), life, and day, darkness, death, and night—are intensively aligned. Here occurs the only real “action” so far—the quenching of the torch, the symbolic anticipation of Tristan’s fatal wounding by Melot at the end of the act.

The second, central portion of the act leads from the excitement of Tristan and Isolde’s reunion—and note Wagner’s wonderfully expressive use of the German language, with its predilection for such freely creatable word-concepts as “Überreiche! Überselig!... Freudejauchzen!...Lustentzücken!” (“Without measure! Boundless blessed!...Joy exultant!... Rapturous transport!”)—through discourse building upon the ideas of light, day, and

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50 the Liebestrank—a segment often marred by a cut of about seven minutes, but heard complete in these concerts—to the restrained lyricism and climactic passion of the Liebesnacht duet, where words seem to matter hardly at all.

The musical and poetic structure of the love-duet is, in actuality, deceptively simple: the initial “cycle” brings us from the restraint of “O sink’ hernieder, Nacht der Liebe...” to Bran- gäne’s first, beautifully floated warning from the watch tower (“Einsam wachend in der Nacht...”) to the lovers’ response and continued self-involvement (“Lausch, Geliebter!...”). The poetic structure is repeated, but condensed beginning at “So stürben wir, um ungetrennt...,” moving quickly through a second, shorter warning from Brangäne (“Habet Acht!...”) to another passage of self-immersion on the part of the lovers (“Soll ich lauschen?...”). This latter passage begins by echoing the corresponding music of the first “cycle” and builds to the ecstatic closing section of the duet (“Wie sie fassen, wie sie lassen...”), to be interrupted at its peak by the intrusion of Tristan’s companion Kurwenal and King Marke’s hunting party (and to be completed, as mentioned earlier, only in the closing minutes of the opera with Isolde’s Liebestod.)

The final sequence introduces the grief-stricken King Marke, whose pain at his nephew Tristan’s apparent treachery is unerringly mirrored by the music. (Only much later will Brangäne reveal to Marke the accountability of the Liebestrank.) This lengthy but deeply felt passage is one of the most unjustifiably maligned in all opera; pay attention to the poetry—here the words do count. Marke’s monologue completed, Tristan cannot adequately respond; here is where, as he turns his attention to Isolde, the orchestra recalls the Act I prelude. The music harks back to the Liebesnacht as he asks that she follow him to the land of darkness, that “wondrous realm of night” he knew before his birth, to which the mortal wound he willingly suffers at Melot’s hand intimates reentry, and where the tormented, transcending recollections of his Act III delirium will unite him finally with Isolde in death.

Marc Mandel

THE AMERICAN PREMIERE OF “TRISTAN UND ISOLDE” was given by the Metropolitan Opera in New York on December 1, 1886. Anton Seidl conducted, with Albert Niemann (Tristan), Lilli Lehmann (Isolde), Marianne Brandt (Brangäne), Emil Fischer (King Marke), Adolf Robinson (Kurwenal), and Rudolph von Milde (Melot).

THE BOSTON SYMPHONY ORCHESTRA HAS PERFORMED THE SECOND ACT OF “TRISTAN UND ISOLDE” on two previous occasions: in subscription concerts of April 21 and 22, 1972, William Steinberg conducting, with James King (Tristan), Eileen Farrell (Isolde), Nell Rankin (Brangäne), Robert Hale (King Marke), John Davies (Kurwenal), and Dean Wilder (Melot); and at Tanglewood on August 1, 1981, Seiji Ozawa conducting, with Jon Vickers (Tristan), Jessye Norman (Isolde), Gwendolyn Killebrew (Brangäne), Aage Haugland (King Marke), Keith Kibler (Kurwenal), and Warren Ellsworth (Melot).

