Summer 2013 Boston Symphony Orchestra

Home , Alexander Schneider, American Youth Symphony, Dartington Hall, David Newman (composer), Ina Zdorovetchi, James Taylor (tenor)

boston symphony orchestra summer 2013

Bernard Haitink, LaCroix Family Fund Conductor Emeritus, Endowed in Perpetuity Seiji Ozawa, Music Director Laureate

132nd season, 2012–2013

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Theresa M. Stone, Treasurer

William F. Achtmeyer • George D. Behrakis • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters

Life Trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin •

Programs copyright ©2013 Boston Symphony Orchestra Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. 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 • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D. Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to simplify Saarinen’s plans further, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the calendar also features concerts by a variety of jazz and other non-classical artists. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Alleluia for unaccompanied chorus, Then BSO music director Seiji Ozawa, with bass drum, lead- specially written for the ceremony, ing a group of Music Center percussionists during a rehearsal arrived less than an hour before the for Tanglewood on Parade in 1976 (BSO Archives/photo by event began; but it made such an Heinz Weissenstein, Whitestone Photo) impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training—participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st centuries. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Osvaldo Golijov, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 24 through August 25. Hours are from 10 a.m. to 5 p.m. Monday through Thursday; from 10 a.m. through intermission of the evening concert on Friday; from 9 a.m. through intermission of the evening concert on Saturday; and from noon until 5 p.m. on Sunday. There is no admission charge. A “Special Focus” Exhibit at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the Music Shed at Tanglewood

From “The Berkshire Evening Eagle,” Thursday, August 4, 1938 (BSO Archives)

An exhibit commemorating the 75th anniversary of the Koussevitzky Music Shed has been mounted in the Tanglewood Visitor Center by the BSO Archives. The exhibit traces the origins of the Shed back to 1936, when Serge Koussevitzky and the BSO were first invited to perform in the Berkshire Symphonic Festival. Drawing on materials in the BSO Archives, the Stockbridge Library, the Lenox Library, and the Koussevitzky Collection at the Library of Congress, the exhibit covers the selection of Finnish architect Eliel Saarinen in 1937 to design a permanent structure; the modification of his plans by Stockbridge engineer Joseph Franz; and the construction of the Shed in 1938. The BSO extends special thanks to the Stockbridge Library Association Historical Collections for the loan of Joseph Franz’s model of the Shed, and for making photographs and documents available from the collections of Joseph Franz and David Milton Jones, with thanks also to the Lenox Library for access to Festi- val co-founder Gertrude Robinson Smith’s papers, and to the Library of Congress Music Division for access to the Koussevitzky Collection.

Koussevitzky standing on the terrace of Seranak, his summer home in the Berk- shires, in 1948, wearing a cape—currently on display in the Visitor Center—donated to the BSO in July 2012 by Natalie de Leutchtenberg, the niece of Olga Kousse- vitzky (Photo by William Whitaker)

Leonard Bernstein Portrait Series at Highwood Also on display this year, at the Highwood Manor House, is a selection of oil paintings and photographs of Leonard Bernstein, including a 1958 oil painting of Bernstein (shown here) by Mirel Bercovici, donated in 2012 by her daughter Mirana Comstock and currently on view in High- wood’s main dining room.

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. through intermission of the evening concert; and Sunday from 10 a.m. through intermission of the afternoon concert. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To pur- chase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES are available at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m.; on Saturdays from 9 a.m. to 1 p.m.; and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open on Friday and Saturday evenings through intermission, as well as on Saturdays from 9 a.m. to 1 p.m., and from noon through intermission on Sundays. Visitors are invited to picnic before concerts. Meals-To-Go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seventeen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. SATURDAY-MORNING REHEARSALS of the Boston Symphony Orchestra are open to the public, with reserved-seat Shed tickets available at the Tanglewood box office for $30 (front and boxes) and $20 (rear); lawn tickets are $11. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehi- cle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2013

First Violins Victor Romanul* Xin Ding* Jonathan Miller* Bessie Pappas chair Richard C. and Ellen E. Malcolm Lowe Glen Cherry* Paine chair, endowed Catherine French* Concertmaster Yuncong Zhang* in perpetuity Charles Munch chair, Mary B. Saltonstall chair, endowed in perpetuity endowed in perpetuity Owen Young* Violas John F. Cogan, Jr., and Tamara Smirnova Jason Horowitz* Mary L. Cornille chair, Associate Concertmaster Kristin and Roger Servison Steven Ansell endowed in perpetuity Helen Horner McIntyre chair Principal Mickey Katz* chair, endowed in perpetuity Ala Jojatu* Charles S. Dana chair, endowed in perpetuity Stephen and Dorothy Weber Alexander Velinzon Donald C. and Ruth Brooks chair, endowed in perpetuity Assistant Concertmaster Heath chair, endowed Cathy Basrak Robert L. Beal, Enid L., in perpetuity Assistant Principal Alexandre Lecarme* and Bruce A. Beal chair, Anne Stoneman chair, Nancy and Richard Lubin chair endowed in perpetuity Second Violins endowed in perpetuity Elita Kang Edward Gazouleas Adam Esbensen* Assistant Concertmaster Haldan Martinson Principal Lois and Harlan Anderson Blaise Déjardin* Edward and Bertha C. Rose chair, endowed in perpetuity chair, endowed in perpetuity Carl Schoenhof Family chair, endowed in perpetuity Robert Barnes Julianne Lee Basses (position vacant) Acting Assistant Michael Zaretsky Edwin Barker Concertmaster Assistant Principal Charlotte and Irving W. Mark Ludwig* Principal Harold D. Hodgkinson Bo Youp Hwang Rabb chair, endowed Rachel Fagerburg* John and Dorothy Wilson in perpetuity chair, endowed in perpetuity chair, endowed in perpetuity Kazuko Matsusaka* Sheila Fiekowsky Lawrence Wolfe Lucia Lin Shirley and J. Richard Rebecca Gitter* Assistant Principal Dorothy Q. and David B. Fennell chair, endowed Maria Nistazos Stata chair, Arnold, Jr., chair, endowed in perpetuity Wesley Collins* endowed in perpetuity in perpetuity Nicole Monahan Benjamin Levy Ikuko Mizuno Cellos Leith Family chair, endowed Ronan Lefkowitz in perpetuity Muriel C. Kasdon and Jules Eskin Marjorie C. Paley chair Ronald Knudsen*° Principal Dennis Roy Nancy Bracken* David H. and Edith C. Philip R. Allen chair, Joseph and Jan Brett Ruth and Carl J. Shapiro Howie chair, endowed endowed in perpetuity Hearne chair in perpetuity chair, endowed in perpetuity Martha Babcock Joseph Hearne Vyacheslav Uritsky* Aza Raykhtsaum* Assistant Principal James Orleans* Theodore W. and Evelyn Jennie Shames* Vernon and Marion Alden Berenson Family chair chair, endowed in perpetuity Todd Seeber* Valeria Vilker Eleanor L. and Levin H. Bonnie Bewick* Kuchment* Sato Knudsen Campbell chair, endowed Stephanie Morris Marryott Mischa Nieland chair, in perpetuity and Franklin J. Marryott Tatiana Dimitriades* endowed in perpetuity John Stovall* chair Si-Jing Huang* Mihail Jojatu Sandra and David Bakalar Thomas Van Dyck* James Cooke* Wendy Putnam* Catherine and Paul chair Robert Bradford Newman Buttenwieser chair chair, endowed in perpetuity

BERNARDHAITINK SEIJI OZAWA MUSICDIRECTOR THOMASWILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity Flutes Bass Clarinet Thomas Siders Harp Assistant Principal Elizabeth Rowe Craig Nordstrom Kathryn H. and Edward Jessica Zhou Principal M. Lupean chair Nicholas and Thalia Zervas Walter Piston chair, chair, endowed in perpetuity endowed in perpetuity Bassoons Michael Martin by Sophia and Bernard Richard Svoboda Ford H. Cooper chair, Gordon Clint Foreman endowed in perpetuity Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, Voice and Chorus endowed in perpetuity Trombones Elizabeth Ostling John Oliver Associate Principal Suzanne Nelsen Toby Oft Tanglewood Festival Marian Gray Lewis chair, John D. and Vera M. Principal Chorus Conductor endowed in perpetuity MacDonald chair J.P. and Mary B. Barger Alan J. and Suzanne W. Richard Ranti chair, endowed in perpetuity Dworsky chair, endowed in Piccolo Associate Principal Stephen Lange perpetuity Diana Osgood Tottenham/ Cynthia Meyers Hamilton Osgood chair, Librarians Evelyn and C. Charles endowed in perpetuity Bass Trombone Marran chair, endowed James Markey Marshall Burlingame in perpetuity Principal John Moors Cabot chair, Contrabassoon Lia and William Poorvu endowed in perpetuity Oboes Gregg Henegar chair, endowed in perpetuity Helen Rand Thayer chair William Shisler John Ferrillo Tuba Principal John Perkel Mildred B. Remis chair, Horns Mike Roylance endowed in perpetuity Principal James Sommerville Margaret and William C. Assistant Mark McEwen Principal Rousseau chair, endowed Conductors James and Tina Collias Helen Sagoff Slosberg/Edna in perpetuity chair S. Kalman chair, endowed Marcelo Lehninger in perpetuity Anna E. Finnerty chair, § Keisuke Wakao Timpani endowed in perpetuity Assistant Principal Richard Sebring Farla and Harvey Chet Associate Principal Timothy Genis Andris Poga Krentzman chair, endowed Margaret Andersen Sylvia Shippen Wells chair, in perpetuity Congleton chair, endowed endowed in perpetuity in perpetuity Personnel Managers English Horn Rachel Childers Percussion John P. II and Nancy S. Lynn G. Larsen Robert Sheena Eustis chair, endowed in J. William Hudgins Beranek chair, endowed perpetuity Peter and Anne Brooke Bruce M. Creditor in perpetuity chair, endowed in perpetuity Assistant Personnel Michael Winter Manager Elizabeth B. Storer chair, Daniel Bauch Clarinets endowed in perpetuity Assistant Timpanist Mr. and Mrs. Edward H. Stage Manager William R. Hudgins Jason Snider Linde chair John Demick Principal Jonathan Menkis Ann S.M. Banks chair, Kyle Brightwell Jean-Noël and Mona N. endowed in perpetuity Peter Andrew Lurie chair, Tariot chair endowed in perpetuity Michael Wayne Matthew McKay Thomas Martin Trumpets participating in a system Associate Principal & * of rotated seating E-flat clarinet Thomas Rolfs Stanton W. and Elisabeth Principal § on sabbatical leave Roger Louis Voisin chair, K. Davis chair, endowed ° on leave in perpetuity endowed in perpetuity Benjamin Wright A Brief History of the Boston Symphony Orchestra

Now in its 132nd season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philan- thropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. Launched in 1996, the BSO’s website, bso.org, is the largest and most- visited orchestral website in the United States, receiving approximately Major Henry Lee Higginson, 7 million visitors annually on its full site as well as its smart phone-/ founder of the Boston mobile device-friendly web format. The BSO is also on Facebook and Symphony Orchestra Twitter, and video content from the BSO is available on YouTube. (BSO Archives) An expansion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surround- ing communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members. The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcon- tinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Kousse- vitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thir- teenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. In 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour On the lawn at Tanglewood in 1941, with a sign promoting a mainland China after the nor- gala benefit concert for the United Service Organizations and malization of relations. British War Relief (BSO Archives/courtesy The Berkshire Eagle) Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, as well as recording with the orchestra. Previous principal guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiat- ed when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he takes up in the 2014-15 season, following a year as music director designate (see next page). Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world. Andris Nelsons Named Next BSO Music Director

On May 16, 2013, the Boston Symphony Orchestra announced the appointment of Andris Nelsons as the BSO’s fifteenth music director since its founding in 1881. Born in Riga in 1978 into a family of musicians, he becomes the youngest music director to lead the orchestra in more than 100 years, and the first Latvian-born conductor to assume that post. Mr. Nelsons will serve as BSO Music Director Designate for the 2013-14 season and become the Ray and Maria Stata Music Director beginning in the fall of 2014. At thirty- four, he is the third-youngest conductor to be appointed music director since the BSO’s founding in 1881: Georg Henschel was thirty- one when he became the orchestra’s first music director in 1881, and Arthur Nikisch was thirty-three when he opened his first season with the BSO in 1889. Andris Nelsons is one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philhar- monic, Vienna Philharmonic, the Royal Concertgebouw Orchestra Andris Nelsons conducting the BSO of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian at Symphony Hall, January 2013 Radio Symphony, Vienna State Opera, Metropolitan Opera, Vienna (photo by Stu Rosner) State Opera, Bayreuth Festival, and the Royal Opera House, Covent Garden. Since 2008 he has been music director of the City of Birmingham Symphony Orchestra (CBSO), with which he has toured worldwide. He made his debut in Japan on tour with the Vienna Philharmonic and returns to the Far East on tour with the CBSO in November 2013. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He is married to the soprano Kristīne Opolais, who was recently acclaimed for her Metropolitan Opera debut as Magda in Puccini’s La rondine. They live in Riga with their one-and-a-half-year-old daughter Adriana. Andris Nelsons made his Boston Symphony Orchestra debut in March 2011, leading Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. Last summer he conducted both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Celebration, following that the next afternoon with a BSO program of Stravinsky and Brahms. He made his BSO subscription series debut in January 2013 and, as BSO Music Director Designate this coming season, he will lead a program of Wagner, Mozart, and Brahms at Symphony Hall in October, followed by a one-night-only concert performance of Richard Strauss’s Salome in March. (photo ©Marco Borggreve) “I am deeply honored and touched that the Boston Sym- phony Orchestra has appointed me its next music director, as it is one of the highest achievements a conductor could hope for in his lifetime,” said Maestro Nelsons. “Each time I have worked with the BSO I have been inspired by how effectively it gets to the heart of the music, always leaving its audience with a great wealth of emotions. So it is with great joy that I truly look forward to joining this wonderful musical family and getting to know the beautiful city of Boston and the community that so clearly loves its great orchestra. As I consider my future with the Boston Sym- phony, I imagine us working closely together to bring the deepest passion and love that we all share for music to ever greater numbers of music fans in Boston, at Tanglewood, and throughout the world.”

Andris Nelsons conducting the BSO at Tanglewood, July 2012 (photo by Hilary Scott)

Table of Contents

Friday, August 23, 6pm (Prelude Concert) 2 TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor All-Britten program

Friday, August 23, 8:30pm 8 BOSTON SYMPHONY ORCHESTRA ANDRIS POGA conducting; PETER SERKIN, piano Music of Prokofiev, Stravinsky, and Beethoven

Saturday, August 24, 8:30pm 20 BOSTON POPS ORCHESTRA JOHN WILLIAMS and DAVID NEWMAN conducting; AUDRA MCDONALD, soprano John Williams’ Film Night

Sunday, August 25, 2:30pm 28 BOSTON SYMPHONY ORCHESTRA BERNARD HAITINK conducting; ERIN WALL, TAMARA MUMFORD, JOSEPH KAISER, and JOHN RELYEA, vocal soloists; TANGLEWOOD FESTIVAL CHORUS Beethoven Symphony No. 9

“This Week at Tanglewood” Again this summer, Tanglewood patrons are invited to join us in the Koussevitzky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, to close the season on Friday, August 23, will include bass John Relyea, who sings in Sunday afternoon’s performance of Beethoven’s Ninth Symphony.

Saturday-Morning Open Rehearsal Speakers July 6 and 20; August 10 and 17—Robert Kirzinger, BSO Assistant Director of Program Publications July 27; August 3 and 24—Marc Mandel, BSO Director of Program Publications

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

TANGLEWOODWEEK 8 TABLEOFCONTENTS 1 2013 Tanglewood

Prelude Concert Friday, August 23, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE ELAINE AND BERNARD ROBERTS CONCERT

TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor with JOHN FINNEY, organ (“Rejoice in the Lamb”;“Festival Te Deum”)

Please note that texts are being distributed separately.

ALL-BRITTEN PROGRAM Celebrating the Centennial of the Composer’s Birth

Five Flower Songs, Opus 47, for mixed chorus a cappella 1. To daffodils (Robert Herrick) 2. The succession of the four sweet months (Robert Herrick) 3. Marsh flowers (George Crabbe) 4. The evening primrose (John Clare) 5. The Ballad of Green Broom (Anonymous)

“Rejoice in the Lamb,” Festival Cantata, Opus 30 (Text by Christopher Smart) I. Rejoice in God, o ye tongues II. For I will consider my Cat Jeoffrey III. For the Mouse is a creature IV. For the flower glorifies God V. For I am under the same accusations with my Savior VI. For H is a spirit VII. For the instruments are by their rhimes VIII. Hallelujah Soloists: LOUISE-MARIE MENNIER, soprano CINDY M. VREDEVELD, alto JOSHUAH ROTZ, tenor DEVON MORIN, bass

2 “Hymn to St. Cecilia,” Opus 27, for five-part mixed chorus a cappella (Text by W.H. Auden) I. In a garden shady II. I cannot grow III. O ear whose creatures

Soloists: ALEXANDRA HARVEY, soprano ADI RULE, soprano LAUREN A. BOICE, alto LUKAS PAPENFUSSCLINE, tenor SAM PARKINSON, bass

“Festival Te Deum,” Opus 32, for chorus and organ (Text: Traditional)

Soloist: TOMAS CRUZ, tenor

“A Hymn to the Virgin,” anthem for unaccompanied chorus (Text: Anonymous, c.1300)

Semi-chorus: JENI LYNN CAMERON, soprano CINDY M. VREDEVELD, alto LUKAS PAPENFUSSCLINE, tenor JERAMIE D. HAMMOND, bass

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

NOTES ON THE PROGRAM

Benjamin Britten, whose centennial we celebrate this year, benefitted from being of the second generation of resurgent British musical culture in the first half of the twentieth century. Prodigiously talented, by his early twenties he was recognized as one of England’s great musical hopes. Although he established his credentials with his Sinfonietta, Opus 1, and his Phantasy Quartet, Opus 2, his most important compositions are operatic, symphonic, and choral works, for the most part; his three string quartets are also major pieces. Throughout the 1930s he tried his hand at a vast array of musical types, including film and radio scores, concertos, orchestral works, songs, works for chorus, and opera, testing out and refining his instincts and craft. He also came into contact with other important artists, including the poet W.H. Auden, with whom Britten would collaborate on several occasions. In 1939, with

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 3 Great Britain on the verge of entering World War II, the pacifist composer chose to travel to the United States to broaden his experience. In the U.S. he met Boston Symphony music director Serge Koussevitzky. It was Koussevitzky’s admiration of Britten’s Sinfonia da Requiem, which he performed with the BSO in 1941, that led the conductor to commission Peter Grimes, which established Britten as the most important English dramatic composer in three hundred years. This past season the Boston Symphony Orchestra performed his Fanfare for St. Edmundsbury and Young Person’s Guide to the Orchestra; this fall at Symphony Hall the BSO performs his great- est concert work, the War Requiem, the American premiere of which was given here at Tanglewood in 1963 (fifty years ago this summer), under Erich Leinsdorf’s direction. This summer, BSO and TMC chamber music concerts have also featured a number of Britten’s works, and the Emerson String Quartet played his Quartet No. 3 in their Ozawa Hall concert earlier this month. Britten’s sense of the voice and his exquisite sensitivity to text are demonstrated not only in his operatic works, but also in his many song and choral settings. He was an avid reader of poetry and worked with texts ranging from the Renaissance to his own time. His choral settings range from sacred-solemn to naive-buoyant (sometimes approaching both extremes in the same work). The Five Flower Songs are brief, true contrapuntal part-songs in the English pastoral tradition. Their texts, too, are quintessentially English: the first two are by the great Cavalier poet Robert Herrick (1591-1674); the third is by George Crabbe (1754- 1832), whose The Borough provided the source material for Britten’s Peter Grimes; the fourth is by the 19th-century pastoral poet John Clare, and the last song is a setting of the jolly folk poem “The Ballad of Green Broom.” The settings alternate lively with lyrical; Crabbe’s poem speaks of the ill nature of even the Borough’s plant life, and Britten’s setting reflects some of its bitterness. The songs were premiered by a student chorus under the direction of Imogen Holst (Gustav’s daughter and a composer in her own right) at Dartington Hall, Devon, in July 1950. They were composed for and dedicated to Leonard and Dorothy Elmhirst for their fiftieth wedding anniversary. The “Festival Cantata” “Rejoice in the Lamb” was composed at the behest of Walter Hussey, vicar of St. Matthew Church, Northampton, for its fiftieth anniversary. Britten chose his texts from a 1200-line poem by the brilliant, eccentric 18th-century poet Christopher Smart, who was confined for nearly six years as a lunatic—which accusation may or may not have had justification—and spent his time writing reli-

