2017–18 Season Week 19 Tchaikovsky Bernstein

2017–18 season andris nelsons music director

week 19 tchaikovsky bernstein

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus supporting sponsorlead sponsor supporting sponsorlead thomas adès artistic partner Better Health, Brighter Future

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 19

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 bernstein the symphonist by thomas may 32 this week’s program

Notes on the Program

34 The Program in Brief… 35 Pyotr Ilyich Tchaikovsky 45 Bernstein, Boston, and the BSO 49 Leonard Bernstein 50 Leonard Bernstein and the Text of “Kaddish” by Lynn Torgove 59 To Read and Hear More…

Guest Artists

63 Giancarlo Guerrero 65 Laila Robins 65 Tamara Wilson 67 Tanglewood Festival Chorus 71 James Burton 75 Choir of St. Paul’s, Harvard Square

7 8 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org URAKAMI rerStilloMFA

Museum Takashi Murakami: Lineage of Eccentrics Final month of Fine Arts A Collaboration with Nobuo Tsuji and the Closes April 1 II • Boston Museum of Fine Arts, Boston

Generously supported by the Carl and Roth Shapiro Family Foundation. Additional support provided by Davis and Carol Noble and an anonymous fonder. Media sponsor is Takashi Murakami, Lots, Lots of Kallrai and Itli(detail), 2009. Acrylic and platinum leaf on canvas mounted on aluminum frame. 300 x 608 x 5.1 cm (9 ft. 10 1/8 in. x 19 ft. 11 3/8 in. x 2 in.), 5 panels. Pdvat collection. © 2009 Takashi Murakami/Kaikai Mid Co., Ltd. All light reserved. the Boston 'globe 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 19 trustees and overseers 3 When it Comes to Dependability, One Stands Alone.

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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 19 trustees and overseers 5 We are honored to support the Boston Symphony Orchestra

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

ARBE LLA 1 N ■ T ION

HERE.FOR OUR COMMUNITFES. HERE. FOR GOOD. BSO News

Marking the Leonard Bernstein Centennial In conjunction with the BSO’s performances this month of Leonard Bernstein’s Symphony No. 3, Kaddish (March 15-17), and Symphony No. 2, The Age of Anxiety (March 22-27), the BSO is pleased to collaborate with the New England Conservatory of Music and Museum of Fine Arts on several events. Two panel discussions—free and open to the public, and including faculty members from Brandeis University, Northeastern University, Harvard University, and Boston College—will take place at NEC’s Burnes Hall, 225 St. Botolph Street, from 6:30-8 p.m. on Monday, March 12 (“Religion and Spirituality in the Music of Leonard Bernstein,” focusing on how Bernstein’s identity as both composer and conductor was deeply influenced by his own Jewish heritage and the place of religion in 20th-century society), and Monday, March 19 (“Disruptor on the Podium: Politics, Race, and Sexuality in the Career of Leonard Bernstein,” focusing on the ways Bernstein’s forward-thinking political positions shaped his music and career, and the world of classical music). The BSO’s Bernstein Week panel discussions are supported in part by an award from the National Endowment for the Arts. For further details, visit www.bso.org. In addition, on Sunday afternoon, March 18, at 2 p.m., the Florestan Recital Project pays tribute to Bernstein with “Leonard Bernstein: In Words and Song”—a mix of song and spoken word with soprano Mara Bonde, baritone Aaron Engebreth, pianist Alison d’Amato, and speaker Brian McCreath of WGBH—which will take place in the Harry and Mildred Remis Auditorium of the MFA. Tickets are $20-$30. For tickets and further information, visit www.mfa.org.

New England Conservatory and BSO Present “What I Hear” on Thursday, March 29, at 6pm, Free and Open to the Public at NEC’s Williams Hall For the second of this season’s two “What I Hear” events, German composer Jörg Widmann— whose Partita, co-commissioned by the BSO and the Gewandhaus Orchestra of Leipzig, will be given its American premiere by Andris Nelsons and the BSO later that same evening—curates a free program of chamber music on Thursday, March 29, at 6 p.m. at New England Conservatory’s Williams Hall. NEC musicians perform selections from Wid- mann’s works for solo clarinet, plus his String Quartet No. 3 and Octet. In addition, BSO Assistant Artistic Administrator Eric Valliere moderates a conversation with the composer.

week 19 bso news 7 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 BSO Community Chamber Concerts in March in New York, London and Hong Kong. The BSO continues its series of free, hour-long Community Chamber Concerts this season To obtain a complimentary auction estimate, SALVADOR DALI in venues throughout the greater Boston area on Sunday afternoons at 3 p.m. (followed please contact: (SPANISH, 1904-1989) by a coffee-and-dessert reception for the audience and musicians), and at Northeastern Amy Corcoran University’s Fenway Center on Friday afternoons at 1:30 p.m., offering chamber music Director, New England performances by BSO musicians. On Friday, March 16, at the Fenway Center, Sunday, +1 (617) 742 0909 March 18, at the Pao Arts Center in Chinatown, and Sunday, March 25, at Nevins Hall in [email protected] Framingham, BSO string players Si-Jing Huang, Victor Romanul, Michael Zaretsky, and Owen Young play music of Beethoven, Sibelius, and Brahms. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2017-18 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited.

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 musicians are available online at classicalwcrb.org/bso. Current and upcoming broadcasts include Giancarlo Guerrero’s pairing this week of Bernstein’s Symphony No. 3, Kaddish, and Tchaikovsky’s Pathétique Symphony (March 17; encore March 26); BSO Music Director Andris Nelsons’ pairing of Bernstein’s Symphony No. 2, The Age of Anxiety, and Shosta- kovich’s Symphony No. 4 (March 24; encore April 2); and Maestro Nelsons’ program featuring the American premiere of Jörg Widmann’s BSO-commissioned Partita and cellist Yo-Yo Ma and BSO principal violist Steven Ansell in Strauss’s Don Quixote (March 31; encore April 9).

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 91 of this program book.

The Stephen and Dorothy Weber taught at Northeastern University and was a Concert, Saturday, March 17, 2018 research psychologist at Boston University Medical Center. She is an alumna of Tufts The performance on Saturday evening is University and Boston University, where she supported by a generous gift from Great earned her doctorate in education. Longtime Benefactors Stephen R. and Dr. Dorothy Saturday-evening subscribers and active Altman Weber. The Webers have said, “The Tanglewood attendees, the Webers have BSO is an important part of our lives, and the been supporters of the BSO since 1979. They performances in Boston and at Tanglewood endowed the Stephen and Dorothy Weber are a source of great personal joy. We believe Chair, currently held by BSO cellist Mickey we have a responsibility to support the or- Katz. Their love of Tanglewood led them to chestra so future generations will continue to support the campaign to build Ozawa Hall, to experience the extraordinary musical excel- endow two seats in the Koussevitzky Music lence from which we have benefited.” Shed and a fellowship at the Tanglewood Mu- Steve Weber, a graduate of the University of sic Center, and to establish the first endowed Pennsylvania and Harvard Business School, artist-in-residence position at the TMC. In retired in 2005 as managing director of summer 2013, the BSO dedicated the Weber SG-Cowen Securities Corp. Dottie Weber Gate at Tanglewood as an enduring tribute to

week 19 bso news 9 the Webers’ extraordinary commitment and music playing to the delight of audiences all generosity to the BSO and Tanglewood. year long. In addition to joining a community of like-minded music lovers, becoming In addition to their financial support of the a Friend of the BSO entitles you to benefits BSO, Steve and Dottie have also given gen- that bring you closer to the music you cher- erously of their time. Elected a Trustee in ish. Friends receive advance ticket ordering 2002, Steve served as vice-chair of the privileges, discounts at the Symphony Shop, Board of Trustees from 2010 to 2015. He and access to the BSO’s online newsletter was elevated to Life Trustee in 2017, and InTune, as well as invitations to exclusive serves as co-chair of the Beyond Measure donor events such as BSO and Pops working Campaign. Dottie serves on the Ad Hoc rehearsals, and much more. Friends member- BSO-in-Residence Committee. Steve and ships start at just $100. To join our commu- Dottie are both members of the Annual nity of music lovers in the Friends of the BSO, Funds Committee and the Tanglewood An- contact the Friends Office at (617) 638-9276 nual Fund Taskforce, and were chairs of 2013 or [email protected], or join online at Opening Night at Tanglewood. Both Dottie bso.org/contribute. and Steve serve on other community boards in Boston, the Berkshires, and beyond. Steve is chair of the ICA at the University of Penn- Planned Gifts for the BSO: sylvania. In Boston, Dottie is a board member Orchestrate Your Legacy of Milton Academy, Judge Baker Children’s Center, and the Celebrity Series. She is also There are many creative ways that you can active with Berkshire Children and Families, support the BSO over the long term. Planned serving as co-chair for the Kids 4 Harmony gifts such as bequest intentions (through Advisory Committee and as a member of the your will, personal trust, IRA, or insurance Fund Development Committee. policy), charitable trusts, and gift annuities can generate significant benefits for you The Boston Symphony Orchestra extends now while enabling you to make a larger gift heartfelt thanks to Steve and Dottie Weber to the BSO than you may have otherwise for their commitment to continuing the Sym- thought possible. In many cases, you could phony’s rich musical tradition and their realize significant tax savings and secure generosity to help do so. an attractive income stream for yourself and/or a loved one, all while providing valu- Join Our Community of able future support for the performances Music Lovers— and programs you care about. When you establish and notify us of your planned The Friends of the BSO gift for the Boston Symphony Orchestra, Attending a BSO concert at Symphony Hall you will become a member of the Walter is a communal experience—thousands Piston Society, joining a group of the BSO’s of concertgoers join together to hear 100 most loyal supporters who are helping to musicians collaborate on each memorable ensure the future of the BSO’s extraordi- performance. Without an orchestra, there is nary performances. Members of the Piston no performance, and without an audience, Society—named for Pulitzer Prize-winning it is just a rehearsal. Every single person is composer and noted musician Walter Piston, important to ensuring another great expe- who endowed the Principal Flute Chair with rience at Symphony Hall. There’s another a bequest—are recognized in several of our community that helps to make it all possible, publications and offered a variety of exclu- one that you might not notice while enjoying sive benefits, including invitations to various a concert—the Friends of the BSO. Every $1 events in Boston and at Tanglewood. If you the BSO receives through ticket sales must would like more information about planned be matched by an additional $1 of contribut- gift options and how to join the Walter Pis- ed support to cover annual expenses. Friends ton Society, please contact Jill Ng, Director of the BSO help bridge that gap, keeping the of Planned Giving and Senior Major Gifts

week 19 bso news 11 WEALTH IS MORE THAN ACCUMULATING ASSETS.

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FiduciaryTrustBoston.com Contact Randy Kinard at 617-574-3432 or [email protected] Officer, at (617) 638-9274 or [email protected]. and musicians who find themselves distracted We would be delighted to help you orches- not only by the illuminated screens on these trate your legacy with the BSO. devices, but also by the physical movements that accompany their use. For this reason, and as a courtesy both to those on stage and BSO Members in Concert those around you, we respectfully request Founded by BSO violinist Wendy Putnam, the that all such electronic devices be completely Concord Chamber Music Society presents turned off and kept from view while BSO per- the St. Lawrence String Quartet (violinists formances are in progress. In addition, please Geoff Nuttall and Owen Dalby, violist Lesley also keep in mind that taking pictures of the Robertson, and cellist Christopher Costanza) orchestra—whether photographs or videos— performing string quartets of Beethoven, is prohibited during concerts. Thank you very Adams, and Sibelius on Sunday, March 18, at much for your cooperation. 3 p.m. (pre-concert lecture at 2 p.m.) at the Concord Academy Performing Arts Center, 166 Main Street, Concord, MA. Tickets are Comings and Goings... $47 and $38, discounted for seniors and Please note that latecomers will be seated students. For more information, visit www. by the patron service staff during the first concordchambermusic.org or call (978) convenient pause in the program. In addition, 371-9667. please also note that patrons who leave the auditorium during the performance will not be allowed to reenter until the next conve- Those Electronic Devices… nientpause in the program, so as not to dis- As the presence of smartphones, tablets, turb the performers or other audience mem- and other electronic devices used for com- bers while the music is in progress. We thank munication, note-taking, and photography you for your cooperation in this matter. has increased, there have also been continuing expressions of concern from concertgoers