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The most useful books on Wagner remain generally available, either new or used, even as they go in and out of print. Ernest Newman’s The Wagner Operas offers detailed historical and musical analysis of the operas from The Flying Dutchman through Parsifal (Princeton University paperback). Newman’s equally indispensable Life of Richard Wagner has been reprinted in paperback (Cambridge University Press; four volumes). Wagner’s autobiography, My Life, was for a while available in a modern English transla- tion by Mary Whittall (also Cambridge paperback). Biographies of more recent vintage include Robert W. Gutman’s Richard Wagner: The Man, his Mind, and his Music (Harvest paperback) and Curt von Westernhagen’s Wagner: A Biography, translated by Mary Whittall (another Cambridge paperback). Several intriguing, shorter—and strongly recommended—books may be more readily digestible for many readers: Thomas May’s Decoding Wagner: An Invitation to his World of Music Drama (Amadeus paperback, including two CDs of excerpts from the operas, beginning with The Flying Dutchman); Michael Tanner’s Wagner (Princeton University paperback), and Bryan Magee’s Aspects of Wagner (Oxford paperback). Other useful resources include Richard Wagner and his World (Princeton paperback, in the Bard Music Festival series) and The Cambridge Companion to Wagner (Cambridge), both edited by Thomas S. Grey; and The Wagner Compendium: A Guide to Wagner’s Life and Music, edited by Barry Millington (Schirmer). Millington’s Wagner article from the 2001 Grove Dictionary of Music and Musicians John Singer Sargent, has been published separately as The New Grove Wagner (Oxford paperback), supersed- ing the previous New Grove Wagner derived from the Wagner entry in the 1980 Grove (Norton paperback). Wagner: A Documentary Study, compiled and edited by Herbert Barth, Dietrich Mack, and Egon Voss, is an absorbing and fascinating collection of sold: pictures, facsimiles, and prose, the latter drawn from the writings and correspondence of Wagner and his contemporaries (Oxford University Press; out of print, but well worth seeking).

Recordings of the Siegfried Idyll range widely in vintage; accounts worth considering include Herbert von Karajan’s with the Berlin Philharmonic (Deutsche Grammophon), Daniel Barenboim’s with the Chicago Symphony Orchestra (Teldec), Thomas Dausgaard’s with the Swedish Chamber Orchestra (Bis), Iván Fischer’s with the Budapest Festival Orchestra (Channel Classics), Bernard Haitink’s with the Concertgebouw Orchestra of Amsterdam (Philips), and Marek Janowski’s with the French National Radio Orchestra (Virgin Classics). Classic, much older accounts include Guido Cantelli’s with the Phil- Assisting New England families with the sale of their fine jewelry and paintings since 1987. groganco.com | 20 charles street, boston, massachusetts 02114 | 617.720.2020 week 22 read and hear more 53 harmonia Orchestra (Testament) and Wilhelm Furtwängler’s with the Vienna Philhar- monic (also Testament). Of special interest is Erich Leinsdorf’s warm BSO broadcast account of October 1965 in the twelve-disc box “Boston Symphony Orchestra: Symphony Hall Centennial Celebration–From the Broadcast Archives, 1943-2000” (available at the Symphony Shop or at bso.org), or on DVD in a live telecast from later that same month (VAI).

For a complete Tristan und Isolde on CD, there are of course many recordings with famed conductors and singers, but I always think first of two that have more than withstood the test of time: the live 1966 Bayreuth Festival recording led by Karl Böhm with Birgit Nilsson and Wolfgang Windgassen in the lead roles, which remains my default starting- point recommendation (Deutsche Grammophon), and conductor Wilhelm Furtwängler’s classic 1952 studio account with Kirsten Flagstad, Ludwig Suthaus, and the Philharmonia Orchestra (Warner Classics; originally EMI). Other less familiar audio-only accounts not to be overlooked include conductor Reginald Goodall’s with Linda Esther Gray, John Mitchinson, and the Welsh National Opera Orchestra and Chorus (Decca) and Marek Janowski’s with Nina Stemme, Stephen Gould, and the Berlin Radio Orchestra and Chorus (PentaTone). DVD options include Jean-Pierre Ponnelle’s 1983 Bayreuth production conducted by Daniel Barenboim with Johanna Meier as Isolde and René Kollo as Tristan (Deutsche Grammophon); Barenboim’s 1993 Bayreuth account with Waltraud Meier and Siegfried Jerusalem (Deutsche Grammophon); Barenboim’s with Waltraud Meier and Ian Storey at La Scala in 2007 (Erato); Christian Thielemann’s 2015 Bayreuth account with Evelyn Herlitzius and Stephen Gould (Deutsche Grammophon), and a 1999 Metropolitan Opera production led by James Levine with Jane Eaglen and Ben Heppner (Deutsche Grammophon). As to singers in this week’s BSO performances of Act II, Mihoko Fujimura is Brangäne in conductor Antonio Pappano’s recording with Nina Stemme, Plácido Domingo, and Covent Garden forces (Warner Classics), and Georg Zeppenfeld is King Marke in Vladimir Jurowski’s 2009 live Glyndebourne Festival performance with Anja Kampe and Torsten Kerl (Glyndebourne).