4 gious poetry. His long poem Jubilate Deo (“Rejoice in the Lamb”) was published from manuscript in 1939, and it was Auden who called it to Britten’s attention. The eight parts of Britten’s setting aren’t individual poems, but extractions. As he does in much of his vocal music, Britten evokes the old tradition of chant in combination with contemporary harmonic and rhythmic ideas. The three-part first movement opens with a chant-like invocation, “Rejoice in the Lamb,” lightly accompanied by the organ. This is followed by a dance-like section naming various Biblical heroes and their ways of praising God, and a slower, contrapuntal Hallelujah. The following three movements are set as solos: Smart’s contemplation of his cat Jeoffrey’s movements, which he attributes to praise of God, for treble; the “personal valour” of the mouse, for alto; and “The flowers are great blessings,” for tenor. These are settings of great charm and innocence, a mode Britten ever had at his command. The rela- tive darkness of “For I am under the same accusation” evidently reflects Smart’s sense of injustice at his committal. Beginning with a somewhat solemn bass solo, “For H is a Spirit” gives way to chorus for the joyous instrument/rhyme compar- isons of the seventh movement. The final movement reprises the Hallelujah setting that closed the first movement. Britten composed “Hymn to St. Cecilia” in 1942 before and during his voyage by boat home to England after his U.S. sojourn: although he was a conscientious objec- tor, he felt he needed to return to England in its time of distress during the war. Auden’s move to the U.S. in 1939 had had its part in Britten’s decision to go there a few months later; the two had met in the mid-1930s and the older poet was a major influence artistically and socially. Auden wrote his poem during his time in America, and later published it as “Anthem for St. Cecilia’s Day (for Benjamin Britten).” The poem has a twofold connection to the composer: St. Cecilia is the patron saint of music, and Britten’s birthday of November 22 is also St. Cecilia’s Day. The poem and the setting are in three parts. The melodic idea at the beginning returns in each section. The setting is anthemic with its highly controlled part-writing, imitation, and counterpoint; the first part of the middle movement is scherzo-like and imitative. The last movement is as long as the first two combined, with an impassioned climax. The melodic and harmonic language of the whole is subtle and sophisticated. Britten wrote the “Festival Te Deum” in 1944 for the centenary of St. Mark’s Church in Swindon, in the county of Wiltshire (west of London). The Te Deum text is nearly as old as Christianity itself, dating (perhaps) from the fourth century A.D. and being attributed variously to St. Ambrose, St. Augustine, and Nicetas of Rimesiana. The text was translated for the Anglican Book of Common Prayer, as it is set here. Its ini- tial monophony (single-line melody) and rhythmic freedom evoke Gregorian chant, although Britten’s particular melodic genius is immediately evident. Simple imitation expands the setting to a multi-voice texture growing in intensity. With “Thou art the King of Glory,” the piece bursts into energetic rhythm; with the solo voice at “O

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a ﬁrst-come, ﬁrst-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 5 Lord, save thy people,” it becomes imploring, broadening out again but ending with the lone voice. “A Hymn to the Virgin,” written in 1930 (when Britten was sixteen) and revised in 1934, is a four-minute strophic anthem setting a semi-sacred conflation of Latin and English from about 1300. Set for double chorus, its style borrows from liturgical “call and response” readings, with a smaller chorus, or solo quartet, offering a cadence in Latin for each of the English-language melodic phrases.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

Artists

To read about John Oliver and the Tanglewood Festival Chorus, see page 39.

Widely praised for his harpsichord and organ playing, John Finney holds degrees in organ performance from the Oberlin College Conservatory of Music and the Boston Conservatory. He has been Handel and Haydn Society chorusmaster since 1990, occu- pying the Cabot Family Chorusmaster Chair, and was named associate conductor in 1992. He has directed many of the Society’s performances, including Handel’s Messiah at Symphony Hall in 1997 and 2004, and A Bach Christmas at NEC’s Jordan Hall in 2008, 2010, and 2012. Mr. Finney is also the Distinguished Artist-in-Residence at Boston College, where he serves as director of the University Chorale and conductor

6 of the Boston College Symphony Orchestra. He has directed the Boston College Chorale on concert tours in major cities throughout the world, including Berlin, Prague, Vienna, and Rome. In addition, for more than twenty-five years he has been Director of Music for the Wellesley Hills Congregational Church and since 1987 has been conductor of the Heritage Chorale in Framingham, leading that chorus in performances of such major works as Mendelssohn’s Elijah and Verdi’s Requiem. Mr. Finney has served on the faculty of the Boston Conservatory and taught for six years at the Academy for Early Music in Bressanone, Italy.

Tanglewood Festival Chorus John Oliver, Conductor (Friday Prelude Concert, August 23, 2013)

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

Jeni Lynn Cameron • Diana Gamet • Alexandra Harvey • Eileen Huang • Nancy Kurtz • Suzanne Lis • Kathleen O’Boyle • Heather O’Connor • Adi Rule • Erin M. Smith • Judy Stafford

Mezzo-Sopranos

Virginia Bailey • Lauren A. Boice • Rachel K. Hallenbeck • Donna Kim • Annie Lee • Gale Tolman Livingston # • Louise-Marie Mennier • Jaylyn Olivo • Laurie Stewart Otten • Cindy M. Vredeveld

Altos

Abbe Dalton Clark • Barbara Durham • Dorrie Freedman * • Irene Gilbride # • Lisa Sheppard Hadley • Julie Hausmann • Anne Forsyth Martín • Ana Morel • Tracy Elissa Nadolny • Julie Steinhilber #

Tenors

Ryan Casperson • Stephen Chrzan • Tomas Cruz • Keith Erskine • Matthew Jaquith • Henry Lussier § • Mark Mulligan • Lukas Papenfusscline • Brian R. Robinson • David Roth • Joshuah Rotz • Blake Siskavich

Basses

Daniel E. Brooks # • Nicholas A. Brown • Stephen J. Buck • Paulo César Carminati • Michel Epsztein • Jeramie D. Hammond • Geoffrey Herrmann • Bruce Kozuma • Timothy Lanagan # • Devon Morin • Sam Parkinson • Michael Prichard # • Jonathan VanderWoude

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Erik Johnson, Chorus Manager

TANGLEWOODWEEK 8 PRELUDEPROGRAMNOTES 7 2013 Tanglewood

Prelude Concert Friday, August 23, 6pm Florence Gould Auditorium, Seiji Ozawa Hall THE ELAINE AND BERNARD ROBERTS CONCERT

TANGLEWOOD FESTIVAL CHORUS JOHN OLIVER, conductor with JOHN FINNEY, organ

ALL-BRITTEN PROGRAM Celebrating the Centennial of the Composer’s Birth

TEXTS

BENJAMIN BRITTEN (1913-1976) “Five Flower Songs,” Opus 47

1. To daffodils Robert Herrick (1591-1674) Fair daffodils, we weep to see You haste away so soon; As yet the early-rising sun Has not attain’d his noon. Stay, stay Until the hasting day Has run But to the evensong, And, having pray’d together, we Will go with you along. We have short time to stay, as you, We have as short a spring; As quick a growth to meet decay, As you, or anything. We die, As your hours do, and dry Away, Like to the summer’s rain, Or as the pearls of morning’s dew, Ne’er to be found again.

Please turn the page quietly.

TANGLEWOODWEEK 8 PRELUDETEXTS 1 2. The succession of the four sweet months Robert Herrick First, April, she with mellow showers Opens the way for early flowers, Then after her comes smiling May In a more rich and sweet array, Next enters June and brings us more Gems than those two that went before, Then (lastly,) July comes and she More wealth brings in than all those three; April! May! June! July!

3. Marsh flowers George Crabbe (1754-1832) Here the strong mallow strikes her slimy root, Here the dull night-shade hangs her deadly fruit; On hills of dust the henbane’s faded green, And pencill’d flower of sickly scent is seen; Here on its wiry stem, in rigid bloom, Grows the salt lavender that lacks perfume. At the wall’s base the fiery nettle springs, With fruit globose and fierce with poison’d stings; In every chink delights the fern to grow, With glossy leaf and tawny bloom below: The few dull flowers that o’er the place are spread Partake the nature of their fenny bed. These, with our sea-weeds, rolling up and down, Form the contracted Flora of our town. Stu Rosner

2 4. The evening primrose John Clare (1793-1864) When once the sun sinks in the west, And dew-drops pearl the evening’s breast; Almost as pale as moonbeams are, Or its companionable star, The evening primrose opes anew Its delicate blossoms to the dew And hermit-like, shunning the light, Wastes its fair bloom upon the night; Who, blindfold to its fond caresses, Knows not the beauty he possesses. Thus it blooms on while night is by. When day looks out with open eye, ’Bashed at the gaze it cannot shun, It faints and withers and is gone.

5. The Ballad of Green Broom Anonymous There was an old man lived out in the wood, And his trade was a-cutting of broom, green broom, He had but one son without thought without good Who lay in his bed till ’twas noon, bright noon. The old man awoke one morning and spoke, He swore he would fire the room, that room, If his John would not rise and open his eyes, And away to the wood to cut broom, green broom. So Johnny arose and slipp’d on his clothes And away to the wood to cut broom, green broom, He sharpen’d his knives, and for once he contrives To cut a great bundle of broom, green broom. When Johnny pass’d under a Lady’s fine house, Pass’d under a Lady’s fine room, fine room, She call’d to her maid: “Go fetch me,” she said, “Go fetch me the boy that sells broom, green broom!” When Johnny came into the Lady’s fine house, And stood in the Lady’s fine room, fine room, “Young Johnny” she said, “Will you give up your trade And marry a lady in bloom, full bloom?” Johnny gave his consent, and to church they both went, And he wedded the Lady in bloom, full bloom; At market and fair, all folks do declare, There’s none like the Boy that sold broom, green broom.

TANGLEWOODWEEK 8 PRELUDETEXTS 3 “Rejoice in the Lamb,” Opus 30 Christopher Smart (1722-1771) I. Rejoice in God, O ye tongues; Give the glory to the Lord, And the Lamb. Nations, and languages, And every Creature In which is the breath of Life. Let man and beast appear before him, And magnify his name together. Let Nimrod, the mighty hunter, Bind a leopard to the altar And consecrate his spear to the Lord. Let Ishmail dedicate a tyger, And give praise for the liberty In which the Lord has let him at large. Let Balaam appear with an ass, And bless the Lord his people And his creatures for a reward eternal. Let Daniel come forth with a lion, And praise God with all his might Through faith in Christ Jesus. Let Ithamar minister with a chamois, And bless the name of Him That cloatheth the naked. Let Jakim with the satyr Bless God in the dance, Dance, dance, dance. Let David bless with the bear The beginning of victory to the Lord, To the Lord the perfection of excellence. Hallelujah, hallelujah, Hallelujah for the heart of God, And from the hand of the artist inimitable, And from the echo of the heavenly harp In sweetness magnifical and mighty. Hallelujah, hallelujah, hallelujah. Stu Rosner

4 II. For I will consider my Cat Jeoffry. For he is the servant of the living God. Duly and daily serving him. For at the first glance Of the glory of God in the East He worships in his way. For this is done by wreathing his body Seven times round with elegant quickness. For he knows that God is his saviour. For God has bless’d him In the variety of his movements. For there is nothing sweeter Than his peace when at rest. For I am possessed of a cat, Surpassing in beauty, From whom I take occasion To bless Almighty God.

III. For the Mouse is a creature Of great personal valour. For this is a true case-— Cat takes female mouse, Male mouse will not depart, but stands threat’ning and daring. If you will let her go, I will engage you, As prodigious a creature as you are. For the Mouse is a creature Of great personal valour. For the Mouse is of An hospitable disposition.

IV. For the flowers are great blessings. For the flowers are great blessings. For the flowers have their angels, Even the words of God’s creation. For the flower glorifies God And the root parries the adversary. For there is a language of flowers. For the flowers are peculiarly The poetry of Christ.

Please turn the page quietly.

TANGLEWOODWEEK 8 PRELUDETEXTS 5 V. For I am under the same accusation With my Savior, For they said, He is besides himself. For the officers of the peace Are at variance with me, And the watchman smites me With his staff. For the silly fellow, silly fellow, Is against me, And belongeth neither to me Nor to my family. For I am in twelve hardships, But he that was born of a virgin Shall deliver me out of all, Shall deliver me out of all.

VI. For H is a spirit And therefore he is God. For K is king And therefore he is God. For L is love And therefore he is God. For M is musick And therefore he is God. And therefore he is God.

VII. For the instruments are by their rhimes, For the shawm rhimes are lawn fawn and the like. For the shawm rhimes are moon boon and the like. For the harp rhimes are sing ring and the like. For the harp rhimes are ring string and the like. For the cymbal rhimes are bell well and the like. For the cymbal rhimes are toll soul and the like. For the flute rhimes are tooth youth and the like. For the flute rhimes are suit mute and the like. For the bassoon rhimes are pass class and the like. For the dulcimer rhimes are grace place and the like. For the clarinet rhimes are clean seen and the like. For the trumpet rhimes are sound bound and the like. For the trumpet of God is a blessed intelligence And so are all the instruments in Heav’n. For God the Father Almighty plays upon the harp Of stupendous magnitude and melody. For at that time malignity ceases And the devils themselves are at peace. For this time is perceptible to man By a remarkable stillness and serenity of soul.

66 VIII. Hallelujah, hallelujah, Hallelujah for the heart of God, And from the hand of the artist inimitable, And from the echo of the heavenly harp In sweetness magnifical and mighty. Hallelujah, hallelujah, hallelujah.

“Hymn to St. Cecilia,” Opus 27 W.H. Auden (1907-1973) I. In a garden shady this holy lady With reverent cadence and subtle psalm, Like a black swan as death came on Poured forth her song in perfect calm: And by ocean’s margin this innocent virgin Constructed an organ to enlarge her prayer, And notes tremendous from her great engine Thundered out on the Roman air. Blonde Aphrodite rose up excited, Moved to delight by the melody, White as an orchid she rode quite naked In an oyster shell on top of the sea; At sounds so entrancing the angels dancing Came out of their trance into time again, And around the wicked in Hell’s abysses The huge flame flickered and eased their pain. Blessed Cecilia, appear in visions To all musicians, appear and inspire: Translated Daughter, come down and startle Composing mortals with immortal fire.

II. I cannot grow; I have no shadow To run away from, I only play. I cannot err; There is no creature Whom I belong to, Whom I could wrong. I am defeat When it knows it Can now do nothing By suffering. All you lived through, Dancing because you No longer need it For any deed.

Please turn the page quietly.

TANGLEWOODWEEK 8 PRELUDETEXTS 7 From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

8 I shall never be Different. Love me. Blessed Cecilia, appear in visions To all musicians, appear and inspire: Translated Daughter, come down and startle Composing mortals with immortal fire.

III. O ear whose creatures cannot wish to fall, O calm of spaces unafraid of weight, Where Sorrow is herself, forgetting all The gaucheness of her adolescent state, Where Hope within the altogether strange From every outworn image is released, And Dread born whole and normal like a beast Into a world of truths that never change: Restore our fallen day; O re-arrange. O dear white children casual as birds, Playing among the ruined languages, So small beside their large confusing words, So gay against the greater silences Of dreadful things you did: O hang the head, Impetuous child with the tremendous brain, O weep, child, weep, O weep away the stain, Lost innocence who wished your lover dead, Weep for the lives your wishes never led. O cry created as the bow of sin Is drawn across our trembling violin. O weep, child, weep, O weep away the stain. O law drummed out by hearts against the still Long winter of our intellectual will. That what has been may never be again. O flute that throbs with the thanksgiving breath Of convalescents on the shores of death. O bless the freedom that you never chose. O trumpets that unguarded children blow About the fortress of their inner foe. O wear your tribulation like a rose. Blessed Cecilia, appear in visions To all musicians, appear and inspire: Translated Daughter, come down and startle Composing mortals with immortal fire. Kevin Toler

TANGLEWOODWEEK 8 PRELUDETEXTS 9 “Festival Te Deum,” Opus 32 Traditional We praise thee, O God: we acknowledge thee to be the Lord. All the earth doth worship thee: the Father everlasting. To thee all Angels cry aloud: the Heavens, and all the Powers therein. To thee Cherubim and Seraphim: continually do cry, Holy, Holy, Holy: Lord God of Sabaoth; Heaven and earth are full of the Majesty: of thy glory. The glorious company of the Apostles: praise thee. The goodly fellowship of the Prophets: praise thee. The noble army of Martyrs: praise thee. The holy Church throughout all the world: doth acknowledge thee; The Father: of an infinite Majesty; Thine honourable, true: and only Son; Also the Holy Ghost: the Comforter. Thou art the King of Glory: O Christ. Thou art the everlasting Son: of the Father. When thou tookest upon thee to deliver man: thou didst not abhor the Virgin’s womb. When thou hadst overcome the sharpness of death: thou didst open the Kingdom of Heaven to all believers. Thou sittest at the right hand of God: in the glory of the Father. We believe that thou shalt come: to be our Judge. We therefore pray thee, help thy servants: whom thou hast redeemed with thy precious blood. Make them to be numbered with thy Saints: in glory everlasting. [added later, mainly from Psalm verses:] O Lord, save thy people: and bless thine heritage. Govern them: and lift them up for ever. Day by day: we magnify thee; And we worship thy Name: ever world without end. Vouchsafe, O Lord: to keep us this day without sin. O Lord, have mercy upon us: have mercy upon us. O Lord, let thy mercy lighten upon us: as our trust is in thee. O Lord, in thee have I trusted: let me never be confounded. Stu Rosner

10 “A Hymn to the Virgin” Anonymous, c.1300 Chorus I: Of one that is so fair and bright Chorus II: Velut maris stella (Like the star of the sea,) Chorus I: Brighter than the day is light, Chorus II: Parens et puella: (Mother and maiden:) Chorus I: I cry to thee, thou see to me, Lady, pray thy Son for me Chorus II: Tam pia, (So tender,) Chorus I: That I may come to thee, Chorus II: Maria! Chorus I: All this world was forlorn Chorus II: Eva peccatrice, (Eve having been a sinner,) Chorus I: Till our Lord was y-born Chorus II: De te genetrice. (Of you, his mother.) Chorus I: With ave it went away Darkest night, and comes the day Chorus II: Salutis: (Of salvation:) Chorus I: The well springeth out of thee. Chorus II: Virtutis. (Of virtue.) Chorus I: Lady, flow’r of ev’rything, Chorus II: Rosa sine spina, (Thornless rose,) Chorus I: Thou bare Jesu, Heaven’s King, Chorus II: Gratia divina: (By divine grace:) Chorus I: Of all thou bear’st the prize, Lady, queen of paradise Chorus II: Electa: (Chosen:) Chorus I: Maid mild, mother es Effecta. Chorus II: Effecta. (You are fulfilled.) Steve Rosenthal

TANGLEWOODWEEK 2 PRELUDETEXTS 11 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives) 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Friday, August 23, 8:30pm “UnderScore Friday” concert, including introductory comments from the stage by BSO trumpet player Michael Martin.