week 19 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 19 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 summer 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 recording 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 19 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 Alexandre Lecarme* Robert Bradford Newman chair, Assistant Principal Nancy and Richard Lubin chair Malcolm Lowe endowed in perpetuity Anne Stoneman chair, endowed Concertmaster in perpetuity Adam Esbensen* Charles Munch chair, Xin Ding* Richard C. and Ellen E. Paine endowed in perpetuity (position vacant) chair, endowed in perpetuity Glen Cherry* Lois and Harlan Anderson chair, Tamara Smirnova Blaise Déjardin* Lisa Ji Eun Kim* endowed in perpetuity First Associate Concertmaster Oliver Aldort* Helen Horner McIntyre chair, Rebecca Gitter endowed in perpetuity second violins Michael Zaretsky* basses Alexander Velinzon Haldan Martinson Mark Ludwig*° Associate Concertmaster Principal Edwin Barker Robert L. Beal, Enid L., and Carl Schoenhof Family chair, Rachel Fagerburg* Principal Bruce A. Beal chair, endowed endowed in perpetuity Harold D. Hodgkinson chair, Daniel Getz* in perpetuity endowed in perpetuity Julianne Lee ° Rebekah Edewards* Elita Kang Assistant Principal Lawrence Wolfe Assistant Concertmaster Charlotte and Irving W. Rabb Danny Kim* Assistant Principal Edward and Bertha C. Rose chair, chair, endowed in perpetuity Maria Nistazos Stata chair, endowed in perpetuity Leah Ferguson* endowed in perpetuity Sheila Fiekowsky Yuncong Zhang Shirley and J. Richard Fennell Kathryn Sievers* Benjamin Levy John and Dorothy Wilson chair, chair, endowed in perpetuity Leith Family chair, endowed endowed in perpetuity in perpetuity Nicole Monahan cellos Lucia Lin Dennis Roy David H. and Edith C. Howie (position vacant) Dorothy Q. and David B. Arnold, chair, endowed in perpetuity Principal Jr., chair, endowed in perpetuity Joseph Hearne Ronan Lefkowitz§ Philip R. Allen chair, endowed Ikuko Mizuno in perpetuity James Orleans* Ruth and Carl J. Shapiro chair, Vyacheslav Uritsky* Sato Knudsen Todd Seeber* endowed in perpetuity Nancy Bracken* Acting Principal Eleanor L. and Levin H. Campbell Mischa Nieland chair, endowed chair, endowed in perpetuity Bo Youp Hwang Aza Raykhtsaum* Mary B. Saltonstall chair, in perpetuity John Stovall* endowed in perpetuity Bonnie Bewick* Mihail Jojatu Thomas Van Dyck* Jennie Shames* James Cooke* Sandra and David Bakalar chair Catherine and Paul Buttenwieser Martha Babcock chair Victor Romanul* flutes Vernon and Marion Alden chair, Valeria Vilker Kuchment* Catherine French* endowed in perpetuity Elizabeth Rowe Kristin and Roger Servison chair Principal Jason Horowitz* Owen Young* Walter Piston chair, endowed § John F. Cogan, Jr., and Mary L. Tatiana Dimitriades* Ala Jojatu* in perpetuity Donald C. and Ruth Brooks Cornille chair, endowed Heath chair, endowed Bracha Malkin* in perpetuity Clint Foreman in perpetuity Myra and Robert Kraft chair, Mickey Katz* endowed in perpetuity Si-Jing Huang* violas Stephen and Dorothy Weber Ronald G. and Ronni J. Casty chair, endowed in perpetuity Elizabeth Ostling Steven Ansell chair Associate Principal Principal Marian Gray Lewis chair, Charles S. Dana chair, endowed endowed in perpetuity 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

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Bernstein the Symphonist by Thomas May

All three of Leonard Bernstein’s symphonies have ties to the Boston Symphony Orchestra, and this month brings BSO performances of two of them: No. 2, “The Age of Anxiety” (March 22, 23, 24, and 27) and No. 3, “Kaddish” (March 15, 16, and 17). Thomas May considers a manifestation of the composer’s genius that is often overlooked: Bernstein as a great American symphonist.

“Gershwin was a songwriter who grew into a serious composer. I am a serious composer trying to be a songwriter,” Leonard Bernstein remarked in his 1955 essay, “Why Don’t You Run Upstairs and Write a Nice Gershwin Tune?” Throughout his career, Bernstein’s famous overabundance of gifts forced him to cope with difficult choices. This struggle is usually portrayed in terms of the elusive balance he sought to achieve between his divided identities as a conductor and a composer. In his reference to Gershwin, though, Bernstein underscores still another way in which his personality was divided, with far-reaching implications for his art. Even when he could devote time to composing, he felt torn between “serious” projects and the lure of popular idioms, above all for the Broadway stage—inevitably seeking ways to fuse both worlds.

The fact that his efforts in the latter category became so enduringly successful has obscured the sense of musical identity with which Bernstein himself first embarked on his career as a composer. More than a decade before West Side Story, indeed before any of his stage successes, Bernstein staked his claim to the grand tradition of the symphony. At mid-century, American composers were eager to make their imprint on this tradition, though the postwar decades saw a rapid erosion of interest in the symphony

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KEEP CLIMBING A. D E LTA per se—paralleling, on a larger scale, what Bernstein termed the “crisis of faith” in tonality. It was with the premiere of his Symphony No. 1, Jeremiah, in January 1944—just a couple of months after his last-minute substitution for Bruno Walter with the New York Philharmonic had made him an overnight conducting sensation and front-page New York Times story—that Bernstein first came to the attention of a larger public as an emerging American composer.

Written soon after Bernstein’s graduation from Harvard in 1939, Jeremiah began as a single-movement setting, for female voice and orchestra, of Hebrew excerpts from The Book of Lamentations. The context of the Second World War made Bernstein’s engagement with the Prophet Jeremiah’s sorrow over the destruction of Jerusalem all the more powerfully relevant, and in 1942 he decided to make this piece the final movement of a larger symphonic work. Bernstein submitted it to a composition competition whose jury was chaired by one of his most significant mentors, Serge Koussevitzky, who had invited young Bernstein to be in his first class of conducting students in 1940 at the newly inaugurated Berkshire Music Center (now the Tanglewood Music Center), where he also informally studied with his new friend Aaron Copland.

While Jeremiah did not win the competition, it so impressed another of Bernstein’s mentors, Fritz Reiner, that he arranged for the world premiere with the Pittsburgh Symphony. “Even the Scherzo is almost perfect—but for a real performance we must wait for Boston,” wrote the composer in a letter referring to the upcoming concerts of Jeremiah scheduled with the BSO, which would mark Bernstein’s first time conducting in Symphony Hall. Later still, the New York Philharmonic, where Bernstein was serving as assistant conductor, programmed Jeremiah, and performances in other American cities and abroad followed over the next few years.

“It outranks every other symphonic product by any American composer of the younger generation,” declared the writer and composer Paul Bowles. Jeremiah’s instant success brings to mind the triumph of another symphonic debut—the precocious First of Dmitri Shostakovich, whose approach to the contemporary symphony Bernstein admired, and who shared his profound admiration of Mahler as a model.

Koussevitzky not only reversed his initial skepticism but, several years later, commissioned Bernstein’s Second Symphony for the BSO. But the siren song of Broadway in the meantime tempted Bernstein to channel his compositional activity elsewhere. Within months of Jeremiah’s premiere, also in 1944, came Bernstein’s first stage hit—the ballet Fancy Free, which launched his trailblazing artistic partnership with the choreographer Jerome Robbins. It was the opening salvo in a revolutionary approach to musical theater narrative whose first full expression culminated at the end of the year with the opening of On the Town. As Bernstein biographer Humphrey Burton observes, the show “broke new ground on many fronts,” including being “the first American musical composed by an acknowledged symphonist.” In 1946 Bernstein and Robbins created Facsimile, their “choreographic essay for ballet and orchestra,” for the American Ballet Theatre—its scenario of love and loneliness among “three insecure people” anticipating some aspects

week 19 bernstein the symphonist 23

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Leonard Bernstein and Serge Koussevitzky at Tanglewood, c.1946

of The Age of Anxiety, Bernstein’s Symphony No. 2, which Robbins would choreograph for New York City Ballet.

Longing for “our lost dad, our colossal father”—to quote a phrase from the narrative poem by W.H. Auden, published in 1947, after which Bernstein titled his Second Sym- phony—is a key emotional leitmotif to the work, even though, in contrast to symphonies 1 and 3, the score is purely instrumental and involves no text-setting. Koussevitzky had indeed become an imposing father figure to the young musician, and fulfilling the commission helped heal some of the rift—guilt even—that had developed over the Russian conductor’s disapproval of his protégé’s Broadway adventures. Bernstein dedicated The Age of Anxiety to him. Its premiere in 1949, writes Burton, “was the crowning moment of his relationship with Serge Koussevitzky,” and also marked “the final month fo the Russian conductor’s twenty-five-year tenure” heading the BSO. Bernstein had dedicated the Jeremiah Symphony to his actual father, Samuel, who initially opposed his choice of a career in music.

Having previously considered writing music for Auden’s oratorio libretto For the Time Being, Bernstein had a strong affinity for the English emigré’s poetry. In The Age of Anxiety he found reflected his own existential questions about relationships, sexuality, and the need for faith in a transcendent being—all the more so in the face of modern alienation, in particular following the destruction of the Second World War. Formally, Auden’s contemporary reclamation of models from the grand tradition of poetry (he subtitled Age of Anxiety “A Baroque Eclogue”), as well as his embrace of multiple registers, including the vernacular, was bound to appeal to Bernstein’s sensibility. The composer translated all of these elements into an unusual symphonic concept, in six sections, that is simultaneously a quasi-piano concerto. The soloist functions as an alter

week 19 bernstein the symphonist 25 ONE DAY UNIVERSITY® at Tanglewood

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at General Registration: $159 It Tan g lewood Foreign Pohcy, Sleep and Climate Change EVENT SCHEOLILE frkr One Day Unilldnity, the acclaimed lifelong learning series, returns to AUGUST 26. 2018 Tanglewood for the eighth year'l Juin these award-winning professors from three renowned schools, each presenting their boss lecture in - LECTURES TAKE PLACk FM Ozawa Hall. Then join guest COnductor Christo9h Eschenbach and O2AWA HALL • the BSO for the 2018 season finale performance of Beethoven's Ninth 9;34-9;40a111 .fritrOdLfCtIon Symphony.

9;40-10:45Rrn STEPHEN KOTION. Princeton University American Foreign Policy: Where Are We Headed? Stephen Kotkln, Professor of History and I nternattonal Affairs. tot45-1o:ssam &Grit Princeton University Int5sam-taprn JESSICA; PAYNE. In exarninang rile profound anxiety in the U.S.. and Abroad today, Profe5seir Unrversitycrf Kt-din will look hack m rho uncertainties. of rho 1 Wiitergare and Notre Dame impeachment. Vietnam, inflation. a stagnant Soviet Union and intense 12-12:toper Break poverty and mass violence in Corninunig China, 40+ years later, the Sovkt Union is gone, China has become the world's second laqtesr 12110-1115p#11 DAVID HU FANO, econi,rny and in some ways, America is more prospenius than eye e, yet Columbia University in other ways we've moved in the wrong di recrion. Pro feAsor Korkin will explore what happened, rite real slin4-0411S and wcrIklik-,scs INGO or KOUSSEVI Tin' MUSIC SHED • powers. in 2018, and 11414 the world might look in another 40 years, 2:34 pm Boston Sym phony Orchestra The Science of Sleep: How it Affects Creativity, Focus and Memory Christaph Estherarach, conductor Jessica Payne, Professor of Psychology. University of Notre Dame Hanna-Elisabeth firliCtiler, soprano Sasha Cooke, metro-soprano What's going on in your head while you sleep? Professor Parle's Joseph Kaiser, tenor research shows non-waking hours are incredibly valuiFile to our day- Thomas Ham pson. baritone tr.-day liees..I'slany regions of the brain—especially [lobe involved in Tanglewood Festival Chorus, learning, processing information.. And etnotion—are 11.11.61 I I y more active tames Burton. conductor during deep than when we're awake, working together to help process BERNSTEIN Symphony No, and son information taken in during the 4-lay. Professor Payne will a Isn Jeremiah o utline praeEical infornciEiorL on how to control Sle0.1. huhits 10 insure BEETHOVEN Symphony No.9 maximum productivity,

Registration inc ludes Climate Change: What We Know and What We Don't Know All three professor presentations David Helfand, Professor of Astronomy, Columbia University

• One complimentary lawn Every planet's teinperature is controlled by a SiMplc ImlatiCe Ives Wtre11 i114: admission to the 213opfn BSO enerp. it receives and the energy it radiates hack into space- Professor concert, or A10%1:14(.171.'04 On a liCliand will rvaniine c.ich of the main Clams affecting balance. first by Shed ticket' exploring the asaronurnicai phen/merra that have driven climate Change VIP Parking in the past, then showing how the Earth\ atmosphere continues to change today. By examining the correric energy balance and what we can to% off 13i.26 neck-to- ,o expect in the next deeades, Professor Helfand /NJ Li provide a svieniitie analysis of what we know and don't yet know about climate changc.