Marc Mandel

week 22 read and hear more 55

Guest Artists

Camilla Nylund Soprano Camilla Nylund makes her Boston Symphony Orchestra debut this week. Born in Vaasa, Finland, Ms. Nylund has established herself as one of the world’s leading lyric- dramatic sopranos. In her breakthrough season of 2004-05 she made debuts as Elisabeth in Tannhäuser at the Bayerische Staatsoper, in the title role of Salome in Cologne, and as Leonore in Fidelio in Zurich; they remain three signature roles in her repertoire. She has sung Salome in Vienna, Toulouse, Valencia, Paris, and with the Semperoper Dresden including a tour of Japan. Elisabeth served as her 2011 debut at Bayreuth, with subsequent engagements in San Diego, Cologne, Baden-Baden (including a live DVD recording), and in Japan with the Semperoper Dresden. Her Leonore has been heard in the Theater an der Wien, Opernhaus Zurich, and on a Japanese tour with the Salzburg Easter Festival under Sir Simon Rattle. Following her 2008 Salzburg Festival debut in the title role of Rusalka, that role served for her debuts at Covent Garden and the Liceu in Barcelona. Also acclaimed as Elsa in Lohengrin, she has sung that role in Cologne, Dresden, Vienna, San Francisco, and in concert in Amsterdam. Her many Strauss roles include the title roles in Arabella and Ariadne auf Naxos, Chrysothemis in Elektra, the Countess in Capriccio, and the Marschallin in Der Rosenkavalier. Other roles include Eva in Die Meistersinger von Nürnberg, Elisabetta in Don Carlo, and Tatiana in Eugene Onegin. In the 2016-17 season Ms. Nylund returned to the Staatsoper Berlin for Leonore and as the Empress in Die Frau ohne Schatten and to the Wiener Staatsoper for Die tote Stadt, Arabella, Die Walküre, and Fidelio. Other season highlights included Der fliegende Holländer at Finnish National Opera, Die Fledermaus at the Semperoper Dresden, Tannhäuser at Deutsche Oper Berlin, and Sieglinde in Die Walküre at the Bayreuth Festival. Concert engagements included Gubaidulina’s Über Liebe und Haß with the Staatskapelle Dresden, Beethoven’s Missa Solemnis with the Elbphilharmonie Hamburg, and Janáˇcek’s Glagolitic Mass with the Konzerthausorchester Berlin. Recent and upcoming engagements include Die Frau ohne Schatten and Der Freischütz at the Wiener Staatsoper, her debut as Marie in Wozzeck in Düsseldorf, Capriccio in Frankfurt, Der fliegende Holländer in Zurich, her Metropolitan Opera debut in Der Rosenkavalier, a new production of that opera at the Staatsoper Berlin, Arabella in Dresden, Ariadne auf Naxos at the Théâtre des Champs-Élysées in Paris, and Rusalka at Opéra Bastille. Ms. Nylund’s more than thirty CD and DVD recordings include an acclaimed solo album of Strauss and Wagner entitled “Transfiguration.” She was given the title of Kam- mersängerin by the state of Saxony and has been awarded the Culture Prize of Sweden and the Pro Finlandia Medal of the Order of the Lion of Finland.