ANDRIS POGA conducting

PROKOFIEV Symphony No. 1 in D, Opus 25, “Classical” Allegro Larghetto Gavotte: Non troppo allegro Finale: Molto vivace

STRAVINSKY Concerto for Piano and Winds Largo—Allegro Largo Allegro PETER SERKIN

{Intermission}

BEETHOVEN Symphony No. 7 in A, Opus 92 Poco sostenuto—Vivace Allegretto Presto Allegro con brio

8 NOTES ON THE PROGRAM

Sergei Prokofiev (1891-1953) Symphony No. 1 in D, Opus 25 (“Classical Symphony”) First performance: April 21, 1918, Petrograd, Prokofiev cond. First BSO performance: January 28, 1927, Serge Koussevitzky cond. First Tanglewood performance: August 17, 1940, Koussevitzky cond. Most recent Tanglewood performance: August 13, 2011, Christoph von Dohnányi cond. This symphony is officially Prokofiev’s Symphony No. 1 in D major, but the nickname “Classical” has taken hold so thoroughly that it is virtually never identified in the more formal way. Actually, it is not the first symphony Prokofiev ever composed; even before entering the St. Petersburg Conservatory he had had formal training from Reinhold Glière, a recent graduate in composition, on the advice of Taneyev, to whom the young Prokofiev had taken his earliest compositions when he was eleven years old. Glière had spent the summer of 1902 at the Prokofiev family home in Sontzovka and had led the boy (at his own insis- tence) through the stages of composing a symphony in G major. He entered the Conservatory two years later, his parents having been persuaded by the director Glazunov that his talent demanded that he be given the opportunity. He made his best marks at the Conservatory as a pianist, but his interest in composing grew ever stronger. During the summer of 1908, Prokofiev and his fellow student Nikolai Miaskovsky undertook the challenge of writing a symphony apiece during their summer vacations; they wrote regularly to each other, sending the themes they were using and criticizing each other’s work. At the end of the summer, they approached Glazunov in the hope that he would arrange orchestral readings of the two works. Prokofiev’s symphony was in E minor and began with what Glazunov considered a “harsh” dissonance—a C major triad over an

TANGLEWOODWEEK 8 FRIDAYPROGRAMNOTES 9 F-sharp in the bass; the director of the Conservatory was unable to get the boy, now a budding young composer of seventeen, to change the opening. “The C major with the F-sharp in the bass struck me as pleasantly dramatic and not at all ‘harsh.’ ” Prokofiev realized that Glazunov was beginning to be irritated with him for the “unseemly” music he was writing, but somehow a reading of the symphony was arranged. It was rather a makeshift affair; the conductor didn’t want to look at the score in advance, so he was sightreading the whole thing. The young composer noted that the performance was entirely devoid of any kind of subtlety or even accu- racy in the dynamics. But he had at least been able to hear his symphony: On my way home I asked myself: What was the result, for me, of hearing my symphony played?... I realized that the symphony was not really badly orches- trated and I also realized that if it had been rehearsed with close attention and understanding, those places could have been made to sound perfectly all right. But how much more naive it was than Scriabin’s Poem of Ecstasy! In a word, I returned home dissatisfied and not at all beaming with joy. I would have to write a new symphony.

10 It took Prokofiev eight years to get around to writing another symphony—the first one whose paternity he would acknowledge publicly. Ironically, having compared his 1908 work with his modern idol Scriabin, Prokofiev chose to write the new symphony after a distinctly older model: Haydn. The germ of the idea for the new symphony had been planted at about the time Prokofiev composed the now forgotten E minor work, while he was studying conducting with Nikolai Tcherepnin: I liked very much going to Tcherepnin’s conducting class. Here it gradually became clear that the practice of constantly studying scores and then working with the orchestra in preparing them for performance was not only useful in terms of conducting but a help to me in learning more about orchestration. As Tcherepnin and I were sitting side by side with the score in front of us at one of those endless lessons, rehearsing the student orchestra, he would say, “Just listen to how marvelous the bassoon sounds right here!” And I gradually developed a taste for the scores of Haydn and Mozart: a taste for the bassoon playing staccato and the flute playing two octaves higher than the bassoon, etc. It was because of this that I conceived or thought up the Classical Symphony, although that was five or six years later. Right here I should note that, although I didn’t learn all that I should have about orchestration in Rimsky-Korsakov’s class, I made up for it in Tcherepnin’s class. The actual impetus to write the Classical Symphony came from Prokofiev’s desire to compose an entire symphony without the use of a piano, which had been his con- stant aid in composition from his childhood improvisations to that time. It occurred to him that it might be easier to employ Haydn’s style in that undertaking. And another thought intrigued him: if Haydn were alive at the time of his new composition (1916), how would he blend his own musical style with the newer elements of later music? Prokofiev decided to answer the question for him. He began the symphony in the summer of 1916 with the Gavotte (the third movement) and wrote material for the other movements too. The following summer, near Petrograd, he discarded the original finale entirely and rewrote it, while polishing the rest of the work. “And when it began to hang together, I renamed it the Classical Symphony. First because that was simpler. Second, out of mischief... and in the secret hope that in the end I would be the winner if the symphony really did prove to be a classic.” And so it has proved: no symphonic work of Prokofiev’s is performed more frequently or received with greater delight. Its directness and wit, its brevity, and its fusion of Haydnesque clarity with Prokofiev’s youthful grotesqueries have won cham- pions for the Classical Symphony both in Russia and in the West. The opening coup d’archet and arpeggiation of the D major triad take us back immediately to the world of the Viennese classics, as also the size of the orchestra and the way the various instruments are handled. But Prokofiev’s sudden shift to C major only eleven measures into the piece tells us that the classical air is not simple imitation or pastiche, but a reworking of traditional musical gestures with witty modern Stu Rosner

TANGLEWOODWEEK 8 FRIDAYPROGRAMNOTES 11 twists. Still, the opening Allegro is in a straightforward sonata form, with a wonderful developmental climax in which the violins play the secondary theme metrically shifted by one beat. The Larghetto unfolds a simple rondo form, equally clear in its returns to the descending lyrical theme in the violins. The Gavotte is absolutely quintessential Prokofiev in its blend of innocent dance with delightful, unexpected twists of harmony. Prokofiev returned to this dance many years later and expanded it for use in his ballet score for Romeo and Juliet. The brilliant rushing finale, Molto vivace, maintains its high spirits without let-up from beginning to end, partly because Prokofiev tried, in writing this movement, to use nothing but major chords. This plan demands some lightning changes of key that would have surprised old Haydn, but they would no doubt have delighted him, too.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

Igor Stravinsky (1882-1971) Concerto for Piano and Winds First performance: May 22, 1924, Paris Opera House, “Concerts Koussevitzky,” Serge Koussevitzky cond., Stravinsky, piano. (This was preceded a week earlier by a two- piano reading by Stravinsky and Jean Wiéner at the home of the Princess Polignac.) First BSO performances: January 1925 (American premiere), Koussevitzky cond., Stravinsky, piano. First Tanglewood performance: July 21, 1972, BSO, Bruno Maderna cond., Earl Wild, piano. Only other BSO performances at Tanglewood: July 17, 1993, Robert Spano cond., Peter Serkin, piano; and July 25, 2004, Mark Elder cond., also with Peter Serkin (though this was followed more recently by a TMC Orches- tra performance on August 3, 2009, again with Peter Serkin, under TMC Conducting Fellow Ryan McAdams). The Concerto for Piano and Winds is the ﬁrst of a series of works featuring the piano—and shaped largely by the composer’s own keyboard technique— that Stravinsky composed between 1923 and 1935. Since all of these were intended to provide him with material for concert performances (which paid far more than the small fee that he would receive from a performance of his music by someone else), he naturally composed them with his own gifts in mind. Stravinsky was a more-than-competent pianist, but he was certainly no overwhelming virtuoso on the order of his fellow Russian emigré Rachmaninoff, so it is a foregone conclusion that a concerto by him would not be a grandiose roman- tic David-and-Goliath showpiece. The composer Elliott Carter described Stravinsky’s pianism in the 1930s, when he had the opportunity to hear Stravinsky playing through his own Perséphone in rehearsal: What impressed me most, aside from the music itself, was the very telling quality of attack he gave to piano notes, embodying often in just one sound the very quality so characteristic of his music—incisive but not brutal, rhythmically highly controlled yet ﬁlled with intensity so that each note was made to seem weighty and important. Crisp and dry, with an emphasis on a staccato (detached) touch, and carefully avoid- ing the use of the pedal—these were all part and parcel of Stravinsky’s way with the keyboard, and it can hardly be a surprise that his concerto should emphasize rhythm, and the piano’s percussive quality, rather than the lyrical singing line.

12 As for the unusual decision to eliminate the stringed instruments (except for basses) from his orchestra, Stravinsky decided that winds alone would provide the best foil to the dry percussiveness of the music he was inventing for the keyboard: “The winds prolong the piano’s sounds as well as provide the human element of respiration.” Stravinsky appeared as soloist in the premiere at the invitation of Serge Koussevitzky, and his success—it could hardly have been a more authoritative performance— marked the beginning of more than a decade in which he would earn a large part of his income as a performer. (This was the more necessary in that the Russian Revolution had cut off any possibility of receiving royalties from his popular early ballets, which were far and away his most frequently performed works.) Only at one moment in the premiere did Stravinsky’s savoir faire leave him momentarily: After finishing the first movement and just before beginning the Largo which opens with a passage for solo piano, I suddenly realized that I had completely forgotten how it started. I said so quietly to Koussevitzky, who glanced at the score and hummed the first notes. That was enough to restore my balance and enable me to attack the Largo. When Stravinsky came to the United States in 1925 for the concert tour that included many performances of the concerto, he declared to an interviewer for the Christian Science Monitor that he was no longer a modern composer. The composer of Fireworks and the Song of the Nightingale (both written some years earlier)—he was a modern composer, if you please, but not the Stravinsky of 1923 and 1924. His remarks were printed in the Boston Symphony program book at the time of the American premiere of the concerto: I have gone back in the centuries and have begun over again, on a historic foundation. What I write today has its roots in the style and methods of

TANGLEWOODWEEK 8 FRIDAYPROGRAMNOTES 13 Palestrina and Bach. Today, I am not to be taken as a harmonist; I have become, through and through, a contrapuntist. Certainly the opening movement, following its Largo introduction (which returns at the end of the movement to round it off), is filled with keyboard writing reminscent of the harpsichord works of Scarlatti and Bach, though presented with rhythmic irregularities that might have astonished the earlier composers. The slow movement offers a complete contrast of mood in a richer harmonic texture, while a più mosso section in the middle evokes recollections of the toccata theme of the first movement. The slow movement ends with a cadential final bar in the piano that returns instantly, much faster, in the bassoons, as the first bar of the fugato with which the finale begins, during the course of which references to the slow music of the second movement and the opening Largo of the first movement also reappear. The concer- to closes abruptly on eight measures of syncopated orchestral offbeats against the piano part.

STEVEN LEDBETTER

For rates and information on advertising in the Boston Symphony, Boston Pops, and Tanglewood program books, please contact

Eric Lange Lange Media Sales 781-642-0400 [email protected]

14 Ludwig van Beethoven (1770-1827) Symphony No. 7 in A, Opus 92 First performance: December 8, 1813, Vienna, Beethoven cond. First BSO performance: February 4, 1882, Georg Henschel cond. First Berkshire Festival performance: August 13, 1936, Serge Koussevitzky cond. First Tanglewood performance: August 5, 1939, Kousse- vitzky cond. Most recent Tanglewood performance: August 17, 2012, Bramwell Tovey cond. By 1812 much had changed in Beethoven’s life and career since the extraordinary period between 1802 and 1809, when he produced a flood of masterpieces perhaps unprecedented in the history of music. In 1809, however, around the time of the premiere of the Fifth and Sixth symphonies, this stupendous level of production abruptly fell off. Though there was much extraordinary music to come, Beethoven never again composed with the kind of fury he possessed in the first decade of the century. What happened? Beethoven was increasingly ill and his bad hearing getting worse. However, given his ability to transcend physical misery, it is more likely that his decline in production came from expressive quandaries. He had begun to sense that the train of ideas that had sustained him through the previous decade was close to being played out. He had to find something new. It is in the Seventh and Eighth symphonies that we see the turn toward the third period taking shape. In the Seventh Beethoven put aside for good the heroic model of the Third and Fifth symphonies, but he had not yet arrived at the inward music of the late works. If not heroic or sublime, then what for the Seventh? A kind of Bacchic trance, dance music from beginning to end. Wagner called it “the apotheosis of the dance.” But the Seventh dances unlike any symphony before: it dances wildly and relentlessly, dances almost heroically, dances in obsessive rhythms whether fast or slow. Nothing as decorous as a minuet here; it’s rather shouting horns and skirling strings (skirling being what bagpipes do). The symphony’s expansive and grandiose introduction strikes a note at once appro- priate and misleading: the fast dance that eventually starts out from it seems something of a surprise. But from the introduction’s slow-striding opening theme many other melodies will flow. Above all the introduction defines the symphony in its har- monies: wandering without being restless so much as brash and audacious, with a tendency to leap nimbly from key to key by nudging the bass up or down a notch. And the introduction defines key relationships to be thumbprints of late Beethoven: around the central key of A major he groups F major and C major, keys a third up and a third down. That group of keys will persist through the symphony, just as D and B-flat persist in the Ninth. With a coy transition from the introduction, we’re off into the first movement Vivace, quietly at first but with rapidly mounting intensity. The movement is a titanic gigue. Its dominant dotted rhythmic figure is as relentless as the Fifth Symphony’s famous figure, but here the effect is mesmerizing rather than fateful. Rhythm plays a more central role than melody here, though there is a pretty folk tune in residence. More, though, the music is engaged in quick changes of key in startling directions, everything propelled by the rhythm. From the first time you hear the symphony’s outer movements, meanwhile, you never forget the lusty and rollicking horns.

TANGLEWOODWEEK 8 FRIDAYPROGRAMNOTES 15 Nor are you likely to forget the first time you hear the stately and mournful dance of the second movement, in A minor. It has been an abiding hit and an object of near- obsession since its first performances. The idea is a process of intensification, adding layer on layer to the inexorably marching chords (with their poignant chromaticism that Germans call moll-Dur, minor-major). Once again, in a slowish movement now, the music is animated by an irresistible rhythmic momentum. For contrast comes a sweet, harmonically stable B section in A major (plus C, a third up). Rondo-like, the opening theme returns twice, lightened, turned into a fugue, the last time serving as coda. The scherzo is racing, eruptive, giddy, its main theme beginning in F major and ending up a third in A, from one flat to three sharps in a flash. We’re back to brash shifts of key animated by relentless rhythm. The Trio provides maximum contrast, slowing to a kind of majestic dance tableau, as frozen in harmony and gesture as a painting of a ball. The Trio returns twice and jokingly feints at a third time before Beethoven slams the door. The purpose of the finale seems to be, amazingly, to ratchet the energy higher than it has yet been. If earlier we have had exuberance, brilliance, stateliness, those moods of dance, now we have something on the edge of delirium, in the best and most intoxicating way: stamping and whirling two-beat fiddling, with the horns in high spirits again. Does any other symphonic movement sweep you off your feet and take your breath away so nearly literally as this one? The Seventh was premiered in December 1813 as part of the ceremonies around the Congress of Vienna, when the aristocracy of Europe gathered with the intention of turning back the clock to before Napoleon. Beethoven would despise the reac- tionary results of the Congress, but that was in the future; he was glad to receive its applause. The premiere of the Seventh under his baton was one of the triumphant moments of his life. For the first of many times, the slow movement had to be encored. The orchestra was fiery and inspired, suppressing their giggles at the composer’s antics on the podium. In loud sections (the only ones he could hear) Beetho- ven launched himself into the air, arms windmilling as if he were trying to fly; in quiet passages he all but crept under the music stand. The paper reported from the audience “a general pleasure that rose to ecstasy.” It’s true that another piece premiered on the program, Beethoven’s trashy and opportunistic Wellington’s Victory, got more applause and in the next years more performances. But for the moment he was not too proud to bask a little, pocket the handsome proceeds, perhaps to enjoy with a sardonic laugh the splendid success of the bad piece and the merely bright prospects of the good one. The Seventh after all celebrates the dance, which lives in the ecstatic and heedless moment.

JAN SWAFFORD An alumnus of the Tanglewood Music Center, where he studied composition, and a faculty member at the Boston Conservatory, Jan Swafford is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and The Vintage Guide to Classical Music.

16 Guest Artists

Andris Poga Appointed an assistant conductor of the Boston Symphony Orchestra beginning with the 2012-13 season, Andris Poga graduated from the Jazeps Vitols Latvian Academy of Music in 2004 with a degree in conducting. He also studied philosophy at the University of Latvia, and from 2004 to 2005 studied conducting with Uroš Lajovic at the Vienna University of Music and Performing Arts. While still a student, he took part in master classes of conductors including Mariss Jansons, Seiji Ozawa, and Leif Segerstam. Since 2007 he has been a regular conductor of the Latvian National Symphony Orchestra and has led performances of Beethoven, Brahms, and Mahler symphonies, as well as works by Weber, Richard Strauss, Hindemith, Messiaen, and Alban Berg, among others. He was appointed music director and chief conductor of the Riga Professional Symphonic Band and held this position from 2007 to 2010. Mr. Poga founded the Konsonanse Chamber Orchestra and has conducted concert tours in Latvia, Germany, Finland, and Spain. Winner of the Latvia Great Music Award in 2007, he was also awarded first prize in the 2010 Evgeny Svetlanov International Conducting Competition in Montpellier. Since then, he has conducted the Orchestre National de Bordeaux, Orchestre National de Montpellier, Orchestre National des Pays de la Loire at the “La Folle Journée” Festival, and the Malta Philharmonic Orchestra. In October 2010 he served as assistant to Myung-Whun Chung for a concert of the Orchestre Philharmonique de Radio France in October 2010. His engagements for the 2011-12 season included a tour with the Orchestre de Rouen; concerts with the Latvian National Symphony Orchestra, Latvian National Opera, Israel Symphony Orchestra, Orchestre National de Lille, Orchestre National de Montpellier and Boris Berezovsky, Orchestre Philharmonique de Strasbourg, Orchestre National de Bordeaux, and Orchestre de Paris, and a tour of Japan with the Sendai Philharmonic, the New Japan Philharmonic, and the Kyoto Symphony Orchestra. In 2011 he became assistant conductor to Paavo Järvi at the Orchestre de Paris. Making his Tanglewood debut with tonight’s concert, Andris Poga conducted the Boston Symphony Orchestra for the first time in March 2013, leading performances of Britten’s Young Person’s Guide to the Orchestra. He returns to the Sym- phony Hall podium for subscription concerts in January 2014, leading Wagner’s Overture to Rienzi, the world premiere, with Garrick Ohlsson, of Justin Dello Joio’s BSO-commissioned Piano Concerto, and, in its first BSO performances since 1997, Shostakovich’s final symphony, his Symphony No. 15.