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ONE DAY UNIVERSITY .0 ranglewood 888-266- I 200 • tanglewood.orgionedayu

OrFejtenwr Morgan. nn i 4iir 4.4 ..Frpre be 4.4 Ipapviwirfp, Fri4W thr 140. irgrvii:Ttenemvrpfgrirranr, orr e.94.e.rfri , w IF swore Illerthoirn 9,15hed hrker pwrhosed ofranre of Ur cavort ego/protagonist, representing the quartet of lonely characters depicted in Auden’s Jungian scenario, who each engage in a quest for meaning.

The Age of Anxiety might also be seen as a kind of sequel to Jeremiah, continuing Bernstein’s restless quest for ways to address the psychological and spiritual predicament of humanity adrift in the modern world. Allen Shawn, a more recent biographer, draws out specific parallels between the two symphonies, even pointing to subtle motivic connections. The Age of Anxiety’s extremely fast, jazz-fueled piano-percussion scherzo titled “The Masque” (associated with an erotic late-night party), for example, is a counterpart to the “Profanation” movement in Jeremiah, according to Shawn, while “The Dirge” (which most directly laments, with instruments alone, the absent “colossal father”) speaks a language similar to that of Jeremiah’s third and final movement for voice and orchestra (“Lamentation”).

Unlike Jeremiah, however, critical response to The Age of Anxiety proved to be far more divided. Even more venomous were some of the responses to Bernstein’s Symphony No. 3, Kaddish, anticipating the intensity of reaction that would later be triggered by MASS, whose vision is in some ways foreshadowed by Bernstein’s strategic “blasphe- mies” in the Kaddish Symphony—in which lament takes the form of an angry disputa- tion with God. The work began as a BSO 75th-anniversary commission extended in 1955 by Koussevitzky's successor, Charles Munch, but Bernstein’s overload of commit- ments kept him from completing it until 1963. He was still finishing the orchestration when President Kennedy was assassinated, and dedicated the new work “To the Beloved Memory of John F. Kennedy.”

Even before that tragic event, Bernstein had decided to write a large-scale work—scored for a huge orchestra, boys’ choir, soprano solo, and a speaker—that includes a setting of the Kaddish prayer associated with mourning for the deceased (though it is actually a hymn of praise to God), as well as a brand-new text by Bernstein to be delivered as dramatic narration. The latter component, initially written for the composer’s wife, the actress Felicia Montealegre, gave him particular trouble, and he revised it substantially in 1977. Still later versions (including one by his elder daughter, Jamie) have since been introduced.

The dichotomies that haunted Bernstein across the span of his creative life find especially dramatic expression in Kaddish: the purely musical and the programmatic, the learned techniques of classical tradition and the vitality of popular idioms, even the divide between “Edenic” tonality and the modern logic of atonality. Ultimately, the conjuring of pure, innocent melody at the end of Kaddish—that elusive “nice Gershwin tune”—comes to stand for the consolation, both musical and metaphorical, on which his vast, complex symphonic structure depends.

This tension between despair and affirmation that informs Kaddish provides a link to Bernstein’s earlier symphonies—and to the sense of serious, even moral, responsibility that informed his vision as an American symphonist. For all their internal logic, each

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28 A 1956 photo of Bernstein and his wife, the Chilean actress Felicia Montealegre, who was the Speaker in the BSO’s American premiere of “Kaddish” in 1964

of the three works uses musical principles to grapple with the composer’s existential search for meaning. Bernstein the symphonist is also Bernstein the rabbi, the eager, compassionate teacher who wants to make sure we follow the steps of his argument, gaining some essential insight in the process. Aesthetic choices are not merely orna- mental but often unfold with theatrical intensity: oppositions are staged to conflict with maximal impact. Bernstein himself, referring to The Age of Anxiety, drew attention to this inherently theatrical dimension of his symphonic work: “If the charge of ‘theatricality’ in a symphonic work is a valid one, I am willing to plead guilty, I have a deep suspicion that every work I write, for whatever medium, is really theater music in some way.”

This is one explanation for the remarkable formal variety of the three symphonies, none of which follows a conventionally classical pattern. In each case, Bernstein plots out a unique formal trajectory that can work only for the materials specific to the individual composition—and he wasn’t always sure about that either. Hence the revisions to The Age of Anxiety and Kaddish. Similarly, the eclectic embrace of multiple stylistic registers that would make Bernstein, as a conductor, so receptive to Mahler’s legacy is a potent driving force of his symphonic theatricality. Conflicts are plotted as stylistic collisions: between high-flown rhetoric and footloose, jazzy exuberance; chromatic complexity and tonal “purity”; bitter lament and tuneful optimism. “All our lives are spent in the attempt to resolve conflicts,” wrote Bernstein a few years after completing the first version of his Kaddish Symphony, “and we know that resolutions are impossible except by hindsight.... That attempt is the very action of living.” thomas may writes about the arts and blogs at memeteria.com.

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Fur temriimiiotis rat Fre inilo-rnaliori t call 1 &I) 441 1414 Err visor www..fairroutrt.eumiropler•plaxii-hrkiton 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, March 15, 8pm Friday, March 16, 8pm Saturday, March 17, 8pm | the stephen and dorothy weber concert giancarlo guerrero conducting

Please note that Mary Wilson, who makes her BSO debut in these concerts, will sing the soprano part in Leonard Bernstein’s “Kaddish,” Symphony No. 3, in place of Tamara Wilson, who cannot be here this week because of a back injury. We are grateful and fortunate that Mary Wilson was available to sing in these concerts at extremely short notice.

Mary Wilson Acknowledged as one of today’s most exciting young artists, and making her Boston Symphony debut this week, soprano Mary Wilson cultivates a wide-ranging career singing chamber music, oratorio, and operatic repertoire. In demand on the concert stage, she has recently appeared with the Los Angeles Philharmonic, Philadelphia Orchestra, Cleveland Orchestra, St. Louis Symphony, Cincinnati Symphony, the St. Paul Chamber Orchestra, Los Angeles Master Chorale, Detroit Symphony, Delaware Symphony, San Antonio Symphony, Jacksonville Symphony, Virginia Symphony, Buffalo Philharmonic, Dayton Philharmonic, VocalEssence, and at the Hollywood Bowl. She has worked with conductors including Nicholas McGegan, Bernard Labadie, Martin Pearlman, Martin Haselböck, JoAnn Falletta, Michael Stern, Anton Armstrong, Philip Brunelle, and Leonard Slatkin. In Baroque repertoire, she has appeared with Philharmonia Baroque, Musica Angelica, the American Bach Soloists, Boston Baroque, the Grand Rapids Bach Festi- val, Bach Society of St. Louis, Baltimore Handel Choir, Florida Bach Festival, Brooklyn Academy of Music, the Casals Festival, and the Carmel Bach Festival. With the IRIS Chamber Orchestra, she sang the world premiere of the song cycle Songs Old and New, written especially for her by Ned Rorem. In opera, she is especially noted for her portrayals of Zerbinetta in Ariadne auf Naxos, Susanna in Le nozze di Figaro, and Gilda in Rigoletto. She has created leading roles in North American and world premiere performances of Dove’s Flight, Glass’s Galileo Galilei, and Petitgirard’s Joseph Merrick, The Elephant Man. Recent appearances have brought her to Opera Theatre of St. Louis, Minnesota Opera, Boston Lyric Opera, Dayton Opera, Arizona Opera, Tulsa Opera, Mississippi Opera, Southwest Opera, the Brooklyn Academy of Music, and the Goodman Theatre. An accomplished pianist, Mary Wilson holds performance degrees from St. Olaf College in Northfield, Minnesota, and Washington University in t.S Louis, Missouri. She currently resides in Memphis, Tennessee, with her husband and son.

week 19 insert 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, March 15, 8pm Friday, March 16, 8pm Saturday, March 17, 8pm | the stephen and dorothy weber concert

giancarlo guerrero conducting

tchaikovsky symphony no. 6 in b minor, opus 74, “pathétique” Adagio—Allegro non troppo Allegro con grazia Allegro molto vivace Adagio lamentoso—Andante

{intermission}

Celebrating the Bernstein Centennial The BSO will continue to mark the Leonard Bernstein Centennial next week, with performances under BSO Music Director Andris Nelsons of Bernstein's The Age of Anxiety, Symphony No. 2 for piano and orchestra, featuring BSO Artist-in-Residence Jean-Yves Thibaudet as soloist. The Bernstein Centennial is a major focus of the BSO’s programming at Tanglewood throughout the coming “Bernstein Centennial Summer,” including a gala concert, “The Bernstein Centennial Celebration at Tanglewood,” on August 25, 2018, the 100th anniversary of Bernstein’s birth.

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.

32 bernstein “kaddish,” symphony no. 3 for orchestra, mixed chorus, boys’ choir, speaker, and soprano solo (marking the leonard bernstein centennial) I. Invocation—Kaddish 1 II. Din-Torah—Kaddish 2 III. Scherzo—Kaddish 3—Finale laila robins, speaker tamara wilson, soprano tanglewood festival chorus, james burton, conductor choir of st. paul’s, harvard square, john robinson, conductor

The text of the Kaddish prayer is on page 54.

thursday evening’s performance of tchaikovsky’s symphony no. 6, “pathétique,” is supported by a gift in honor of john p. meyer from his wife jo frances meyer. thursday evening’s performance of bernstein’s “kaddish,” symphony no. 3, is supported by a gift from peter and susan andersen. saturday evening’s performance of bernstein’s “kaddish,” symphony no. 3, is supported by a gift from dr. and mrs. irving h. plotkin. this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. the performances of bernstein’s “kaddish,” symphony no. 3, are supported in part by an award from the national endowment for the arts.

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

These concerts will end about 10:05. 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.

week 19 program 33 The Program in Brief...

Pyotr Ilyich Tchaikovsky’s Symphony No. 6, composed between February and August 1893, was the last piece he wrote; its nickname, “Pathétique,” conveys a sense of deep passion or emotion. Considered his symphonic masterpiece, the Pathétique was the culmination of a period of great, ambitious works, including the ballet Sleeping Beauty and the opera The Queen of Spades. Although Tchaikovsky expressed mixed feelings about many of his pieces, he was generally confident about the Sixth Symphony, at least in terms of its quality: “It will be...no surprise if this symphony is abused and unappreciated—that has happened before. But I definitely find it my very best, and in particular the most sincere of all my compositions. I love it as I have never loved any of my musical children.”

As we know from Tchaikovsky’s own comments, his Fourth and Fifth symphonies had previously offered musical evocations of man’s response to Fate; a note found among his papers after his death stated that “the ultimate essence of the plan of the [Sixth] symphony is LIFE.” The work’s finale—not gloriously triumphant but rather introspec- tive and dark—was a highly unusual and ultimately highly influential idea. Tchaikovsky himself led the first performance of thePathétique on October 28, 1893, in St. Peters- burg. He fell ill five days later and died on November 6, nine days after the premiere.

Paired here with Tchaikovsky’s deeply emotional Pathétique Symphony is Leonard Bern- stein’s equally passionate Kaddish, Symphony No. 3 for orchestra, mixed chorus, boys’ choir, speaker, and soprano solo. Kaddish—like next week’s BSO’s performances of the composer’s Symphony No. 2 for piano and orchestra, The Age of Anxiety—is being played to mark the centennial of Bernstein’s birth. Both works are strongly connected to Bernstein’s lifelong relationship with the BSO. Completed in 1949, The Age of Anxiety was premiered here that April under Serge Koussevitzky with Bernstein as the piano soloist. Kaddish, though not finished until 1963, was the product of a BSO commission originally extended in 1955 to mark the orchestra’s 75th anniversary.

Bernstein’s brilliance and larger-than-life personality brought him to public awareness as a conductor, composer (for both stage and concert hall), pianist, educator, and socio-political advocate—areas in which his abilities and inclinations could readily over- lap. As he observed in comments on The Age of Anxiety: “If the charge of ‘theatricality’ in a symphonic work is a valid one, I am willing to plead guilty. I have a suspicion that every work I write, for whatever medium, is really theater music in some way.” Both The Age of Anxiety and Kaddish can be viewed as reflecting one of his singular concerns: the reconciliation of one’s private and public selves in the context of the larger community. In The Age of Anxiety, the solo pianist interacts with, and seeks a place within, the orchestral “community.” Kaddish, with its much larger forces, and using a prayer central to Bernstein’s Jewish heritage, proffers a dialectic seeking reconciliation not only between individual and community, but between humanity and heaven.

Robert Kirzinger (Tchaikovsky)/Marc Mandel (Bernstein)

34 Pyotr Ilyich Tchaikovsky Symphony No. 6 in B minor, Opus 74, “Pathétique”

PYOTR ILYICH TCHAIKOVSKY was born at Kamsko-Votkinsk, Vyatka Province, Russia, on May 7, 1840, and died in St. Petersburg on November 6, 1893. He began his Symphony No. 6 on February 16, 1893, and completed it on August 31, 1893. The first performance took place in the Hall of Nobles, St. Petersburg, on October 28, 1893, with the composer conducting, nine days before his death. The second performance, with Eduard Nápravnik conducting, took place twenty days later in the same hall, as part of a concert given in the composer’s memory. The symphony is dedicated to Tchaikovsky’s nephew, Vladimir (Bob) Davidov.