week 22 guest artists 57 Your A ernoon Exhale

A service of WGBH A SERVICE OF WGBH

Download the App Jonas Kaufmann Since his 2006 Metropolitan Opera debut in La traviata, Jonas Kaufmann has numbered among opera’s top stars. Originally from Munich, he completed his vocal studies there at the local music academy, also attending master classes with Hans Hotter, James King, and Josef Metternich. During his years at the State Theater in Saarbrücken, he continued his training with Michael Rhodes in Trier. Following engagements in Stuttgart, Frankfurt, Hamburg, and Milan, he moved to Zurich Opera in 2001. His international career has since brought him to the Royal Opera House, Paris Opera, Deutsche Oper Berlin, Staatsoper Berlin, La Scala, the Vienna State Opera, Metro- politan Opera, Lyric Opera of Chicago, Salzburg, and Bayreuth, where he debuted as Lohengrin in 2010. In Italian and French repertoire, he has been acclaimed as Massenet’s Werther, Cavaradossi in Tosca, Don José in Carmen, and Gounod’s Faust. His 2011 role debut as Siegmund in Die Walküre at the Metropolitan Opera was transmitted worldwide on radio and in HD to cinemas. Highlights of recent season include debuts in the title role of Andrea Chénier at Covent Garden, as Radames in Aida in Rome, in Cavalleria rusticana/Pagliacci at the Salzburg Easter Festival, as Walther von Stolzing in Die Meistersinger von Nürnberg, and as Otello at Covent Garden (subsequently broadcast to cinemas world- wide), as well as a return to the Paris Opera for Lohengrin, Andrea Chénier in Munich, and the title role of Wagner’s Parsifal at the Met (transmitted worldwide on radio and in the compa- ny’s “Live in HD” series) and at the Sydney Opera House. The current season includes Don Carlos in Paris, Andrea Chénier in Barcelona and Vienna, concert performances of Tristan und Isolde, Act II, with the Boston Symphony in Boston and New York, Tosca in Hamburg, and .

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week 22 guest artists 59

Parsifal in Munich. Jonas Kaufmann’s CDs and DVDs include performances of Lohengrin, Die Walküre, Parsifal, Königskinder, Ariadne auf Naxos, Don Carlos, Tosca, Andrea Chenier, Adriana Lecouvreur, Werther, and Carmen, as well as several best-selling solo albums. His most recent album, “L’Opéra,” features selections from French opera. In 2011 he received the Opera News Award in New York and was named a Chevalier de l’Ordre de l’Art et des Lettres by the French government. He has been named “Singer of the Year” by Opernwelt, Diapason, and Musical America, as well as by the juries of Echo-Klassik and the inaugural International Opera Awards (London 2013). Jonas Kaufmann is also a familiar figure on concert and recit- al platforms. His partnership with pianist Helmut Deutsch, with whom he has worked since his student days in Munich, has proven itself in countless concerts, including a 2011 recital on the stage of the Metropolitan Opera, the first solo recital given at the Met since Luciano Pavarotti’s in 1994. Jonas Kaufmann’s only previous Boston Symphony appearance was in Andris Nelsons’ inaugural concert as BSO music director in September 2014, singing music of Wagner, Mascagni, and Puccini.