Peter Serkin Peter Serkin’s rich musical heritage extends back several generations: his grandfather was violinist and composer Adolf Busch, and his father the pianist Rudolf Serkin. In 1958, at age eleven, he entered the Curtis Institute of Music in Philadelphia, where he was a student of Lee Luvisi, Mieczyslaw Horszowski, and Rudolf Serkin. He later continued his studies with Ernst Oster, Marcel Moyse, and Karl Ulrich Schnabel. Following his Marlboro Music Festival and New York City debuts with conductor Alexander Schneider in 1959, he performed with the Cleveland Orchestra and George Szell in Cleveland and Carnegie Hall, and with the Phil- adelphia Orchestra and Eugene Ormandy in Philadelphia and Carnegie Hall. He has since performed with the world’s major symphony orchestras under such eminent conductors as Ozawa, Boulez, Barenboim, Abbado, Rattle, Levine, Blomstedt, and Eschenbach. Also a dedicated chamber musician, he has collab- orated with Alexander Schneider, Pamela Frank, Yo-Yo Ma, the Budapest, Guarneri,

TANGLEWOODWEEK 8 GUESTARTISTS 17 and Orion string quartets, and TASHI, of which he was a founding member. An avid exponent of 20th- and 21st-century music, Mr. Serkin has performed many significant world premieres, particularly of numerous works written for him, recently including Charles Wuorinen’s Piano Concerto No. 4 with James Levine and the Boston Symphony Orchestra in Boston, at Carnegie Hall, and at Tanglewood; Time Regained, with Levine and the Met Opera Orchestra; and Wuorinen’s Second Piano Quintet, commissioned by the Rockport (MA) Music Festival, with the Brentano String Quartet, as well as Elliott Carter’s Intermittences, commissioned by Carnegie Hall and the Gilmore Inter- national Keyboard Festival. Mr. Serkin’s 2012-13 season included summer appearances at the festivals of Aldeburgh and Chautauqua, a return to the Saito Kinen Festival in Japan, and appearances with the Chicago Symphony, St. Louis Symphony, St. Paul Chamber Orchestra, and North Carolina Symphony. He toured with the Shanghai Quartet in chamber programs including the New York premiere of Bright Sheng’s piano quintet at the 92nd Street Y. A recital tour of the northeastern United States took him to Princeton, Haverford, and the New Jersey Performing Arts Center. In 2012 at Tanglewood he performed Beethoven’s Choral Fantasy with David Zinman and the Boston Symphony Orchestra in the nationally televised PBS broadcast of Tangle- wood’s 75th Anniversary Celebration, and George Benjamin’s Duet with the Tanglewood Music Center Orchestra for the Festival of Contemporary Music. His wide-ranging recordings include “The Ocean that has no West and no East,” featuring compositions by Webern, Wolpe, Messiaen, Takemitsu, Knussen, Lieberson, and Wuorinen; three Beethoven sonatas; the Brahms violin sonatas with Pamela Frank; Dvoˇrák’s Piano Quintet with the Orion String Quartet; quintets by Henze and Brahms with the Guarneri String Quartet; the Bach double and triple concertos with András Schiff and Bruno Canino; Takemitsu’s Quotation of Dream with Oliver Knussen and the London Sinfonietta; and Schoenberg’s complete works for solo piano. Mr. Serkin’s recording of the six Mozart concertos composed in 1784 with Alexander Schneider and the English Chamber Orchestra was nominated for a Grammy and received the Deutsche Schallplattenpreis as well as Stereo Review’s “Best Recording of the Year.” Other Grammy- nominated recordings include Olivier Messiaen’s Vingt Regards sur l’Enfant Jesus and Quartet for the End of Time, and a solo recording of works by Stravinsky, Wolpe, and Lieberson. Peter Serkin has performed with the Boston Symphony Orchestra on a great many occasions at Symphony Hall, Tanglewood, Carnegie Hall, and other out-of- town venues since his 1970 Tanglewood debut with the BSO, his most recent appearances having included Brahms’s D minor piano concerto at Tanglewood in 2011, subscription performances of Stravinsky’s Concerto for Piano and Winds in February 2012, with a Carnegie Hall performance that March, and his aforementioned Tangle- wood appearances in the 75th Anniversary Celebration and Festival of Contemporary Music last summer. He returns to Symphony Hall in November for subscription performances of Brahms’s B-flat piano concerto with Rafael Frühbeck de Burgos conducting. Walter H. Scott

TANGLEWOODWEEK 8 GUESTARTISTS 19 2013 Tanglewood

Saturday, August 24, 8:30pm THE GEORGE AND ROBERTA BERRY SUPPORTING ORGANIZATION CONCERT

BOSTON POPS ORCHESTRA JOHN WILLIAMS, conductor DAVID NEWMAN, conductor AUDRA MCDONALD, soprano

JOHN WILLIAMS’ FILM NIGHT

WHITING “Hooray For Hollywood” arr. WILLIAMS

PRESENTING DAVID NEWMAN

THREE SELECTIONS BY ALFRED NEWMAN Fox Fanfare/Conquest from “Captain from Castile” Cathy’s Theme from “Wuthering Heights” ELITA KANG, solo violin Main Title from “How the West Was Won”

THREE SELECTIONS BY HENRY MANCINI Finale from “Victor/Victoria” Theme from “The Pink Panther” Finale from “Breakfast at Tiffany’s”

STEINER Opening and Finale from “Casablanca”

{Intermission}

The Boston Pops Orchestra may be heard on Boston Pops Recordings, RCA Victor, Sony Classical, and Philips Records. Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

20 WILLIAMS “Flight to Neverland” from “Hook”

PRESENTING AUDRA MCDONALD Brian Hertz, music director

ARLEN/GERSHWIN “Lose That Long Face” from “A Star Is Born” RODGERS/ “It Might As Well Be Spring” from “State Fair” HAMMERSTEIN LERNER/LANE “Hurry! It’s Lovely Up Here” from “On A Clear Day You Can See Forever” ARLEN/GERSHWIN “The Man That Got Away” from “A Star Is Born” LERNER/LANE “Too Late Now” from “Royal Wedding” STYNE/CAHN “10,432 Sheep” from “The West Point Story”

WILLIAMS Scherzo for Motorcycle and Orchestra from “Indiana Jones and the Last Crusade”

WILLIAMS A Tribute to George Lucas and Steven Spielberg Jaws—Star Wars—Raiders of the Lost Ark—E.T.

The Boston Symphony Orchestra gratefully acknowledges the following companies for the use of the film clips in tonight’s program: 20th Century Fox Paramount Pictures Dreamworks Pictures Pixar Animation Studios HBO Films Sony Pictures Lionsgate Films Universal Studios Lucasfilm Ltd. Walt Disney Pictures Miramax Films Warner Bros. Pictures MGM/UA “Flight to Neverland” montage, and “Breakfast at Tiffany’s” and “Casablanca” sequences: Video Producer: Laura Gibson Edited by Scott Draper “The Pink Panther” montage: Video Producer: Laura Gibson Edited by David Blanchard and Scott Draper “Tribute to George Lucas and Steven Spielberg” montage produced and edited by Blue Collar Productions, Hollywood, CA Technical preparation by Ramiro Belgardt, Kristopher Carter, and Mako Sujishi

TANGLEWOODWEEK 8 SATURDAYPROGRAM 21 Film Night at Tanglewood The George and Roberta Berry Supporting Organization Concert Saturday, August 24, 2013 The Boston Pops Orchestra performance on Saturday evening is supported by a generous gift from Overseer Emeritus George Berry and his wife, Roberta, through The George and Roberta Berry Supporting Organization. The Berrys are among the most devoted supporters of the Boston Pops. Growing up in Ohio, George’s first exposure to orchestral music was through listening to recordings of Arthur Fiedler conducting the Pops. He has now been attending Pops performances for more than forty years, and, after wooing her with a tour of Tanglewood, he has had Roberta by his side for nearly thirty of them. The Berrys brought their children to Pops concerts when Star Wars, E. T., and Indiana Jones were blockbuster hits; they now help continue the Pops’ tradition by naming the Film Night concert with John Williams each summer. As Great Benefactors, George and Roberta contribute their time and resources to many parts of the Boston Symphony Orchestra. George and Roberta generously support the Annual Funds and Opening Nights at Symphony, Tanglewood, and the Pops. They are members of the Koussevitzky Society at the Virtuoso level, the Higginson Society at the Patron level, and the Fiedler Society at the Backstage level, and they are also members of the Walter Piston Society. In addition to their annual support, George and Roberta have generously contributed to the endowment in support of the Artistic Initiative and the Tanglewood Music Center Opera Program. They established the George and Roberta Berry Fund for Tanglewood and the George and Roberta Berry Fellowship at the Tanglewood Music Center. George was elected to the Board of Overseers in 1998, and became Overseer Emeritus in 2010. George and Roberta chaired Opening Night at Pops in 2002, and they have served on many committees for Opening Night at Pops, Symphony, and Tanglewood, as well as for the Tanglewood Wine Auction. George and Roberta have been BSO sub- scribers for twenty-six years, and have attended Tanglewood and Pops performances since the 1980s.

A tangle of traffic at the Main Gate of Tanglewood in the 1950s (BSO Archives)

22 Artists

John Williams In a career spanning five decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage. In January 1980, Mr. Williams was named nineteenth conductor of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Laureate Conductor, which he assumed following his retirement in December 1993, and he is also Artist-in-Residence at Tanglewood. In addition, he maintains thriving artistic relationships with many of the world’s great orchestras. Mr. Williams has composed the music and served as music director for more than 100 films. His nearly forty-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. The Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, and Saving Private Ryan. Their latest collaboration, the critically acclaimed Lincoln, was released in late 2012. Mr. Williams also composed the scores for all six Star Wars films, the first three Harry Potter films, and Superman, among many others. He has received five Academy Awards and a total of forty-eight Oscar nominations, making him the Academy’s most-nominated living person. He also has received multiple British Academy Awards (BAFTA), Grammys, Golden Globes, Emmys, and gold and platinum records. A composition student of Mario Castelnuovo-Tedesco, Mr. Williams also studied piano at the Juilliard School with Madame Rosina Lhévinne. He began his career in the film industry working with such accomplished composers as Bernard Herrmann, Alfred Newman, and Franz Waxman. He went on to write music for more than 200 television films, and more recently has written themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and PBS’s Great Performances. His works for the concert stage include two symphonies, and concertos for violin, viola, cello, flute, oboe, clarinet, bassoon, horn, trumpet, and tuba. Seven for Luck, a seven-piece song cycle for soprano and orchestra based on texts by Rita Dove, was premiered by the Boston Symphony Orchestra at Tanglewood in 1998. And at the opening concert of their 2009-10 season, James Levine led the Boston Symphony in the premiere of Mr. Williams’s On Willows and Birches, a new concerto for harp and orchestra. Mr. Williams has composed music for many important cultural and commemorative events, including Liberty Fanfare for the rededication of the Statue of Liberty, American Journey for the “America’s Millennium” concert in Washington,

TANGLEWOODWEEK 8 ARTISTS 23

D.C., and Soundings for the gala opening of Walt Disney Concert Hall in Los Angeles, as well as musical themes for the 1984, 1988, and 1996 Summer Olympic Games, and the 2002 Winter Olympic Games. John Williams holds honorary degrees from twenty- one American universities. He is a recipient of the National Medal of Arts, the highest award given to artists by the United States government, as well as the Olympic Order, the IOC’s highest honor, and the Kennedy Center Honor. In January 2009, Mr. Williams composed and arranged Air and Simple Gifts especially for the inaugural ceremony of President Barack Obama.

David Newman One of today’s most accomplished creators of music for film, David Newman made his Boston Symphony Orchestra and Tanglewood debuts last month, leading the BSO in the complete score of Leonard Bernstein’s West Side Story as a newly remastered HD print of the film was shown on a large screen above the stage—an event to be repeated three times in February 2014 at Symphony Hall, with Mr. Newman, in his BSO subscription series debut, again on the podium. In his twenty-five- year career, David Newman has scored more than 100 films, ranging from War of the Roses, Matilda, Bowfinger, and Heathers to the more recent The Spirit and Serenity. His music has brought to life the critically acclaimed dramas Brokedown Palace and Hoffa, and top-grossing comedies Norbit, Scooby-Doo, Galaxy Quest, The Nutty Professor, The Flintstones, and Throw Mama From the Train, as well as the award-winning animated films Ice Age, The Brave Little Toaster, and Anastasia, earning an Academy Award nomination for his Anastasia score. He was the first composer showcased in the Los Angeles Philharmonic’s “Filmharmonic” Series; his piece 1001 Nights was performed by the orchestra under Esa-Pekka Salonen. Mr. Newman has conducted such orchestras as the Los Angeles Philharmonic, Royal Philharmonic, National Orchestra of Belgium, New Japan Philharmonic, Utah Symphony, and Ameri- can Symphony. He has led subscription weeks with the Los Angeles Philharmonic at Walt Disney Concert Hall and regularly conducts the Hollywood Bowl Orchestra at the Hollywood Bowl, including multiple appearances leading the annual movie night. This summer he has undertaken a mini-tour performing live with orchestra the film score to West Side Story, having led performances in Los Angeles, New York, Chicago, Philadelphia, Sydney, and at Tanglewood. His compositions have been performed by the Los Angeles Philharmonic, Indianapolis Symphony, Long Beach Symphony, and at the Ravinia Festival, Spoleto Festival USA, and Chicago’s Grant Park Music Festival. For violinist Sarah Chang, he recently composed a suite for violin and orchestra based on songs from West Side Story. Having spent considerable time unearthing and restoring film music classics for the concert hall, David Newman headed the Sundance Institute’s music preservation program in the late 1980s. During his tenure there, he led the Utah Symphony in his newly composed score for the classic silent motion picture Sunrise, which opened the 1989 Sundance Film Festival. In 2007 he was elected President of the Film Music Society, a nonprofit organization formed by entertainment industry professionals to preserve and restore motion picture and television music. Passionate about nurturing the next generation of musicians, Mr. Newman serves as President of the Board of the American Youth Symphony, a pre-professional orchestra based in Los Angeles, where he launched the three-year “Jerry Goldsmith Project” and another three-year project presenting the music of Danny Elfman. In 2007 he wrote the children’s melodrama Yoko and the Tooth Fairy for Crossroads School in Santa Monica, California, and in 2010 he served on the faculty of the Aspen Music Festival’s Film Scoring Program. David Newman is also on the Board of Governors of the Motion Picture Academy of Arts and Sciences. When his schedule permits, he visits Los Angeles-area high schools and universities to speak about film scoring and to men-

TANGLEWOODWEEK 8 ARTISTS 25 tor young composers. The son of nine-time Oscar-winning composer Alfred Newman, David Newman was born in Los Angeles in 1954. He trained in violin and piano from an early age and earned degrees in orchestral conducting and violin from the Uni- versity of Southern California. From 1977 to 1982 he worked extensively in the motion picture and television industry as a violinist, playing on the soundtracks for such films as E.T., Twilight Zone–the Movie, and the original Star Trek film.

Audra McDonald Audra McDonald is unparalleled in the breadth and versatility of her artistry as both a singer and an actress. With a record-tying five Tony Awards, as well as two Grammy Awards and a long list of other accolades to her name, she is among today’s most highly regarded performers. Blessed with a luminous soprano voice and an incomparable gift for dramatic truth-telling, she is as equally at home on Broadway and opera stages as she is in roles on film and television. In addition to her theatrical work, she maintains a major career as a concert and recording artist, regularly appearing on the great stages of the world and with leading international orchestras. After four seasons playing Dr. Naomi Bennett on ABC’s hit television series Private Practice, Ms. McDonald returned to Broadway in 2012, winning her fifth Tony and her first in the leading actress category for her portrayal of Bess in The Gershwins’ Porgy and Bess. The honor places her in the illustrious company of Broadway legends Julie Harris and Angela Lansbury as the only performers in Tony history to win five acting awards. Her previous Tony Awards were for Carousel, Master Class, Ragtime, and A Raisin in the Sun. Ms. McDonald made her opera debut in 2006 at Houston Grand Opera in a double bill featuring Poulenc’s monodrama La Voix humaine coupled with the world premiere of a companion piece, Michael John LaChiusa’s Send. More recently she embarked on a twenty-city concert tour across North America, performing with a wide range of ensembles, from solo piano to full orchestra. She made her Carnegie Hall debut in 1998 with the San Fran- cisco Symphony under Michael Tilson Thomas, has made several previous appearances with the Boston Pops, and in 2010 made her Tanglewood debut in a solo recital. Born into a musical family, Audra McDonald grew up in Fresno, California, and received her classical vocal training at the Juilliard School. Additional television credits include numerous PBS specials, including A Broadway Celebration: In Performance at the White House, singing at the request of President Obama and the First Lady; CBS’s Peabody Award-winning Having Our Say: The Delany Sisters’ First 100 Years; ABC’s acclaimed remake of Annie, and the HBO film version of the Pulitzer Prize-winning play Wit. In 2008 she reprised her Tony-winning role in the television adaptation of A Raisin in the Sun. Her feature film credits include Seven Servants, The Object of My Affection, Cradle Will Rock, It Runs in the Family, The Best Thief in the World, She Got Problems (a mockumentary movie musical written by, starring, and directed by her sister, Alison McDonald), and Rampart. In addition to many ensemble recordings, she has released five solo albums as an exclusive Nonesuch recording artist: Way Back to Paradise (1998), How Glory Goes (2000), Happy Songs (2002), Build A Bridge (2006), and, most recently, Go Back Home. An ardent proponent of marriage equality, Ms. McDonald sits on the advisory board of the advocacy organization Broadway Impact and has been featured in campaigns for Freedom to Marry, NOH8, and PFLAG NYC. Of all her many roles, her favorites are the ones performed offstage: wife to her husband, actor Will Swenson, and mother to her daughter, Zoe Madeline.