THE SCORE OF THE “PATHÉTIQUE” SYMPHONY calls for three flutes (third doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, two trombones, tuba, timpani, cymbals, bass drum, tam-tam, and strings.

Few symphonies in the standard repertoire have spawned more controversy, mystery, and legend than Tchaikovsky’s Sixth, the Pathétique. Musicians and musicologists rec- ognize it as the pinnacle of the composer’s instrumental craft—nothing less (in one scholar’s words) than “the most truly original symphony to have been composed in the seventy years since Beethoven’s Ninth.” But beyond its innovative formal brilliance and raw emotional intensity, the Sixth became famous immediately after its premiere as a weird harbinger of the composer’s death. Only nine days after Tchaikovsky—who was then an international cultural celebrity at the peak of his career—conducted the first performance in St. Petersburg, he succumbed to what appeared to be cholera. He was only fifty-three. The strange coincidence of these two events led to furious speculation about the relationship between the Sixth Symphony and various aspects of Tchaikovsky’s life.

“Was this last symphony a kind of musical suicide note, a personal requiem, as was widely believed after the second, posthumous performance?” asks musicologist Timothy Jackson. For many years, scholars and biographers have attempted to determine how

week 19 program notes 35 Program page for the first Boston Symphony Orchestra performance of Tchaikovsky’s “Pathétique” Symphony on December 29, 1894, with Emil Paur conducting (BSO Archives)

36 Tchaikovsky and his nephew Vladimir (“Bob”) Davidov

Tchaikovsky coped personally and creatively with the incurable and “sinful disease” of his homosexuality. Did he feel deep self-loathing over his apparently active sex life, or did he, as some believe, accept his inclinations? And even more important: was Tchaikovsky urged by some highly placed friends to drink a glass of cholera-infected water as an act of suicide because they feared his semi-secret gay life was about to be publicly exposed, shaming him and them? Or did he even ingest poison to make it look like he had died of cholera? The Russian-American choreographer George Balanchine, who created a ballet on the Sixth Symphony’s despairing fourth movement, had yet another theory: “What if Tchaikovsky was playing with fate? If he drank the tap water as if playing a kind of Russian roulette: will I get cholera or won’t I?”

Much ink has been spilled in the pursuit of answers to these provocative questions, but as Tchaikovsky biographer Alexander Poznansky writes, “not a single shred of concrete evidence exists to support these stories.” By its nature, music remains an ambiguous and abstract medium, and the score of the Sixth Symphony provides no clear answers. Tchaikovsky also remained oddly reticent about the exact “meaning” of the Sixth Symphony. Although he told friends that the symphony did have a program, he failed to describe it in words as he had for his Fourth and Fifth symphonies. The hypothesis that the secret program was “gay,” however, seems to be supported by Tchaikovsky’s dedication of the Sixth Symphony to his twenty-one-year-old nephew, Vladimir (“Bob”) Davidov, for whom the composer had long felt an intense—and guilty—sexual attraction.

Recent research also indicates that it was Tchaikovsky himself, and not (as was long believed) his brother Modest, who decided upon the descriptive title of “Pathétique” (in Russian, “Patetichiskaya”). So the composer seems always to have envisioned the

week 19 program notes 37 Real People. Real Heroes. "I was in bad shape when I got there. [ couldn't even walk. But they wouldn't give up on me. They helped me fight my way back, and return to what I love for a little longer:

Northeast Division Life Skilled Nursing and Rehabilitation Services la Massachusetts and Rhode Island Care 14 Crosby Drive I Bedford, MA 01730 781.271.0500 Centers Assisted Living at Life Care Center of Stoneham America. 781.662.2545 LLi coin work as reflective of his inner emotional and erotic life. Although English speakers often wrongly think of the title “Pathétique” as meaning “pathetic,” in French and Russian this adjective is more accurately translated as “impassioned” or “emotional.” When he was working out the symphony’s program in January 1893, Tchaikovsky confessed that he “often wept bitterly.”

And yet one does not need to know anything of the tortured autobiographical subtext to marvel at the purely technical mastery. Tchaikovsky himself considered the Sixth Symphony, as he wrote to Davidov, “the best and, in particular, the most sincere of all my works. I love it as I have never loved any other of my musical offspring.” For several years, the composer had been collecting ideas for a projected symphony in E-flat major. This symphony was never completed, but some of its materials went into the Sixth. Working quickly and with special inspiration, mostly in the pastoral surroundings of his home in Klin, Tchaikovsky completed sketches for its four movements in only six weeks in February and March. In May, he traveled to England to accept an honorary doctorate from Cambridge, and then returned to Klin, where he completed the orchestration in July and August.

In the Sixth Symphony, the sometimes prolix Tchaikovsky achieves an impressive formal conciseness, clarity, and thematic unity. Although no central “signature theme” appears in all four movements, as one does in his Symphony No. 5, the Sixth’s opening and clos-

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ing measures are constructed as mirror images. A winding four-note motif, repeated three times by the solo bassoon, emerges pp out of hushed silence at the outset of the first movement. At the work’s end, the cellos play a descending motif, disappearing into sonic nothingness. To conclude the symphony not with the expected triumphant finale, but with a “most protracted Adagio,” was one of Tchaikovsky’s earliest ideas for the Pathétique, and an innovation later copied by numerous other composers, including Gustav Mahler (in his Third Symphony) and Dmitri Shostakovich (in his Eighth Symphony). This unifying structure also traces the symphony’s psychological journey, from tentative hope and yearning to overwhelming gloom and resignation to fate.

From its highly atmospheric introduction, the first movement proceeds to treat two highly contrasting themes in sonata-allegro form: an anxious idea in rising and falling sixteenth-note figurations derived from the introductory motif; and a serene, lilting pastoral melody. Several ingenious moments provide unexpected drama and emotional depth. One is a quotation in the brass from the Russian Orthodox Requiem, the traditional chant sung over the open coffin of the deceased to the words “With thy saints, O Christ, give peace to the soul of thy servant.” Was this a foreshadowing of Tchaikov- sky’s own approaching death? The other is the highly theatrical transition from the exposition to the development section, from a languid, deeply descending bassoon solo (marked pppppp) to a sudden orchestral explosion that never fails to snap audiences to attention. Balanchine vividly described this first movement, the symphony’s longest, as “a blizzard.”

The second and third movements offer some shelter from the storm. Tchaikovsky labelled the second movement “Allegro con grazia,” and its stuttering waltz in unexpected 5/4 meter demonstrates his graceful mastery of dance forms, perfected in Swan Lake, Sleeping Beauty, and, most recently relative to the Pathétique, The Nutcracker. In the waltz’s central section (“con dolcezza e flebile”—“with sweetness and mournfully”),

week 19 program notes 41 John Singer Sargent, Candelabra with Roses, oil on canvas, 21 x 16 in., sold: $457,500

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 a sense of foreboding returns, however, as the timpani throbs insistently like a softly beating heart (or clock?). Critics and audiences found the subsequent rousing third movement, an infectious march that grows from scherzo-ish lightness to brutal ferocity, confusing, too. Was it intended as a statement of heroism and strength, or, as David Brown suggests, “a desperate bid for happiness so prolonged and vehement that it confirms not only the desperation of the search, but also its futility”? The movement climaxes with a spectacular four-octave descent in the violins and then the trombones and tubas, landing on a solid G major triad that often provokes premature cheers.

But this is not the end. What follows is one of Tchaikovsky’s most imaginative and influential creations, a despairing “Adagio lamentoso” that the English annotator/ composer Donald Francis Tovey described as “a stroke of genius which solves all the artistic problems that have proved most baffling to symphonic writers since Beethoven.” In form, the movement possesses a sonata structure, but without development. Both of its themes press relentlessly downward, continuing the descent that concluded the preceding movement. A single funereal strike of the gong and solemn brass chords introduce the somber second theme, heavy with resignation and seeming to yield to the power of fate. In the final minutes, the muted double basses pulsate gently on B as the orchestral texture gradually thins into silence and darkness.

Harlow Robinson

harlow robinson is an author, lecturer, and Matthews Distinguished University Professor of History at Northeastern University. The author of “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians,” he is a frequent annotator and lecturer for the Boston Symphony Orchestra, Lincoln Center, Metropolitan Opera Guild, and Aspen Music Festival.

THE FIRST AMERICAN PERFORMANCE OF THE “PATHÉTIQUE” SYMPHONY took place on John Singer Sargent, March 16, 1894, at the Metropolitan Opera House in New York, with Walter Damrosch conducting. THE FIRST BOSTON SYMPHONY PERFORMANCE of the “Pathétique” Symphony was led by Emil Paur on December 29, 1894, subsequent BSO performances being given by Paur, Wilhelm Gericke, Karl Muck, Max Fiedler, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Charles Munch, sold: Ferenc Fricsay, Robert Shaw, Erich Leinsdorf, David Zinman, Seiji Ozawa, Michael Tilson Thomas, Christoph Eschenbach, Leonard Bernstein, Yuri Temirkanov, Mariss Jansons, Mstislav Rostropovich, Semyon Bychkov, Kurt Masur, Hans Graf, Robert Spano, James Levine, Christoph von Dohnányi, Miguel Harth-Bedoya, Myung-Whun Chung, David Zinman, Andris Nelsons (the most recent subscription performances, in October 2014), and Ken-David Masur (the most recent Tanglewood performance, on July 16, 2016).

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Although Leonard Bernstein’s parents lived in Boston at the time of his birth, he was born on August 25, 1918, in Lawrence, Massachusetts, the mill town where his mother’s family lived. He was legally named Louis, but his family called him Lenny or Leonard from the beginning, and as a teenager he had his name officially changed to Leonard. Both his parents were Ukrainian Jewish immigrants who arrived through Ellis Island, his mother Jennie at age seven and his father Samuel, who settled in New York City, at sixteen. Samuel made his way to Boston in the 1910s for work and by the 1920s had established his own thriving business. The family moved frequently, living in a number of Boston neighborhoods—Mattapan, Allston, and several Rox- bury addresses—as well as Revere and ultimately Newton. While in Boston the family attended temple at Mishkan Tefila, then located in an impressively stately building on Seaver Street across from Franklin Park. In the 1930s, the family acquired a lakeside summer cottage in Sharon. (Their relative affluence in the time of the Depression was testament to the success of Leonard Bernstein with parents, Samuel Samuel’s beauty products business.) and Jennie, and sister, Shirley, c.1935 (Leonard Bernstein Collection, Library The oldest of three children, Leonard Bernstein attended ele- of Congress, Music Division) mentary school at the Garrison School near Franklin Park, was accepted to the merit-based Boston Latin School (about a mile from Symphony Hall on Avenue Louis Pasteur), and attended Harvard University in Cambridge. He loved music from childhood and benefited when his father’s sister moved to New York City, leaving her piano with the family when Leonard was ten. His father was willing for him to have

First known photograph of Bernstein as a conductor, summer 1937, when he was a camp counselor at Camp Onata, near Pittsfield, MA (Leonard Bernstein Collection, Library of Congress, Music Division)

week 19 bernstein, boston, and the bso 45 piano lessons but balked at encouraging a music career once things turned serious. Part of Bernstein’s practical education came from earning money for his own lessons by teaching younger kids and playing jazz and popular music at weddings. In Sharon his ambitions extended to producing and performing versions of Carmen, The Mikado, and H.M.S. Pinafore for fun. It was by these paths he developed the multifaceted practical skills and stylistic breadth that would later define his career. He first attended concerts at Symphony Hall in the early 1930s; among the earliest of these were a Boston Pops concert led by Arthur Fiedler and a solo recital by Rachmaninoff. By 1933 he had a subscription to the BSO season.