Mihoko Fujimura Making her Boston Symphony Orchestra debut this week, mezzo-soprano Mihoko Fujimura was a soloist in the Tanglewood Music Center Orchestra’s August 2015 performance under Andris Nelsons of Mahler’s Symphony No. 8 on that summer’s Leonard Bernstein Memorial Concert marking the TMC’s 75th anniversary. Born in Japan, Ms. Fujimura studied at Tokyo University and Munich’s Hochschule für Musik. She won numerous international singing competitions before joining the ensemble of Oper Graz, where she first sang many of her signature roles. Since coming to international attention at the 2002 Bayerischer Staatsoper and Bayreuth festivals, she has become a regular guest at the Royal Opera House–Covent Garden, La Scala, the Bayerische Staatsoper, Wiener Staatsoper, Théâtre du Châtelet, Madrid’s Teatro Real, Deutsche Oper Ber- lin, Bayreuth Festival, Maggio Musicale Fiorentino, and Aix-en-Provence Festival. In concert she appears with the world’s leading orchestras and regularly throughout Japan. In nine consecutive seasons at Bayreuth, she has sung Kundry, Brangäne, Fricka, Waltraute, and Erda. Her operatic repertoire also includes Venus, Idamante, Octavian, Carmen, Eboli, Azu- cena, and Amneris. Her concert repertoire includes Verdi’s Requiem, Wagner’s Wesendonck Lieder, and Mahler’s Das Lied von der Erde, Rückert-Lieder, Des Knaben Wunderhorn, and sym- phonies 2, 3, and 8. Ms. Fujimura appears regularly with such conductors as Myung-Whun Chung, Christoph Eschenbach, Adám Fischer, Fabio Luisi, Christian Thielemann, and Peter Schneider, and in recital with Christoph Ulrich Meier. She has recorded Brangäne in Tristan und Isolde with Antonio Pappano for EMI Classics, Gurrelieder with the Symphonieorchester des Bayerischen Rundfunks and Mariss Jansons, Mahler’s Symphony No. 3 with the Bam- berg Symphony and Jonathan Nott, and Beethoven’s Symphony No. 9 with Christian Thiele- mann and the Vienna Philharmonic. For Fontec she has released two solo recital discs with pianist Wolfram Rieger, singing works by Wagner, Mahler, Schubert, Strauss, Brahms, and Schumann. Recent engagements include the Wesendonck Lieder at the Sala São Paulo and Teatro Colón, Buenos Aires, with the Hamburg Philharmonic; Beethoven’s Symphony No. 9 with the Vienna Philharmonic and Zubin Mehta, and Fricka in Das Rheingold with Semper- oper Dresden to mark the 30th anniversary of Tokyo’s Suntory Hall. Highlights of 2017-18 include Fricka at the Beijing Music Festival and Hamburgische Staatsoper; Brangäne with

week 22 guest artists 61 R e d e fi n i n g Retirement

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Debussy Sun. April 8 • 7:30 PM | Sanders Theatre, Cambridge Centennial Mozart Oboe Quartet in F major, K. 370 Highlighting the string quartet and Debussy Sonata for Cello & Piano sonatas of Debussy (1862–1918) in Godfrey Ad Concordiam: Quintet Variations for Oboe, Strings & Piano our Winter & Spring concerts Mendelssohn Piano Trio in C minor, Op. 66 617.349.0086 • www.bostonchambermusic.org

62 Andris Nelsons and the BSO in Boston and at Carnegie Hall; Mahler’s Symphony No. 3 at Carnegie Hall with the Israel Philharmonic and Zubin Mehta, and Mahler’s Symphony No. 8 with the Rotterdam Philharmonic and Yannick Nézet-Séguin. In 2014 Mihoko Fujimura was awarded the Purple Ribbon Medal of Honor by the Japanese Government for her contribu- tion to academic and artistic developments, improvements, and accomplishments.