26 The Boston Pops Orchestra KEITH LOCKHART Rachel Fagerburg* Horns Julian and Eunice Cohen Kazuko Matsusaka* Richard Sebring Boston Pops Conductor Rebecca Gitter* Principal endowed in perpetuity Wesley Collins* Rachel Childers JOHN WILLIAMS Cellos Michael Winter Jason Snider Laureate Conductor Martha Babcock Jonathan Menkis Principal First Violins Helene and Norman L. Trumpets Tamara Smirnova• Cahners chair, endowed Thomas Rolfs Concertmaster in perpetuity Principal Beranek chair, Sato Knudsen Roberta and Stephen R. endowed in perpetuity Mihail Jojatu Weiner chair, endowed Alexander Velinzon• Jonathan Miller* in perpetuity Assistant Concertmaster Owen Young* Benjamin Wright Edward and Bertha C. Mickey Katz* Thomas Siders Rose chair, endowed Alexandre Lecarme* Michael Martin in perpetuity Adam Esbensen* Bruce Hall§ Elita Kang Blaise Déjardin* Assistant Concertmaster Trombones Julianne Lee Basses Toby Oft Acting Assistant Lawrence Wolfe Principal Concertmaster Principal Stephen Lange Benjamin Levy Bo Youp Hwang Bass Trombone Eunice and Julian Cohen Dennis Roy chair, endowed in perpetuity James Orleans* James Markey Ikuko Mizuno Todd Seeber* Tuba Nancy Bracken* John Stovall* Mike Roylance Aza Raykhtsaum* Thomas Van Dyck* Principal Bonnie Bewick* Flutes James Cooke* Timpani Elizabeth Ostling Catherine French* Timothy Genis Principal Jason Horowitz* Mr. and Mrs. William F. Percussion Ala Jojatu* Connell chair, endowed J. William Hudgins Second Violins in perpetuity Daniel Bauch Sheila Fiekowsky Clint Foreman Kyle Brightwell Nicole Monahan Piccolo Matthew McKay Ronan Lefkowitz Cynthia Meyers Harp Ronald Knudsen• Vyacheslav Uritsky* Oboes Jessica Zhou• Ina Zdorovetchi§ Jennie Shames* Keisuke Wakao+ Valeria Vilker Kuchment* Principal Piano Tatiana Dimitriades* Mark McEwen Vytas Baksys§ Si-Jing Huang* Amanda Hardy§ Victor Romanul* Tenor Saxophone Wendy Putnam* English Horn Michael Monaghan§ Robert Sheena Xin Ding* Librarians Glen Cherry* Clarinets Marshall Burlingame Yuncong Zhang* Thomas Martin Principal Violas Principal William Shisler Cathy Basrak Michael Wayne John Perkel Principal Bass Clarinet Personnel Managers Edward Gazouleas Craig Nordstrom Lynn G. Larsen Robert Barnes Michael Zaretsky Bassoons Bruce M. Creditor Mark Ludwig* Richard Ranti Assistant Personnel Manager Principal Stage Manager Suzanne Nelsen * Participating in a system John Demick of rotated seating Contrabassoon § Substituting or extra player Gregg Henegar + On sabbatical leave • On leave TANGLEWOODWEEK 8 ARTISTS 27 2013 Tanglewood Boston Symphony Orchestra 132nd season, 2012–2013

Sunday, August 25, 2:30pm

BERNARD HAITINK conducting

BEETHOVEN Symphony No. 9 in D minor, Opus 125

Allegro ma non troppo, un poco maestoso Molto vivace—Presto—Tempo I— Presto—Tempo I Adagio molto e cantabile—Andante moderato— Tempo I—Andante—Adagio Presto—Allegro ma non troppo—Vivace— Adagio cantabile—Allegro moderato— Allegro—Allegro assai—Presto—Allegro assai—Allegro assai vivace, alla Marcia— Andante maestoso—Adagio ma non troppo, ma divoto—Allegro energico, sempre ben marcato—Allegro ma non tanto— Prestissimo

ERIN WALL, soprano TAMARA MUMFORD, mezzo-soprano JOSEPH KAISER, tenor JOHN RELYEA, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 32.

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

28 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Symphony No. 9 in D minor, Opus 125 First performance: May 7, 1824, Kärntnerthor Theater, Vienna, with the deaf composer on stage beating time, but Michael Umlauf cond.; Henriette Sontag, Karoline Unger, Anton Haitzinger, and Joseph Seipelt, soloists. First BSO performance: March 1882, Georg Henschel cond.; Mrs. Humphrey Allen, Mary H. How, Charles R. Adams, and V. Cirillo, soloists. First Tanglewood performance: August 4, 1938, to inaugurate the Music Shed, Serge Koussevitzky cond.; Jeannette Vreeland, Anna Kaskas, Paul Althouse, and Norman Cordon, soloists; Cecilia Society chorus, Arthur Fiedler cond. Most recent Tanglewood performance: August 26, 2012, Rafael Frühbeck de Burgos cond.; Leah Crocetto, Meredith Arwady, Frank Lopardo, and John Relyea, vocal soloists; Tanglewood Festival Chorus, John Oliver, cond. Beethoven’s Ninth Symphony in D minor is one of the most beloved and influential of symphonic works, and one of the most enigmatic. Partly it thrives in legends: the unprecedented introduction of voices into a symphony, singing Schiller’s “Ode to Joy”; the Vienna premiere in 1824, when the deaf composer could not hear the frenzied ovations behind him; the mystical beginning, like matter coalescing out of the void, that would be echoed time and again by later composers—Brahms, Bruckner, Mahler. Above all there is the choral theme of the last movement, one of the most familiar tunes in the world. On the face of it, that in his last years Beethoven would compose a paean to joy is almost unimaginable. As early as 1802, when he faced the certainty that he was going deaf, he cried in the “Heiligenstadt Testament”: “For so long now the heartfelt echo of true joy has been a stranger to me!” Through the next twenty years before he took up the Ninth, he lived with painful and humiliating illness. The long struggle to become legal guardian of his nephew, and the horrendous muddle of their relationship, brought him to the edge of madness. The idea of setting Schiller’s Ode to music was actually not a conception of Beetho- ven’s melancholy last decade. The poem, written in 1785 and embodying the revolu- tionary fervor of that era, is a kind of exalted drinking song, to be declaimed among comrades with glasses literally or figuratively raised. Schiller’s utopian verses were the young Beethoven’s music of revolt; it appears that in his early twenties he had already set them to music. In old age we often return to our youth and its dreams. In 1822, when Vienna had become a police state with spies everywhere, Beethoven received a commission for a symphony from the Philharmonic Society of London. He had already been sketch- ing ideas; now he decided to make Schiller’s fire-drunk hymn to friendship, marriage, freedom, and universal brotherhood the finale of the symphony. Into the first three movements he carefully wove foreshadowings of the “Joy” theme, so in the finale it would be unveiled like a revelation. The dramatic progress of the Ninth is usually described as “darkness to light.” Scholar Maynard Solomon refines that idea into “an extended metaphor of a quest for Elysium.” But it’s a strange darkness and a surprising journey. The first movement begins with whispering string tremolos, as if coalescing out of silence. Soon the music bursts into figures monumental and declamatory, and at the same time gnarled and searching. The gestures are decisive, even heroic, but the harmony is a restless flux that rarely settles into a proper D minor, or anything else.

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 29 What kind of hero is rootless and uncertain? The recapitulation (the place where the opening theme returns) appears not in the original D minor but in a strange D major that erupts out of calm like a scream, sounding not triumphant but somehow frightening. As coda there’s a funeral march over an ominous chromatic bass line. Beethoven had written funeral marches before, one the second movement of the Eroica Symphony. There we can imagine who died: the hero, or soldiers in battle. Who died in the first movement of the Ninth? After that tragic coda comes the Dionysian whirlwind of the scherzo, one of Beetho- ven’s most electrifying and crowd-pleasing movements, also one of his most complex. Largely it is manic counterpoint dancing through dazzling changes of key, punctuated by timpani blasts. In the middle comes an astonishing Trio: a little wisp of folksong like you’d whistle on a summer day, growing through mounting repetitions into something hypnotic and monumental. So the second movement is made of complexity counterpoised by almost childlike simplicity—a familiar pattern of Beethoven’s late music. Then comes one of those singing, time-stopping Adagios that also mark his last period. It is alternating variations on two long-breathed, major-key themes. The variations of the first theme are liquid, meandering, like trailing your hand in water beside a drifting boat. There are moments of yearning, little dance turns, everything unfold- ing in an atmosphere of uncanny beauty. The choral finale is easy to outline, hard to explain. Scholars have never quite agreed on its formal model, though it clearly involves a series of variations on the “Joy” theme. But why does this celebration of joy open with a dissonant shriek that Richard Wagner called the “terror fanfare,” shattering the tranquility of the slow movement? Then the basses enter in a quasi-recitative, as if from an oratorio but wordless. We begin to hear recollections of the previous movements, each rebuffed in turn by the basses: opening of the first movement... no, not that despair; second movement... no, too frivolous; third movement... nice, the basses sigh, but no, too sweet. (Beethoven originally sketched a singer declaiming words to that effect, but he decided to leave the ideas suggested rather than spelled out.)This, then: the ingenuous little Joy theme is played by the basses unaccompanied, sounding rather like somebody (say, the composer) quietly humming to himself. The theme picks up lovely flowing accompa- niments, begins to vary. Then, out of nowhere, back to the terror fanfare. Now in response a real singer steps up to sing a real recitative: “Oh friends, not these sounds! Rather let’s strike up something more agreeable and joyful.” Soon the chorus is crying “Freude!”—“Joy!”—and the piece is off, exalting joy as the god-engendered daughter of Elysium, under whose influence love could flour- ish, humanity unite in peace. The variations unfold with their startling contrasts. We hear towering choral proclamations of the theme. We hear a grunting, lurching mili- tary march heroic in context (“Joyfully, like a hero toward victory”) but light unto satiric in tone, in a style the Viennese called “Turkish.” That resolves inexplicably into an exalted double fugue. We hear a kind of Credo reminiscent of Gregorian chant (“Be embraced, you millions! Here’s a kiss for all the world!”). In a spine- tingling interlude we are exhorted to fall on our knees and contemplate the Godhead (“Seek him beyond the stars”), followed by another double fugue. The coda is boundless jubilation, again hailing the daughter of Elysium. So the finale’s episodes are learned, childlike, ecclesiastical, sublime, Turkish. In his quest for universality, is Beethoven embracing the ridiculous alongside the sublime? Is he signifying that the world he’s embracing includes the elevated and the popular, West and East? Does the unsettled opening movement imply a rejection of the heroic voice that dominated his middle years, making way for another path?

30 In a work so elusive and kaleidoscopic, a number of perspectives suggest themselves. One is seeing the Ninth in light of its sister work, the Missa Solemnis. At the end of Beethoven’s Mass the chorus is declaiming “Dona nobis pacem,” the concluding prayer for peace, when the music is interrupted by the drums and trumpets of war. Just before the choir sings its last entreaty, the drums are still rolling in the distance. The Mass ends, then, with an unanswered prayer. Beethoven’s answer to that prayer is the Ninth Symphony, where hope and peace are not demanded of the heavens. Once when a composer showed Beethoven a work on which he had written “Finished with the help of God,” Beethoven wrote under it: “Man, help yourself!” In the Ninth he directs our gaze upward to the divine, but ultimately returns it to ourselves. Through Schiller’s exalted drinking song, Beethoven proclaims that the gods have given us joy so we can find Elysium on earth, as brothers and sisters, husbands and wives. In the end, though, the symphony presents us as many questions as answers, and its vision of utopia is proclaimed, not attained. What can be said with some certainty is that its position in the world is probably what Beethoven wanted it to be. In an unprecedented way for a composer, he stepped into history with a great ceremonial work that doesn’t simply preach a sermon about freedom and brotherhood, but aspires to help bring them to pass. Partly because of its enigmas, so many ideologies have claimed the music for their own; over two centuries Communists, Christians, Nazis, and humanists have joined in the chorus. Leonard Bernstein conducted the Ninth at the celebration of the fall of the Berlin Wall, and what else would do the job? Now the Joy theme is the anthem of the European Union, a symbol of nations joining together. If you’re looking for the universal, here it is. One final perspective. The symphony emerges from a whispering mist to fateful proclamations. The finale’s Joy theme, prefigured in bits and pieces from the beginning, is almost constructed before our ears, hummed through, then composed and recomposed and decomposed. Which is to say, the Ninth is also music about music, about its own emerging, about its composer composing. And for what? “Be embraced, you millions! This kiss for all the world!” run the telling lines in the finale, in which Beethoven erected a movement of monumental scope on a humble little tune that anybody can sing, and probably half the world knows. The Ninth Symphony, forming and dissolving before our ears in its beauty and terror and simplicity and complexity, is itself Beethoven’s embrace for the millions, from East to West, high to low, naive to sophisticated. When the bass soloist speaks the first words in the finale, an invitation to sing for joy, the words come from Beethoven, not Schiller. It’s the composer talking to everybody, to history. There’s something singularly moving about that moment when Beethoven greets us person to person, with glass raised, and hails us as friends.

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 31 Text to the ﬁnale of Beethoven’s Ninth Symphony, based on Schiller’s ode, “To Joy”

O Freunde, nicht diese Töne! O friends, not these tones; Sondern lasst uns angenehmere Rather, let us tune our voices anstimmen, Und freudenvollere. In more pleasant and more joyful song. —Beethoven

Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with fire, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Wem der grosse Wurf gelungen, He who has won in that great gamble Eines Freundes Freund zu sein, Of being friend unto a friend, Wer ein holdes Weib errungen, He who has found a goodly woman, Mische seinen Jubel ein! Let him add his jubilation too! Ja—wer auch nur eine Seele Yes—he who can call even one soul Sein nennt auf dem Erdenrund! On earth his own! Und wer’s nie gekonnt, der stehle And he who never has, let him steal Weinend sich aus diesem Bund. Weeping from this company. Freude trinken alle Wesen All creatures drink of Joy An den Brüsten der Natur, At Nature’s breasts. Alle Guten, alle Bösen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Küsse gab sie uns und Reben, She gave us kisses and vines, Einen Freund, geprüft im Tod, And a friend who has proved faithful even in death. Wollust ward dem Wurm gegeben, Lust was given to the Serpent, Und der Cherub steht vor Gott. And the Cherub stands before God. Froh wie seine Sonnen fliegen As joyously as His suns fly Durch des Himmels prächt’gen Across the glorious landscape of the Plan, heavens, Laufet, Brüder, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, BSO Archives

32 Wir betreten feuertrunken, Drunk with ﬁre, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Über Sternen muss er wohnen. Surely he dwells beyond the stars. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium, Wir betreten feuertrunken, Drunk with ﬁre, O Heavenly One, Himmlische, dein Heiligtum. We come unto your sacred shrine. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Ihr stürzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schöpfer, Welt? Have you any sense of the Creator, World? Such ihn überm Sternenzelt! Seek him above the canopy of the stars! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, Tochter aus Elysium! Joy, Daughter of Elysium! Deine Zauber binden wieder, Your magic once again unites Was die Mode streng geteilt, That which Fashion sternly parted. Alle Menschen werden Brüder, All men are made brothers Wo dein sanfter Flügel weilt. Where your gentle wings abide. Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Brüder—überm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schöner Götterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schöner Götterfunken! Joy, beauteous, godly spark!

TANGLEWOODWEEK 8 SUNDAYPROGRAMNOTES 33 Guest Artists

Bernard Haitink With an international conducting career that has spanned nearly six decades, Amsterdam- born Bernard Haitink is one of today’s most celebrated conductors. Mr. Haitink was for twenty-seven years Chief Conductor of the Royal Concertgebouw Orchestra; he is now their Conductor Laureate. In addition, he has previously held posts as music director of the Royal Opera–Covent Garden and Glyndebourne Festival Opera, and as principal conductor of the Chicago Symphony Orchestra and the London Philharmonic. Mr. Haitink was appointed Principal Guest Conductor of the Boston Symphony in 1995 and since 2004 has been the LaCroix Family Fund Conductor Emeritus of the BSO. He has made frequent guest appearances with most of the world’s leading orchestras. During 2012-13 he led the Berlin Philharmonic and visited the United States twice—for two weeks of concerts with the Chicago Symphony Orchestra in October, and for two weeks of subscription programs to close the Boston Symphony Orchestra’s 2012-13 season. In February/March 2013 he returned to Asia for a three-week tour of Korea and Japan with the London Symphony Orchestra, preceded by concerts in London. Other highlights of the current season have included engagements with the Bavarian Radio Symphony Orchestra and Royal Concertgebouw Orchestra, and projects with the Chamber Orchestra of Europe in Lucerne and Frankfurt. Mr. Haitink has recorded widely for the Philips, Decca, and EMI labels, with the Concertgebouw, the Berlin Philharmonic, the Vienna Philharmonic, and the Boston Symphony Orchestra. His discography also includes many opera recordings with the Royal Opera and Glynde- bourne, as well as the Bavarian Radio Orchestra. Most recently he has recorded extensively with the London Symphony Orchestra for the LSO Live label, including the complete Brahms and Beethoven symphonies, and also with the Chicago Symphony

34 for its Resound label. He received Grammy Awards for his recordings of Janáˇcek’s Jen˚ufa with the Royal Opera, and for Shostakovich’s Symphony No. 4 with the Chicago Symphony Orchestra. With the Boston Symphony Orchestra he has recorded Brahms’s four symphonies and Alto Rhapsody, orchestral works of Ravel, and Brahms’s Piano Concerto No. 2 with soloist Emanuel Ax. Mr. Haitink has received many international awards in recognition of his services to music, including both an honorary Companion of Honour in the United Kingdom, and the House Order of Orange-Nassau in the Netherlands. Bernard Haitink made his Boston Symphony Orchestra debut in February 1971. In addition to concerts in Boston, he has led the orchestra at Tanglewood (where he appeared for the first time in 1994), Carnegie Hall, and on a 2001 tour of European summer music festivals. His most recent BSO appearances were this past April and May in Symphony Hall, leading the two final programs of the orchestra’s 2012-13 subscription season, and he returns to Symphony Hall, again for two weeks of subscription concerts, in January and February 2014; an all-Ravel program, and a program of Stucky, Schumann, and Brahms.

Erin Wall Soprano Erin Wall’s 2012-13 season has included performances of Mahler’s Eighth Symphony with the Hessischer Rundfunk (Järvi) and Nashville Symphony (Guerrero), Beethoven’s Missa Solemnis with the Chicago Symphony (Haitink) and National Symphony (Eschenbach), Beethoven’s Ninth Symphony with the Toronto Symphony (Halls), Le nozze di Figaro at Arizona Opera, Donna Anna in Don Giovanni at the Bayerische Staatsoper, Mahler’s Second Symphony with the Houston Symphony (Graf), Poulenc’s Stabat Mater with the San Francisco Symphony (Dutoit), and Britten’s War Requiem at the Grant Park Music Festival in Chicago (Kalmar). Recent career highlights include a highly acclaimed debut as Clémence in L’Amour de loin with the Canadian Opera Company, the title role in Thaïs at the Edinburgh Festival, and the title role in Arabella at Santa Fe Opera. Next season she will return to the Metropolitan Opera for Helena in Britten’s A Midsummer Night’s Dream and Arabella, and to Vancouver Opera as Donna Anna. She will sing her first Verdi Requiem at the Edinburgh Festival, return to the Toronto Symphony for Berg’s Seven Early Songs, debut with the BBC Proms as Jenifer in Tippett’s The Midsummer Marriage, sing Mahler’s Eighth Symphony with the Royal Scottish National Symphony, and make her Vienna Philharmonic debut. Ms. Wall recorded Mahler’s Eighth Symphony for both the 2010 Grammy-winning recording with the San Francisco Symphony and Michael Tilson Thomas, and the 2007 Deutsche Grammophon recording under Pierre Boulez. Other recordings include Così fan tutte (Virgin Classics DVD) recorded live at the Aix en Provence Festival in 2005; Beethoven’s Ninth Symphony for the grand opening of La Maison Symphonique at Place des Arts (Sony Classical/Analekta), and the ArtHaus DVD of Britten’s War Requiem, filmed and recorded live at the 50th-anniversary performance of the work’s premiere, with the City of Birmingham Symphony Orchestra under Andris Nelsons. Ms. Wall began her professional career in 2001 as a member of the Ryan Opera Center at Lyric Opera of Chicago. She has made recent debuts at the Metropolitan Opera, La Scala, the Vienna Staatsoper, Opéra National de Paris, the Bayerische Staatsoper, Théâtre du Châtelet, Theater an der Wien, the Aix en Provence Festival, Teatro Municipal in Santiago, Washington National Opera, and Los Angeles Opera, among others. In concert she has appeared with the Boston Symphony, Chicago Symphony, San Francisco Symphony (in San Francisco, Luxembourg, Lucerne, and at Carnegie Hall), Philadelphia Orchestra, and Pittsburgh Symphony, and with numerous orchestras in her native Canada. Overseas she has sung with the Staatskapelle Berlin, London Symphony Orchestra, City of Birmingham Symphony Orchestra, Orchestre de Paris,

TANGLEWOODWEEK 8 GUESTARTISTS 35 the Residentie Orkest and Limburgs Symfonie Orkest (Netherlands), the NHK Phil- harmonic, New Japan Philharmonic, and Orquestra Sinfonica Brasileira. In addition, she appears regularly at such festivals as Ravinia, Grant Park, Tanglewood, Lanaudière, Mostly Mozart, and Campos do Jordão (Brazil). Erin Wall’s only previous appearance with the Boston Symphony Orchestra was in the BSO’s season-ending Tanglewood performance of Beethoven’s Ninth Symphony in 2009, with Michael Tilson Thomas conducting.