In spite of his father’s objections, at Harvard Bernstein majored in music, studying piano with Heinrich Gebhard and working with the composers Walter Piston and Edward Burlingame Hill. He graduated Harvard graduation portrait, 1939 in 1939 and was admitted to the Curtis Institute of Music in Phila- (William Filene’s Sons Company, Boston/Leonard Bernstein delphia, where he remained for two more years. It was during his Collection, Library of Congress, Harvard years, in 1937, that he first met Aaron Copland, whose Piano Music Division) Variations had become a staple of Bernstein’s performing repertoire. Copland at age thirty-seven was among America’s leading concert composers, and his friendship and advice had a stupendous impact on Bernstein’s career. It was in part through his encouragement that the younger composer, whose ambitions had lately begun to include conducting, joined the first class of the Berkshire Music Center (now the Tanglewood Music Center) in 1940, where he would study conducting with the school’s founder, BSO conductor Serge Koussevitzky, as well as composition with Cop- land himself. His first performance conducting a professional orchestra came on July 11, 1941, when, as a winner of a Boston Herald musical quiz, and without rehearsal, he led the Boston Pops Orchestra on the Esplanade in Wagner’s Meistersinger Overture. The prize was originally to have been a week-long residency at Tanglewood, but since Bernstein was already a student of Kousse- vitzky, the conducting opportunity was awarded as an extra. The eighteen-year-old Leonard Bernstein at the piano, 1936 (Leonard Bernstein Collection, Library of Congress, Music In the following decade, Kousse- Division) vitzky, as he had done for Copland earlier, provided Bernstein with a variety of opportunities to exhibit his many talents. Koussevitzky and the BSO gave performances of the

46 composer’s Symphony No. 1, Jeremiah (a product of his early twenties), and commissioned and premiered his Symphony No. 2, The Age of Anxiety, with the composer as piano soloist. Bernstein was also called upon to lead the American premiere performances of Benjamin Britten’s opera Peter Grimes with the Berkshire Music Center in 1946 and the world premiere of Olivier Messiaen’s Turangalîla-Symphonie with the BSO in 1949. Although Bernstein’s Broadway and conducting activities shifted his geographical center to New York City, he remained closely tied to the Boston Symphony Orchestra and especially to Tanglewood for the rest of his life. His Symphony No. 3, Kaddish, was a BSO 75th-anniversary commission. Fifty years after his first summer at Tan- An early publicity photograph glewood, he led of Bernstein, c.1943 (Heinz H. his final concert Weissenstein, Whitestone Photo) there on August 19, 1990, conducting the BSO. On August 14 he had conducted the Tanglewood Music Center Orchestra, which he was scheduled to take on a European tour that fall, but he fell ill, canceling the tour, and died that October 14 in New York.

Robert Kirzinger

Composer/annotator robert kirzinger is Associate Director of Program Publications Leonard Bernstein conducting from the of the Boston Symphony Orchestra. piano in a rehearsal with the BSO, c.1951 (Howard S. Babbitt, Jr.)

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45 School Street, Old City Hall, Boston, NIA 02108 T; 6 I 7.557.9800 Leonard Bernstein “Kaddish,” Symphony No. 3 for Orchestra, Mixed Chorus, Boys’ Choir, Speaker, and Soprano Solo

LEONARD BERNSTEIN was born in Lawrence, Massachusetts, on August 25, 1918, and died in New York City on October 14, 1990. He composed “Kaddish,” Symphony No. 3, mostly from 1961 through November 1963, on a joint commission (extended in 1955) from the Koussevitzky Music Foundation and the Boston Symphony Orchestra, on the occasion of the BSO’s 75th anniversary. The libretto includes sung texts from traditional Jewish liturgical prayers and a spoken text by Bernstein himself (though later versions by Samuel Pisar and the composer’s daughter, Jamie Bernstein, have also been used). Bernstein dedicated the work “To the Beloved Memory of John F. Kennedy.” The BSO having ceded its right to the premiere at the composer’s request, Bernstein himself led the first performance on December 10, 1963, in Tel Aviv, Israel, with the Israel Philharmonic Orchestra, choirs under the direction of Abraham Kaplan and Isaac Graziani, Hannah Rovina as the Speaker, and soloist Jennie Tourel. Charles Munch led the Boston Symphony Orchestra in the first American performance on January 31, 1964, with Felicia Montealegre as the Speaker, Jennie Tourel as soloist, the New England Conservatory Chorus, Lorna Cooke deVaron, director, and the Columbus Boychoir, Donald Bryant, director. Bernstein made revisions to the score in 1977, that version being introduced on August 25, 1977, in Mainz, Germany, with the composer conducting the Israel Philharmonic, Michael Wager as the Speaker, soprano Montserrat Caballé, the Wiener Jeunesse Chor, Günther Theuring, director, and the Wiener Sängerknaben, Uwe Harrer, director. The present performances use the original version of the spoken text.

IN ADDITION TO THE SPEAKER, SOPRANO SOLOIST, AND CHORUSES, BERNSTEIN’S “KADDISH” calls for an orchestra of four flutes (third doubling alto flute, fourth doubling piccolo), two oboes and English horn, alto saxophone, two clarinets, E-flat clarinet, and bass clarinet, two bassoons and contrabassoon, four horns, trumpet in D and three trumpets in C, three trombones, tuba, timpani, vibraphone, xylophone, glockenspiel, three side drums (snare, field, and tenor drums), bass drum, hand-drum (Israeli), two suspended cymbals, pair of (crash) cymbals, finger cymbals, antique cymbals, tam-tam, three bongos, three temple blocks, wood block, sandpaper blocks, rasp, whip, ratchet, triangle, maracas, claves, tambourine, chimes, harp, piano (doubling celesta), and strings.

Throughout his career Leonard Bernstein struggled to balance the competing demands of his multifarious gifts as composer, conductor, pianist, media personality, and all-round

week 19 program notes 49 Leonard Bernstein and the Text of “Kaddish”

Bernstein’s Kaddish, Symphony No. 3, is based on what is perhaps the best-known Jewish prayer text, the “Mourner’s Kaddish.” The full text of the prayer appears in all three movements of the symphony, and is the driving and unifying force of the entire work. Musically, the symphony is not based on Jewish modes or motifs, but the dramatic, theological, and spiritual arc of the piece is nevertheless built on distinctly Jewish structures and beliefs, carrying a humanistic message.

The “Mourner’s Kaddish” is first mentioned in the Talmud, the book of Jewish writings and commentary completed c.500 CE. In fact, nothing in the Kaddish text refers to death or mourning. Instead, the main themes of the Kaddish (from the word “kadosh,” meaning “Holy”) are those of abundant praise for the Name of God, and the hope that God’s Kingdom will be established on earth. Written almost entirely in Aramaic, the Kaddish was first used as a recitation by students after a scholarly Biblical discourse. By the 13th century it had migrated to the graveside, where it was recited by mourners.

Perhaps the most important aspect of the Kaddish is that it can only be recited in public, in the presence of a minyan, a gathering of at least ten (traditionally male) participants. These witnesses have the essential responsibility of affirming the sanctity of God’s name: the congregation chants the words “Y’hei sh’mei rabba” (“May His great name be blessed”) and “Amen,” sending the message up to the Divine and out into the world.

In his symphony, Bernstein uses the Kaddish text to build an arc of transformation from the beginning of the first movement to the final “Amen.” The transition from terror to hope in the original version (heard here) of Bernstein’s spoken text is delivered through the persona and voice of a woman, for very particular Jewish reasons. The Speaker represents the feminine characteristics of the self, but also the Shechinah, the Jewish concept of the female aspect of the Divine. As the compassionate, protective, intuitive connector between God and Humankind, she cries out in fear as she imagines not only her own death, but the death of all she loves.

The first movement begins with the Jewish structure of calling for God’s attention by calling out the many names of God. Bernstein takes this practice and turns it upside down, calling to God by names of his own invention: God the Disappointed, the Rejected, the Handsome, the Jealous Lord and Lover. The Speaker demands that God “Pay Atten- tion!” Fearing the imminent annihilation of the world, she wants to recite the Kaddish for herself and for all humanity. The community of the chorus joins, standing and stomp- ing their feet, also demanding God’s attention, as they intone the actual Kaddish. Here the text, traditionally meant to comfort, expresses the terror of death in an urgent, noisy, frightened cacophony, crying out the Holiness of God as if that were the only act that might save them and the world.

The second movement is entitled “Din-Torah,” which refers to a deposition under Jewish Law whereby judgment is brought against an individual. In Bernstein’s Din-Torah, the accused is God, the judgment is called in defense of Humanity, and the Shechinah is the Prosecutor. There is ample Jewish precedent for arguing directly with God, from Abraham bargaining with God, to Moses and Job complaining to and reasoning with God, to Reb

50 celebrity. Time for composition was potentially the most endangered in the mix that packed his calendar, and he had to take special care to see that it didn’t get entirely crowded out by his day-to-day obligations as a performer. This balance became especially challenging in the full flower of his career, and never more than during his eleven years as music director of the New York Philharmonic (1958-69), when he managed to complete only two substantial compositions. Apart from his Kaddish, Symphony No. 3 (in 1963) and his Chichester Psalms (in 1965), which together add up to almost exactly

Levi Yitzhok of Berditchev (1740-1809), who brought an actual Din-Torah against God. In this legend, Reb Levi proceeds to accuse God of injustices against the Jews. Bernstein must have been acquainted with this text from a song made famous by Paul Robeson. Bernstein’s structure mirrors Reb Levi’s as he introduces the Prosecutor representing the people and then lays out the case against God. After the Flood, God promised Israel that He would never again destroy humanity and, as a sign, displayed the Rainbow. The Prosecutor accuses God of having broken that covenant. The congregation responds with the communal “Amen”, this time shaking with anger, as they dissolve into the het- erophony of the Jewish prayer service, in multiple tempos and keys.

The Kaddish then appears in full for a second time as a lullaby, meant to embrace and soothe the Divine. The Speaker and soprano soloist comfort God, as a mother comforts her child. As the soloist sings God to sleep, she embodies the Jewish mystical notion that God needs Humankind just as Humankind needs God. The congregation of women affirms her words with “Amen.”

In the third movement, the Kaddish prayer goes through a radical transformation. Originally it was recited to sanctify the name of God; but here Bernstein turns that around, so it is now to be recited by God to sanctify the name of Humanity. The Kad- dish’s central theme of bringing about God’s Kingdom on Earth is expressed as the Speaker insists that the Dream of that Kingdom can only be created in partnership with Humanity. After the struggle of the Scherzo, the Speaker cries to God, “Believe! Believe!”—and a melody of peace and joy opens as a window onto Paradise. The heav- enly bodies of the Angels join the earthly bodies of the congregation, as the Speaker presents the Rainbow not as God’s covenant with Humanity, but as Humanity’s covenant with God, affirming that God and Humanity are eternally bound in mortality and immortality—similarly reflecting Leonard Bernstein’s own abiding belief in the harmony of the Human and the Divine.

Lynn Torgove

Cantor lynn torgove is a professional singer and stage director, as well as the Head of Vocal Arts at Hebrew College in Newton, where she was ordained. She has taught at the New England Conservatory, Boston Conservatory, Boston University, and the Longy School of Music at Bard College, where she is currently on the faculty.

week 19 program notes 51 Program page for the first Boston Symphony performances—the American premiere—of Bernstein’s “Kaddish” on January 31 and February 1, 1964, with conductor Charles Munch, Felicia Montealegre as the Speaker, soprano Jennie Tourel, the New England Conservatory Chorus, and the Columbus Boychoir (BSO Archives)

52 an hour of music, his works from those eleven years were limited to two one-minute Fanfares in 1961 (one for the presidential inauguration of John F. Kennedy, the other for the 25th anniversary of New York’s High School of Music and Art) and a two-minute song, “So Pretty,” which Bernstein (at the piano) introduced with Barbra Streisand at Philharmonic (now David Geffen) Hall, Lincoln Center, in 1968.

Kaddish underwent a particularly long gestation. It had been commissioned in 1955 by the Koussevitzky Music Foundation and the Boston Symphony Orchestra as a piece to celebrate the latter’s 75th anniversary, which was observed the following year without so much as a glimmer of Bernstein’s piece. The likelihood of his writing Kaddish grew dimmer when he was appointed music director of the New York Philharmonic. He did begin to work very sporadically on the piece beginning in 1961 but didn’t manage to commit a substantial budget of time to it until the summer of 1963. With a New York Philharmonic tour looming, he wrote on August 10 to his sister: “On August 1st I made the great decision to go forward with Kaddish, to try to finish it, score it, rehearse, prepare, revise, translate into Hebrew.... It’s a monstrous task: I’ve been copying it out legibly for the copyists, night and day and now it’s ready, except for a rather copious finale that needs to be written.... I’m terribly excited about the new piece, even about the Speaker’s text, which I finally decided has to be by me. Collaboration with a poet is impossible on so personal a work, so I’ve found after a distressful year of trying with [Robert] Lowell and [Frederick] Seidel; so I’m elected, poet or no poet.” Nine days later the symphony was essentially complete, although orchestration would continue through November. On the 22nd of that month Bernstein was at Lincoln Cen- ter’s Philharmonic Hall preparing for a Young People’s Concert when shots rang out in Dallas, Texas. He immediately resolved to dedicate Kaddish “To the Beloved Memory of John F. Kennedy.”