Georg Zeppenfeld Appearing with the Boston Symphony for the first time this week, German bass Georg Zeppenfeld studied at the Musikhochschule Detmold and with Hans Sotin at Cologne’s Hochschule für Musik, where he earned his diploma in opera and concert singing. Following engagements at the opera houses of Münster and Bonn, he was engaged in 2001 by the Sächsischen Staatsoper Dresden (Semperoper), which remains his artistic home. He has been a guest at many of the great opera houses in Europe and the United States and in concert halls worldwide. Among his many operatic roles are Figaro and Bartolo (Le nozze di Figaro), Don Alfonso (Così fan tutte), Rocco (Fidelio), Kaspar (Der Freischütz), Raimondo (Lucia di Lammermoor), Zaccaria (Nabucco), Banco (Macbeth), Padre Guardiano (La forza del destino), Sparafucile (Rigoletto), Philip II (Don Carlo), Gremin (Eugene Onegin), Daland (Der fliegende Holländer), Landgraf Her- mann (Tannhäuser), King Henry (Lohengrin), King Marke (Tristan und Isolde), Veit Pogner (Die Meistersinger von Nürnberg), Fasolt (Das Rheingold), Hunding (Die Walküre), Fafner (Siegfried), Gurnemanz (Parsifal), Vodník (Rusalka), and Pimen (Boris Godunov). In 2016 he performed Verdi’s Requiem at the Zurich Opera House in a co-production with the Ballet and Opera Zurich. A signature role is Sarastro in The Magic Flute, which he performed under Claudio Abbado in Baden-Baden and has also sung in San Francisco, New York, Vienna, Salzburg, London, Munich, and Dresden. A regular guest at the Bayreuth Festival since 2010, he returns there this year as King Henry and King Marke. Among his roles in Dresden for 2017-18 are Raimondo, Fasolt, Fafner, Hunding, Daland, Kaspar, Sarastro, and Sparafucile. Other season highlights include King Henry at Covent Garden, Mozart’s C minor Mass with

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*May temporarily relieve common mild snoring in otherwise healthy adults. Partner Snore™ technology is available with Split King and FlexTop® King mattresses on FlexFit™ adjustable bases. †2-Year Limited Warranty on SleepIQ® technology. Warranties available at sleepnumber.com. ‡Results from a 2015 Sleep Number survey of 1,797 customers asked about their likelihood to recommend Sleep Number to a friend, family member, or colleague. SLEEP NUMBER, SELECT COMFORT, SLEEPIQ and the Double Arrow Design are registered trademarks and IT is a trademark of Select Comfort Corporation. ©2017 Select Comfort Corporation. the Berlin Philharmonic, and King Marke with the Boston Symphony and Andris Nelsons in Boston and New York. Also noted for oratorio and recital repertoire, Georg Zeppenfeld has sung oratorios from the Baroque to the Romantic era under such conductors as Boulez, Chailly, Colin Davis, Gatti, Harnoncourt, Janowski, Maazel, Nelsons, Pappano, and Thiele- mann. His varied repertoire is documented on numerous CD and DVD recordings, and he has appeared in many European television and radio productions.

Andrew Rees Welsh tenor Andrew Rees makes his Boston Symphony debut with this week’s concerts. Mr. Rees studied at the Royal Northern College of Music, Manchester, and completed his studies on the Opera Course at the Guildhall School of Music and Drama, London. At the Royal Opera House, Covent Garden, he created the role of Doctor Yes in Anna Nicole and has also sung Froh in Das Rheingold and Ulrich Eisslinger in Die Meister- singer von Nürnberg, all under Pappano. He has been Jimmy Mahoney in The Rise and Fall of the City of Mahagonny in Nantes, Angers, Lille, and Copenhagen; Sergei in Lady Macbeth of Mtsensk in St. Gallen and Weimar; Boris in Kátya Kabanová in St. Gallen, Siegmund in Die Walküre for Longborough Festival Opera, Kudrjaš in Kátya Kabanová at Welsh National Opera, Steva in Jen˚ufa for New Israeli Opera, Melot in Tristan und Isolde in Paris and Rome under Gatti and in Amsterdam under Albrecht; and Pinker- ton in Madama Butterfly in New Zealand. Mr. Rees has created many roles in works by the British composer Jonathan Dove: Ryan in When She Died: Death of a Princess for Channel 4,

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week 22 guest artists 65 2017-18