Tamara Mumford In the 2013-14 season, mezzo-soprano Tamara Mumford returns to the Metropolitan Opera for A Midsummer Night’s Dream and Wozzeck and appears in concert with the New York Philharmonic, Baltimore Symphony, Seattle Symphony, and Kansas City Symphony. A graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program, Ms. Mumford made her debut there as Laura in Luisa Miller, subsequently appearing as Smeaton in the new production of Anna Bolena, and in Rigoletto, Ariadne auf Naxos, Il trittico, Parsifal, Idomeneo, Cavalleria rusticana, Nixon in China, The Queen of Spades, the complete Ring cycle, and The Magic Flute. Other recent opera engagements have included the title role in the American premiere of Henze’s Phaedra and the title role in The Rape of Lucretia at Opera Company of Philadelphia; Dido in Dido and Aeneas at Glimmerglass Opera; Ottavia in L’incoronazione di Poppea at the Glyndebourne Opera Festival and BBC Proms; Isabella in L’italiana in Algeri at Palm Beach Opera; Lucretia at the Castleton Festival under Lorin Maazel; the title role in Carmen at the Crested Butte Music Festival; Principessa in Suor Angelica and Ciesca in Gianni Schicchi with the Orchestra Sinfonica Giuseppe Verdi di Milano in Italy; and the title role in La Cenerentola at Utah Festival Opera. Making her Boston Symphony Orchestra and Tanglewood debuts this evening, Ms. Mumford recently toured the United States and Europe in the world premiere of John Adams’s oratorio The Gospel According to the Other Mary with Gustavo Dudamel and the Los Angeles Philharmonic. She also made debuts with the New York Philharmonic, San Francisco Symphony, and Milwaukee Symphony, and at the Hollywood Bowl and the Ravinia, Grand Teton, and La Jolla Summer Music festivals. Other recent highlights include a concert with James Levine and the Met Chamber Orchestra in Zankel Hall, her 2005 Carnegie Hall debut as part of the “Richard Goode and friends” concert series in Zankel Hall, and appearances in the Musicians from Marlboro summer festivals and U.S. tours. In recital she has been presented in New

36 York by both the Marilyn Horne Foundation and the Metropolitan Museum of Art, and in Philadelphia by the Philadelphia Chamber Music Society. Ms. Mumford has appeared in the Metropolitan Opera’s Live in HD broadcasts of Anna Bolena, Das Rheingold, Götterdämmerung, The Magic Flute, Nixon in China, Manon Lescaut, and Il trittico. In 2005 she was one of sixteen singers invited to work with Naxos Records and Yale University in a collaborative project to record the complete songs of Charles Ives. A native of Sandy, Utah, she holds a bachelor’s degree from Utah State University. Her many awards include the Arthur E. Walters Memorial Award in the Opera Index Competition, second place in the advanced division of the Palm Beach Opera Competi- tion, and awards in the Sullivan Foundation, the Connecticut Opera Guild, and the Joyce Dutka Foundation competitions. Ms. Mumford was also a Mathias Winner and PBS Concert Soloist for the 2001 MacAllister Awards.

Joseph Kaiser Starring as Tamino in Kenneth Branagh’s film adaptation of The Magic Flute conducted by James Conlon and released in 2007, tenor Joseph Kaiser enjoys success in opera, oratorio, and concert throughout North America and Europe. His 2012-13 season has included performances as Flamand in Strauss’s Capriccio at Opéra National de Paris, Gaylord Ravenal in Houston Grand Opera’s Showboat, Argento’s The Aspern Papers at Dallas Opera, and Admète in Gluck’s Alceste at the Vienna State Opera. Concert engagements include Beethoven’s Ninth Symphony with the Berlin Philharmonic under Sir Simon Rattle, the Toronto Symphony under Matthew Halls, and the St. Louis Symphony under David Robertson. Highlights of past seasons include performances at Opéra National de Paris as Lensky in Eugene Onegin and as Matteo in Strauss’s Arabella, a return to the Royal Opera House–Covent Garden as Tamino, appearances at the Bayerische Staatsoper and Deutsche Oper Berlin as Steva Burja in Jen˚ufa, Don Ottavio in Don Giovanni at the Munich Festival, Flamand at the Metropolitan Opera, Grimoaldo in Stephen Wads- worth’s Rodelinda, and Pylades in Gluck’s Iphigénie en Tauride at the Canadian Opera Company. Concert highlights include Britten’s Serenade for Tenor, Horn, and Strings with Sir André Previn and the Gewandhaus Orchestra, Janáˇcek’s The Diary of One Who Vanished under the auspices of Chicago Opera Theater, Bruckner’s Te Deum with Daniel Barenboim and the Orchestra and Chorus of Teatro alla Scala, Bruckner’s Mass No. 3 with Marek Janowski and the Rundfunk-Sinfonieorchester Berlin, and Mozart’s Requiem with the Mostly Mozart Festival under Louis Langrée, as well as with the Orchestra of St. Luke’s and Iván Fischer at Carnegie Hall. Additional operatic credits include the title role of Faust at Lyric Opera of Chicago, the title role of Messager’s Fortunio at the Opéra Comique, Admète at the Festival d’Aix-en-Provence, and Eugene Onegin and Handel’s Theodora at the Salzburg Festival (both available on DVD). At the Metro- politan Opera he has sung Roméo in Roméo et Juliette, Tamino, and Narraboth in Salome (broadcast internationally on The Met: Live in HD). Concert engagements have included Berlioz’s Requiem under Marek Janowski with the combined forces of the Tonhalle-Orchester Zürich and Orchestre de la Suisse Romande, and also under Donald Runnicles with both the Atlanta Symphony Orchestra and the Berlin Philharmonic; Beethoven’s Ninth Symphony with Christoph von Dohnányi and the Boston Symphony Orchestra (his only previous BSO appearance, in August 2008), with Ivor Bolton and the Vienna Symphony, and with Christoph Eschenbach and the Chicago Symphony; Stravinsky’s Pulcinella with Roberto Abbado and the St. Paul Chamber Orchestra, Mendelssohn’s Elijah with Yannick Nézet-Séguin and the Orchestre Métropolitain du Grand Montréal, Schumann’s Das Paradies und die Peri with Sir Simon Rattle and the Philadelphia Orchestra (at both the Kimmel Center and Carnegie Hall), and a Euro- pean concert tour with soprano Annette Dasch and Deutsche Radio Philharmonie

TANGLEWOODWEEK 8 GUESTARTISTS 37 Saarbrücken Kaiserslautern under Christoph Poppen. Mr. Kaiser’s joint recital program with Lorraine Hunt Lieberson was presented under the auspices of the New York Festival of Song (commercially available on Bridge Records). He has also appeared in recital in Chicago, Montreal, Ottawa, and New York. For further information, please visit www.josephkaiser.com.

John Relyea John Relyea continues to distinguish himself as one of today’s finest basses, appearing at such celebrated opera houses as the Metropolitan Opera, San Francisco Opera (where he is an alumnus of the Merola Opera Program and a former Adler Fellow), Lyric Opera of Chicago, Seattle Opera, the Canadian Opera Company, Royal Opera–Covent Garden, Paris Opera, Bayerische Staatsoper, Vienna State Opera, Theater an der Wien, and the Mariinksy Theater. His many roles include the title roles in Attila, Le nozze di Figaro, Don Quichotte, and Aleko, Bluebeard in Bartók’s Bluebeard’s Castle, Raimondo in Lucia di Lammermoor, Colline in La bohème, Don Alfonso in Lucrezia Borgia, Don Basilio in Il barbiere di Siviglia, Alidoro in La Cenerentola, Giorgio in I puritani, Banquo in Macbeth, Garibaldo in Rodelinda, Méphistophélès in both Faust and La Damnation de Faust, the Four Villains in Les Contes d’Hoffmann, Escamillo in Carmen, Marke in Tristan und Isolde, Caspar in Der Freischütz, Nick Shadow in The Rake’s Progress, Collatinus in The Rape of Lucretia, and King René in Iolanta. In concert he appears regularly with the major orchestras of Boston, Philadelphia, New York, Pittsburgh, Cleveland, and Atlanta, as well as the Swedish Radio Symphony Orchestra, Scottish Chamber Orchestra, Philharmonia Orchestra, and the Berlin Philharmonic. He has appeared at the Tanglewood, Ravinia, Blossom, Cincinnati May, Vail, Lanaudière, Salzburg, Edinburgh, Lucerne, and Mostly Mozart festivals, and the BBC Proms. In recital he has been presented at New York’s

38 Weill Hall and Metropolitan Museum of Art, London’s Wigmore Hall, the University Musical Society in Ann Arbor, and the University of Chicago Presents series. The many conductors with whom John Relyea has worked include Harry Bicket, Pierre Boulez, Sir Colin Davis, Christoph von Dohnányi, Gustavo Dudamel, Christoph Eschenbach, Valery Gergiev, Bernard Haitink, Mariss Jansons, James Levine, Lorin Maazel, Sir Charles Mackerras, Sir Neville Marriner, Zubin Mehta, Kent Nagano, Sir Roger Norring- ton, Seiji Ozawa, Antonio Pappano, Sir Simon Rattle, Donald Runnicles, Esa-Pekka Salonen, Wolfgang Sawallisch, Robert Spano, and Ilan Volkov. His recordings include Verdi’s Requiem (LSO Live), Idomeneo with Mackerras and the Scottish Chamber Orchestra (EMI), Mahler’s Symphony No. 8 with Rattle and the City of Birmingham Symphony Orchestra (EMI), and the Metropolitan Opera’s DVD presentations of Don Giovanni, I puritani, Die Meistersinger von Nürnberg (Deutsche Grammophon), and Macbeth (Metropolitan Opera HD Live Series). Recent engagements include Bertram in Robert le Diable at the Royal Opera–Covent Garden, Méphistophélès in Faust at the Metropolitan Opera, the Four Villains at Bayerische Staatsoper, his role debut as Zaccaria in Nabucco at Minnesota Opera, concert performances of Tristan und Isolde with the Chicago Symphony Orchestra, and, on a European tour, concert performances of Parsifal conducted by Thomas Hengelbrock. He is the winner of the 2009 Beverly Sills Award and the 2003 Richard Tucker Award. John Relyea has appeared on numerous occasions with the BSO since his Tanglewood debut in 1999, singing music of Beethoven (including the Ninth Symphony at Tanglewood in 2006, 2010, and again for his most recent BSO appearance, in 2012), Mahler (the Symphony No. 8, with James Levine conducting at Symphony Hall and at Tanglewood), Mozart (the Great C minor Mass and the Requiem), Verdi (Requiem), and Walton (Belshazzar’s Feast).

Tanglewood Festival Chorus John Oliver, Conductor

This summer at Tanglewood with the Boston Symphony Orchestra, the Tanglewood Festival Chorus sings in Mahler’s Symphony No. 3 on July 6 with conductor Rafael Frühbeck de Burgos, Verdi’s Requiem on July 27 with conductor Carlo Montanaro, Poulenc’s Stabat mater on August 2 with Stéphane Denève, Ravel’s complete Daphnis et Chloé on August 3 with Charles Dutoit, and Beethoven’s Ninth Symphony on August 25 with BSO LaCroix Family Fund Conductor Emeritus Bernard Haitink, as well as a Friday Prelude concert of its own on August 23, when John Oliver conducts an all- Britten program marking the centennial of the composer’s birth. Founded in January 1970 when conductor John Oliver was named Director of Choral and Vocal Activities at the Tanglewood Music Center, the Tanglewood Festival Chorus made its debut on April 11 that year, in a performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting the BSO. Made up of members who donate their time and tal-

TANGLEWOODWEEK 8 GUESTARTISTS 39 ent, and formed originally under the joint sponsorship of Boston University and the Boston Symphony Orchestra for performances during the Tanglewood season, the chorus originally numbered 60 well-trained Boston-area singers, soon expanded to a complement of 120 singers, and also began playing a major role in the BSO’s subscription season, as well as in BSO performances at New York’s Carnegie Hall. Now num- bering over 300 members, the Tanglewood Festival Chorus performs year-round with the Boston Symphony Orchestra and Boston Pops. The chorus gave its first overseas performances in December 1994, touring with Seiji Ozawa and the BSO to Hong Kong and Japan. It performed with the BSO in Europe under James Levine in 2007 and Bernard Haitink in 2001, also giving a cappella concerts of its own on both occasions. In August 2011, with John Oliver conducting and soloist Stephanie Blythe, the Tanglewood Festival Chorus gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO to mark the TFC’s 40th anniversary. The chorus’s first recording with the BSO, Berlioz’s La Damnation de Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. In 1979 the ensemble received a Grammy nomination for its album of a cappella 20th-century American choral music recorded at the express invitation of Deutsche Grammophon, and its recording of Schoenberg’s Gurrelieder with Ozawa and the BSO was named Best Choral Recording by Gramophone magazine. The Tanglewood Festival Chorus has since made dozens of recordings with the BSO and Boston Pops, on Deutsche Grammophon, New World, Philips, Nonesuch, Telarc, Sony Classical, CBS Masterworks, RCA Victor Red Seal, and BSO Classics, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music released to mark the ensemble’s 40th anniversary in 2010, and, with James Levine and the BSO, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orches- tral Performance of 2009), Brahms’s Ein deutsches Requiem, and William Bolcom’s Eighth

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

John Oliver John Oliver founded the Tanglewood Festival Chorus in 1970 and has since prepared the TFC for more than 1000 performances, including appearances with the Boston Symphony Orchestra at Symphony Hall, Tanglewood, Carnegie Hall, and on tour in Europe and the Far East, as well as with visiting orchestras and as a solo ensemble. Occupant of the BSO’s Alan J. and Suzanne W. Dworsky Chair for Voice and Chorus, he has had a major impact on musical life in Boston and beyond through his work with countless TFC members, former students from the Massachusetts Institute of Technology (where he taught for thirty-two years), and Fellows of the Tanglewood Music Center who now perform with distinguished musical institutions throughout the world. Mr. Oliver’s affiliation with the Boston Symphony began in 1964 when, at twenty-four, he prepared the Sacred Heart Boychoir of Roslindale for the BSO’s performances and recording of excerpts from Berg’s Wozzeck led by Erich Leinsdorf. In 1966 he prepared the choir for the BSO’s performances and recording of Mahler’s Symphony No. 3, also with Leinsdorf, soon after which Leinsdorf asked him to assist with the choral and vocal music program at the Tanglewood Music Center. In 1970, Mr. Oliver was named Director of Vocal and Choral Activities at the Tanglewood Music Center and founded the Tanglewood Festival Chorus. He has since prepared the chorus in more than 200 works for chorus and orchestra, as well as dozens more a cappella pieces, and for more than forty commercial releases with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. John Oliver made his Boston Symphony conducting debut in August 1985 at Tanglewood with Bach’s St. Matthew Passion and his BSO subscription series debut in December 1985 with Bach’s B minor Mass, later returning to the Tanglewood podium with music of Mozart in 1995 (to mark the TFC’s 25th anniversary), Beethoven’s Mass in C in 1998, and Bach’s motet Jesu, meine Freude in 2010 (to mark the TFC’s 40th anniversary). In February 2012, replacing Kurt Masur, he led the BSO and Tanglewood Festival Chorus

TANGLEWOODWEEK 8 GUESTARTISTS 41 in subscription performances of Beethoven’s Missa Solemnis, subsequently repeating that work with the BSO and TFC for his Carnegie Hall debut that March. In addition to his work with the Tanglewood Festival Chorus and Tanglewood Music Center, Mr. Oliver has held posts as conductor of the Framingham Choral Society, as a member of the faculty and director of the chorus at Boston University, and for many years on the faculty of MIT, where he was lecturer and then senior lecturer in music. While at MIT, he conducted the MIT Glee Club, Choral Society, Chamber Chorus, and Concert Choir. In 1977 he founded the John Oliver Chorale, which performed a wide- ranging repertoire encompassing masterpieces by Bach, Beethoven, Mozart, and Stra- vinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dalla- piccola. With the Chorale he recorded two albums for Koch International: the first of works by Martin Amlin, Elliott Carter, William Thomas McKinley, and Bright Sheng, the second of works by Amlin, Carter, and Vincent Persichetti. He and the Chorale also recorded Charles Ives’s The Celestial Country and Charles Loeffler’s Psalm 137 for Northeastern Records, and Donald Martino’s Seven Pious Pieces for New World Records. Mr. Oliver’s appearances as a guest conductor have included Mozart’s Requiem with the New Japan Philharmonic and Shinsei Chorus, and Mendelssohn’s Elijah and Vaughan Williams’s A Sea Symphony with the Berkshire Choral Institute. In May 1999 he prepared the chorus and children’s choir for André Previn’s performances of Benjamin Britten’s Spring Symphony with the NHK Symphony in Japan; in 2001-02 he conducted the Carnegie Hall Choral Workshop in preparation for Previn’s Carnegie performance of Brahms’s Ein deutsches Requiem. John Oliver made his Montreal Sym- phony Orchestra debut in December 2011 conducting performances of Handel’s Messiah. In October 2011 he received the Alfred Nash Patterson Lifetime Achievement Award, presented by Choral Arts New England in recognition of his outstanding contributions to choral music. The 2013 Tanglewood season marks the 50th anniversary of Mr. Oliver’s Tanglewood debut.