It was an appropriate dedication since the “Kaddish” (the word means “sanctification”) is a centrally important Jewish prayer that is particularly associated with mourning, although in its various forms the Kaddish actually serves a breadth of liturgical functions. It is, however, a prayer of mourning through its usage rather than through anything explicitly expressed by its content. The Kaddish does not mention death; instead, it is a prayer of praise that focuses on the sanctification of God’s name. To Bernstein, religion was never simple, and he accordingly built his Kaddish into a complex structure by interweaving the traditional prayer with an extended narration he wrote himself, an emotionally potent argument between man and God, a rumination on faith, doubt, and mortality.

The narration in Kaddish repeatedly turns to the theme of Son vs. Father as the Speaker debates with God on thoughts of faith, peace, death, and grace, sometimes escalating into violent outbursts. One may imagine that this uneasy filial conflation of the paternal human and the paternal divine reflected Bernstein’s uneasy relationship with his own father, who had emigrated from a Ukrainian shtetl and, as a naturalized American,

week 19 program notes 53 BERNSTEIN “Kaddish,” Symphony No. 3 Traditional Hebrew prayer

Yit’gadal v’yit’kadash sh’m¯e raba, amen, Magnified and sanctified be His great name, Amen. b’al’ma div’ra chir’ut¯e, amen, Throughout the world which He hath created according to his will, Amen, v’yam’lich mal’chut¯e And may He establish His kingdom b’chay¯echon uv’yom¯echon During your life and during your days, uv’chay¯e d’chol b¯et Yis’ra¯el, And during the life of all the house of Israel, ba-agala uviz’man kariv, Speedily, and at a near time, v’im’ru: amen. And say ye, Amen. Y’h¯e sh’m¯e raba m’varach May His great name be blessed, l’alam ul’al’m¯e al’maya. Forever and to all eternity. Yit’barach v’yish’tabach v’yit’pa-ar Blessed and praised and glorified, v’yit’romam v’yit’nas¯e And exalted and extolled and honored, v’yit’hadar v’yit’aleh v’yit’halal And magnified and lauded sh’m¯e d’kud’sha, b’rich Hu, Be the name of the Holy One, blessed be He; l’¯ela min kol bir’chata Though He be beyond all blessings, v’shirata, tush’b’chata v’nechemata, And hymns, praises, and consolations, da-amiran b’al’ma, That can be uttered in the world. v’im’ru: amen. And say ye, Amen. Y’h¯e sh’lama raba May there be abundant peace min sh’maya v’chayim al¯enu From heaven, and life for us v’al kol Yis’ra¯el And for Israel; v’im’ru: amen. And say ye, Amen. Oseh shalom bim’romav, He who maketh peace in His high places, Hu ya-aseh shalom al¯enu May He make peace for us v’al kol Yis’ra¯el And for all Israel; v’im’ru: amen. And say ye, Amen.

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

54 BSO Archives

Charles Munch and Leonard Bernstein, c.1964

earned a handsome income selling beauty products to hair salons. Samuel Bernstein never connected very closely with Leonard, the eldest of his three children, and would have preferred that his son continue the hair-products business or become a rabbi rather than pursue music professionally, a vocation he stubbornly equated with the itinerant klezmer instrumentalists who squeaked by playing at weddings back in the shtetl. Cer- tainly he was proud of his son’s eventual accomplishments, but even when he sat in concert hall boxes to witness his son preside over the world’s great orchestras, he was not demonstrably enthusiastic.

Bernstein was just beginning to focus on Kaddish when, in January 1962, he delivered a speech at his father’s 70th-birthday celebration, which was attended by some 800 prominent Bostonians who must have squirmed when confronted with such deep thoughts at what was, after all, a birthday party: What is a father in the eyes of a child? The child feels: My father is first of all my Authority, with power to dispense approval or punishment. He is secondly my Protector; thirdly my Provider; beyond that he is Healer, Comforter, Law-giver, because he caused me to exist. ... And as the child grows up he retains all his life, in some deep, deep part of him, the stamp of that father-image whenever he thinks of God, of good and evil, of retribution. For example, take the idea of defiance. Every son, at one point or other, defies his father, fights him departs from him, only to return to him—if he is with God: Moses protesting to God, arguing, fighting to change God’s mind. So the child defies the father and something of that defiance also remains throughout his life.

The Boston Symphony, which had shown such patience in waiting for Bernstein to fulfill its commission, outdid itself with forbearance when he expressed a desire that the work be premiered in Israel. So it was that Bernstein led the premiere in Tel Aviv, with the Israel Philharmonic, to enormous acclaim, and Boston graciously settled for the American premiere a month and a half later. It was ecstatically received in Israel but considerably less so in Boston, where the late Michael Steinberg, who had recently

week 19 program notes 55 “Coiled intensity and pure adrenaline in rich supply.”

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56 been appointed critic at the Boston Globe, offered a carefully argued assessment that chastised the work for “unashamed vulgarity.” Another critic, Alan Rich, observed, “‘Kaddish’ is a reasonable enough name for the piece but ‘Chutzpah’ would do just as well.” Such remarks seem to have hit their mark. Bernstein was not much given to self-censorship, but during the 1970s he did gradually become less overt in expressing his emotionality in his music. He decided to revise Kaddish in 1977, at which time he tamed some of the narration’s most extroverted outbursts.

The score qualifies as one of its composer’s eclectic endeavors, its language embrac- ing a variety of styles. Bernstein’s writing ranges from forthright diatonic harmonies and melodies reminiscent of chant or folk song (or Copland) to intense chromaticism (stretching to tone rows) and dense polyphony, from passages flavored with jazz to the enveloping lyricism of musical theatre.

The narration was an ongoing work-in-progress. Bernstein’s amanuensis Jack Gottlieb described the tentative narrations put forth by Lowell and Seibel as “eloquent attempts, but their words were more for reading than for speaking.” For the premiere, in Tel Aviv, Bernstein had the text he had authored translated into Hebrew to be delivered by the acclaimed Israeli actress Hannah Rovina. The American premiere employed his original English words, delivered by the Chilean actress Felicia Montealegre, who was Mrs. Bernstein. (Jennie Tourel was the singing soloist on both occasions.) When Bernstein revised the score in 1977, he wrought changes that would allow the text to be delivered by a man or a woman. In 2001, Jamie Bernstein, one of the composer’s daughters, wrote another text, which she later characterized thus: “My father’s angry with God; I’m angry with my father.” (“Like father, like daughter,” one might surmise.) Samuel Pisar, a friend of Bernstein’s, crafted his own version, which dates from 2003, to reflect the particular perspective of a holocaust survivor. In Kaddish, as in quite a few of Bernstein’s large-scale works, one is left without a clear directive as to the final, definitive form of the piece. The present performances employ the original spoken text heard when Charles Munch led the BSO in the American premiere of Kaddish at Symphony Hall in 1964—the BSO’s only complete performances of the work prior to this week.

James M. Keller james m. keller is program annotator of the New York Philharmonic, where he holds the Leni and Peter May Chair, and of the San Francisco Symphony.

THE ONLY PREVIOUS COMPLETE BSO PERFORMANCES OF BERNSTEIN’S “KADDISH” were those led by Charles Munch on the occasion of the work’s American premiere, at Symphony Hall on January 31 and February 1, 3, and 4, 1964, with Felicia Montealegre as the Speaker, Jennie Tourel as soprano soloist, the New England Conservatory Chorus, Lorna Cooke deVaron, director, and the Columbus Boychoir, Donald Bryant, director. On August 25, 1988, as part of the gala “Bernstein at 70!” concert at Tanglewood, Michael Tilson Thomas led just the “Kaddish 2” movement, with soprano Barbara Hendricks and the women of the BUTI Young Artists Chorus, Steven Lipsitt, conductor.

week 19 program notes 57 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. To Read and Hear More...

David Brown’s Tchaikovsky, in four volumes, is the major biography of the composer; the Pathétique Symphony is discussed in the last volume, “The Final Years: 1885-1893” (Norton). Brown is also the author of Tchaikovsky: The Man and his Music, an excellent single volume (512 pages) on the composer’s life and works geared toward the general reader (Pegasus Books). Though out of print, John Warrack’s Tchaikovsky is worth seeking both for its text and its wealth of illustrations (Scribners). Anthony Holden’s Tchaikovsky is a single-volume biography that gives ample space to the theory that Tchaikovsky committed suicide for reasons having to do with his homosexuality (Bantam Press). Alexander Poznansky’s Tchaikovsky’s Last Days: A Documentary Study also takes a close look at this question (Oxford). Also useful are Alexandra Orlova’s Tchaikovsky: A Self-Portrait (translated by R.M. Davison), an “autobiographical narrative” based on surviving documentation (Oxford), and David Brown’s chapter “Russia Before the Revolution” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Michael Steinberg’s program notes on Tchaikovsky’s Fourth, Fifth, and Sixth (Pathétique) symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback).

The Boston Symphony Orchestra recorded the Pathétique Symphony under Seiji Ozawa in 1986 (Erato), under Charles Munch in 1962 (RCA), under Pierre Monteux in 1955 (also RCA), and under Serge Koussevitzky in 1930 (originally RCA). BSO Music Director Andris Nelsons has recorded Tchaikovsky’s Fourth, Fifth, and Pathétique symphonies with the City of Birmingham Symphony Orchestra (Orfeo). Other recordings of the Pathétique—listed alphabetically by conductor—include Claudio Abbado’s with the Chi- cago Symphony Orchestra (Sony), Leonard Bernstein’s with the New York Philharmonic (Sony), Daniele Gatti’s with the Royal Philharmonic Orchestra (Harmonia Mundi), Valery Gergiev’s with the Kirov Orchestra (Philips), Vladimir Jurowski’s live with the London Philharmonic (LPO), Evgeny Mravinsky’s with the Leningrad Phiharmonic (Deutsche Grammophon), Yannick Nézet-Séguin’s with the Rotterdam Philharmonic (Deutsche Grammophon), and Antonio Pappano’s with the Santa Cecilia Orchestra of Rome (Warner Classics). Igor Markevitch’s first-rate traversal of the Tchaikovsky symphonies with the London Symphony Orchestra offers excellent value as well as fine performances (Philips “Duos,” with the symphonies 1-3 in one two-disc volume and 4-6 in another). Noteworthy historic recordings of the Pathétique include Guido Cantelli’s

week 19 read and hear more 59 with the Philharmonia Orchestra, from 1952 (Testament), and Wilhelm Furtwängler’s powerful concert performance, from 1951 in Cairo, with the Berlin Philharmonic (for a while available on Archipel).

Humphrey Burton’s Leonard Bernstein is a particularly insightful and well-balanced biography of the composer (Anchor paperback); Burton knew Bernstein well, having worked with him as a television and video producer for some twenty years. Composer and writer Allen Shawn’s smaller, more recent biography, Leonard Bernstein: An American Musician, was published in 2014 (Yale University Press paperback, part of the “Jewish Lives” series). Paul Myers’s Leonard Bernstein, published in 1998, is in the well-illustrated series “20th-Century Composers” (Phaidon paperback). Harvard University professor Carol Oja’s Bernstein Meets Broadway: Collaborative Art in a Time of War considers Bernstein’s most populist work in light of his collaborative predilections and political leanings (Oxford University paperback). Meryle Secrest’s Leonard Bernstein: A Life, published in 1994, is a well-considered and informative biography aimed at the general reader (Knopf). Leonard Bernstein: An American Original, published in 2008, is a collection of essays assembled by the composer’s brother Burton Bernstein and New York Philharmonic archivist Barbara Haws; following an introduction by Haws, the collection includes contributions by Burton Bernstein, Alan Rich, Tim Page, Joseph Horowitz, Paul Boyer, James M. Keller, Carol J. Oja, Bill McGlaughlin, and composer John Adams (Harper). Among Bernstein’s own writings and collected conversations about music are

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

60 an edition of his correspondence, The Leonard Bernstein Letters, edited by Nigel Simeone (Yale University paperback); The Joy of Music (Amadeus Press paperback); the more personal Findings (Anchor paperback), and his six Charles Eliot Norton Lectures, given at Harvard in 1973 under the collective title The Unanswered Question (Harvard Univer- sity Press). Also of interest is Jonathan Cott’s Dinner with Lenny: The Last Long Interview with Leonard Bernstein (Oxford University Press).

Leonard Bernstein recorded all three of his symphonies in 1977 with the Israel Philhar- monic: Jeremiah, No. 1, with mezzo-soprano Christa Ludwig; The Age of Anxiety, No. 2, with pianist Lukas Foss; and Kaddish, No. 3, in its then newly revised version, with soprano Montserrat Caballé, speaker Michael Wager, the Vienna Youth Chorus, and the Vienna Boys’ Choir (Deutsche Grammophon, a two-disc set). Bernstein’s earlier New York Philharmonic recordings of his three symphonies (with mezzo-soprano Jennie Tourel in Jeremiah; pianist Philippe Entremont in The Age of Anxiety; and Jennie Tourel and Felicia Montealegre in Kaddish) are included in the budget-priced seven-disc set “Bernstein Conducts Bernstein” (Sony). The world premiere broadcast on April 9, 1949, the day following the actual world premiere, of Leonard Bernstein’s The Age of Anxiety with Serge Koussevitzky conducting the BSO and featuring Bernstein himself as piano soloist is included in the BSO’s twelve-CD box, “Boston Symphony Orchestra, Symphony Hall Centennial Celebration: From the Broadcast Archives, 1943-2000” (available at the Symphony Shop). Marin Alsop’s recording of Kaddish, which uses the original (i.e, pre-1977) version of Bernstein’s spoken text, features soprano Kelley Nassief, Claire Bloom as the Speaker, the Washington Chorus, and the Maryland State Boychoir (Naxos). Alsop’s Baltimore Symphony recording of The Age of Anxiety has pianist Jean- Yves Thibaudet as soloist (also Naxos). Leonard Slatkin’s recording of Kaddish features mezzo-soprano Ann Murray, the composer’s daughter Jamie Bernstein as the Speaker (using a spoken text of her own), the BBC Symphony Orchestra and Chorus, and the Lon- don Oratory School Schola (Chandos). Slatkin’s recording of The Age of Anxiety features pianist James Tocco (also Chandos). Bernstein as teacher and television personality is amply documented in the DVD collections “Leonard Bernstein: Omnibus–The Historic TV Broadcasts” (Koch, four discs); “Leonard Bernstein’s Young People’s Concerts, Vol. I” (Kultur, nine discs encompassing twenty-five programs preserved between 1958 and 1973); and “Leonard Bernstein: The Unanswered Question” (Kultur, six discs preserving versions of his 1973 Charles Eliot Norton Lectures as videotaped for television the night after each was originally delivered).

Marc Mandel (Tchaikovsky)/Robert Kirzinger (Bernstein)

week 19 read and hear more 61 family matters

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Giancarlo Guerrero Giancarlo Guerrero is the five-time Grammy award-winning music director of the Wrocław Philharmonic at the National Forum of Music in Poland. He made his Wrocław Philharmon- ic debut in October 2016, and was the immediate and overwhelming choice of the institution to become its music director. For the past decade Mr. Guerrero has been music director of the Nashville Symphony Orchestra. During his tenure there, the orchestra has toured extensively, including to New York’s Carnegie Hall, and made more than a dozen award-winning recordings for Naxos. As a guest conductor, Mr. Guerrero enjoys relationships with many orchestras in the United States and Europe, among them the Boston Symphony Orchestra, Philadelphia Orchestra, Cincinnati Symphony Orchestra, Brussels Philharmonic, Deutsches Symphonie-Orchester Berlin, Orchestre Philharmonique de Radio France, the Orchestre National de France in Paris, Netherlands Philharmonic, the Residentie Orchestra in The Hague, and the BBC Sym- phony. He is also a regular guest with the São Paulo State Symphony Orchestra in Brazil and serves as principal guest conductor of the Gulbenkian Orchestra in Lisbon. Having a broad and expansive repertoire, Giancarlo Guerrero is also particularly engaged with conducting training orchestras and works regularly with the Curtis School of Music, Colburn School in Los Angeles, and Yale Philharmonia. In recent years he has developed a relationship with the National Youth Orchestra (NYO2) in New York, created and operated by the Weill Institute of Music at Carnegie Hall. Among his many initiatives in Nashville is a dedication to the performance of new works by contemporary American composers, championed through commissions, recordings, and world premieres. This commitment has made Nashville a destination for contemporary music and created a calling card for the Nashville Symphony Orchestra. He previously held posts as principal guest conductor of the Cleveland Orches- tra’s Miami Residency (2011-2016), music director of the Eugene Symphony (2002-2009), and associate conductor of the Minnesota Orchestra (1999-2004). Giancarlo Guerrero made his Boston Symphony Orchestra debut in August 2010 at Tanglewood and his subscription series debut in January 2012, followed by a return Symphony Hall engagement in November that year, leading a subscription program of music by Sierra, Tchaikovsky, and Prokofiev. He led two BSO programs at Tanglewood in August 2016, as well as Tchaikovsky’s 1812 Overture with the combined forces of the BSO and Tanglewood Music Center Orches- tra to close that summer’s gala Tanglewood on Parade concert. His most recent BSO appearance was at Tanglewood in August 2017, leading a program of Dvoˇrák, Brahms, and Stravinsky.

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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. Laila Robins Making her Boston Symphony Orchestra debut this week, Laila Robins is a regular on the recently premiered ABC series Deception. She was recently seen in season two of the TNT series Murder in the First and on Showtime’s Homeland as Martha Boyd, the smart no-nonsense U.S. ambassador to Pakistan. Ms. Robins has appeared in many films, including Eye in the Sky, Side Effects, Blumenthal, Concussion, Multiple Sarcasms, The Good Shepherd, An Innocent Man, Welcome Home, Roxy Carmichael, True Crime, and Planes, Trains, and Automobiles. Among her television credits are Quantico, the HBO pilot The Money opposite Brendan Gleeson, Person of Interest, Blue Bloods, Damages, Too Big to Fail, Bored to Death, God in America, In Treatment, The Sopranos, and Law and Order; she was the series lead in Gabriel’s Fire opposite James Earl Jones. On Broad- way Ms. Robins has appeared in Heartbreak House and the Tony-nominated play Frozen, as well as The Herbal Bed and The Real Thing. Off-Broadway credits include the highly acclaimed quartet of Richard Nelson plays performed in repertory at The Public (Regular Singing, Sorry, Sweet and Sad, and That Hopey Changey Thing), The Lady from Dubuque, Antony and Cleopatra, A Midsummer Night’s Dream, Sore Throats, Tiny Alice, Mrs. Klein, and The Merchant of Venice. Recently she starred in the Guthrie Theater’s production of The Lion in Winter; the George Street Playhouse’s production of The Second Mrs. Wilson, for which she earned rave reviews; and The Chinese Room at the Williamstown Theatre Festival. For this week’s BSO performances, Laila Robins wears a couture gown by New York designer Dennis Basso. Ms. Robins’s hair styling and make-up for this week’s performances has been provided by Roffi Salon and Day Spa.

Tamara Wilson Making her Boston Symphony debut this week, soprano Tamara Wilson recently received the prestigious Richard Tucker Award and the “Revelation Prize” of the Argentine Musical Critics Association. She is also a grand prize-winner of the annual Francisco Viñas Competition held at the Gran Teatre del Liceu in Barcelona, Spain. Ms. Wilson opened her 2017-18 season singing the title role in Aida at Washington National Opera in a production by Francesca Zambello. She returns to her home company of Houston Grand Opera for her role debut as Chrysothemis in Elektra and makes her Paris debut as Sieglinde in Die Walküre with the Mariinsky Orchestra conducted by Valery Gergiev at the Philharmonie de Paris. Following her New York Philharmonic debut in Bernstein’s Symphony No. 3, Kaddish, with Leonard Slatkin, she now makes her BSO debut in the same piece under Giancarlo Guerrero. She returns to the BBC Proms for Mahler’s Symphony No. 8 with the BBC National Orchestra of Wales and makes her Italian debut with Riccardo Chailly and Teatro alla Scala Orchestra in Verdi’s Requiem with performances in Pavia, Paris, and Hamburg. Tamara Wilson made her acclaimed Metropolitan Opera debut in Aida and her London debut in Calixto Bieto’s new production of La forza del destino at English National Opera, for which she received an Olivier Award nomination. She inaugurated the new opera house in Kyoto, Japan, as Rosalinde in Die Fledermaus under Seiji Ozawa; was heard at Oper Frankfurt for her first performances as the Empress in Die Frau ohne Schatten conducted by Sebastian Weigle (recently released by Oehms Classics); made debuts at the Bayerische Staatsoper and Opernhaus Zürich

week 19 guest artists 65 66 conducted by Fabio Luisi, both as Elisabetta di Valois in Don Carlo; made her Deutsche Oper Berlin debut as Amelia in Un ballo in maschera; sang Brünnhilde in Act III of Die Walküre with Mark Wigglesworth and the BBC National Orchestra of Wales at Royal Albert Hall, and made her Concertgebouw Orchestra debut in Act III of Die Walküre as Sieglinde under Valery Gergiev. A noted interpreter of Verdi roles, Ms. Wilson has also been seen as Elis- abeth de Valois in Don Carlos, Elvira in Ernani, Lucrezia Contarini in I due Foscari, Leonora in Il trovatore, Desdemona in Otello, Alice Ford in Falstaff, Amelia Grimaldi in Simon Boccanegra, Marchesa del Poggio in Un giorno di regno, and Gulnara in Il corsaro. She has also sung the title role in Norma, concert performances of Wagner’s Die Feen, Elettra in Idomeneo, and Donna Anna in Don Giovanni. On the concert stage, she has sung with the Cleveland Orches- tra, National Symphony, the Orchestra of the Age of Enlightenment, Orchestre de Lyon, Atlanta Symphony, Malaysian Philharmonic, Chamber Orchestra of Europe, Baltimore Sym- phony Orchestra, Orquestra Sinfônica do Estado de São Paulo, Minnesota Orchestra, and Grant Park Symphony Orchestra, and at the Oregon Bach Festival and Grand Teton Music Festival. An alumna of the Houston Grand Opera Studio, the recipient of numerous awards and grants, and an avid lecturer about vocal technique, she received her degree at the University of Cincinnati-College Conservatory of Music. Tamara Wilson’s hair styling and make-up for this week’s BSO performances has been provided by Roffi Salon and Day Spa.

Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate

This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances of Mahler’s Symphony No. 3 and Schumann’s Nachtlied and Neujahrslied under BSO Music Director Andris Nelsons; Grieg’s incidental music to Peer Gynt under BSO Associate Conductor Ken-David Masur; Berlioz’s The Damnation of Faust under

week 19 guest artists 67 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 Charles Dutoit; Ravel’s complete Daphnis et Chloé led by Jacques Lacombe; and Leonard Bernstein’s Symphony No. 3, Kaddish, under Giancarlo Guerrero. Members of the chorus also participated in this season’s all-Bernstein program on Opening Night. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of the 2014 Tanglewood season. Awarded the Tanglewood Medal by the BSO to honor his forty- five years of service to the ensemble, Mr. Oliver now holds the lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center. In February 2017, following appearances as guest chorus conductor at both Symphony Hall and Tanglewood, and having prepared the chorus for that month’s BSO performances of Bach’s B minor Mass led by Andris Nelsons, the British-born James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the newly created position of BSO Choral Director.

Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occasions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s

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week 19 guest artists 69 2017-18

Our upcoming APRIL concerts Finale & Premiere Salem Salem Fri. April 20, 8:00 Brookline Sun. April 22, 3:00 Friday Evenings at 8:00 in historic Hamilton Hall Ravel Sonata for Violin and Cello

Songs Without Words for Wheeler Cello and Piano, World Premiere Brookline

Piano Trio in F minor, Opus 65 Dvorˇák Sunday Afternoons at 3:00 in beautiful St. Paul’s Church Lucia Lin, violin – Jonathan Miller, cello – Diane Walsh, piano You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

70 La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a 2009 Grammy-winner for Best Orchestral Performance), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the BSO, TFC members have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long International Choral Festival given in and around Toronto. The ensemble had the honor of singing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC members regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.

James Burton James Burton was appointed Conductor of the Tanglewood Festival Chorus, and to the new position of BSO Choral Director, in February 2017. Born in London, Mr. Burton began his training at the Choir of Westminster Abbey, where he became head chorister. He was a choral scholar at St. John’s College, Cambridge, and holds a master’s degree in orchestral conducting from the Peabody Conservatory, where he studied with Frederik Prausnitz and Gustav Meier. He has conducted concerts with the Royal Liverpool Philharmonic, the Orchestra of the Age of Enlightenment, the Hallé, the Orchestra of Scottish Opera, Royal Northern Sinfonia, BBC Concert Orchestra, and Manchester Camerata; in early 2016 he made his debut with the Orquestra Sinfònica Nacional with concerts in the Palacio de Bellas Artes in Mexico City. Opera credits include Don Giovanni and La bohème at English National Opera, Così fan tutte at English Touring Opera, The Magic Flute at Garsington, and Gianni Schicchi and Suor Angelica at the Prague Summer Nights Festival. He has served on the music staff of the Metropolitan Opera, Opéra de Paris, English National Opera, Opera Rara, and Garsington Opera, where he was honored with the Leonard Ingrams Award in 2008. He has also conducted in Lon- don’s West End and led a UK tour of Bernstein’s Wonderful Town in 2012. His extensive choral conducting has included guest invitations with professional choirs including the Gabrieli Consort, the Choir of the Enlightenment, Wrocław Philharmonic, and the BBC Sing- ers, with whom he performed at the Dubai Opera house in its inaugural season earlier this

week 19 guest artists 71 year. From 2002 to 2009 he served as choral director at the Hallé Orchestra, where he was music director of the Hallé Choir and founding conductor of the Hallé Youth Choir, winning the Gramophone Choral Award in 2009. He returned to Manchester in 2014, preparing the choirs for a Grammy-nominated recording under Sir Mark Elder of Vaughan Williams’s A Sea Symphony. From 2002 to 2017 he was music director of the chamber choir Schola Cantorum of Oxford, touring all over the world and recording with Hyperion Records. He collaborates regularly with leading young musicians and in 2017 appeared as guest director of the National Youth Choir of Japan and the Princeton University Glee Club, as well as the Genesis Sixteen. He teaches conducting, and has given master classes at the Royal Academy of Music and the Royal Welsh College of Music. In 2011 he founded a conducting scholarship with Schola Cantorum of Oxford. His compositions and arrangements have been performed internationally, and his orchestral arrangements for Arlo Guthrie have been performed by the Boston Pops, by many other leading U.S. orchestras, and at the Kennedy Center and Carnegie Hall. His commissions have included the music for the 2010 World Equestrian Games opening ceremony, a setting for chorus and orchestra of Thomas Hardy’s The Con- vergence of the Twain commemorating the 100th anniversary of the Titanic disaster, and a recent Christmas carol premiered by the Choir of St. John’s College, Cambridge, live on BBC Radio 3. His choral works are published by Edition Peters. As BSO Choral Director and Con- ductor of the Tanglewood Festival Chorus, James Burton occupies the Alan J. and Suzanne W. Dworsky Chair, endowed in perpetuity.