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66 Lemminkäinen in Swanhunter for Opera North, narrator of Diana and Acteon for the Royal Ballet, and Theseus in the British premiere of Monster in the Maze under Rattle. In concert he has performed Heinrich der Schreiber in Tannhäuser under Runnicles and the Fourth Esquire in Parsifal under Elder, both at the BBC Proms; The Dream of Gerontius in Helsinki and Cavara- dossi in Tosca with the City of Birmingham Symphony Orchestra, both under Oramo; Beetho- ven’s Symphony No. 9 under Zander and with the Warsaw Philharmonic under Kaspszyk, as well as the narrator in Schnittke’s Faust Cantata, Rachmaninoff’s The Bells, Raffaele in Stiffelio, Macduff in Macbeth, and Vladimir in Prince Igor. Andrew Rees has recorded the role of Narra- both in Salome under Mackerras. Among his many other operatic roles are Bob Boles in Peter Grimes, the Schoolmaster in The Cunning Little Vixen, Ismaele in Nabucco, Walther/Hugo/Old Woman in Judith Weir’s Blond Eckbert, the Lawyer in Birtwistle’s Punch and Judy, Spoletta in Tosca, and Goro in Madama Butterfly.

David Kravitz This week’s appearances mark baritone David Kravitz’s third series of concerts with the Boston Symphony Orchestra this season, following performances in October as Brander in Berlioz’s Damnation of Faust and in February as baritone soloist in Schumann’s Neujahrslied. Also this season he returns to Odyssey Opera as Dunois in The Maid of Orleans and to Emmanuel Church in Boston for its “Late Night at Emmanuel” series, singing two settings of Allen Ginsberg’s poem A Supermarket in California. Last sea- son he joined the Center for Contemporary Opera in a collaboration with Laboratorio Opera for the premiere of Love Hurts, singing the role of Marquis de Sade/Gilles de Rais. He made his Opera Santa Barbara debut as the Forester in The Cunning Little Vixen and sang with the Boston Symphony as the Notary in Der Rosenkavalier. Recent seasons have included his role debut as Scarpia in Tosca with Skylight Opera, a com- pany debut with Palm Beach Opera as the Rabbi in the world premiere of Enemies, A Love Story, the workshop and acclaimed world premiere of Matthew Aucoin’s Crossing with American Repertory Theater, and a return to Boston Lyric Opera as Baron Duphol in La traviata. Mr. Kravitz has performed world or regional premieres of numerous contemporary works, earning acclaim as Leontes in John Harbison’s Winter’s Tale with Boston Modern Orchestra Project. He has sung Dominick Argento’s song cycle The Andrée Expedition, newly commissioned songs by Andy Vores and James Yannatos, and world premieres including Thomas Whitman’s A Scandal in Bohemia, James Yannatos’s Lear Symphony, with the Harvard- Radcliffe Orchestra, Julian Wachner’s My dark-eyed one, and short operas by Andy Vores and Theo Loevendie. His recordings include Bach’s Cantata No. 20 and St. John Passion with Emmanuel Music, and Harbison’s Four Psalms and Peter Child’s Estrella with the Cantata Singers. Before devoting himself full-time to a career in music, David Kravitz had a distin- guished career in the law that included clerkships with U.S. Supreme Court Justices Sandra Day O’Connor and Stephen Breyer. He later served as Deputy Legal Counsel to the Governor of Massachusetts.

week 22 guest artists 67 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 • Sally ‡ and Michael Gordon

five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ •

Eaton Vance 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 • 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)

68 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 Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney •

Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial •

Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • 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 22 the great benefactors 69

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. 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 Alexandra J. Fuchs, Chief Operating Officer Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Director of Development Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Bridget P. Carr, Blanche and George Jones 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

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

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

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance • Bruce Taylor, Director of Financial Planning and Analysis Michelle Bourbeau, Payroll Administrator • James Daley, Accounting Manager • Kevin Golden, Payroll Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Business Office Administrator • Erik Johnson, Interim Director of Planning and Budgeting • Evan Mehler, Budget Manager • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 22 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 Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Lydia Buchanan, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • 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, Assistant Manager, Annual Funds Friends Program • James Jackson, Associate Director, Telephone Outreach • Laine Kyllonen, Assistant Manager, Donor Relations • 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 Associate • 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 • Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • 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 • 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

John Davis, Associate Director of Human Resources • Heather Mullin, Human Resources Manager • Susan Olson, Human Resources Recruiter

week 22 administration 75 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives. www.naejuilliard.com/bisboston 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 Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, 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

Roberta Kennedy, Director of Retail Operations • Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding • Michael Miller, Director of Ticketing and Customer Experience 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, Senior 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 • 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 • 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 22 administration 77 OUR NEW BOSTON SHOWROOM IS NOW OPEN.