42 Tanglewood Festival Chorus John Oliver, Conductor (Beethoven Symphony No. 9, August 25, 2013)

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

Carol Amaya • Alison Anderson • Michele Bergonzi # • Joy Emerson Brewer • Jeni Lynn Cameron • Catherine C. Cave • Anna S. Choi • Emilia DiCola • Amal El-Shrafi • Kaila J. Frymire • Hailey Fuqua • Diana Gamet • Bonnie Gleason • Beth Grzegorzewski • Alexandra Harvey • Eileen Huang • Stephanie Janes • Polina Dimitrova Kehayova • Carrie Kenney • Nancy Kurtz • Suzanne Lis • Kieran Murray • Kathleen O’Boyle • Heather O’Connor • Jaylyn Olivo • Laurie Stewart Otten • Laura Stanfield Prichard • Adi Rule • Joan P. Sherman § • Erin M. Smith • Judy Stafford • Stephanie Steele • Dana R. Sullivan • Sarah Telford

Mezzo-Sopranos

Virginia Bailey • Kristen S. Bell • Martha A. R. Bewick • Betty Blanchard Blume • Betsy Bobo • Lauren A. Boice • Abbe Dalton Clark • Diane Droste • Barbara Durham • Barbara Naidich Ehrmann • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman * • Irene Gilbride # • Denise Glennon • Lisa Sheppard Hadley • Rachel K. Hallenbeck • Julie Hausmann • Yuko Hori • Irina Kareva • Evelyn Eshleman Kern # • Yoo-Kyung Kim • Annie Lee • Gale Tolman Livingston # • Anne Forsyth Martín • Louise-Marie Mennier • Ana Morel • Tracy Elissa Nadolny • Livia M. Racz • Lori Salzman • Julie Steinhilber # • Lelia Tenreyro-Viana • Michele C. Truhe • Cindy M. Vredeveld • Christina Wallace Cooper • Lidiya Yankovskaya

Tenors

Brad W. Amidon • Armen Babikyan • James Barnswell • John C. Barr # • Ryan Casperson • Stephen Chrzan • Tomas Cruz • William Cutter • Kevin F. Doherty Jr. • Ron Efromson • Keith Erskine • Len Giambrone • J. Stephen Groff # • David Halloran # • Matthew Jaquith • Jordan King • Kwan H. Lee • Lance Levine • Dane Lighthart • Henry Lussier § • Daniel Mahoney • Mark Mulligan • David Norris # • Lukas Papenfusscline • John R. Papirio • Dwight E. Porter * • Guy F. Pugh • Peter Pulsifer • Tom Regan • Brian R. Robinson • Francis Rogers • David Roth • Joshuah Rotz • Blake Siskavich • Stephen E. Smith • Adam Van der Sluis

Basses

Thomas Anderson • Vartan T. Babikyan • Daniel E. Brooks # • Nicholas A. Brown • Stephen J. Buck • Paulo César Carminati • Matthew Collins • Matthew E. Crawford • Marc DeMille • Michel Epsztein • Jeff Foley • Mark Gianino • Jim Gordon • Jeramie D. Hammond • Geoffrey Herrmann • David M. Kilroy • Will Koffel • Bruce Kozuma • Timothy Lanagan # • David K. Lones # • Devon Morin • Stephen H. Owades § • Sam Parkinson • Michael Prichard # • Peter Rothstein * • Jonathan Saxton • Karl Josef Schoellkopf • Bradley Turner # • Jonathan VanderWoude • Thomas C. Wang # • Terry L. Ward

William Cutter, Rehearsal Conductor Martin Amlin, Rehearsal Pianist Erik Johnson, Chorus Manager

TANGLEWOODWEEK 8 GUESTARTISTS 43 Society Giving at Tanglewood

The following recognizes gifts made since September 1, 2012, to the Tanglewood Annual Fund and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals and foundations for their annual support of $3,000 or more during the 2012-13 season. For further information on becoming a Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Dr. Robert J. Mayer, Chair, Tanglewood Annual Fund

Chairman’s

Sally ‡ and Michael Gordon • Dorothy and Charlie Jenkins • Carol and Joe Reich • Caroline and James Taylor Virtuoso

Linda J.L. Becker • Roberta and George Berry • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Joyce Linde • Kate and Al Merck • Mrs. Irene Pollin • Susan and Dan ‡ Rothenberg • Kitte ‡ and Michael Sporn • Stephen and Dorothy Weber Encore

Mr. and Mrs. George D. Behrakis • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Scott and Ellen Hand • Larry and Jackie Horn • Elizabeth W. and John M. Loder • Jonathan D. Miller and Diane Fassino • Claudio and Penny Pincus • Ronald and Karen Rettner Benefactor

BSO Members’ Association • Joseph and Phyllis Cohen • Ginger and George Elvin • The Frelinghuysen Foundation • Cora and Ted Ginsberg • Drs. James and Eleanor Herzog • Valerie and Allen Hyman • Leslie and Stephen Jerome • James A. Macdonald Foundation • Jay and Shirley Marks • Jane and Robert J. Mayer, M.D. • Henrietta N. Meyer • The Claudia & Steven Perles Family Foundation • Eduardo Plantilla, M.D. and Lina Plantilla, M.D. • Mrs. Millard H. Pryor, Jr. • Carole and Edward I. Rudman • Arlene and Donald Shapiro • Evelyn and Ronald Shapiro • The Ushers and Programmers Fund Maestro

Robert and Elana Baum • Phyllis and Paul Berz • Sydelle and Lee Blatt • Beatrice Bloch and Alan Sagner • Catherine and Paul Buttenwieser • Ronald and Ronni Casty • James and Tina Collias • John F. Cogan, Jr. and Mary L. Cornille • Ranny Cooper and David Smith • Lori and Paul Deninger • Dr. T. Donald and Janet Eisenstein • Jane Fitzpatrick • Nancy J. Fitzpatrick and Lincoln Russell • Robert and Stephanie Gittleman • Ronnie and Jonathan Halpern • Susie and Stuart Hirshfield • Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • The Kandell Fund, in memory of Florence and Leonard S. Kandell • Brian A. Kane • Stephen B. Kay and Lisbeth L. Tarlow • Robert and Luise Kleinberg • Lizbeth and George Krupp • Mr. and Mrs. Henry A. Leander • Rebecca and Nathan Milikowsky • Kate and Hans Morris • Mr. and Mrs. Daniel Pierce • John S. and Cynthia Reed • Dr. Robin S. Richman and Dr. Bruce Auerbach • Suzanne and Burton Rubin • Mr. and Mrs. Kenan E. Sahin • Gloria Schusterman • Mr. and Mrs. Marvin Seline • Daniel and Lynne Ann Shapiro • Honorable George and Charlotte Shultz • Carol and Irv Smokler • Linda and Edward Wacks • Mr. and Mrs. Edwin A. Weiller III • Mr. Jan Winkler and Ms. Hermine Drezner Prelude

Dr. Norman Atkin • Joan and Richard Barovick • Dr Lynne B Harrison • Tanny and Courtney Jones • Arlene and Jerome Levine • Elaine and Ed London • Mr. and Mrs. Michael Monts • Jerry and Mary Nelson • Mike, Lonna and Callie Offner • Elaine and Bernard Roberts •

44 Maureen and Joe Roxe/The Roxe Foundation • Malcolm and BJ Salter • Marcia and Albert Schmier • Mr. and Mrs. Ernest Schnesel • JoAnne and Joel Shapiro • Suzanne and Robert Steinberg • Norma and Jerry Strassler • Lois and David Swawite • Aso O. Tavitian • Anonymous (2) Koussevitzky

Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Alli and Bill Achtmeyer • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Lois and Harlan Anderson • Arthur Appelstein and Lorraine Becker • Mr. Gerald Appelstein • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Carole and Richard Berkowitz • Linda and Tom Bielecki • Hildi and Walter Black • Brad and Terrie Bloom • Drs. Judith and Martin Bloomfield • Mr. and Mrs. Nat Bohrer • Mark G. and Linda Borden • Marlene and Dr. Stuart H. Brager • Carol and Bob Braun • Jane and Jay Braus • Judy and Simeon Brinberg • Mr. and Mrs. Jon E. Budish • Bonnie and Terry Burman • David and Maria Carls • Lynn and John Carter • Susan and Joel Cartun • The Cavanagh Family • Carol and Randy Collord • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Ernest Cravalho and Ruth Tuomala • Ann Denburg Cummis • Marion Dailey, in memory of Mark Wesley Brax • Richard H. Danzig • In memory of D.M. Delinferni • Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ursula Ehret-Dichter • Mr. and Mrs. Monroe B. England • Eitan and Malka Evan • Marie V. Feder • Mr. David Fehr • Eunice and Carl Feinberg • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Adaline H. Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Carolyn and Roger Friedlander • Myra and Raymond Friedman • Audrey and Ralph Friedner • Mr. David Friedson and Ms. Susan Kaplan • Mr. and Mrs. Robert L. Gable • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield • Drs. Anne and Michael Gershon • Dr. Donald and Phoebe Giddon • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • The Goldman Family Trust • Sondra and Sy Goldman • Joe and Perry Goldsmith • Judi Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Gorbach Family Foundation • Corinne and Jerry Gorelick • Jud and Roz Gostin • Carol B. Grossman • Mr. David Haas • Joseph K. and Mary Jane Handler • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Mr. and Mrs. Nathan Hayward III • Ricki Tigert Helfer and Michael S. Helfer • Ann L. Henegan • Jim Hixon • Enid and Charles Hoffman • Richard Holland • Stephen and Michele Jackman • Liz and Alan Jaffe • Lola Jaffe • Marcia E. Johnson • Ms. Rhonda Judy • Kahn Family Foundation • Adrienne and Alan Kane • Martin and Wendy Kaplan • Mr. Chaim and Dr. Shulamit Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Dr. Samuel Kopel and Sari Scheer • Norma and Sol D. Kugler • Marilyn Larkin • Shirley and Bill Lehman • Helaine and Marvin Lender • Cynthia and Robert J. Lepofsky • Marje Lieberman and Sam Seager • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Diane H. Lupean • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • Carmine A. and Beth V. Martignetti • Suzanne and Mort Marvin • Janet McKinley • Drs. Gail and Allen Meisel • The Messinger Family • Judy and Richard J. Miller • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Paul Neely • The Netter Foundation • John and Mary Ellen O’Connor • Mr. and Mrs. Gerard O’Halloran • Karen and Chet Opalka • Dr. and Mrs. Simon Parisier • Rabbi Rex Perlmeter and Rabbi Rachel Hertzman • Wendy Philbrick • Jonathan and Amy Poorvu • Ted Popoff and Dorothy Silverstein • Walter and Karen Pressey • Mary Ann and Bruno A. Quinson • The Charles L. Read Foundation • Mr. and Mrs. Albert P. Richman • Mary and Lee Rivollier • Barbara and Michael Rosenbaum • Lucinda and Brian Ross • Ruth and Milton Rubin • Sue Z. Rudd • Dr. Beth Sackler • Joan and Michael Salke • Dr. and Mrs. James Satovsky • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Dr. Raymond Schneider • Pearl Schottenfeld • Dan Schrager and Ellen Gaies • Mr. Daniel Schulman and Ms. Jennie Kassanoff • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Lois and Leonard Sharzer • The Shields Family • Hannah and Walter Shmerler • The Silman Family • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Marion A. Simon •

TANGLEWOODWEEK 8 SOCIETYGIVINGATTANGLEWOOD 45 Scott and Robert Singleton • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Elaine Sollar and Edwin R. Eisen • Lauren Spitz • Lynn and Ken Stark • Lynn and Lewis Stein • Noreene Storrie and Wesley McCain • Jerry and Nancy Straus • Mrs. Pat Strawgate • Roz and Charles Stuzin • Dorothy and Gerry Swimmer • Bill and Adrienne Taft • John Lowell Thorndike • Jerry and Roger Tilles • Jacqueline and Albert Togut • Barbara and Gene Trainor • Mr. and Mrs. Stanley Tulgan • Myra and Michael Tweedy • Antoine and Emily van Agtmael • Loet and Edith Velmans • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Stephen M. Weiner and Donald G. Cornuet • Gail and Barry Weiss • Carol Andrea Whitcomb • Carole White • Elisabeth and Robert Wilmers • Robert and Roberta Winters • The Wittels Family • Pamela and Lawrence Wolfe • June Wu • Patricia Plum Wylde • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (5) Bernstein

Mark and Stephanie Abrams • Dr. Burton Benjamin • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Gail and Stanley Bleifer • Birgit and Charles Blyth • Jim and Linda Brandi • Anne and Darrel Brodke • Sandra L. Brown • Rhea and Allan Bufferd • Antonia Chayes • Lewis F. Clark, Jr. • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Leslie and Richard Daspin • Brenda and Jerome Deener • Mr. and Mrs. Arthur Dellheim • The Dulye Family • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Sanford P. Fagadau • Dr. and Mrs. Gerald D. Falk • Dr. Jeffrey and Barbara Feingold • Doucet and Stephen Fischer • John M. and Sheila Flynn • Betty and Jack Fontaine • Herb and Barbara Franklin • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Susan and Richard Grausman • Mr. Harold Grinspoon and Ms. Diane Troderman • Charlotte and Sheldon Gross • Michael and Muriel Grunstein • Mrs. Deborah F. Harris • Ms. Jeanne M. Hayden and Mr. Andrew Szajlai • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Hunt Alternatives Fund/Fern Portnoy and Roger Goldman • Jean and Ken Johnson • Miriam and Gene Josephs • Ms. Lauren Joy • Charlotte Kaitz and Family • Margaret and Joseph Koerner • J. Kenneth and Cathy Kruvant • Ms. Phyllis B. Lambert • Mr. and Mrs. Ira S. Levy • Mr. and Mrs. Bill Lewinski • Phyllis and Walter F. Loeb • Gloria and Leonard Luria • Dr. and Mrs. Malcolm Mazow • Wilma and Norman Michaels • Mrs. Suzanne Nash • Linda and Stuart Nelson • Frank M. Pringle • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber • Robert and Ruth Remis • Mr. and Mrs. Thomas A. Renyi • Edie and Stan Ross • Ms. Nancy Whitson-Rubin • Robert M. Sanders • Elisabeth Sapery and Rosita Sarnoff • Jane and Marty Schwartz • Betsey and Mark Selkowitz • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Susan and Judd Shoval • Mr. and Mrs. Warren Sinsheimer • Maggie and Jack Skenyon • Mr. Peter Spiegelman and Ms. Alice Wang • Mr. and Mrs. Daniel S. Sterling • Mr. and Mrs. Edward Streim • Mr. and Mrs. George A. Suter, Jr. • Ingrid and Richard Taylor • J and K Thomas Foundation • Bob Tokarczyk • Diana O. Tottenham • Mr. and Mrs. Howard J. Tytel • Ron and Vicki Weiner • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Michelle Wernli and John McGarry • Ms. Pamela A. Wickham • Elisabeth and Robert Wilmers • Sally and Steve Wittenberg • Mr. and Mrs. Allan Yarkin

‡ Deceased Stu Rosner

46 Tanglewood Major Corporate Sponsors 2013 Season

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

Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come.

Clean Slate German Riesling is the proud sponsor of Opening Weekend at Tanglewood. On the steep slate hills above the winding Mosel River grow the world’s most celebrated Riesling vines. From these noble grapes comes Clean Slate, a crisp and balanced wine with ripe peach flavors and crisp notes of mineral imparted from the slate soil. Imported by Winebow, Inc. New York, NY and distributed in Massachusetts by United Liquors, a division of the Martignetti Companies. For more information, visit www.cleanslatewine.com

TANGLEWOODWEEK 8 MAJORCORPORATESPONSORS 47

August at Tanglewood

Friday, August 2, 6pm (Prelude Concert) Thursday, August 8—Monday, August 12 MEMBERS OF THE BSO FESTIVAL OF CONTEMPORARY MUSIC RANDALL HODGKINSON, piano PIERRE-LAURENT AIMARD, Festival Music of Britten, Beethoven, Kurtág, and Director Ravel Friday, August 9, 6pm (Prelude Concert) Friday, August 2, 8:30pm MEMBERS OF THE BSO The Serge and Olga Koussevitzky ALLEGRA LILLY, harp Memorial Concert Music of Golijov, Tan Dun, and Schnittke BSO—STÉPHANE DENÈVE, conductor LARS VOGT, piano Friday, August 9, 8:30pm LUCY CROWE, soprano BSO—CHRISTOPH VON DOHNÁNYI, TANGLEWOOD FESTIVAL CHORUS conductor GIL SHAHAM, violin STRAUSS Death and Transfiguration BEETHOVEN Piano Concerto No. 4 SIBELIUS Violin Concerto POULENC Stabat Mater BRAHMS Symphony No. 2

Saturday, August 3, 10:30am Saturday, August 10, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 4 BSO program of Sunday, August 11

Saturday, August 3, 8:30pm Saturday, August 10, 8:30pm BSO—CHARLES DUTOIT, conductor BSO—CHRISTOPH VON DOHNÁNYI, LANG LANG, piano conductor TANGLEWOOD FESTIVAL CHORUS YEFIM BRONFMAN, piano RAVEL Pavane for a Dead Princess CARTER Sound Fields BEETHOVEN Piano Concerto No. 1 BEETHOVEN Piano Concerto No. 3 RAVEL Daphnis et Chloé (complete) BRAHMS Symphony No. 4

Sunday, August 4, 2:30pm Sunday, August 11, 2:30pm BSO—CHARLES DUTOIT, conductor BSO—CHRISTIAN ZACHARIAS, conductor YO-YO MA, cello and piano STRAVINSKY Fireworks ALL-BEETHOVEN PROGRAM DVORÁKˇ Cello Concerto Overture to The Creatures of Prometheus STRAVINSKY The Rite of Spring Piano Concerto No. 2 Symphony No. 6 in F, Pastoral Sunday, August 4, 8pm Monday, August 12, 8pm ESPERANZA SPALDING RADIO MUSIC SOCIETY Final concert of the 2013 FESTIVAL OF CONTEMPORARY MUSIC Tuesday, August 6, 8:30pm (Gala Concert) GEORGE BENJAMIN, conductor Tanglewood on Parade BENJAMIN Written On Skin, Opera in three (Grounds open at 2pm for music and activities parts (U.S. premiere) throughout the afternoon.) Concert performance, sung in English with BSO, BOSTON POPS ORCHESTRA, and supertitles TMC ORCHESTRA STÉPHANE DENÈVE, CHARLES DUTOIT, Wednesday, August 14, 8pm KEITH LOCKHART, and JOHN WILLIAMS, EMERSON STRING QUARTET conductors Music of Haydn, Britten, and Beethoven Music of Borodin, Gershwin, Bernstein, and Tchaikovsky Thursday, August 15, 8:30pm, Shed Fireworks to follow the concert “THE GOAT RODEO SHOW” Wednesday, August 7, 8pm YO-YO MA, cello CHRISTIAN ZACHARIAS, piano EDGAR MEYER, bass Music of Beethoven, Schubert, and Schumann CHRIS THILE, mandolin STUART DUNCAN, fiddle with AOIFE O’DONOVAN, vocals

Friday, August 16, 6pm (Prelude Concert) Friday, August 23, 8:30pm BSO BRASS QUINTET BSO—ANDRIS POGA, conductor Music of Lutosławski, Stevens, Vivaldi/Bach, PETER SERKIN, piano and Bozza POULENC Sinfonietta Friday, August 16, 8:30pm STRAVINSKY Concerto for Piano and Winds BEETHOVEN Symphony No. 7 BOSTON POPS ORCHESTRA KEITH LOCKHART, conductor Saturday, August 24, 10:30am MICHAEL FEINSTEIN and Friends Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Including a tribute to Marvin Hamlisch, and BSO program of Sunday, August 25 centennial celebrations of composer Jimmy Van Heusen and lyricist Sammy Cahn Saturday, August 24, 2:30pm Saturday, August 17, 10:30am FAMILY CONCERT Open Rehearsal (Pre-Rehearsal Talk, 9:30am) “Musical Storytelling,” to include music of Rimsky-Korsakov, Saint-Saëns, and BSO program of Saturday, August 17 Casinghino’s One Hen, based on the Saturday, August 17, 8:30pm children’s book by Kate Smith Milway, all performed by a wind quintet made BSO—BERNARD HAITINK, conductor up of BSO members and TMC Fellows ISABELLE FAUST, violin CAMILLA TILLING, soprano Saturday, August 24, 8:30pm John Williams’ Film Night MOZART Violin Concerto No. 5 in A, K.219 MAHLER Symphony No. 4 BOSTON POPS ORCHESTRA JOHN WILLIAMS and DAVID NEWMAN, Sunday, August 18, 2:30pm conductors The Leonard Bernstein Memorial Concert AUDRA MCDONALD, vocalist TMC ORCHESTRA—CHRISTOPH VON Film music by Alfred Newman, Henry Mancini, DOHNÁNYI, conductor Max Steiner, and John Williams, plus songs EMANUEL AX, piano performed by renowned vocalist Audra MOZART Piano Concerto No. 9 in E-flat, K.271 McDonald MAHLER Symphony No. 1 Sunday, August 25, 2:30pm Monday, August 19, 7pm BSO—BERNARD HAITINK, conductor GRACE POTTER AND THE NOCTURNALS ERIN WALL, TAMARA MUMFORD, JOSEPH with very special guest JOSH RITTER KAISER, JOHN RELYEA, vocal soloists TANGLEWOOD FESTIVAL CHORUS Tuesday, August 20, 8pm BEETHOVEN Symphony No. 9 BOSTON SYMPHONY CHAMBER PLAYERS MENAHEM PRESSLER, piano Sunday, August 25, 8pm MARCELO LEHNINGER, conductor MONTY ALEXANDER TRIO Music of Carter, Copland, Kurtág, and Mozart Thursday, August 29, 8pm Thursday, August 22, 8pm WAIT WAIT…DON’T TELL ME! DANIIL TRIFONOV, piano Saturday, August 31, 1pm Music of Scriabin, Liszt, and Chopin DONAL FOX Friday, August 23, 6pm (Prelude Concert) THE SCARLATTI JAZZ PROJECT TANGLEWOOD FESTIVAL CHORUS Saturday, August 31, 7pm JOHN OLIVER, conductor JOHN FINNEY, organ HARRY CONNICK, JR. Music of Britten EVERY MAN SHOULD KNOW TOUR Sunday, September 1, 2:30pm BOSTON POPS ESPLANADE ORCHESTRA THOMAS WILKINS, conductor