TRIAL BY FIRE: JOAN OF ARC AND THE HUNDRED YEARS’ WAR

APRIL 5 + 7, 2018 7:30PM / HUNTINGTON AVENUE THEATRE

SAVE 10% BUY TICKETS AT 617.826.1626 OR VISIT WITH CODE BSO17 ODYSSEYOPERA.ORG

72 Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate

(Bernstein Kaddish, Symphony No. 3, March 15, 16, and 17, 2018)

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

Emily Anderson • Aimée Birnbaum • Joy Emerson Brewer • Jeni Lynn Cameron • Catherine C. Cave # • Sarah Dorfman Daniello# • Emilia DiCola • Christine Pacheco Duquette* • Mary A.V. Feldman* • Margaret Felice • Carrie Louise Hammond • Cynde Hartman • Alyssa Hensel • Donna Kim # • Greta Koning • Amanda Lauricella • Barbara Abramoff Levy§ • Deirdre Michael • Kieran Murray • Laurie Stewart Otten • Livia M. Racz # • Pamela Schweppe# • Sandra J. Shepard • Joan P. Sherman§ • Sarah Telford# • Nora Anne Watson • Alison L. Weaver • Sarah Wesley • Lauren Woo • Susan Glazer Yospin mezzo-sopranos

Virginia Bailey • Martha Reardon Bewick • Betsy Bobo • Lauren A. Boice • Abbe Dalton Clark • Diane Droste# • Barbara Durham • Barbara Naidich Ehrmann# • Debra Swartz Foote • Amy Spound Friedman • Irene Gilbride* • Denise Glennon • Betty Jenkins • Susan L. Kendall • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston* • Anne Forsyth Martín • Kristen McEntee • Louise Morrish • Fumiko Ohara* • Roslyn Pedlar # • Lelia Tenreyro-Viana • Karen Thomas Wilcox tenors

Brent Barbieri • John C. Barr# • Stephen Chrzan • Thomas Corcoran • Andrew Crain# • Keith Erskine • Len Giambrone • J. Stephen Groff* • David Halloran # • David J. Heid • John W. Hickman* • Timothy O. Jarrett • Blake Leister • Lance Levine • Justin Lundberg • Henry Lussier§ • Daniel Mahoney • Ronald J. Martin • Guy F. Pugh • Peter Pulsifer • Brian R. Robinson • Miguel A. Rodriguez • Arend Sluis • Adam Van der Sluis • Andrew Wang • Hyun Yong Woo basses

Nicholas Altenbernd • Scott Barton • Matthew Buono • Eric Chan • John Crossley • Michel Epsztein • William Farrell • Jim Gordon • Marc J. Kaufman • David M. Kilroy • Paul A. Knaplund • Will Koffel • Bruce Kozuma # • Timothy Lanagan # • Christopher T. Loschen • Dan Ludden • Martin F. Mahoney II • Greg Mancusi-Ungaro • Stephen H. Owades § • Peter Rothstein § • Jonathan Saxton • Charles F. Schmidt • Kenneth D. Silber • Charles Sullivan • Stephen Tinkham • Thomas C. Wang # • Terry Ward# • Matt Weaver • Andrew S. Wilkins • Lawson L.S. Wong

John Graeme McCullough, Rehearsal Pianist Lynn Torgove, Hebrew Diction Coach Jennifer Dilzell, Chorus Manager Micah Brightwell, Assistant Chorus Manager

week 19 guest artists 73 “boston symphony orchestra: complete recordings on deutsche grammophon” limited edition, 57-cd set now available

• The BSO’s recorded legacy on Deutsche Grammophon, reflecting its spirit and character over nearly 50 years, from 1969–2017 • Conducted by William Steinberg, Seiji Ozawa, and Andris Nelsons, as well as Claudio Abbado, Leonard Bernstein, Charles Dutoit, Eugen Jochum, Rafael Kubelik, André Previn, Michael Tilson Thomas, and John Williams • Soloists including Christoph Eschenbach, Gidon Kremer, Anne-Sophie Mutter, Itzhak Perlman, Mstislav Rostropovich, Gil Shaham, and Krystian Zimerman, among others • Six discs of recordings by the Boston Symphony Chamber Players • Previously unreleased recordings led by Andris Nelsons and Seiji Ozawa • Contains a lavishly illustrated booklet, plus individual CD sleeves reproducing the cover artwork of the original releases

Available for $199.95 in the Symphony Shop and at bso.org The Choir of St. Paul’s, Harvard Square John Robinson, Conductor

The St. Paul’s Choristers all attend St. Paul’s Choir School in Harvard Square. At St. Paul’s Church, they sing music ranging from Gregorian chant to new commissions and everything in between. The Choir of St. Paul’s has recently released several recordings and is engaged in a busy schedule of concerts and special events, as well as in its daily routine of rehearsals and services. A unique school for boys in grades four to eight, St. Paul’s Choir School welcomes applications for places throughout the year.

John Robinson is the Organist and Master of the Choristers at St. Paul’s Church in Harvard Square. He has held positions at St. John’s College Cambridge, and Carlisle and Canterbury Cathedrals in England. He is active as an organ recitalist and leads choral festivals for organizations including Pueri Cantores of the RSCM.

The Choir of St. Paul’s, Harvard Square

Christopher Allan • Peter Andaloro • Lucas Aranha Carvalho • Joshua Beresford • Kacper Borkiewicz • James Delaney • Benedikt Ehrhardt • Juan Pablo Fernandez-del-Castillo • Thomas Germain • Sebastian Haferd • Jan Kotecki • Dominic Landry • Alejandro Latorre • Myles Litman • Andrew Mak • Graham Minnich • Matthew Orlik • Christopher Papazian • Leonardo Pestretto • Michael Thekaekara • Simon Tougas • Mathias Why • Nicholas Ying

week 19 guest artists 75 Your Lunchtime Indulgence

A service of WGBH A SERVICE OF WGBH

Download the App Rise. Then shine.

Joe Mathieu, now on Morning Edition.

wgbhnews.org 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)

78 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 19 the great benefactors 79 “...audiences value that emotional connection with the orchestra and the conductor...it’s not enough just to play the notes.” - Andris Nelsons

As a music lover, you connect to each and every performance here at Symphony Hall. You can deepen your connection to the music you love by becoming a Friend of the BSO. Every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is the financial foundation of all the Orchestra achieves. Friends ensure a legacy of spectacular performances, keeping incredible music accessible to all who wish to hear. friends-only privileges include: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. 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 James Daley, Accounting 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 19 administration 81 82 development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Susan Grosel, Director of Annual Funds and Donor Relations • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lydia Buchanan, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, 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 • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

Heather Mullin, Human Resources Manager • Susan Olson, Human Resources Recruiter

week 19 administration 83 OVERTURE. REDEFINED.

Pie-concert dining at Symphony Hall is the perfect complement to an evening of world-class music.

et-

loc- Book yOLIf pre-concert meal wrien you hook your tickets, i PA prtOrow Vim sample menus and place your order in advance at llso,orgirlining OICHRSTRA Symphony Hall

GIVRAIETaTEITEPs C iM *5Li 6$$.924+y 0051vri GOURMET, M1 PARINflisHIP of nouirmET CATERtPS epltfKi.hik 15 'Hi EKUUSivE eArr FOR THE flOVOrri FfM1410/11, unHEr8A information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Lead • Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Systems Architect • Brian Van Sickle, User Support Specialist public relations

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

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 19 administration 85 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 19 administration 87 Next Program…

Thursday, March 22, 8pm Friday, March 23, 1:30pm (Friday Preview at 12:15pm in Symphony Hall) Saturday, March 24, 8pm Tuesday, March 27, 8pm

andris nelsons conducting

bernstein “the age of anxiety,” symphony no. 2 for piano and orchestra (after w.h. auden’s poem) Part I The Prologue (Lento moderato) The Seven Ages (Variations 1-7) The Seven Stages (Variations 8-14) Part II The Dirge (Largo) The Masque (Extremely fast) The Epilogue (Adagio—Andante—Con moto) jean-yves thibaudet, piano

{intermission}

shostakovich symphony no. 4 in c minor, opus 43 Allegretto poco moderato Moderato con moto Largo—Allegro

Following upon last week’s performances of Bernstein’s Symphony No. 3, Kaddish, Music Director Andris Nelsons continues the celebration of Leonard Bernstein’s centennial with his Symphony No. 2, Age of Anxiety, which features a dynamic, jazz-influenced piano part eminently suited to the style of this week’s soloist, the BSO’s 2017-18 Artist-in-Residence Jean-Yves Thibaudet. The symphony’s title comes from W.H. Auden’s darkly stunning poem of the same name. When Serge Koussevitzky and the BSO premiered the work in 1949, Bernstein himself was the piano soloist. Following intermission comes Dmitri Shostakovich’s Symphony No. 4, which continues the Nelsons/BSO multi-season survey of the composer’s complete symphonies. Shostakovich completed this dark but powerfully majestic work in 1936, but fears of official Soviet condemnation following a scathing criticism of his opera Lady Macbeth of Mtsensk led him to cancel the symphony’s premiere. He instead wrote the ostensibly triumphant, widely acclaimed Fifth Symphony; the Fourth was first performed only in 1961.

88 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 ‘B’ March 22, 8-10:10 Thursday ‘C’ April 5, 8-10 Friday ‘A’ March 23, 1:30-3:40 Saturday ‘A’ April 7, 8-10 Saturday ‘A’ March 24, 8-10:10 ANDRIS NELSONS, conductor Tuesday ‘B’ March 27, 8-10:10 CAMILLA NYLUND, soprano (Isolde) ANDRIS NELSONS, conductor JONAS KAUFMANN, tenor (Tristan) JEAN-YVES THIBAUDET, piano MIHOKO FUJIMURA, mezzo-soprano (Brangäne) BERNSTEIN Symphony No. 2, The Age of GEORG ZEPPENFELD, bass (Marke) Anxiety ANDREW REES, tenor (Melot) SHOSTAKOVICH Symphony No. 4 DAVID KRAVITZ, baritone (Kurwenal) ALL-WAGNER Siegfried Idyll PROGRAM Tristan und Isolde, Act II Thursday, March 29, 10:30am (Open Rehearsal) (sung in German with Thursday ‘C’ March 29, 8-9:55 English supertitles) Friday ‘B’ March 30, 1:30-3:25 Saturday ‘B’ March 31, 8-9:55 Tuesday ‘C’ April 3, 8-9:55 Friday Evening April 6, 8-9:20 ANDRIS NELSONS, conductor (Casual Friday, with introductory comments by a BSO member and no intermission) YO-YO MA, cello STEVEN ANSELL, viola ANDRIS NELSONS conducting MOZART Symphony No. 23 SHOSTAKOVICH Symphony No. 4 JÖRG WIDMANN Partita (American premiere; BSO co-commission) Thursday ‘A’ April 19, 8-10 STRAUSS Don Quixote Friday ‘B’ April 20, 1:30-3:30 Saturday ‘B’ April 21, 8-10 Tuesday ‘B’ April 24, 8-10 TUGAN SOKHIEV, conductor JAN LISIECKI, piano BRITTEN Simple Symphony CHOPIN Piano Concerto No. 1 MENDELSSOHN Symphony No. 4, Italian 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 19 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services 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 program pieces in order not to disturb other patrons.

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

week 19 symphony hall information 91 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 concerts. 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 balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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