Steinway and other pianos of distinction park plaza, boston natick mall, natick msteinert.com

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. Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Chair-Elect, Jerry 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

week 22 administration 79 Next Program…

Thursday, April 19, 8pm Friday, April 20, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) Saturday, April 21, 8pm Tuesday, April 24, 8pm

tugan sokhiev conducting

britten “simple symphony,” opus 4, for strings Boisterous Bourée (Allegro ritmico) Playful Pizzicato (Presto possibile pizzicato sempre) Sentimental Saraband (Poco lento e pesante) Frolicsome Finale (Prestissimo con fuoco)

chopin piano concerto no. 1 in e minor, opus 11 Allegro maestoso Romanza: Larghetto Rondo: Vivace jan lisiecki

{intermission}

mendelssohn symphony no. 4 in a, opus 90, “italian” Allegro vivace Andante con moto Con moto moderato Saltarello: Presto

Russian-Ossetian conductor Tugan Sokhiev and Canadian pianist Jan Lisiecki both make their BSO debuts in these concerts, working together in Frédéric Chopin’s Piano Concerto No. 1. Already acclaimed as a prodigy, Chopin was just twenty when he wrote and premiered this concerto in 1830. The piece blends Classical concerto form with the composer’s entirely individual piano writing and lyrical Romanticism. Felix Mendelssohn began his Symphony No. 4 also in 1830 during an extended stay in Italy, finished it in Berlin in 1833, and led the first performance in London that year. The predominantly cheerful opening movement reflects his pleasure in the Mediterranean environs, and the fiery Saltarello finale is but one direct reference to the music he heard there. Opening the program is Benjamin Britten’s Simple Symphony, an utterly charming string-orchestra work created from fragments of his youthful compositions.

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 ‘A’ April 19, 8-10 Thursday ‘C’ April 26, 8-9:55 Friday ‘B’ April 20, 1:30-3:30 Friday ‘A’ April 27, 1:30-3:25 Saturday ‘B’ April 21, 8-10 Saturday ‘B’ April 28, 8-9:55 Tuesday ‘B’ April 24, 8-10 TUGAN SOKHIEV, conductor TUGAN SOKHIEV, conductor VADIM GLUZMAN, violin JAN LISIECKI , piano BRAHMS Violin Concerto BRITTEN Simple Symphony PROKOFIEV Symphony No. 5 CHOPIN Piano Concerto No. 1 MENDELSSOHN Symphony No. 4, Italian Tuesday ‘B’ May 1, 8-9:50 Thursday ‘D’ May 3, 8-9:50 Sunday, April 22, 3pm Saturday ‘A’ May 5, 8-9:50 Jordan Hall, New England Conservatory BERNARD HAITINK, conductor BOSTON SYMPHONY CHAMBER PLAYERS EMANUEL AX, piano with DAVID DEVEAU, piano ALL-BRAHMS Piano Concerto No. 2 BRUCH Selection from Eight Pieces PROGRAM Symphony No. 2 for clarinet, viola, and piano, Op. 83 BOULANGER Nocturne and Cortège, for Friday ‘B’ May 4, 8-9:45 cello and piano MORITZ GNANN, conductor STACY GARROP Bohemian Café for flute, oboe, JOHN FERRILLO, oboe clarinet, horn, bassoon, and double bass GABRIELI Canzonas for brass MOZART String Quintet in C, K.515 MARCELLO Concerto in C minor for oboe, strings, and continuo ROSSINI Suite from Il barbiere di Siviglia, (ARR. SEDLAK) for wind ensemble MOZART Symphony No. 40, K.550

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.

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.

week 22 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 22 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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