Programs and artists subject to change. 2013 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium of Seiji Ozawa Hall. * Tickets available only through the Tanglewood Box Office, SymphonyCharge, or online at bso.org Admission free, but restricted to that evening’s concert ticket holders

Sunday, June 30, 10am Sunday, July 14, 10am BRASS EXTRAVAGANZA Chamber Music TMC Instrumental and Conducting Fellows Monday, July 15, 6pm Monday July 1, 11am and 2:30pm Prelude Concert Tuesday July 2, 11am Monday, July 15, 8pm * STRING QUARTET MARATHON The Daniel Freed and Shirlee Cohen Freed One ticket provides admission to all three Memorial Concert concerts. TMC ORCHESTRA—STEFAN ASBURY and Tuesday July 2, 2:30pm TMC CONDUCTING FELLOWS, conductors Opening Exercises (free admission; open to LAURA STRICKLING, soprano the public; performances by TMC Faculty) Music of BRITTEN and SHOSTAKOVICH Wednesday July 3, 7pm Saturday, July 20, 6pm Vocal Concert: “Fables, Folk Songs, and Prelude Concert Fantasies” Sunday, July 21, 10am Saturday, July 6, 6pm Chamber Music Prelude Concert Sunday, July 21, 7pm Sunday, July 7, 10am Vocal Concert Chamber Music Monday, July 22, 6pm Monday, July 8, 6pm Piano Prelude: Music of Debussy Piano Prelude Monday, July 22, 8pm * Monday, July 8, 8pm * The Margaret Lee Crofts Concert The Phyllis and Lee Coffey Memorial Concert TMC ORCHESTRA—STÉPHANE DENÈVE TMC ORCHESTRA—RAFAEL FRÜHBECK and TMC CONDUCTING FELLOWS, DE BURGOS and TMC CONDUCTING conductors FELLOWS, conductors Music of DEBUSSY REILLY NELSON, mezzo-soprano Saturday, July 27, 6pm (Theatre) Music of KODÁLY, HARBISON, and Prelude Concert BEETHOVEN Sunday, July 28, 10am (Theatre) Wednesday, July 10, 8pm Chamber Music Vocal Concert Saturday, July 13, 6pm Prelude Concert

TICKETS FOR TMC CONCERTS other than TMC Orchestra concerts are available at $11 in advance online, or in person one hour prior to concert start time only at the Ozawa Hall Bernstein Gate. Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orches- tra concerts of July 8, 15, and 22 and August 12 are available in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at tanglewood.org. Please note that availability of seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, TMC Orchestra concerts, and the August 12 FCM concert opera) by presenting their membership cards with bar code at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music concerts are $11. FOR INFORMATION ON BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 or (413) 637-5261, or visit tanglewood.org/contribute. Wednesday, July 31, 7:30pm * Thursday, August 8—Monday, August 12 Thursday, August 1, 7:30pm * 2013 FESTIVAL OF CONTEMPORARY MARK MORRIS DANCE GROUP MUSIC TMC FELLOWS Pierre-Laurent Aimard, Festival Director MARK MORRIS, choreographer and director Directed by Pierre-Laurent Aimard, the STEFAN ASBURY, conductor (Purcell) 2013 Festival of Contemporary Music CHRISTINE VAN LOON and ALLEN MOYER, highlights works of composers Helmut costume designers Lachenmann and Marco Stroppa, with JAMES F. INGALLS, lighting designer performances also of music by György ROBERT BARDO and ALLEN MOYER, Ligeti, Conlon Nancarrow, and Steve scenic designers Reich; TMC commissions by Elliott Carter BRITTEN Curlew River (east coast premiere) and Christian Mason PURCELL Dido and Aeneas (world premiere); and, to close the festi- Fully-staged productions, sung in English val, a concert performance of George Benjamin’s critically acclaimed opera Saturday, August 3, 6pm Written on Skin in its U.S. premiere. Prelude Concert Thursday, August 8, 6pm (Prelude Concert) Sunday, August 4, 10am THE NEW FROMM PLAYERS Chamber Music Music of CARTER Tuesday, August 6 * Thursday, August 8, 8pm TANGLEWOOD ON PARADE The Fromm Concert at Tanglewood 2:30pm: TMC Cello Ensemble TMC FELLOWS 3:30pm: TMC Piano Music: Liszt piano BRIAN CHURCH, narrator transcriptions of Verdi and Wagner MICHELE MARELLI, basset horn 5:00pm: TMC Vocal Concert: cabaret songs Music of MASON, STROPPA, CARTER, 8:00pm: TMC Brass Fanfares (Shed) and LACHENMANN 8:30pm: Gala Concert (Shed) Friday, August 9, 2:30pm TMC ORCHESTRA, BSO, and PIERRE-LAURENT AIMARD, piano BOSTON POPS ORCHESTRA THE NEW FROMM PLAYERS STÉPHANE DENÈVE, CHARLES DUTOIT, JACK Quartet KEITH LOCKHART, and JOHN WILLIAMS, conductors Music of CARTER, LACHENMANN, and STROPPA Music of Borodin, Gershwin, Bernstein, and Tchaikovsky Saturday, August 10, 6pm (Prelude Concert) PIERRE-LAURENT AIMARD, piano Saturday, August 10, 6pm ELIZABETH KEUSCH, soprano Prelude Concert STEPHEN DRURY, piano Saturday, August 17, 11am THE NEW FROMM PLAYERS COMPOSER PIECE-A-DAY CONCERT Music of STROPPA, LACHENMANN, Free admission and CARTER Saturday, August 17, 6pm Sunday, August 11, 10am Prelude Concert TMC FELLOWS Sunday, August 18, 10am MICKEY KATZ, cello Vocal Concert Music of NANCARROW, STROPPA, “On This Island: The Great English Poets” LIGETI, and REICH Sunday, August 18, 1pm Monday, August 12, 8pm Vocal Prelude TMC FELLOWS Schubert’s Winterreise GEORGE BENJAMIN, conductor TMC FELLOWS Sunday August 18, 2:30pm (Shed) * BENJAMIN Written on Skin (U.S. premiere; The Leonard Bernstein Memorial Concert concert performance) Supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. The Festival of Contemporary Music has been Schneider, and by Diane H. Lupean endowed in perpetuity by the generosity of Dr. TMC ORCHESTRA—CHRISTOPH Raymond and Mrs. Hannah H. Schneider, VON DOHNÁNYI, conductor with additional support in 2013 from the EMANUEL AX, piano Aaron Copland Fund for Music, the Fromm Music of MOZART and MAHLER Music Foundation, the National Endowment for the Arts, and the Helen F. Whitaker Fund.

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlim- ited access to all performances of the Boston Symphony Orchestra and the Tanglewood Music Center. Now in its 48th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its intensive (photo by Kristen Seavey) programs, distinguished faculty, beautiful campus, and interaction with the BSO and TMC make BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, edu- cators, and administrators. The Institute includes Young Artists Programs for students age fourteen to nineteen (Orchestra, Voice, Wind Ensemble, Piano, Harp, and Composition) as well as Institute Workshops (Clarinet, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the students are supported, by the BUTI Scholarship Fund with contributions from individuals, foundations, and corporations. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1431 or (617) 353-3386.

2013 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 13, 2:30pm, Tito Munoz conducts Copland’s Billy the Kid, Dvoˇrák’s Symphony No. 8, and Cowell’s Ancient Desert Drone. Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem featuring the BUTI Vocal Program, along with Britten’s Sinfonia da Requiem and Schnittke’s (K)ein Sommernachtstraum. Saturday, August 10, 2:30pm, Paul Haas conducts Respighi’s Fountains of Rome and Stravinsky’s The Rite of Spring.

WIND ENSEMBLE PROGRAMS: Sunday, July 14, 2:30pm, David Martins conducts Bernstein, Gillingham, Hart, Grainger/Rogers, Welcher, Sparke, and Navarro. Sunday, July 28, 8pm, Tanglewood Theatre, H. Robert Reynolds conducts Whitacre, Gandolfi, Tichell/Green, Turrin, Bach, and Grantham.

VOCAL PROGRAMS: Saturday, July 27, 2:30pm, Tanglewood Theatre, Ken-David Masur conducts Mozart’s Requiem with the Young Artists Orchestra and Vocal Program.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Tuesday, July 30; Wednesday, July 31; Thursday, August 1.

SPECIAL CONCERT: BUTI Honors Recital, Saturday, August 3, 2:30pm, featuring select solo and chamber music ensembles from all of the BUTI Young Artist Programs.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1430 or 1431.

Administration

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, Chief Financial Ofﬁcer Kim Noltemy, Chief Marketing and Communications Ofﬁcer Bart Reidy, Director of Development Ray F. Wellbaum, Orchestra Manager

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Amanda Severin, Manager of Artistic Planning and Services

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research

Education and Community Engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs

Facilities C. Mark Cataudella, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

Promotional stamps issued by the Berkshire Symphonic Festival Committee to publicize the Boston Symphony Orchestra’s first Berkshire Festival concerts in August 1936, the year before the BSO took up annual summer residence at Tanglewood (BSO Archives) Information Technology Timothy James, Director of Information Technology Andrew Cordero, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager

Public Relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Louisa Ansell, Marketing Coordinator • Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Jason Lyon, Director of Tanglewood Tourism/Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Nicholas Vincent, Access Coordinator/SymphonyCharge Representative • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager Box Office Representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House and Visitor Center Manager • Edward Collins, Logistics Operations Supervisor • Eileen Doot, Business Office Manager • Thomas Finnegan, Parking Coordinator • David Harding, TMC Concerts Front of House Manager • Christopher Holmes, Public Safety Supervisor • Peggy and John Roethel, Seranak Innkeepers

Boston Symphony Association of Volunteers

Executive Committee Chair Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller

Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater

Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine

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

Tanglewood Project Leads 2013 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Exhibit Docents, Maureen O’Hanlon Krentsa and Susan Price • Friends Office, Anne Hershman and Marilyn Schwartzberg • Guide’s Guide, Audley H. Fuller and Renee Voltmann • History Project, Alexandra Warshaw • Newsletter, Sylvia Stein • Off-Season Educational Resources, Norma Ruffer • Recruit, Retain, Reward, Toby Morganstein and Carole Siegel • Seranak Flowers, Diane Saunders • Talks and Walks, Rita Kaye and Maryellen Tremblay • Tanglewood Family Fun Fest, William Ballen and Margery Steinberg • Tanglewood for Kids, Dianne Orenstein, Mark Orenstein, and Charlotte Schluger • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman, Pam Levit Beiderman, David Rothstein, and Janet Rothstein • Tour Guides, Mort Josel and Sandra Josel FAVORITE RESTAURANTS OF THE BERKSHIRES

295 NORTH ST. PITTSFIELD 413-442-2290 www.madjacksbbqonline.com Call us for a TANGLEWOOD Picnic Pack.

If you would like to be part of this restaurant page, please call 781-642-0400. FAVORITE RESTAURANTS OF THE BERKSHIRES William Mercer Tanglewood Business Partners

The BSO gratefully acknowledges the following for their generous contributions of $750 or more for the 2013 season. An eighth note denotes support of $1,500-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Laurence Oberwager, Director of Tanglewood Business Partners, at 413-637-5174, or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Preparation Berkshire Tax Service, Inc. • JOSEPH E. GREEN, CPA • Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA Advertising/Marketing Ed Bride Associates • The Cohen Group • L.A. Communications • Pilson Communications, Inc. • R L Associates Architecture/Design/Engineering edm – architecture . engineering . management • Foresight Land Services • Hill Engineers, Architects, Planners, Inc. • Barbara Rood Interiors • Pamela Sandler, AIA, Architect Art /Antiques Elise Abrams Antiques • Hoadley Gallery Automotive Biener Audi • Haddad Toyota – Subaru - Hyundai Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • The Lenox National Bank • MOUNTAINONE FINANCIAL • NBT Bank of Lenox • The Pittsfield Cooperative Bank • Salisbury Bank and Trust Co. • TD Bank Building Supplies/Hardware/Home E. Caligari & Son • Carr Hardware • Dettinger Lumber Co., Inc. • DRESSER-HULL COMPANY • Ed Herrington, Inc. Building/Contracting ALLEGRONE CONSTRUCTION CO. • Berkshire Landmark Builders • Great River Construction Co., Inc. • Luczynski Brothers Building • J.H. Maxymillian, Inc. • DAVID J. TIERNEY, JR., INC • PETER D. WHITEHEAD BUILDER, LLC • George Yonnone Restorations Catering International Polo Club Catering • Savory Harvest Catering Consulting Barry L. Beyer • Robert Gal LLC • General Systems Company, Inc. Education American Institute for Economic Research • Belvoir Terrace, Visual and Performing Arts and Sports Camp • Berkshire Country Day School • Massachusetts College of Liberal Arts • Quest Connect • Marty Rudolph’s Math Tutoring Service • Thinking in Music Energy/Utilities ESCO Energy Services Company • VIKING FUEL OIL CO., INC. Financial Services American Investment Services, Inc. • Frank Battista, CFP® • BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • THE BERKSHIRES CAPITAL INVESTORS • Financial Planning Hawaii • MR. AND MRS. ROBERT HABER • SUSAN AND RAYMOND HELD • Kenneth R. Heyman, CFP • Kaplan Associates L.P. • Keator Group, LLC • TD Wealth • True North Financial Services • WILMINGTON TRUST Food/Beverage Wholesale Barrington Coffee Roasting • Crescent Creamery, Inc. • High Lawn Farm • KOPPERS CHOCOLATE Insurance Bader Insurance Agency, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. • GUARDIAN LIFE INSURANCE COMPANY OF AMERICA • Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • COHEN KINNE VALICENTI & COOK, LLP • Michael J. Considine, Attorney at Law • Deely & Deely, Attorneys • Hochfelder & Associates, PC • MS. LINDA LEFFERT • Norman Mednick, Esq. • The Law Office of Zick Rubin • Susan M. Smith, Esq. • Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lodging/Resorts 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Comfort Inn & Suites • Berkshire Days Inn • Berkshire Holiday Inn Express & Suites • Berkshire Howard Johnson Lenox • Berkshire Travelodge Suites • Birchwood Inn • BLANTYRE • Brook Farm Inn • CANYON RANCH IN LENOX • Chesapeake Inn of Lenox • The Cornell Inn • CRANWELL RESORT, SPA & GOLF CLUB • Crowne Plaza Hotel - Berkshires • Days Inn Lenox • Devonfield Inn • Eastgate Inn Bed & Breakfast • Eastover Hotel and Resort LLC • English Hideaway B&B • Federal House Inn • The Garden Gables Inn • Gateways Inn • Hampton Inn & Suites • Hampton Terrace Bed and Breakfast Inn • Inn at Green River • The Inn at Stockbridge • Jiminy Peak Mountain Resort • Mayflower Inn & Spa • THE PORCHES INN AT MASSMOCA • THE RED LION INN • The Rookwood Inn • Seven Hills Inn • Stonover Farm Bed & Breakfast • WHEATLEIGH HOTEL & RESTAURANT • Whistler’s Inn Manufacturing/Consumer Products AMERICAN TERRY, CO. • CRANE & CO., INC. • IREDALE MINERAL COSMETICS • New Yorker Electronics Co., Inc. • Onyx Specialty Papers, Inc. Medical 510 Medical Walk-In • J. Mark Albertson D.M.D., P.C. • Austen Riggs Center • Berkshire Health Systems • Stanley E. Bogaty, M.D. • County Ambulance Service • Lewis R. Dan, M.D. • Eye Associates of Bucks County • For Eyes Optical • Dr. Steven and Nancy Gallant • Fred Hochberg, M.D. • William E. Knight, M.D. • Dr. Charles Mandel/Optical Care Associates • Dr. Joseph Markoff • Nielsen Healthcare Group, Inc. • Northeast Urogynecology • Donald Wm. Putnoi, M.D. • Dr. Robert and Esther Rosenthal • Royal Health Care Services of New York • Chelly Sterman Associates • Suburban Internal Medicine Moving/Storage Mullen Moving, Storage & Logistics Company • QUALITY MOVING & STORAGE • Security Self Storage Non-Profit Berkshire Children and Families, Inc. • BERKSHIRE THEATRE GROUP • Berkshire United Way • Kimball Farms Retirement Community Printing/Publishing/Photography Edward Acker, Photographer • Our Berkshire Green Publishing • QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS Real Estate Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST • Benchmark Real Estate • Brause Realty Inc. • Cohen & White Associates • Barbara K. Greenfeld, Broker Associate at Roberts & Associates Realty • Hill Realty, LLC • McLean & McLean Realtors, Inc. • PATTEN FAMILY FOUNDATION • Pennington Management Co. • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties LLC • Michael Sucoff Real Estate • Lance Vermeulen Real Estate • Tucker Welch Properties Restaurant Alta Restaurant • Bagel & Brew • Bistro Zinc • Brava • Café Lucia • Chez Nous • Cork ’N Hearth • Firefly • Flavours of Malyasia • Mazzeo’s Ristorante • Prime Italian Steakhouse & Bar • Rouge Restaurant • Route 7 Grill Retail: Clothing Arcadian Shop • Bare Necessities • Ben’s • The Gifted Child • Glad Rags Retail: Food & Wine Barrington Bites • Bizalion’s Fine Food • Berkshire Co-op Market • Chocolate Springs Café • GOSHEN WINE & SPIRITS, INC. • Guido’s Fresh Marketplace • Nejaime’s Wine Cellars • Price Chopper Supermarkets • Queensboro Wine & Spirits • Spirited Retail: Home & Garden COUNTRY CURTAINS AT THE RED LION INN • Garden Blossoms Florist • Paul Rich & Sons • Wards Nursery & Garden Center • Windy Hill Farm, Inc. Salon SEVEN salon.spa • Shear Design Security Alarms of Berkshire County • Global Security, LLC Specialty Contracting and Services Aladco Linen Services • R.J. ALOISI ELECTRICAL CONTRACTING INC. • Berkshire Fence Company • Braman Termite & Pest Elimination • Camp Wagalot Boarding & Daycare for Dogs • Dery Funeral Homes • Pignatelli Electric • Michael Renzi Painting Company • Shire Cleaning and Janitorial • A Touch of Comfort Therapeutic Massage Travel & Transportation ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • AllPoints Drivers • Lyon Aviation • The Traveling Professor Video MYRIAD PRODUCTIONS Yoga/Wellness KRIPALU CENTER FOR YOGA & HEALTH (Note: List of donors accurate as of June 13, 2013.) Great Benefactors

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

Ten Million and above

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

Seven and One Half Million

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

Five Million

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

Two and One Half Million

Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack ‡ Fitzpatrick • Sally ‡ and Michael Gordon • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • Kate and Al Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Samantha and John Williams • Anonymous (2)

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (9) ‡ Deceased Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall