Boston Symphony Orchestra Concert Programs, Summer, 2011

Home , Air and Simple Gifts, Harold Farberman, Marquita Lister, Michael Aronov, Typhoon Gilda (1974)

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May 11, 2001 (sell)

April 4, 2010 (sell) January 1, 2002 (sell)

May 10, 2002 (sell)

September 28 2001 (buy) S&P 500 INDEX

DAILY DATA 1/02/2001-12/31/2010

October 11 2002 (buy)

MJ SDMJ SDMJ S D M J SDMJ D M J SDMJ S D

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May 11, 2001 (sell) May 10, 2002 (sell) November 15, 2007 (sell)

"Don't get too scientific.just ask yourself; "If [the NASDAQ] pierces the 1600 level "The obvious answer is a temporary position

does it feel like a recession? We don't think again, the prudent investor will not hold in cash."

it feels as bad as 1990-1991, but it is bad out for another relief rally...the NASDAQ is The stock market fell 48.9% after that sell enough." setting up for a retest of the September signal. [2007] lows of the 1400s." The stock market fell 16.5% until our next buy signal. October 11, 2002 (buy) March 6, 2009 (buy)

"Expect a bottom for the S&P 500 at 660 September 28, 2001 (buy) "The VIX broke 50 [on October 10th], and points." that is my buy signal this time." "Equity valuations are better than they have The stock market rose 63.2% from that buy been in years." The stock market rose 80% until our next signal to the end of 2009. sell signal. The stock market rose 10.4% until our next sell signal. April 4, 2010 (sell)

January 1, 2002 (sell) "...The bottom line is a correction is coming, but it's not a crash... Signs of a longer-than- "I've had my three months of bullishness, BERKSHIRE typical correction."

but now I must adhere, once again, to a more bearish sentiment." MONEY July 14, 2010 (buy) The stock market fell 30% until our next MANAGEMENT "...the correction is over...being in cash is a buy signal. risky proposition."

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Art of the Americas Wing

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Museum of Fine Arts Boston mfa.org the new m James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate

130th season, 2010-2011

Trustees of the Boston Symphony Orchestra, Inc.

Stephen B. Kay and Robert P. O'Block, Co-Chairmen • Edmund Kelly, Chairman-Elect •

Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Roger T. Servison,

Vice-Chairman • Stephen R. Weber, Vice-Chairman • Vincent M. O'Reilly, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Samuel B. Bruskin •

• • • • Eric D. Collins Cynthia Curme Alan J. Dworsky William R. Elfers Judy Moss Feingold,

• • • • • ex-officio Nancy J. Fitzpatrick Michael Gordon Brent L. Henry Charles H.Jenkins, Jr.

Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. •

• • • Nathan R. Miller Richard P. Morse • Aaron J. Nurick, ex-officio Susan W. Paine

Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Sternberg • Theresa M. Stone

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 • Helene R. Cahners • James F. Cleary •

• John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. Nina L. Doggett Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg Edna S. Kalman •

• George Krupp • Mrs. August R. Meyer • Mrs. Robert B. Newman William J. Poorvu Irving W. Rabb • Peter C. Read • 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, ChiefFinancial Officer • Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc.

Judy Moss Feingold, Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin •

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 Burke • Ronald G. Casty • Richard E. Cavanagh • Carol Feinberg Cohen •

Susan Bredhoff Cohen • Richard F Connolly, Jr. • Charles L. Cooney • Ranny Cooper •

James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger •

• • • • Ronald F Dixon Ronald M. Druker Alan Dynner Philip J. Edmundson Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. •

Steven S. Fischman • John F. Fish • Sanford Fisher • Robert Gallery • Robert P. Gittens •

Carol Henderson • Stuart Hirshfield • Susan Hockfield • Roger Hunt • William W. Hunt •

• Valerie Hyman • Ernest Jacquet • Everett L. Jassy • Stephen J. Jerome Darlene Luccio Jordan, Esq. • PaulL.Joskow • Stephen R. Karp • Douglas A. Kingsley •

Robert Kleinberg • John L. Klinck, Jr. • Farla H. Krentzman • Peter E. Lacaillade •

Charles • • • • • Larkin Robert J. Lepofsky Nancy K. Lubin Jay Marks Jeffrey E. Marshall

C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Maureen Miskovic • Robert Mnookin •

Paul • • • • M. Montrone Sandra O. Moose Robert J. Morrissey J. Keith Motley, Ph.D.

Cecile Higginson Murphy • Peter Palandjian • Vincent Panetta, Jr. • Joseph Patton •

Joyce L. Plotkin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds •

Claire Pryor • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg •

Joseph D. Roxe • Kenan Sahin • Donald L. Shapiro • Gilda Slifka • Christopher Smallhorn •

Michael B. Sporn, M.D. • 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 • 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 •

Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis •

Mrs. Miguel de Braganca • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian •

Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish •

Myrna H. Freedman • Peter H.B. Frelinghuysent • Mrs. Thomas Galligan, Jr. •

Mrs. James Garivaltis • Dr. Arthur Gelb • Jordan Golding • Mark R. Goldweitz •

Michael Halperson • John Hamill • Deborah M. Hauser • Mrs. Richard D. Hill •

Marilyn Brachman Hoffman • Lolajaffe • Michael Joyce • Martin S. Kaplan •

Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K Kraft •

Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. •

Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. •

Joseph C. McNay • Albert Merck • John A. Perkins • Dr. Tina Young Poussaint •

• • Daphne Brooks Prout Patrick J. Purcell • Robert E. Remis • John Ex Rodgers Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton •

Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler •

• • Margaret Williams-DeCelles Mrs. John J. Wilsont Richard Wurtman, M.D. f Deceased

Established 1974 Berkshire Record Outlet

Classical CD Deletions & Overruns:

Top quality CDs, videos, musical scores, books, cassettes and LPs. Prices starting

$ at l .99. Over 1 3,000 classical music titles at a fraction of their original retail cost.

We also offer dozens of photographic reproductions of BSO tour posters and historic musicians at work and

r^B play, all of which are on display at our store. A sample

is shown to the left.

r * Our retail store/warehouse is 3.8 miles east of Stockbridge on Route 102 in Lee (please see map). Summer hours (6/27-8/29): Monday - Saturday, 10-5:30

kJI Exit 2 u Mass Lee Pike Arturo Toscanini, Vladimir Main St. ! Horowitz and Bruno Walter Red v L Lion BERKSHIRE 21" {Archivally mounted in acid-free 18" x white mat) Inn RECORD OUTLET

ROUTE 102, LEE • 413-243-4080 • WWW.BERKSHlRERECORDOUTLET.COM Administration

Mark Volpe, Managing Director, Eunice andJulian Cohen Managing Directorship, fully funded in perpetuity

Anthony Fogg, Artistic Administrator Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Director of Tanglewood Music Center, Tanglewood Music Center Directorship endowed in honor ofEdward H. Linde by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Thomas D. May, ChiefFinancial Officer Kim Noltemy, Chief Marketing and Communications Officer Bart Reidy, Director ofDevelopment—Institutional Giving, Events, and Administration Elizabeth P. Roberts, Director ofDevelopment—Campaign and Individual Giving

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

H.R.Costa, Technical Director • Vicky Dominguez, Operations Manager • Jake Moerschel, Assistant

Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Seiji Ozawa Hall Stage Manager • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager

Boston Pops

Dennis Alves, Director of Artistic Planning

Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor

Business Office

• Sarah J. Harrington, Director of Planning and Budgeting Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller

Mimi Do, Budget Manager • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • David Kelts, StaffAccountant « Minnie Kwon, Payroll Associate • John O'Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang,

StaffAccountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director ofAnnual Funds • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director ofFoundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director ofDevelopment Communications • Jennifer Roosa Williams, Director ofDevelopment Research and Information Systems

Cara Allen, Development Communications Coordinator • Leslie Antoniel, Assistant Director of Society Giving • Stephanie Baker, Campaign Manager • Amanda Bedford, Data Project Coordinator • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director ofDonor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Donor Information and Data

Coordinator • Allison Goossens, Associate Director of Society Giving • David Grant, Development Operations Manager • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Dominic Margaglione,

Donor Ticketing Associate • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Directorfor Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager ofDevelopment Events and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja, Manager ofDevelopment Events and Volunteer

Services • Yong-Hee Silver, Major Gifts Officer • Erin Simmons, Major Gifts Coordinator •

Benjamin Spalter, Annual Funds Coordinator, Friends Program • Kenny Smith, Acknowledgment and

Gift Processing Coordinator • Thayer Surette, Corporate Giving Coordinator • Mary E. Thomson, Associate Director of Corporate Giving • Szeman Tse, Assistant Director ofDevelopment Research

Education and Community Programs

Claire Carr, Manager ofEducation Programs • Sarah Glenn, Assistant Manager ofEducation and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager, Berkshire Education and Community Programs

Facilities

C. Mark Cataudella, Director ofFacilities

SYMPHONY HALL OPERATIONS Christopher Hayden, 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 Michael Maher, HVAC Technician 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

Ronald T Brouker, Grounds Supervisor • Peter Socha, Buildings Supervisor • 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, Benefits Manager Information Technology

Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Snehal Sheth, Business Analyst • David Tucker, Infrastructure Systems

Manager • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist

Public Relations

Kathleen Drohan, Associate Director of Public Relations • Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager

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 Sponsorships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyerfor Symphony Hall and Tanglewood * Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Louisa Ansell, Marketing Coordinator • Caitlin Bayer, Subscription Representative • Susan Beaudry,

Manager of Tanglewood Business Partners • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director ofE-Commerce and New Media • Lenore Camassar, Associate Manager, Symphony Charge • Theresa Condito, Access Services

Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle,

Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House •

Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office

and Social Media Manager • Michael King, Subscriptions Associate • Michele Lubowsky, Associate

Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, BSO Business

Partners • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge

Representative • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, E-Commerce

Marketing Analyst • Allegra Murray, Assistant Manager, Corporate Partnerships • Doreen Reis,

Advertising and Events Manager * Laura Schneider, Web Content Editor • Robert Sistare,

Subscriptions Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application Lead •

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 Mary J. Broussard • Arthur Ryan

Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Jean Cesar Villalon, Events Administrative Assistant

Tanglewood Music Center

Peter Grimm, Tanglewood Special Projects Manager • Andrew Leeson, Budget and Office Manager •

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

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House Manager • Thomas Cinella, Business Office Manager • Edward Collins, Logistics Operations Supervisor • Thomas Finnegan, Parking Supervisor • Peter Grimm, Seranak House Manager • David Harding, TMC Concerts Front of House Manager • Matthew Heck, Manager of Visitor Center 1

Boston Symphony Association of Volunteers

Executive Committee

Chair Aaron J. Nurick Vice-Chair, Boston Charles W. Jack Vice-Chair, Tanglewood Wilma Michaels Secretary Audley Fuller

Co-Chairs, Boston

Richard Dixon • Gerald Dreher • Ellen Mayo

Co-Chairs, Tanglewood

Howard Arkans • Augusta Leibowitz • Alexandra Warshaw

Liaisons, Tanglewood

Ushers, William Ballen • Glass Houses, Ken Singer

Tanglewood Project Leads 201

Brochure Distribution, Robert Gittleman and Gladys Jacobson • Off-Season Educational

Resources, Norma Ruffer • Exhibit Docents, Susan Price and Roberta White • Friends Office,

David Galpern and Anne Hershman • Newsletter, Sylvia Stein • Recruit, Retain, Reward,

Carole Siegel and Bonnie Desrosiers • Seranak Flowers, Sandra Josel and Diane Saunders •

Talks and Walks, Rita Kaye and Linda Lapointe • Tanglewood for Kids,. Judy Benjamin •

This Week at Tanglewood Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman and

Pam Levit Beiderman, Robert Braun and Carol Braun • Tour Guides, Ron and Elena Winter

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 Center on the first floor of the Tanglewood Manor House. During July and August, daytime hours are from 10 a.m. to 5 p.m. Monday through Friday, from 9 a.m. through intermission on Saturday, and from noon until 5 p.m. Sunday. The Visitor Center is open from July 1 through August 28. There is no admission charge. —

Exhibits at the Tanglewood Visitor Center

Tanglewood on Parade: A Retrospective

This year's special focus exhibit at the Tanglewood Visitor Center examines the origins and history of Tanglewood on

Parade (TOP). One of Tanglewood 's most beloved traditions, TOP dates back to 1940, when BSO Music Director Serge Koussevitzky organized an "Allied Relief Fund Benefit" concert. This event included performances by students of the newly founded Berkshire Music Center (now the Tanglewood Music Center) representing the various musical activities going on at Tanglewood chamber music, orchestral music, brass fanfares, opera scenes, choral perform- Boris Goldovsky, head of the Opera ance—and thereby provid- Department at the Berkshire Music ing Koussevitzky an oppor- Center, announces the events given tunity to showcase the con- by each of the departments at the siderable talents and Music Center, c. 1948 (photo by Will Plouffe Studio) accomplishments of the Music Center students. In 1946, following the war, the benefit was renamed Tanglewood

on Parade and became an annual celebration of, and fund- BSO Music Director Seiji Ozawa, with bass raiser to support, the activities of the Music Center. drum, leads a group of Music Center percus- sionists during a rehearsal for Tanglewood on Parade, 1976 (photo by Heinz Weissenstein/ Whitestone Photo)

^h Also on Display: Celebrating Phyllis Curtin

This summer's Visitor Center exhibit also pays tribute to soprano Phyllis Curtin, who has remained a mainstay of the TMC's Vocal Department since 1963, when her now famous vocal master classes were first initiated. But her connection to the Music Center extends back much earlier—to 1946, when she first attended the Music Center as a student in the Opera Department, and in which year she was a cast member in the American premiere at Tanglewood of Benjamin Britten's opera Peter Grimes, which was commissioned by Serge Phyllis Curtin in costume as Lisa for Koussevitzky and con- the 1951 Berkshire Music Center ducted by Leonard Bern- Phyllis Curtin demonstrates vocal breathing tech- production of Tchaikovsky's Pique nique to a Tanglewood Music Center Vocal Fellow, S Dame (BSO Archives) c. 1982 (photo by Walter H. Scott) Tanglewood GLASS HOUSE

Excitement of Discovery

Visit the Glass House for a pleasurable shopping experience!

View our 2011 collection, including apparel, recordings, unique gifts, and great Tanglewood mementos. Stop by both of our locations: The Glass House Main Gate or The Glass House Highwood Gate. Enjoy browsing the displays and make your own selections.

Shop for yourself, or for someone special, and savor the spirit of Tanglewood.

MAIN GATE: HIGHWOOD GATE: Monday-Thursday, ioam-4pm Performance Hours Friday, ioam-30 minutes post-concert Saturday, gam-so minutes post-concert Sunday, noon-6pm

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1 Tanglewood The Tanglewood Festiva

In August 1934 a group of music-loving summer residents of the Berkshires organized a series of three outdoor concerts at Interlaken, to be given by members of the New York Philhar- monic under the direction of Henry Hadley. The venture was so successful that the promoters incorporated the Berkshire Symphonic Festival and repeated the experiment during the next summer.

The Festival Committee then invited Serge Koussevitzky and the Boston Symphony Orchestra to take part in the following year's concerts. The orchestra's Trustees accepted, and on August 13, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshires (at Holmwood, a former Vanderbilt estate, later the Center at Foxhollow). The series again consisted of three concerts and was given under a large tent, draw- ing a total of nearly 15,000 people.

In the winter of 1936 Mrs. Gorham Brooks and Miss Mary Aspinwall Tap- pan 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, and on

August 5, 1937, the festival's largest crowd to that time assembled under a tent for the first Tanglewood concert, an all-Beethoven program.

A tangle of traffic at the Main Gate of Tanglewood in the 1950s At the all-Wagner concert that opened (BSO Archives) the 1937 festival's second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether

of the "Forest Murmurs" from Siegfried, music too delicate 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 had been 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 immediate needs of the festival and, more important, went well

beyond the budget of $100,000. His second, simplified plans were still too expensive; 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 turned to Stockbridge engineer Joseph Franz to make further simplifications in Saarinen's plans in order to lower the cost. The building he erected was inaugurated on the

evening of August 4, 1938, when the first concert of that year's festival was given, and remains, with modifications, to this day. It has echoed with the music of the Boston Symphony Orches- tra 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 improvements, produced the Shed's present world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as "The Serge Koussevitzky 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 its reputation for excellence

that it attracted nearly 100,000 visitors. With the Boston Symphony Orchestra's acquisition 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 was used continuously with only minor modifications since 1941, and which with some modification has been used in recent years for the Tanglewood Music Center's opera

productions), and for improved Tanglewood Music Center facilities. Inaugurated on July 7, 1994, Seiji Ozawa Hall—designed by the architectural firm William Rawn Associates of Boston in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer's Grove, Illinois, and representing the first new concert facility to be constructed at Tanglewood in more than a half-century—now provides a modern venue for TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra through-

out the summer. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center's Leonard Bernstein Campus, as described below. Also at Tangle- wood each summer, the Boston University Tanglewood Institute sponsors a variety of programs that offer 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 are weekly chamber music concerts, Friday- and Saturday- evening Prelude Concerts, Saturday-morning Open Rehearsals, the annual Festival of Con- temporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the season closes with a weekend-long Jazz Festival. 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 regard for artistic excellence that makes the festival unique.

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 Kous- sevitzky, the Boston Symphony Orchestra's music director from 1924 to 1949, founded the Center with the intention of creating a premier 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 Orchestra 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, specially written for the ceremony,

arrived less than an hour before the event began but made such an impression that it continues to be performed at the opening ceremonies each summer. 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 the BSO's music director. Charles Munch, his successor in that position, 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 served as the TMC's Artistic Director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC centralized 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 was appointed Director 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 including chamber and orchestral music, opera, and art song. All partic- ipants receive full fellowships covering tuition, room, and board. TMC Orchestra highlights this summer include Leonard Bernstein's Symphony No. 2, The Age of Anxiety, conducted by Miguel Harth-Bedoya, which opens the orchestra's season on July 5 in Seiji Ozawa Hall, and

its closing all-Brahms concert in the Shed led by Rafael Fruhbeck de Burgos on August 14, with mezzo-soprano Stephanie Blythe and the Tanglewood Festival Chorus. TMCO performances on July 11 with conductor Stefan Asbury and on July 17 with Kurt Masur will also showcase TMC Conducting Fellows.

The Mark Morris Dance Group's annual residency on June 28 and 29 will include a new TMC-commissioned Mark Morris work choreographed to Stravinsky's Renard. The music for this, and for Morris's Italian Concerto (to Bach's key- board work) and Frisson (to Stravinsky's

Symphonies of Wind Instruments) , will be performed by Instrumental and Vocal Fellows of the TMC, on a program that also reprises Morris's Falling Down Stairs, The TMC Orchestra with Conducting Fellow Keitaro Harada in with Yo-Yo Ma playing Bach's Cello Suite the final concert of the 2010 Festival of Contemporary Music No. 3. In addition, Mark Morris will (photo: Hilary Scott) direct a special evening of song and short, whimsical operas by Darius Milhaud on July 10. TMC string players start the season with a week-long intensive study of the string quartet, culminating in marathon concerts on June 28 and 29. All of the TMC Fellows participate in chamber music programs in Ozawa Hall throughout the summer, notably on Sunday mornings at 10 a.m.—the first being a "Brass Extravaganza" on July 3—and, starting July 9, on Saturdays at 6 p.m. prior to BSO concerts.

The Festival of Contemporary Music (FCM) , an annual five-day celebration of the music of our time, will this year be directed by the distinguished American composer Charles Wuorinen, who will open the Festival conducting the world premiere of his It Happens Like This, a secular cantata to texts ofJames Tate, commissioned by the TMC and dedicated to James Levine. Six concerts presenting a wide spectrum of musical styles will include two additional TMC commissions in their world premieres: Fred Ho's Fanfare to Stop the Creeping Meatball, which will open five of the performances; and John Zorn's A Rebours, a concerto for solo cello and ensemble with soloist Fred Sherry, to be performed on August 4. Other guest artists will include the new music group Ensemble Signal and pianist Ursula Oppens, the latter performing a Prelude Concert before the Festival's concluding orchestra concert on August 8, which will feature music of Felipe Lara, Jo Kondo, Andrew Norman, David Felder, and Christopher Rouse.

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, David Del Tredici, Christoph von Dohnanyi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, 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 as one of the world's most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow. TO STOCKBRIDGE C B A Bai

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TO LENOX 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. Please do not bring food or beverages into the Koussevitzky Music Shed 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. until intermission; and Sunday from 10 a.m. until intermission. 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 purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431.

IN CASE OF SEVERE LIGHTNING, visitors to Tanglewood are advised to take the usual pre- cautions: avoid open or flooded areas; do not stand underneath a tall isolated tree or utility pole; and avoid contact with metal equipment or wire fences. Lawn patrons are advised that your automobile will provide the safest possible shelter during a severe lightning storm. Re- admission passes will be provided.

FOOD AND BEVERAGES can be obtained at the Tanglewood Cafe and at other locations as

noted on the map. The Tanglewood Cafe is open Monday through Friday from 11:30 a.m. to 2:30 p.m., Saturdays from 9 a.m. to 2:30 p.m., Sundays from noon until 7:30 p.m., and through the intermission of all Tanglewood concerts. Visitors are invited to picnic before concerts. Meals to go may be ordered online in advance at tanglewood.org or by phone at (413) 637-5240. 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 MAYBE 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 seven- teen 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.

OPEN REHEARSALS by the Boston Symphony Orchestra take place each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. New This Year: Seating in the Koussevitzky

Music Shed is reserved and ticketed at $30 and $20 per ticket. General admission to the lawn is

$10. Tickets are available at the Tanglewood box office. 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 Lawn Evacuation Plan

IN THE EVENT OF A SEVERE STORM ALERT, please seek shelter in the building areas

of refuge nearest you, or, if closer, in your vehicles, until notification of safe conditions.

SEVERE STORM SHELTER LOCATIONS are indicated on the map in the Tanglewood program book and on maps of Tanglewood posted at the gate areas. Information on severe storm shelter locations is also available at the Main Gate. PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during

storm conditions and will be resumed when it is safe to do so. 1

Boston Symphony Orchestra

Tanglewood 201

James Levine Bonnie Bewick* Xin Ding* Owen Young * Stephanie Morris Marryott JohnF. Cogan,Jr., and Music Director Glen Cherry* and Franklin Marryott Mary L. Cornille chair, Ray and Maria Stata Music J. chair Yuncong Zhang* fully funded in perpetuity Directorship, fully funded * in perpetuity James Cooke Gerald Elias° Mickey Katz* Catherine and Paul Stephen and Dorothy Weber Bernard Haitink Buttenwieser chair chair, fully funded * Violas in perpetuity Conductor Emeritus Victor Romanul LaCroix Family Fund, Bessie Pappas chair Steven Ansell Alexandre Lecarme* fully funded in perpetuity Principal Richard C. and Ellen E. Catherine French * Charles S. Dana chair, Paine chair, fully funded Mary B. Saltonstall chair, Seiji Ozawa endowed in perpetuity in perpetuity fully funded in perpetuity Music Director Laureate in 1970 Adam Esbensen * Jason Horowitz* Cathy Basrak Kristin and Roger Servison Blaise Dejardin* First Violins Assistant Principal chair Anne Stoneman chair, fully Malcolm Lowe Julianne Lee* funded in perpetuity Basses Concertmaster Donald C. and Ruth Brooks Gazouleas Charles Munch chair, Edward Barker Heath chair, fully funded Edwin fully funded in perpetuity Lois and Harlan Anderson in perpetuity Principal chair, fully funded Harold D. Hodgkinson Tamara Smirnova in perpetuity chair, endowed in perpetuity Associate Concertmaster Second Violins in 1974 Helen Horner Mclntyre Robert Barnes chair, endowed in perpetuity Haldan Martinson Michael Zaretsky Lawrence Wolfe in 1976 Principal Assistant Principal Marc Jeanneret Maria Nistazos Stata chair, Alexander Velinzon Carl SchoenhofFamily chair, fully funded * fully funded in perpetuity Assistant Concertmaster Mark Ludwig in perpetuity Robert L. Beal, Enid L., Benjamin Levy Rachel Fagerburg * and Bruce A. Beal chair, Vyacheslav Uritsky Leith Family chair, fully endowed in perpetuity Assistant Principal Kazuko Matsusaka* funded in perpetuity in 1980 Charlotte and Irving W. Rebecca Gitter* Dennis Roy§ Rabb chair, endowed Elita Kang Joseph andJan Brett in perpetuity in 1977 Assistant Concertmaster Hearne chair Edward and Bertha C. Rose Sheila Fiekowsky Cellos Joseph Hearne chair Shirley and Richard J. Jules Eskin Fennell chair, fully funded Bo Youp Hwang Principal James Orleans* in perpetuity John and Dorothy Wilson Philip R. Allen chair, Todd Seeber* chair, fully funded endowed in perpetuity Ronald Knudsen Eleanor L. and Levin H. in perpetuity in 1969 David H. and Edith C. Campbell chair, fully Howie chair, Lucia Lin fully funded Martha Babcock funded in perpetuity in perpetuity Dorothy and David B. Assistant Principal Q. John Stovall* Arnold, Jr., chair, fully Ronan Lefkowitz Vernon and Marion Alien funded in perpetuity chair, endowed in perpetuity Jennie Shames* in 1977 Flutes Ikuko Mizuno Valeria Vilker Muriel C. Kasdon and Sato Knudsen Elizabeth Rowe Marjorie C. Paley chair Kuchment* Mischa Nieland chair, fully Principal funded in perpetuity Nancy Bracken * Tatiana Dimitriades* Walter Piston chair, endowed in perpetuity Ruth and Carl Shapiro Mihail Jojatu J. Si-Jing Huang* in 1970 chair, fully funded Sandra and David Bakalar in perpetuity Nicole Monahan* chair (position vacant) * Myra and Robert Kraft Aza Raykhtsaum Wendy Putnam * Jonathan Miller* chair, endowed in perpetuity Theodore W. and Evelyn Robert Bradford Newman Charles andJoAnne in 1981 Berenson Family chair chair, fully funded Dickinson chair in perpetuity Elizabeth Ostling Suzanne Nelsen Michael Martin Voice and Chorus Associate Principal John D. and Vera M. Ford H. Cooper chair, Marian Gray Lewis chair, MacDonald chair endowed in perpetuity John Oliver Festival fully funded in perpetuity in 1984 Tanglewood Richard Ranti Chorus Conductor Associate Principal Alan J. and Suzanne W. Piccolo Diana Osgood Tottenham/ Trombones Dworsky chair, fully funded Hamilton Osgood chair, in perpetuity Cynthia Meyers fully funded in perpetuity Toby Oft Evelyn and C. Charles Principal Marran chair, endowed J.P. and Mary B. Barger Librarians in perpetuity in 1979 Contrabassoon chair, fully funded in perpetuity Marshall Burlingame Gregg Henegar Principal Oboes Helen Rand Thayer chair Stephen Lange Lia and William Poorvu chair, fully funded John Ferrillo in perpetuity Principal Horns Bass Trombone Mildred B. Remis chair, William Shisler Sommerville Douglas Yeo endowed in perpetuity James Principal Moors Cabot chair, Perkel in 1975 John John Helen Sagoff Slosberg/Edna fully funded in perpetuity Mark McEwen S. Kalman chair, endowed James and Tina Collias in perpetuity in 1974 Assistant chair Tuba Conductors Richard Sebring Keisuke Wakao Associate Principal Mike Roylance Marcelo Lehninger Assistant Principal Margaret Andersen Principal Anna E. Finnerty chair, Margaret Farla and Harvey Chet Congleton chair, fully and William C. fully funded in perpetuity Krentzman chair, fully funded in perpetuity Rousseau chair, fully Sean Newhouse funded in perpetuity funded in perpetuity (position vacant) Elizabeth B. Storer chair, Personnel English Horn fully funded in perpetuity Timpani Managers Robert Sheena (position vacant) Timothy Genis G. Beranek chair, fully funded John R II and Nancy S. Sylvia Shippen Wells chair, Lynn Larsen Eustis chair, fully funded endowed in perpetuity in perpetuity Bruce M. Creditor in perpetuity in 1974 Timothy Tsukamoto Clarinets Jason Snider Assistant Personnel Gordon and Mary Ford Percussion Managers William R. Hudgins Kingsley Family chair Principal Frank Epstein Ann S.M. Banks chair, Jonathan Menkis Peter and Anne Brooke Stage Manager endowed in perpetuity Jean-Noel and Mona N. chair, fully funded John Demick in 1977 Tariot chair in perpetuity

Michael Wayne J. William Hudgins Trumpets Peter Andrew Lurie chair, Thomas Martin fully funded in perpetuity Thomas Rolfs Associate Principal & * participating in a system E-flat clarinet Principal W. Lee Vinson of rotated seating Stanton W. and Elisabeth Roger Louis Voisin chair, Barbara Lee chair § on sabbatical leave K. Davis chair, fully funded endowed in perpetuity Daniel Bauch ° in perpetuity in 1977 substituting Assistant Timpanist Benjamin Wright Mr. and Mrs. Edward H. Bass Clarinet Arthur and Linda Gelb Linde chair chair Craig Nordstrom Thomas Siders Harp Assistant Principal Bassoons Kathryn H. and Edward Jessica Zhou Nicholas Thalia M. Lupean chair and Zervas Richard Svoboda chair, fully funded in Principal perpetuity by Sophia Edward A. Taft chair, and Bernard Gordon endowed in perpetuity in 1974 A Brief History of the Boston Symphony Orchestra

Now in its 130th season, the Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, and has continued to uphold the vision of its founder, the businessman, philanthropist, Civil War veteran, and amateur musician Henry Lee Higginson, for more than 125 years. The Boston Symphony Orchestra has performed throughout the United States, as well as in Europe, Japan, Hong Kong, South America, China, and Russia; in addition,

it reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from today's most impor-

tant composers; its summer season at Tanglewood is one of the world's most

important music festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach programs involving the

entire Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orches-

tra's virtuosity is reflected in the concert and recording activities of the Boston Symphony Chamber Players, one of the world's most distinguished chamber ensembles made up of a major symphony orchestra's principal players, and the activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the

Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and providing educational and training programs

at the highest level of excellence. This is accomplished with the continued

support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Major Henry Lee Higginson, founder of the Boston Henry Lee Higginson dreamed of founding a great and permanent orchestra Symphony Orchestra in his home town of Boston for many years before that vision approached reality (BSO Archives) in the spring of 1881. The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the centennial of Symphony Hall, and the rich history of music performed and introduced to the

world at Symphony Hall since it opened over a century ago.

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882 (BSO Archives) . —

Georg Henschel was succeeded by a series of German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfilling Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and renamed first "Popular" and then "Pops," fast became a tradition.

In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Francisco. Recording, begun with the Victor Talking Machine Company (the predecessor to RCA Victor) in 1917, continued with increasing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeeded the following year by Pierre Monteux. These appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian- born Serge Koussevitzky's time, with the employment of many French-trained musicians.

The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. The BSO's first live concert broadcasts, privately funded, ran from January 1926 through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, regular live Boston Symphony broadcasts being initiated in October 1935. In 1936 Koussevitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for Serge Koussevitzky arriving at musicians," and in 1940 that was realized with the founding Tanglewood prior to a concert dream (BSO Archives) of the Berkshire Music Center (now called the Tanglewood Music Center)

In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a century, to be

succeeded by John Williams in 1980. The Boston Pops Orchestra celebrated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart began his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams.

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A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) Charles Munch followed Koussevitzky as music director of the Boston Symphony Orchestra in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. During his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began his seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addition, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his leadership a full- tuition fellowship program was established. Also during these years, in 1964, the Boston Symphony Chamber Players were founded. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the midwest.

Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a year as music advisor and three years as an artistic director at Tanglewood. His historic twenty-nine-year tenure, from 1973 to 2002, exceeded that of any previous BSO conductor; in the summer of 2002, at the completion of his tenure, he was named Music Director Laureate. Besides maintaining the orchestra's reputation worldwide, Ozawa reaffirmed the Rush ticket line at Symphony Hall, probably in the 1930s BSO's commitment to new music through the (BSO Archives) commissioning of many new works (including commissions marking the BSO's centennial in 1981 and the TMC's fiftieth anniversary in 1990), played an active role at the Tanglewood Music Center, and further expanded the BSO's recording activities. In 1995 he and the BSO welcomed Bernard Haitink as Principal Guest Conductor. Named Conductor Emeritus in 2004, Mr. Haitink has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, and has also recorded with the orchestra.

In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music director. Maestro Levine began his tenure as the BSO's fourteenth music director—and the first American-born conductor to hold that position—in the fall of 2004. His wide-ranging programs balance great orchestral, operatic, and choral classics with equally significant music of the 20th and 21st centuries, including newly commissioned works from such important American composers as Milton Babbitt, Elliott Carter, John Harbison, Leon Kirchner, Peter Lieberson, Gunther Schuller, and Charles Wuorinen. He also appears as pianist with the Boston Symphony Cham- ber Players, conducts the Tanglewood Music Center Orchestra, and works with the TMC Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Mr. Levine and the BSO have released a number of recordings, all drawn from live performances at Symphony Hall, on the orchestra's own label, BSO Classics. He and the BSO toured Europe together in late summer 2007, performing in the Lucerne Festival, the Schleswig-Holstein Festival (in Ham- burg), Essen, Dusseldorf, the Berlin Festival, Paris, and the BBC Proms in London.

Today the Boston Symphony Orchestra, Inc., presents more than 250 concerts annually. It is an ensemble that has richly fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston. m '

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THE BARD MUSIC FESTIVAL presents

JJJL Sibelius and His World AUGUST 12-14 AND 19-21

Twelve concert performances, as well as panel discussions, preconcert talks, andfilms, examine the

music and world of Finnish composer Jean Sibelius.

WEEKEND ONE Imagining Finland

Jean Sibelius: National Syr

, Leon Botstein, conductc Orchestral works by Sibelius

Jay, August IS program two Berlin and Vienna: The Artist as a Young Man Chamber works by Sibelius. Goldmark. Fuchs, Busoni

program three Kalevala: Myth and the Birth of a Nation American Symphony Orchestra. Leon Botstein, conductor Orchestral works by Sibelius and Kajanus

Sunday. August 14 program four White Nights —Dark Mornings: Creativity. Depression, and Addiction Chamber works by Sibelius, Grieg, Peterson-Berger, Delius

Aurora Borealis: Nature and Music in Finland and Scandinavia Chamber works by Sibelius, Grieg, Stenhammar, Kuula

To the Finland Station: Sibelius and Russia

Chamber works by Sibelius, Tchaikovsky, Glazunov. Rachmaninov

WEEKEND TWO Sibelius: Conservative or Modernist?

lay August 19 Nordic Purity, Aryan Fantasies, and Music Chamber works by Sibelius, Bruckner, Atterberg. Kilpinen

Saturday, August 20 program light From the Nordic Folk Chamber works by Sibelius, Grieg. Grainger, Ravel, Kuula

Finnish Modem Chamberworks by Sibelius, Melartin, Madetoja. Merikanto

The Heritage of Symbolism American Symphony Orchestra, Leon Botstein, conductor Orchestral works by Sibelius and Raitio

Sunday August 21 prc Nostalgia and the Challenge of Modernity Chamber works by Sibelius, Strauss, Respighi

American Symphony Orchestra, Leon Botstein, conductor Orchestral works by Sibelius. Barber. Vaughan Williams m- '

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Friday, August 26, 6pm (Prelude Concert)

2 MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA Music of Grandjany, Post, Srnka, and Gershwin

Friday, August 26, 8:30pm

8 BOSTON SYMPHONY ORCHESTRA BRAMWELL TOVEY conducting; VOCAL SOLOISTS; TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor The Gershwins' "Porgy and Bess" (concert performance)

Saturday, August 27, 8:30pm 33 BOSTON SYMPHONY ORCHESTRA ITZHAK PERLMAN, conductor and violin soloist All-Beethoven program

Sunday, August 28, 2:30pm 45 BOSTON SYMPHONY ORCHESTRA LORIN MAAZEL conducting; JOYCE EL-KHOURY, MARGARET GAWRYSIAK, GARRETT SORENSON, and ERIC OWENS, vocal soloists; TANGLEWOOD FESTIVAL CHORUS Beethoven Symphony No. 9

"This Week at Tanglewood"

Once 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 26, are bass- baritone Eric Owens and BSO Managing Director Mark Volpe.

Saturday-Morning Open Rehearsal Speakers

July 9, 16, 30; August 13—Robert Kirzinger, BSO Assistant Director of Program Publications

July 23; August 6, 20, 27—Marc Mandel, BSO Director of Program Publications

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

TANGLEWOOD WEEK 8 TABLE OF CONTENTS 2011 Tanglewood

SEIJI OZAWA HALL Prelude Concert Friday, August 26, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

MEMBERS OF THE BOSTON SYMPHONY ORCHESTRA HAWTHORNE QUARTET

SI-JING HUANG, violin (2nd violin in Post; violin in Smka and Gershwin)

RONAN LEFKOWITZ, violin (1st violin in Post; conductor for Smka) MARK LUDWIG, viola SATO KNUDSEN, cello

THOMAS MARTIN, clarinet JESSICA ZHOU, harp

GRANDJANY Rhapsodie for solo harp, Opus 10

POST String Quartet No. 3

SRNKA "Escape Routines" for harp, clarinet, and string trio

GERSHWIN Preludes, arranged for clarinet, harp, and string trio by Thomas Martin and Jessica Zhou

^J<2? Bank of America is proud to sponsor the 201 1 Tanglewood season.

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.

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. ,

NOTES ON THE PROGRAM

^V Marcel Grandjany (1891-1975) was a celebrated French-born harpist and organist. Born in Paris, he moved to New York in 1936 and lived there until his death. During most of his time in the U.S. he was a highly influential teacher at the Juilliard School; among his former students are Nancy Allen, principal harp of the New York Philhar- monic, and Sarah Bullen, principal harp of the Chicago Symphony Orchestra. As a performer, Grandjany was precocious, winning a first prize at the Paris Conserva- toire at age thirteen. He made his recital and solo orchestral debuts in Paris while

still a teenager, his London debut in 1922, and his New York debut in 1924. In 1929 he was soloist with the Boston Symphony Orchestra under Serge Koussevitzky in a single performance, in Cambridge, Massachusetts, of Germaine Tailleferre's Con- certino for Harp and Orchestra. He performed with other major orchestras in the U.S. and Europe. Immensely respected by his colleagues, he was a major force in establishing the American Harp Society, of which he was founding chairman.

As a composer, Marcel Grandjany, like his contemporary Carlos Salzedo, was prima- rily interested in extending the repertoire for his own instrument. He wrote virtually exclusively for the harp, and most of his pieces are solo works, of which the best-

known is probably his Fantasy on a Theme of Haydn, Op. 31. His Rhapsodie is also popular. Written about 1921 as a kind of serious showpiece—a work of expressive and emotional significance that nonetheless presents the harp as a virtuoso solo instrument—it is based on the Gregorian chant melody "Salve, feste dies" ("Hail,

feast day") , a processional chant heard on Easter morning. The chant's contour and

phrases are conventionalized. Grandjany's piece is genuinely rhapsodic, embedding the tune in lush, full chords and chromatically shifting harmonies: each pitch of

the melody is placed within a chord, and the importance of some phrase-endings is

heightened by waves of arpeggios. Near the end of the piece, the chant melody is finally isolated in a stark, texturally simple phrase, preceding the ecstatic final passage.

The Rhapsodie is dedicated to Grandjany's teacher Henriette Renie.

The string quartets of David Post (b.1949) have become repertoire staples for the Hawthorne String Quartet. He has written many pieces for them, including his Third and Fourth quartets, his Piano Quintet (premiered with pianist Simone Dinnerstein) and most recently his Concertino a Cinque for clarinet and string quartet for the Hawthorne Quartet and BSO clarinetist Thomas Martin. His Fantasia on a Virtual Chorale, written on commission from the Terezin Music Foundation, was premiered

"This Week at Tanglewood" itMTirft

Another way to add more to your Tanglewood experience,

"this week at tanglewood" is a panel discussion featuring special guests who will provide commentary and answer questions about the upcoming week's concerts.

Shed, Fridays at 7:15pm. Sponsored by:

Attendance is free with tickets to Friday evening's concert. q HARVARD UNIVERSITY Hosted by Martin Bookspan. V EXTENSION SCHOOL

TANGLEWOOD WEEK 8 PRELUDE PROGRAM NOTES in March in its string orchestra version by members of the BSO, under the direction ofJames Sommerville; its string quartet version was given its public premiere later that month at Symphony Hall.

Post started musical training early, and his composition teachers have included Charles Whittenberg, Ralph Shapey at the University of Chicago, Larry Bell, and Lukas Foss. His orchestral and chamber works have been played and recorded by international organizations, including the Czech Radio Symphony Orchestra, the Moravian Philharmonic, the Simon Sinfonietta, the Salem Philharmonic, and numerous chamber groups. He is the recipient of several ASCAP awards and his music is published by Editions Bim, Switzerland, and MMB Music. Of the Third Quartet, the composer writes:

I composed the Third Quartet, a commission from the Terezin Music Foundation, in 2003. Originally I had intended to write a traditional four-movement work, but as is often the case, my compositions insist on taking off in directions I do not plan for them, and the piece started to tell me it was going to be a one- movement work. Once that became clear, and I gave up trying to make it something it wasn't, the writing went quickly and the piece was finished in the Berkshires that summer.

Though written in one continuous movement, there are four connected sec- tions: Vivo e ritmico, Adagio languido, Burlesque, and Tenebroso. Each section steps off from the one before, with the last folding back into thematic material from the first, completing a cycle of sorts. Despite moments of boisterous merri- ment and manic energy, at its heart, the quartet is dark and ruminative, and fades at the end to black nothingness.

The Hawthorne String Quartet recorded the Third String Quartet along with the Second and Fourth quartets and the Fantasia on a Virtual Chorale for a Naxos CD released in fall 2010.

m ROSE BRAND

CA 800.360.5056 N J 800.223.1624 RoseBrand.com —

Miroslav Srnka was born in Prague in 1975. He studied musicology at Prague's Charles University with Jarmila Gabrielova and composition at the Prague Academy of the Performing Arts with Milan Slavicky. He also attended Humboldt University in Berlin and the Paris Conservatoire. As a musicologist, his particular interest has been the work of Dvorak and Czech music after 1945. Compositionally, Srnka has been influenced by spectralism as well as older Czech music. The philosophical and musical friction and cooperation that arises between Czech and international musi-

cal directions, while abstract, is evidently a concern that helps direct his musical explorations. Among other works, his Third String Quartet was performed and recorded by the Arditti String Quartet, and his Wall, a short chamber opera on a libretto by Jonathan Safran Foer, was commissioned and produced by the Staatsoper Berlin in 2005. He has also fulfilled commissions from the Ensemble Intercontempo- rain, Ensemble Modern, West German Radio, and many other major organizations.

Srnka wrote Escape Routines for harp, clarinet, and string trio at the request of Mark Ludwig as a Terezin Legacy Commission of the Terezin Chamber Music Foundation and the Prague Spring Festival. The piece was premiered on September 26, 2010, in

Symphony Hall during a concert honoring Dr. Robert J. Mayer, the 2010 recipient of the Terezin Legacy Award. Boston Symphony Orchestra principal horn James Sommerville conducted an ensemble made up of BSO members Thomas Martin, clarinet, Jessica Zhou, harp, Si-Jing Huang, violin, Mark Ludwig, viola, and Sato Knudsen, cello. The same players repeated the piece this past spring at Symphony Hall.

The composer writes: Writing a piece for the Terezin Music Foundation was for me a task about the incredible and mysterious power of music to create freedom under almost every possible circumstance. The issue of freedom is crucial especially in chamber music. On one hand the few players have to concentrate to stay a very well balanced sound "machine," on the other hand they have to find freedom to express themselves individually.

In Escape Routines, the five instruments act as a very close family: at certain moments, they create one unique energy by melding the very different ways of creating sound. At other moments, they try to find routine patterns to escape

into their soloist freedoms. But where is really this freedom of music: is it in

those individual escapes of each player? Or is it indeed in the unique way of being together in sound? In the possibility to escape together?

George Gershwin (1898-1937) got his start as a professional musician, beginning in 1914, as a song-plugger for the Tin Pan Alley publisher Remick's—day after day for ten or more hours banging out tunes for performers and producers looking for new material. Meanwhile he was trying to get his own songs accepted into a Broadway show—it was as yet far-fetched to expect a show of his own, but composers sometimes wedged individual songs into extant or developing productions. He left Remick's in 1917 to work on Broadway as a pianist, and in 1918 several of his songs were in Broadway shows. In 1919, remarkably—he was not yet twenty-one—his first complete show, La-La-Lucille!, appeared on Broadway, and in 1920 had his first megahit with the song Swanee, recorded by the great Aljolson.

He made a further splash with a series of revues, the "George White Scandals," which were intended by White as a competitor to Ziegfeld's Follies, and in 1923 at age twenty-four—wrote his most famous concert work, Rhapsody in Blue. From that point he successfully straddled the line between concert music and Broadway as deftly as anyone in history. His concert works included the Piano Concerto in F, An American in Paris, the Cuban Overture, and other orchestral works, as well as by many

TANGLEWOOD WEEK 8 PRELUDE PROGRAM NOTES Broadway shows and the opera Porgy and Bess, written in collaboration with his brother Ira. His biggest shows—there were quite a few—included Girl Crazy and the Pulitzer Prize-winning Of Thee I Sing.

Gershwin's Three Preludes were a natural extension of his piano performance, a major aspect of his fame since his solo appearance in the Rhapsody in Blue premiere. He introduced these three short, contrasting, and jazz-steeped pieces on a New York recital in which he also accompanied the operatic contralto Marguerite d'Alvarez.

The three are identified as Nos. 1, 2, and 3, with nothing in the way of character hints except in the music itself; the Italian tempo markings are more cryptic than

illuminating in this case. Prelude No. 1 is syncopated, with a rumba-like rhythmic ostinato in the left hand. Flattened third and seventh degrees of the scale give the

melody a jazzy touch as well. The second prelude is bluesier and in four distinct sec-

tions (AABA) . The first part features a circular chord progression in the left hand and a free melody. The second part speeds up a little, with the melody moving to

the bass. The third prelude is again rumba-like and fast in a minor key. Thomas Martin arranged all three preludes for clarinet and string trio for his collaboration with the Hawthorne String Quartet; this summer he and Jessica Zhou have collaborated on new arrangements of the pieces to include harp.

ROBERT KIRZINGER

Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

,C^ Artists

Named for New England novelist Nathaniel Hawthorne, the Hawthorne String Quartet includes Boston Symphony members Ronan Lefkowitz and Si-Jing Huang,

violins, Mark Ludwig, viola, and Sato Knudsen, cello. Since its inception in 1986, the ensemble has performed extensively throughout Europe, South America, Japan, and the United States, including appearances at such major festivals as Tanglewood, Ravinia, and Aspen. The group's expansive repertoire ranges from 18th- and 19th- century classics to contemporary works. It has distinguished itself internationally by championing the works of composers persecuted during the Nazi regime, with an emphasis on the Czech composers incarcerated in the Theresienstadt concentration camp (Terezin). In October 1991, the quartet performed in Terezin and Prague in ceremonies hosted by President Vaclav Havel to mark the opening of the Terezin Ghetto Museum and to commemorate the 50th anniversary of the first transports to Terezin. In November 2002 they performed additional concerts at the invitation of President Havel and under the sponsorship of the U.S. State Department, to help raise funds for Czech flood relief and restoration efforts at Pamatnik Terezin. The quartet has returned repeatedly to the Czech Republic, for performances, master classes at the Prague Conservatory, and film projects. The Hawthorne Quartet's recordings include chamber music by the American composers Arthur Foote, Samuel Coleridge-Taylor, Thomas Oboe Lee, and David Post, as well as several motion picture and documentary soundtracks. The group has also performed in radio and television programs worldwide, and in documentaries. Their CD "Chamber Music from Theresienstadt" won the Preis der Schallplattenkritik in 1991. Other recordings

include "Silenced Voices" (Northeastern Records) , with newly recovered music of

composers persecuted during World War II; string quartets by Pavel Haas and Hans Krasa (part of London/Decca's "Entartete Musik" project), and Ervin Schulhoff s Concerto for Solo String Quartet and Chamber Orchestra (also in the "Entartete

Musik" series) . The quartet gave the American premiere of Schulhoff's concerto with Seiji Ozawa and the Boston Symphony Orchestra. Appointed quartet-in-residence at Boston College in 1998, the Hawthorne String Quartet has collaborated with Christopher Hogwood, Ned Rorem, Andre Previn, Sir Simon Rattle, Yo-Yo Ma, Joshua Bell, Lynn Harrell, Martha Argerich, and the Pilobolus Dance Company, and has made solo appearances with the Boston Symphony, National Symphony, Juilliard Orchestra, and the Deutsche Kammerphilharmonie. Among the quartet's latest projects is "Remembrance & Beyond," a collaboration with artist Jim Schantz and the Terezin Chamber Music Foundation. For more information about the Hawthorne String Quartet, please contact [email protected].

Thomas Martin served as principal clarinet of the Alabama Symphony Orchestra before joining the Boston Symphony in the fall of 1984. Born in Oshkosh, Wisconsin, Mr. Martin graduated from the Eastman School of Music, where he was a student of Stanley Hasty and Peter Hadcock. He participated in master classes with Guy Deplus of the Paris Conservatory. Mr. Martin performs frequently as a recitalist and chamber musician and has been heard on "Morning Pro Musica" on WGBH radio. He has appeared in the Chamber Prelude series at Symphony Hall, on the Friday Preludes at Tanglewood, at the Longy School of Music, and at the Gardner Museum.

Born in Beijing, China, Jessica Zhou joined the Boston Symphony Orchestra as its harpist in fall 2009. She was winner of the 2001 Pro Musicis International Award, leading to her critically acclaimed New York debut in Carnegie Hall's Weill Recital Hall. In 2001, Ms. Zhou became the first and only Chinese harpist ever to win top prizes in three of the most prestigious harp competitions in the world, including the Prix du Jury at the 3rd Concours International de Harpe Lily Laskine in Deauville, France; Fourth Prize in the USA International Harp Competition, and Second Prize at the 14th International Harp Contest in Israel. She is a two-time winner of the Anne Adams Award National Harp Competition sponsored by the American Harp Society, which presented her in recitals in Boston, Hartford, New York City, San Diego, Mexico, and Taipei, Taiwan, where she also served as Chairman of the Jury in the First Taiwan National Harp Competition. As soloist with orchestra, Ms. Zhou has performed with the Israel Philharmonic, the Mainly Mozart Festival Orchestra in San Diego, the New York City Opera Orchestra, and the Geneva Chamber Orchestra, where she gave the world premiere of Haim Permont's Double Harp Concerto during the 2002 World Harp Congress. As a chamber musician, she has performed with the Bridgehampton Chamber Music Festival, Boston Chamber Music Society, Caramoor Music Festival, Mainly Mozart Festival, North Country Chamber Players, and the Pacific Music Festival in Japan, where she premiered Christopher Rouse's Compline for harp, clarinet, flute, and string quartet. Before joining the Boston Symphony Orchestra, Ms. Zhou was principal harpist of New York City Opera beginning in 2004. Other orchestral appearances include the New York Philharmonic, Suisse Romande Symphony Orchestra, Toronto Symphony Orchestra, Hong Kong Philharmonic, and Moscow Chamber Orchestra, and she toured Japan with the London Symphony Orchestra. Ms. Zhou is a graduate of the Interlochen Arts Academy, where she studied with Joan Holland. She holds bachelor's and master's degrees from the Juilliard School, where she was a student of Nancy Allen.

TANGLEWOOD WEEK 8 PRELUDE PROGRAM NOTES 2011 Tanglewood

Boston Symphony Orchestra 130th season, 2010-2011

Friday, August 26, 8:30pm THE JEAN THAXTER BRETT MEMORIAL CONCERT

BRAMWELL TOVEY conducting

ALFRED WALKER, bass-baritone (Porgy) LAQUITA MITCHELL, soprano (Bess)

ALISON BUCHANAN, soprano (Lily, Strawberry Woman, Solo Soprano, A Woman) NICOLE CABELL, soprano (Clara) MARQUITA LISTER, soprano (Serena) KRYSTY SWANN, mezzo-soprano (Annie) GWENDOLYN BROWN, contralto (Maria, Woman) CALVIN LEE, tenor (Mingo, Nelson, Crab Man) CHAUNCEY PACKER, tenor (Peter, Solo Tenor, A Man) JERMAINE SMITH, tenor (Sporting Life) GREGG BAKER, baritone (Crown) PATRICK BLACKWELL, baritone (Jim, Undertaker, Solo Baritone) JOHN FULTON, baritone (Robbins) ROBERT HONEYSUCKER, baritone (Frazier) LEON WILLIAMS, baritone (Jake) MICHAEL ARONOV, actor (Detective) MATTHEW HECK, actor (Policeman) JEREMIAH KISSEL, actor (Coroner) RALPH PETILLO, actor (Archdale) BRANDON GRIFFIN, child actor (Scipio) TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

THE GERSHWINS'® PORGY AND BESS SM Opera in three acts by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin

Original 1935 production version Restoration from the original production materials by John Mauceri with assistance from Wayne Shirley, Charles Hamm, and Scott Dunn

Tonight's concert will end at approximately 11:15, including a 20-minute intermission starting about 9:50.

A synopsis of the plot begins on page 13. Introduction

Act I

Scene 1 : Catfish Row - A Summer Evening

Scene 2: Serena's Room - The Following Night

Act II

Scene 1 : Catfish Row - A Month Later

{Intermission}

Scene 2: Kittiwah Island - Evening, the Same Day

Scene 3: Catfish Row - Before Dawn, A Week Later

Scene 4: Serena's Room - Dawn of the Following Day

Act III

Scene 1 : Catfish Row - The Next Night

Scene 2: Catfish Row - The Next Afternoon

Scene 3: Catfish Row - A Week Later

Sean Newhouse, assistant conductor Laurie Rogers, music assistant

The worldwide copyrights in the music of George and Ira Gershwin® for this presentation are licensed by the Gershwin Family. SM PORGY AND BESS is presented by arrangement with TAMS-WITMARK MUSIC LIBRARY, INC. 560 Lexington Avenue, New York, New York 10022.

GERSHWIN is a registered trademark and service mark of Gershwin Enterprises.

PORGY AND BESS is a trademark and service mark of Porgy and Bess Enterprises.

Opera activities at Tanglewood are supported by a grant from the Geoffrey C. Hughes Foundation and the Tanglewood Music Center Opera Fund.

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

^J<^^5 Bank of America is proud to sponsor the 2011 Tanglewood season.

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.

TANGLEWOOD WEEK 8 FRIDAY PROGRAM 1

The Jean Thaxter Brett Memorial Concert Friday, August 26, 201

The Tanglewood concert on Friday, August 26, 2011, is supported by a generous gift from Great Benefactors Jan Brett and Joseph Hearne. The concert is named in memory ofJan's mother, Jean Thaxter Brett.

A retired nursery school teacher, Jean taught for twenty-six years, and she also founded and ran the Lazy Eye Clinic for the Hingham Visiting Nurse Association for twenty-six years. A lifelong Hingham resident, Jean worked to preserve her hometown's character and beauty, helping to pioneer recycling in Hingham and secure land for conservation. She was a member of the Second Parish Church and choir in Hingham, the Ladies Committee for the Museum of Fine Arts, Colonial Dames Society, and Hingham Yacht Club.

As a young child, BSO Trustee Jan Brett would often attend Symphony's youth concerts with her mother. Jan served on the BSO Board of Overseers from 1994 to 1999, and she was elected to the BSO Board of Trustees in 1999. Jan is a member of the Trustees Nominating Committee.

Her husband, Joe Hearne, is the longest-tenured musician in the orchestra, having joined the BSO bass section in 1962 fresh out ofJuilliard. For Jan and Joe, the BSO is tightly woven into the fabric of their life together in Boston and the Berkshires, and they support the organization on many levels.

Jan and Joe have supported the BSO's educational programs in addition to endow- ing a full fellowship at the Tanglewood Music Center. They provide ongoing support through the annual funds, and in 2006 they served as chairs of the highly successful Opening Night at Tanglewood fundraiser. Jan and Joe are also members of the Walter Piston Society.

With over thirty-six million books in print, Jan is one of the nation's foremost authors and illustrators of children's books. She has published over thirty works in as many years, including The Hat, The Three Snow Bears, Gingerbread Baby, and The Mitten, which recently celebrated its twentieth anniversary in 2009. In 2005, Jan received the Boston Public Library's Lifetime Achievement Award.

10 NOTES ON THE PROGRAM

SM THE GERSHWINS'® PORGY AND BESS ,

Opera in three acts by George Gershwin,

DuBose and Dorothy Heyward, and Ira Gershwin

George Gershwin (1898-1937) had the idea for Porgy and Bess as soon as he read DuBose Heyward's novel Porgy in 1926. He immediately wrote to Heyward, who was enthusiastic, but it was not until October 1933 that they signed a contract with the Theatre Guild in New York and began work. (In 1927 Heyward and his wife Dorothy had turned the novel into a play with spirituals. This ran on Broadway for 367 performances in a Theatre Guild production.)

"No story could have been more ideal for the serious form I needed than Porgy and

Bess," Gershwin wrote. "First of all, it is American, and I believe that American music should be based on American material. I felt when I read Porgy in novel form that it had 100 per cent dramatic intensity in addition to humor. It was then that I wrote to

DuBose Heyward suggesting that we make an opera of it.

"My feelings about it, gained from that first reading of the novel, were confirmed when it was produced as a play, for audiences crowded the theater where it played for two years. Mr. Heyward and I, in our collaboration on Porgy and Bess, have attempted to heighten the emotional values of the story without losing any of its original quality. I have written my music to be an integral part of that story."

Gershwin started the score the next year, spending the summer in South Carolina, familiarizing himself with the setting of the opera. He had most of the composition done by early 1935, orchestrated it in the following months, and in October it opened on Broadway at the Alvin Theater (after a private performance at Carnegie Hall and a try-out in Boston). Directed by Rouben Mamoulian, who had also staged

George and Ira Gershwin flanking DuBose Heyward, 1935; photo autographed by the Gershwin brothers to Heyward (Gershwin Archive/Library of Congress)

TANGLEWOOD WEEK 8 FRIDAY PROGRAM NOTES 11 —

the Heywards' play, Porgy and Bess ran for 124 performances, but still lost money in this original production. (It did tour in 1936, and was revived in 1938.)

This original three-act version—itself greatly revised before it reached Broadway ran for almost four hours, with two intermissions. A few years later, director/producer Cheryl Crawford cut it sharply, reducing the cast and orchestra and replacing many of the recitatives with spoken dialogue. In that form it returned to Broadway in 1942 for a commercially much more successful run.

These performances were with all-black casts, a very progressive artistic and social experiment for the time. (The cast led a protest of the segregation at the Washington, D.C., theater where the 1936 tour ended, resulting in the first integrated audience there.) The European premiere of the opera, however, took place in 1943 at the Royal Danish Theater in Copenhagen with an all-white cast. It was closed by Nazi authorities after twenty-two sold-out performances.

Much of the music that Crawford had cut was restored by Blevins Davis and Robert Breen for their 1952 production, including some of the recitatives. That production, with William Warfield as Porgy, Leontyne Price as Bess, and Cab Calloway as Sporting Life, had very successful runs in Europe and on Broadway.

All of these performances were presented as Broadway-style theater productions, not in opera houses. The work, which Gershwin called a "folk opera," came in for criticism on a number of counts, social and musical. It was considered racially patronizing by

many (including some of its cast members) , and all the cuts and the theater venues

created an image of it as a song show in the manner of Gershwin's previous revues, rather than a through-composed opera.

"Since the opening of Porgy and Bess I have been asked frequently why it is called a

folk opera," the composer wrote. "The explanation is a simple one. Porgy and Bess is

truth.'

'Someday you are going to visit MASS MoCA is summer Until then, you might be tempted to fib 87 MARSHALL STREET

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12 a folk tale. Its people naturally would sing folk music. When I first began work on the music I decided against the use of original folk material because I wanted the music to be all of one piece. Therefore I wrote my own spirituals and folksongs. But they are still folk music—and therefore, being in operatic form, Porgy and Bess becomes a folk opera."

He addressed the song issue—one that hardly seems vexing today—rather plaintively later in the same account.

"It is true that I have written songs for Porgy and Bess. I am not ashamed of writing songs at any time so long as they are good songs. In Porgy and Bess I realized I was writing an opera for the theater and without songs it could be neither of the theater nor entertaining, from my viewpoint

"Of course, the songs in Porgy and Bess are only a part of the whole. The recitative I have tried to make as close to the Negro inflection in speech as possible, and I believe my song-writing apprenticeship has served invaluably in this respect, because the song writers of America have the best conception of how to set words to music so that the music gives an added expression to the words. I have used sustained symphonic music to unify entire scenes, and I prepared myself for that task by further study in counterpoint and modern harmony."

A groundbreaking production of Gershwin's original score—the full score, without the cuts Gershwin himself made before the New York premiere—by the Houston Grand Opera in 1976 began to change many minds about these issues, forcing an acceptance of the work on its own terms as an opera. Coming to it without an extra- curricular agenda, it seems clear that Porgy and Bess is indeed an opera in every meaningful technical and musical way, written about a community that Gershwin felt he understood and appreciated culturally and musically, even as an outsider.

In 2006, John Mauceri and the Nashville Symphony Orchestra gave concert performances and recorded Porgy and Bess using the cuts that Gershwin had made for the New York premiere. That version is the basis for tonight's performance, which also includes some small additional cuts.

JOHN HENKEN

John Henken is the Los Angeles Philharmonic Association's Director of Publications. His program note and plot summary for Porgy and Bess are copyright © Los Angeles Philhar- monic Association and are reprinted here courtesy of that organization.

Synopsis

ACT I Porgy and Bess takes place mainly in Catfish Row, a black neighborhood in Charleston,

South Carolina, in the "recent past," i.e., circa 1930. Gershwin introduces the setting briefly in the orchestra, followed by a swirl of nightlife—a piano blues and dancing, with a crap game setting up in the background. From this emerges "Summertime," the lullaby Clara sings to her baby. Her husband, the fisherman Jake, tries his hand at singing their baby to sleep with the jaunty, cynical "A woman is a sometime thing." Porgy, a crippled beggar, enters to join the crap game. Crown, a tough dockhand, and his girlfriend Bess also enter; Crown is drunk and ready to join the crap game. When he loses, Crown attacks Robbins, one of the men in the game, and kills him, to an agitated but contrapun tally complex ensemble. Crown flees, and Bess remains behind, buying some "happy dust" from the drug dealer Sporting Life but refusing

TANGLEWOOD WEEK 8 FRIDAY PROGRAM NOTES to go away with him to New York. She looks for shelter among the Catfish Row residents, who all shun her except for Porgy, who takes her in just as the police arrive.

Scene 2 takes place the following night in the room of Serena, wife of the murdered

Robbins. Mourners fill the room and sing Gershwin's call-and-response spiritual, "Gone, gone, gone." Porgy and Bess enter, and join the others in placing money in a saucer to cover the cost of Robbins's funeral. Porgy leads the mourners into another spiritual, "Overflow, overflow." Police detectives interrupt the mourning, eliciting the fact that Crown was the killer, but taking away Peter, an old man, as a material witness. Porgy reflects on the injustice of this, and then the mourning resumes, led by Serena's anguished "My man's gone now" and culminating in the exultant "Leavin' for the promise' Ian'." The emotional and musical range of these original "spirituals" reveal the depth of Gershwin's researches into this kind of music and his skill as a dramatic composer in a tautly developed sequence.

ACT II

Act II begins a month later, with Jake and other men preparing to set out fishing,

until they are reminded that this is the day of a big community picnic. Porgy sings his irresistibly cheerful banjo song "I got plenty o' nuttin'," and everyone remarks on how changed Porgy has become since Bess moved in with him. Lawyer Frazier

enters and sells Porgy a divorce for Bess from Crown, noting that it costs more to get a divorce for somebody who has never been married. Alan Archdale, a white man, tells everyone that he has posted bail for Peter, who will soon return. Sporting Life tries again to get Bess to go with him to New York, but she spurns him and the dope he offers her, and Porgy also warns him off. Jake and Clara invite Bess to go to the picnic. In a love duet, "Bess, you is my woman," Porgy urges her to go, although she

is reluctant to go without him. The happy picnickers and a band parade pass to "Oh,

I can't sit down!" and Bess is finally persuaded to join them, leaving Porgy happily singing "I got plenty o' nuttin'."

{Intermission}

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The picnic takes place on Kittiwah Island in the second scene of Act II. Sporting Life leads the community in the subversively cynical "It ain't necessarily so," a sort of secular parody of the call-and-response singing of the mourning in Act I. Crown has been hiding on the island, and he now pulls Bess away, despite her weakening protestations in "What you want wid Bess?"

Act II, Scene 3, begins a week later, with Jake and the men once more setting out to fish, to a reprise of their work song from the opening of the act. Old Peter finally returns, and a delirious Bess is heard from Porgy's room. She had come back two days after everyone else and has been sick since. When Peter suggests that they take Bess to the hospital, Serena volunteers to pray over her, which she does in "Oh doctor Jesus." After the street cries of the Strawberry Woman and the Crab Man, Porgy and Bess have another duet, in which Bess pleads with him to keep her from Crown, who is planning to come back for her. A storm rises at the end of the scene, in omi- nously agitated music and the clanging of the hurricane bell.

In Scene 4, everyone is gathered, frightened and singing in Serena's room, as the storm continues outside. A knocking is heard, and Crown bursts into the room, mocking them and Porgy, reaching the oddly cheerful menace of his jazz song "A red-headed woman makes a choo-choo jump its tracks." Clara's scream cuts this off when she spots Jake's boat floating upside down in the river. Clara rushes off to help him, entrusting her baby to Bess. Only Crown is willing and able to go after her, which he does, promising to return for Bess. The scene ends with chanted prayers for mercy.

ACT III

Act III opens the next day on another scene of mourning, for Jake, Clara, and Crown, all believed dead. Sporting Life laughs at the prayer for Crown and hints that Crown is not dead. Bess is heard singing "Summertime" to Clara's baby. After everyone has gone to bed, Crown sneaks back into Catfish Row. Porgy intercepts Crown and kills him in a fight. The act ends with Porgy's triumphant laughter and proud proclama- tion, "Bess, you got a man now, you got Porgy!"

In Scene 2, the coroner and police are investigating Crown's death. They take Porgy away to identify the body, to Bess's dismay. Sporting Life insinuates that Porgy will be in jail for years, if not hanged, and gets Bess to take some of his dope. Once more Sporting Life entices Bess to go to New York with him, in the bluesy "There's a boat dat's leavin' soon." Bess angrily sends him away, but he leaves a packet of "happy dust" behind for her.

The final scene takes place a week later. It begins with a "Symphony of Sounds" thuds, snores, brooms, saws, washboards, etc.—and community greetings. Porgy, who had been jailed for contempt of court for refusing to identify Crown, returns with a gift for Bess. When he discovers that she is gone, he sings "Bess, oh where's my Bess?" with interjections by Maria and Serena. After this trio, Porgy calls for his goat and cart, preparing to go after her to the sound of another of Gershwin's quasi-spirituals, "Oh Lawd, I'm on my way."

JOHN HENKEN

TANGLEWOOD WEEK 8 FRIDAY PROGRAM NOTES 15 (^h Guest Artists

Bramwell Tovey

Bramwell Tovey makes his Boston Symphony Orchestra and Tanglewood debuts this evening.

Mr. Tovey's career as a conductor is uniquely enhanced by his work as a composer and pianist. His tenures as music director with the Vancouver Symphony, Luxembourg Philha- rmonic, and Winnipeg Symphony orchestras have been characterized by his expertise in

operatic, choral, British, and contemporary repertoire. He is entering his twelfth season as music director of the Vancouver Symphony, which in 2009 he took on tour to China, mak-

ing it the first Canadian orchestra to perform in China in thirty years. In addition, he continues as principal guest conductor of the Los Angeles Philharmonic at the Hollywood Bowl, and as founding host and conductor of the New York Philharmonic's Summertime Classics series at Avery Fisher Hall. In 2008 those two orchestras co-commissioned him to write a new work, the well-received Urban Runway, which has also been premiered in Canada. An esteemed guest conductor, Mr. Tovey has worked with orchestras in the United States and Europe including the London Philharmonic, London Symphony, and Frankfurt Radio Orchestra. In North America, he has made guest appearances with the orchestras of

Baltimore, Philadelphia, St. Louis, Pittsburgh, Detroit, Seattle, and Montreal. He is a regular guest in Toronto, where his trumpet concerto, commissioned by the Toronto Symphony

Orchestra, received its premiere in 2009 and represented a preview of his first full-length opera, The Inventor, which was premiered in Calgary in 2011. Summer 2011 brings debuts with the Cleveland Orchestra and Boston Symphony, as well as a return engagement with

the Philadelphia Orchestra, this time in its summer series in Saratoga, New York. The first artist to win a Juno Award in both conducting and composing, Bramwell Tovey has also built a strong reputation as an accomplished jazz pianist, with two recordings to his name. He has made memorable appearances on television, including two documentaries with the City of Birmingham Symphony Orchestra and a 1996 CBC TV broadcast of Victor Davies's Revelation, a full-length oratorio based on the Book of Revelation, with the Winnipeg Sym- phony Orchestra. He has an extensive back catalogue including recordings with the London Symphony, Halle, and the Royal Philharmonic orchestras. He has also recorded several DVDs, of works including Hoist's The Planets Suite and Beethoven's Eroica Symphony, among many others. His recording of the Barber, Korngold, and Walton violin concertos with James Ehnes and the Vancouver Symphony Orchestra received both Grammy and Juno awards. Awarded numerous honorary degrees, Mr. Tovey has received a Fellowship from the Royal Academy of Music in London and honorary Doctorates of Law from the University of Winnipeg, the University of Manitoba, and Kwantlen University College, as well as a Fellow- ship from the Royal Conservatory of Music in Toronto. In 1999 he received Canada's M. Joan Chalmers National Award for Artistic Direction for outstanding contributions in professional performing arts organizations.

Alfred Walker (Porgy)

Alfred Walker returned to Theater Basel in the 2010-11 season for his first performances as Amfortas in Parsifal and Amonasro in Aida, and sang Verdi's Requiem with the Baltimore Symphony Orchestra under Marin Alsop. The summer brings a concert performance of Porgy and Bess with the Boston Symphony Orchestra at Tanglewood under Bramwell Tovey. Last season Mr. Walker sang his first Creonte in Medea with the Opera national de Lorraine

in Nancy and the title role of Don Quichotte with Tulsa Opera, in addition to returning to San Diego Opera for Colline in La boheme and Rossini's Stabat Mater with the Boston Sym- phony Orchestra. Other recent highlights include the title role in Derfliegende Hollander at Theater Basel, Kurwenal in Tristan und Isolde at Angers Nantes Opera and Opera de Dijon,

and II Prologo in Gnecchi's Cassandra with Deutsche Oper Berlin. His celebrated characteri- zation of Orest in Elektra has been seen at Teatro alia Scala, Seattle Opera, Deutsche Oper Berlin, and Spain's San Sebastian Festival, and he was acclaimed as Allazim in the Peter

16 Sellars production of Zaideat the Festival d'Aix en Provence, Wiener Festwochen, London's Barbican Center, and Lincoln Center's Mostly Mozart Festival. He sang Telramund in concert performances of Lohengrin in Oviedo, Spain, under the baton of Semyon Bychkov, later joining the conductor and the WDR Sinfonie Orchester Koln for Lodovico in Otello. Also a frequent presence at the Metropolitan Opera, he has sung there in Philip Glass's Satyagraha,

Romeo et Juliette, Samson etDalila, Pelleas et Melisande, Les Troyens, and L'Enfant et les sortileges. In concert, Mr. Walker has sung Beethoven's Symphony No. 9 with the Atlanta Symphony Orchestra under Robert Spano, with the Utah Symphony, and at the Sun Valley Music Festival. He has joined the Handel and Haydn Society for Mozart's Requiem, the American Symphony Orchestra in Alice Tully Hall for Mahler's Kindertotenlieder and Ruckert-Lieder, and the Los Angeles Philharmonic as Porgy in concert at the Hollywood Bowl. Other concert performances include his debut with the New York Philharmonic Orchestra and Sir Colin

Davis in Beatrice et Benedict, Verdi's Requiem at the Spoleto Festival USA and with the Greens- boro Symphony, performances with the Boston Symphony Orchestra in Carnegie Hall, and a concert performance of Strauss's Salome at Tanglewood with Seiji Ozawa. He has also presented recitals at the Manchester Music Festival. His recording credits include another collaboration with Semyon Bychov and the WDR Sinfonie Orchester Koln for Orest in Elektra (Hybrid) as well as performances on Placido Domingo's CD of Verdi tenor arias (Deutsche Grammophon). A New Orleans native, and the recipient of many distinguished awards,

Alfred Walker is a graduate of Dillard University, Loyola University, and the Metropolitan Opera Lindemann Young Artist Program. Alfred Walker's previous Boston Symphony appearances have included a concert performance of Strauss's Salome at Tanglewood in

2001, concert performances of Debussy's Pelleas et Melisande in October 2003 in Boston and New York, and Rossini's Stabat Materia March 2010.

Laquita Mitchell (Bess)

Laquita Mitchell's recent engagements have included Bess in Porgy and Bess at San Francisco Opera and New Jersey State Opera; Sharon in Terrance McNally's Master Class at the Kennedy Center; her Atlanta Opera debut as Bess; her Lyric Opera of Chicago debut as Clara in Porgy and Bess; Musetta in La boheme in a return to the Los Angeles Opera; Mimi in La boheme

at the Utah Symphony and Opera; Leonora in 77 trovatore with Nashville Opera; Donna Anna in Don Giovanni with Florentine Opera, Portland Opera, and Opera New Jersey; Micaela in Carmen with New York City Opera and the former Opera Pacific; and Clara with Los Angeles Opera, Washington National Opera, Opera Comique in Paris, and on tour in Caen and Granada, Spain. Also active as a concert artist, Ms. Mitchell recently performed Barber's Knoxville: Summer of 1915 with the Louisville Orchestra; the world premiere of Steven Stucky's August 4, 1964 With the Dallas Symphony Orchestra; her Boston Symphony Orchestra debut as the soprano soloist in Wynton Marsalis's All Rise; and Tippett's A Child of Our Timewrth the Washington Chorus at the Kennedy Center. She has also performed with the Philadelphia Orchestra, New Jersey Symphony, the Princeton Symphony Orchestra, the New York Sym- phonic Ensemble at Alice Tully Hall, and with Branford Marsalis and the Garden State

Philharmonic. Ms. Mitchell is an alumna of the Houston Grand Opera Studio, where she performed a variety of roles including Orquidea in Daniel Catan's Salsipuedes (world premiere), Myhrrine in Mark Adamo's Lysistrata (world premiere), the First Lady in The Magic Flute, Barena in Jenufa, Valencienne in The Merry Widow, Javotte in Manon, and The Water in Rachel Portman's The Little Prince (world premiere). Also that season, she made her debut with the Cincinnati Opera as Mimi, a role she also sang as a member of San Francisco Opera's Merola Program. She joined Wolf Trap Opera for performances as Alice Ford in Antonio Salieri's Falstaff and Donna Elvira in Don Giovanni, and presented a recital with pianist Steven Blier. A native of New York, Laquita Mitchell was a 2004 Metropolitan Opera National Council Auditions Grand Prize Winner, and was awarded a 2004 Sara Tucker Award. She was also first-prize winner of the Wiener Kammer Oper's 2003 Hans Gabor Belvedere Competition, and of the Houston Grand Opera Eleanor McCollum Competition for Young Singers, where she also won the audience choice award. She completed her

TANGLEWOOD WEEK 8 GUEST ARTISTS 17 master's degree and the professional studies certificate at the Manhattan School of Music,

and also completed undergraduate studies at Westminster Choir College. This is Ms. Mitchell's second appearance with the Boston Symphony Orchestra; she made her BSO debut at Tanglewood in July 2004, in a performance of Wynton Marsalis's All Rise.

Alison Buchanan (Lily, Strawberry Woman)

Making her Boston Symphony Orchestra debut this evening, Alison Buchanan's recent engagements include her role debut as Ariadne in Ariadne aufNaxos with Birmingham Opera Company directed by Graham Vick; a reprise of that role at New York's Merkin Hall with Opera Du Monde; her Carnegie Hall debut as the soprano soloist in Mozart's Requiem; Nedda in I pagliacci with Pegasus and English Touring Opera; and Bess in Porgy and Bess with both Mobile Opera and Delaware Opera. Other recent highlights include her first Donna Elvira in Don Giovanni at New York City Opera; a concert performance of Peter Grimes with Sir Colin Davis and the London Symphony Orchestra at both London's Barbican and New York's Avery Fisher Hall; her Michigan Opera Theatre debut as the First Lady in Die Zauberflote, her role debut as Tosca for the Sedieres Festival, France; and Palmyra in Delius's Koanga with Pegasus Opera at Sadler's Wells. She also recently added the roles of Serena in Porgy and Bess and Cilia in Margaret Garner to her operatic repertoire. After completing her Adler Fellowship with San Francisco Opera, Ms. Buchanan made her mainstage debut in 1996 as Mimi in La boheme and Micaela in Carmen. Also with that company she appeared in Harvey Milk, Aida, Rigoletto, and Elektra, and sang Blanche in a workshop production of Andre Previn's A Streetcar Named Desire, a San Francisco Opera commission. Her portrayal of Bess for her 2002 New York City Opera debut was critically acclaimed. Ms. Buchanan toured with Sir Colin Davis and the European Union Youth Orchestra as the soprano soloist in Beethoven's Missa Solemnis; she performed that work again under Maestro Davis with the Bayerischer Rundfunk Orchestra (Munich). Her other concert credits include two Gershwin evenings with pianist Clive Lythgoe; Strauss's Four Last Songs with the Oakland-East Bay Symphony and with the Macedonian Symphony Orchestra; concerts and national broadcasts with the BBC Concert Orchestra; Mozart's Requiem at St. John's, Smith Square; a "Mozart Evening" with the Belgian Chamber Orchestra; and a Proms concert with the London Philharmonic Concert Orchestra. Originally from Bedford, England, Alison Buchanan graduated from the Guildhall School of Music, where she won many prestigious awards. As the 1991 winner of the Maggie Teyte Competition, she gave a recital at the Royal Opera House. Shortly afterwards she received a Wingate Scholarship and a Countess of Munster award enabling her to study for her master's at the Curtis Institute. She was also a winner of the 1995 Washington International Competition, the 1996 Pavarotti Competition, and the 1996 Kathleen Ferrier Competition, and a finalist in the 1997 Belvedere Competition.

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18 Nicole Cabell (Clara)

Nicole Cabell made her Boston Symphony Orchestra debut at Tanglewood last summer, as the soprano soloist in the BSO's season-ending performance of Beethoven's Ninth Symphony. In the 2010-11 season Ms. Cabell returned to the Metropolitan Opera and Lyric Opera of Chicago for Micaela in Carmen, to the Royal Opera House, Covent Garden, for Leila in Les

Pecheurs de perles, and to Oper Koln and Deutsche Oper, Berlin, for her role debut as Donna Elvira in Don Giovanni. She returned to Cincinnati Opera as Pamina in Die Zauberflote and to the Edinburgh Festival as the Mater Gloriosa in Mahler's Symphony No. 8, followed by galas in Kuala Lumpur with the Malaysian Philharmonic Orchestra and Claus Peter Flor. She also gave solo recitals in Toronto and in Louisville, Kentucky. Future engagements include returns to Chicago, Montreal, and Tokyo, and her San Francisco Opera debut. In the 2009-10 season she returned to the Metropolitan Opera for Musetta in La boheme, which she also sang in her debut at the Teatro Colon in Buenos Aires. She was Adina in L'elisir d'amore and the Countess in Le nozze di Figaro at Lyric Opera of Chicago, and made debuts with

New Orleans Opera as Juliette in Romeo et Juliette and with Atlanta Opera as Pamina. In concert, she made debuts with the New York Philharmonic in opera aria concerts in New York and in Vail with Bramwell Tovey; with the Boston Symphony Orchestra at Tanglewood in Beethoven's Symphony No. 9 under Kurt Masur; and with the Cleveland Orchestra and Franz Welser-Most in Brahms's Ein deutsches Requiem. The 2008-09 season brought her to the Metropolitan Opera for her house debut as Pamina, followed by Adina. With her home company, Lyric Opera of Chicago, she sang Leila in an opera concert at Millennium Park under Sir Andrew Davis. Other role debuts include the Countess in Le nozze di Figaro with the Cincinnati Opera and Micaela with Deutsche Oper Berlin. In concert she sang in Copenhagen, Prague, Munich, Frankfurt, Dortmund, Ottawa, Indianapolis, and Raleigh. She appeared twice in recital at Carnegie Hall, first for Marilyn Home's 75th birthday gala concert, then as part ofJessye Norman's Honor Festival, and gave a series of cabaret concerts at the Orange County Performing Arts Center. Winner of numerous awards, including the 2005 BBC Singer of the World Competition in Cardiff, Nicole Cabell is a Decca recording artist. Her solo debut album, "Soprano," was named Editor's Choice by Gramo- phone and has received several awards, including the 2007 Georg Sold Orphee d'Or from the French Academie du Disque Lyrique and an Echo Klassik Award in Germany. She holds a bachelor's degree in vocal performance from the Eastman School of Music.

Marquita Lister (Serena)

Making her Boston Symphony Orchestra debut this evening, Marquita Lister has been heard in the world's most important opera houses, including San Francisco, Houston, Montreal, Buenos Aires, Berlin, Paris, and La Scala, with such onstage partners as Placido Domingo, Justino Diaz, Frederica von Stade, Marcello Giordani, Simon Estes, and Sherrill Milnes. She holds degrees from the New England Conservatory of Music and Oklahoma City University, and trained for two years with the Houston Opera Studio. Her performance as Bess in New York City Opera's Emmy-nominated production of Porgy and Bess earned her the company's NYCO Diva Award. Her real breakthrough followed shortly thereafter, with roles in Montreal and Dresden, followed by Alice Ford in Falstaffat Portiand Opera, Salome in Austin, Liu in Turandot in Baltimore, Tosca in Vancouver, as well as Nedda in I pagliacci and Musetta in La boheme at the Arena di Verona. She received Pittsburgh Opera's "Artist of the Year Award" and was engaged by Gotz Friedrich of the Deutsche Oper Berlin for his production of Porgy and Bess at the Theater des Westens, after which came her groundbreaking performances at the Bregenz Festival and a tour of Porgy and Bess that included performances in the United States, Japan, Paris, and Milan. She enjoyed tremendous success at the Semperoper Dresden in 2007 and the following year traveled to Memphis, where she made her debut as Lady Macbeth. She sang the title role in Rusalka at Boston Lyric Opera to wide critical acclaim, Cassandre in Les Troyens at Brazil's Teatro Amazonas Opera House, and Bess in concert at the Hollywood Bowl. Other career highlights include per-

TANGLEWOOD WEEK 8 GUEST ARTISTS 19 'The brightest, most promising postgraduate musicians the city has to offer."— The New York Times The Academy A program of Carnegie Hall, The Juilliard School, and the Weill Music Institute in partnership with the New York City Department of Education

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carnegie hall Juilliard Weil1 Music Institute

20 formances as Mimi in La boheme, Elisabetta di Valois in Don Carlo, and Tosca at the Staats- theater Stuttgart; Amelia in Un ballo in maschera, Aida, Santuzza in Cavalleria rusticana, and Salome with New Orleans Opera; a concert version of Porgy and Bess at the Music Center at Strathmore with the National Philharmonic Orchestra, and with Fresno Opera and Cape Town Opera Company, followed by a Bernstein concert in Taormina, Sicily. Ms. Lister has appeared in several television productions, including "Evening at Pops" and "Live from Lincoln Center." She has recorded George Gershwin's Blue Monday (Telarc), excerpts from Porgy and Bess with the Cincinnati Pops, Edward Knight's Where the Sunsets Bleed (Albany

Records) , and the critically acclaimed Decca recording of Porgy and Bess. She is the spokes- person for the Negro Spiritual Scholarship Foundation, having recently performed at its Washington, D.C., fundraiser at the French Embassy, and also works on behalf of the Negro Musicians Fund. In April 2011 she sang in a concert performance of Porgy and Bess with the Akron Symphony Orchestra and this week sings the role of Serena at Tanglewood. Visit www.marquitalister.com for more information.

Krysty Swann (Annie)

Mezzo-soprano Krysty Swann is the recipient of the New York City Opera 2009 Richard F. Gold Career Grant and the 2008 Intermezzo Foundation Award, given by the prestigious Elardo International Opera Competition. Other recent awards include the Silver Prize with Opera Index and a Licia Albanese-Puccini Foundation grant for 2006-07 and 2008-09. In the 2010-11 season, Ms. Swann has performed Handel's Messiah with the Rochester Symphony Orchestra and the Baltimore Symphony Orchestra and the role of Lola in Cavalleria rusticana with Opera Orchestra of New York under Alberto Veronisi, and participated in the Bregenz Festival in Austria. In 2009-10 she appeared as Emilia in Kurt Weill and Ira Gershwin's The Firebrand ofFlorence with the Collegiate Chorale conducted by Ted Sperling and in an opera gala concert with the Springfield Symphony Orchestra. With New York City Opera, she has participated in various outreach programs and has sung Suzuki in Madama Butterfly. She recently made her Avery Fisher Hall debut in Verdi's Requiem and joined Opera Orchestra of New York for performances of Puccini's Edgar under Eve Queler. She has also appeared with Michigan Opera Theatre and the International Vocal Arts Institute, Israel. A recent graduate of the Manhattan School of Music, Krysty Swann was featured on the cover of the July 2007 issue of Opera News with acclaimed dramatic mezzo Dolora Zajick. While at the Manhattan School of Music, she received critical acclaim for performances of

Vaughan Williams's Riders to the Sea and as Madame de la Haltiere in Massenet's Cendrillon. Ms. Swann makes her Boston Symphony Orchestra debut in this evening's performance of Porgy and Bess.

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70 Kemble Street, Lenox, MA • For tickets visit Shakespeare.org or 413-637-3353 Gwendolyn Brown (Maria)

In 2010, for the 75th anniversary of Porgy and Bess, contralto Gwendolyn Brown performed her signature role of Maria in the Francesca Zambello production for Washington National Opera, Grand Rapids Opera Michigan, and with PAB Productions (Michael Capasso, producer), garnering much acclaim. In the 2010-11 season Ms. Brown performed the role with BB Productions New York Harlem in Germany and with New Orleans Opera This month she performs the role with Seattle Opera and in concert with the Boston Symphony Orches- tra at Tanglewood. Ms. Brown has also performed the role in Amsterdam and Brussels, with Tulsa Opera, and at the Hollywood Bowl. Also acclaimed for her work in opera, concert, and symphonic works, she has sung the roles of Baba in The Medium, the Mother in Amahl and the Night Visitors, Fricka in Das Rheingold, Kabanicha in Kdtya Kabanovd, and Filippyevna in Eugene Onegin. Originally from Memphis, Tennessee, Gwendolyn Brown earned her bachelor of arts in music at Fisk University in Nashville, and a master's degree in vocal performance at the University of Memphis. Her young artist development included the Des Moines Metro Opera Young Artist Program and the Ryan Center for American Artists of Lyric Opera of Chicago. Currently residing in Chicago, Illinois, she has performed for the Washington National Opera, Lyric Opera of Chicago, Tulsa Opera, Chicago Symphony, Chicago Sinfon- ietta, and overseas in Germany, Italy, Spain, Amsterdam, and Brussels. A regional winner of the Metropolitan Opera Council Auditions in Memphis and a finalist for the Central Region in Chicago, she has also been a finalist in the Altamura/Caruso International Voice Competi- tion Study Grants, a semi-finalist in the New York Oratorio Society Solo Auditions, and has received awards from Classical Singer Magazine and the National Opera Association. Gwendolyn Brown makes her Boston Symphony Orchestra debut in this evening's performance of Porgy and Bess.

Calvin Lee (Mingo, Nelson, Crab Man)

Tenor Calvin Ellis Lee, who recently made his debut in Paris at the Opera Comique and at Theatre Caen in Porgy and Bess, has performed worldwide in numerous productions of that opera. Notably, he toured with Houston Grand Opera's international production in such notable opera houses as La Scala, Paris National Opera Bastille, and Japan's Bunkamura Theater in Tokyo, Osaka, and Nagoya with the Japanese Philharmonic. Recently Mr. Lee recorded Porgy and Bess for Decca Records with the Nashville Symphony conducted by John Mauceri. In recent seasons, Mr. Lee performed with Tulsa Opera, Atlanta Opera, Opera Company of Philadelphia, Opera Memphis, Orlando Opera, and Connecticut Opera in roles

such as Pang in Turandot, Monostatos in Die Zauberflote, Kaspar in Amahl and the Night Visitors, Mingo, Peter, and Robbins in Porgy and Bess, the Four Servants in Les Contes d'Hoffmann, and Third Jew in Salome. He has also sung the Sailor in Dido and Aeneas, the Circus Manager in The Bartered Bride, Victor in Amadeo Vives's Bohemios, Joe in Blue Monday, Von Asterburg in The Student Prince, Cascada in The Merry Widow, and Littore in Uincoronazione di Poppea. In concert Mr. Lee has been heard in Handel's Messiah, Mendelssohn's Elijah, Haydn's Creation, Mozart's Requiem and Vesperae Solennes, Schubert's Mass in G, Stravinsky's Pulcinella, and Beethoven's Ninth Symphony. He also was co-developer of a one-man show that he performed for FBN Opera for Kids called "Characters Through Song," and which introduced children to opera. Calvin Lee makes his Boston Symphony Orchestra debut this evening.

TANGLEWOOD WEEK 8 GUEST ARTISTS Chauncey Packer (Peter)

Making his Boston Symphony Orchestra debut this evening, American tenor Chauncey Packer has in recent years performed the roles of the Steersman in Derfliegende Hollander with New Orleans Opera, Anion in Philip Glass's Akhnaten with Atlanta Opera, Alfredo in

La traviata with Pensacola Opera, and Rodolfo in La boheme with Mobile Opera. He is much sought after for his captivating portrayal of Sporting Life in Porgy and Bess, a role he has performed with New Orleans Opera, Opera Birmingham, Mobile Opera, Opera Grand Rapids, Pensacola Opera, and Tulsa Opera, and in many major European cities with the Munich- based New York Harlem Productions tour. He has performed Porgy and Bess in Japan and on

tour with Opera Comique, singing Mingo in Paris, Caen, Granada, and Luxembourg. He is also featured on the acclaimed recording of Porgy and Bess conducted by John Mauceri with the Nashville Symphony, released in 2006 on Decca. Mr. Packer has also performed with Utah Festival Opera, Opera Grand Rapids, Shreveport Opera, Nashville Opera, Des Moines Metro Opera, and LSU Opera in such roles as Pinkerton in Madama Butterfly, the title role in Werther, Pong in Turandot, Sam in Carlisle Floyd's Susannah, Ruggero in La rondine, Dr. Blind in Die Fledermaus, Revival Singer in Robert Aldridge's Elmer Gantry, Tamino and Monostatos in Die Zauberflote, Edmondo in Manon Lescaut, Larry/Matt in The Face on the Barrooom Floor, Arturo in Lucia di Lammermoor, Remendado in Carmen, and Beppe in I pagli-

acci. He has also performed concerts with Edmonton Opera, Opera Noire of New York, Baton Rouge Symphony, Mobile Symphony, Gulf Coast Opera, New River Valley Symphony, Grand Rapid Symphony, and Pensacola Symphony, in such works as Haydn's Paukenmesse, Bruckner's TeDeum, Schubert's Mass in G, Handel's Messiah, and Beethoven's Mass in C and Ninth Symphony. Chauncey Packer received his undergraduate degree from the University of Mobile and his master's degree in music from University of New Orleans, and pursued post-graduate work at Louisiana State University. Future engagements include Pong in Turandot with New Orleans Opera, Sporting Life in Porgy and Bess with Lorin Maazel's Castleton Festival, and Remus in Treemonisha with Paragon Ragtime Orchestra. Mr. Packer recorded Treemonisha with that ensemble in May 2011 in New York City for New World Records.

Jermaine Smith (Sporting Life)

Tenor Jermaine Smith is closely associated with the role of Sporting Life, with which he recently made his debut in the Hollywood Bowl's first performance of Porgy and Bess in concert and in Lyric Opera of Chicago's production of the work, as well as in Cape Town Opera's guest engagement at the newly opened opera house in Oslo, Norway, last season. He makes his Boston Symphony Orchestra debut in the role this evening, and has also per-

formed it in Japan, Germany, Sweden, Austria, the Netherlands, Italy, Spain, Sicily, the Grand Canary Islands, and in this country at Union Ave. Opera, Opera Pacific, and in Francesca Zambello's production at both Washington National Opera and Los Angeles

Opera. Most recently he has brought his portrayal to Paris 's Opera-Comique, the Theatre de Caen, the Granada Festival, Opera de Luxembourg, and the Santa Fe Symphony. His other operatic repertoire includes the title role in Joshua's Boots (world premiere at Opera

Theatre of Saint Louis, revival at Kansas City Lyric Opera) , as well as Henry Davis in Street

Scene and Zodzetrick in Treemonisha (both with Opera Theatre of Saint Louis) . He has made numerous appearances with the St. Louis Symphony. An alumnus of the New England Conservatory of Music, he a faculty member of the University of Missouri-St. Louis and Harris-Stowe State University.

24 Gregg Baker (Crown)

Since his operatic debut at the Metropolitan Opera in 1985, Gregg Baker has performed leading roles at Vienna Staatsoper, Arena di Verona, Glyndebourne Opera, Hamburg Opera, New Israeli Opera, Stuttgart Opera, Frankfurt Opera, Vancouver Opera, Baden- Baden Opera, Covent Garden, Scottish National Opera, New York City Opera, Michigan Opera, Cincinnati Opera, Houston Grand Opera, and Greater Miami Opera. He makes his Boston Symphony Orchestra debut in tonight's performance of Porgy and Bess, and recently

sang his first Renato in Un ballo in maschera for the Opera Company of Philadelphia. He also appeared in the world premiere run of Margaret Garner in Philadelphia and with New York City Opera, and sang Amonasro for Michigan Opera Theatre's Aida. Recent engagements also include Amonasro for Florida Grand Opera, Crown in a concert version of Porgy and Bess for Opera Pacific, Porgy for Opera Company of Philadelphia, the title role in Macbeth with Memphis Opera, and Margaret Garner with Michigan Opera Theatre. In November 2007, he appeared at the Kennedy Center with the National Symphony under Marvin Hamlisch in a concert version of Show Boat as Joe, a role he recently reprised with the Pittsburgh Symphony and Buffalo Philharmonic. He earned critical acclaim for two recent role debuts: the title roles in Macbeth and Rigoletto, and Robert in Margaret Garner. A successful veteran of Broadway and a Lawrence Olivier Award nominee, Mr. Baker discov- ered his gift for and love of opera while performing the role of Crown in Porgy and Bess. After hearing his performance in Radio City Music Hall's production of the work, the

Metropolitan Opera immediately engaged him for its own production. Since then, he has returned to that company in the roles of High Priest (Samson etDelila), Amonasro, Escamillo

{Carmen), Silvio (I pagliacci) , Donner (Das Kheingold) , and Belcore (L'elisir d'amore) . In addition to his opera performances, Mr. Baker has performed and recorded with such leading orchestras as the Royal Philharmonic, London Philharmonic, London Symphony Orches- tra, New York Philharmonic, Los Angeles Philharmonic, Hollywood Bowl, Milwaukee Symphony Orchestra, Danish Symphony, and Radio Stuttgart Symphony, under such conductors as James Levine, Simon Rattle, Zubin Mehta, Andre Previn, Lorin Maazel, Esa- Pekka Salonen, Sir Roger Norrington, the late Robert Shaw, Jesus Lopez-Cobos, Daniel Oren, the late Anton Guadagno, and the late Erich Kunzel. Other career highlights include a Grammy nomination in 1986, numerous engagements with Opera Company of Phila- delphia, and repeat engagements in Europe, particularly with Arena di Verona.

Patrick Blackwell (Jim, Undertaker)

Patrick Blackwell continues to expand his impressive repertoire in opera, oratorio, and musical theater. In recent seasons, he sang his first performances as Porgy in Porgy and Bess in St. Louis, where he was also Sarastro in Die Zauberflote. He returned to both Chamber Opera Chicago and Ars Viva of Chicago as Balthazar in Amahl and the Night Visitors, a role he has also performed with Des Moines Metro Opera and Opera Illinois. In the 2007-08 season JSa he sang the Undertaker and Jim in Fresno Opera's production of Porgy and Bess and performed in New Jersey State Opera's concert gala as the King in Aida and Melitone in La forza del destino, and with Toledo Opera as Count Ceprano in Rigoletto. Mr. Blackwell made his Lyric Opera of Chicago debut in 1997 as Bumah in the highly acclaimed world premiere of Anthony Davis's Amistad, returning there as Henry Davis in Street Scene, as Cal in Regina,

and as the Duke of Verona in Romeo et Juliette. His first performances with New York City Opera were as Dr. Grenvil in La traviata and Colline in La boheme. Among his other notable portrayals are Leporello in Don Giovanni, Zuniga and Morales in Carmen, and Baron Douphol in La traviata. He has performed with companies including New Jersey State Opera, Floren- tine Opera, Augusta Opera, Western Opera Theatre, and Fort Worth Opera. Mr. Blackwell made his Carnegie Hall debut as the bass soloist in the world premiere of Earnestine Rogers Robinson's Crucifixion. In addition to performing works by Mozart at the Arts Festival in North Korea, he has sung Faure's Requiem with the Fresno Philharmonic and Osiride in Rossini's Mose in Egitto with the New Jersey Symphony Orchestra at Lincoln Center. He also

TANGLEWOOD WEEK 8 GUEST ARTISTS ,

has credits in musical theater, cast as Joe in Show Boat with Rockwell Productions and with LiveEnt in Vancouver, Canada. Patrick Blackwell studied with Enrico Di Giuseppe at the Juilliard School on full scholarship. He began his career as a young artist with the Santa Fe Opera, Houston Opera Studio, the Merola Opera Program, Opera Music Theatre Inter- national with Jerome Hines, and the Aspen Opera Theatre Center. Patrick Blackwell makes his Boston Symphony Orchestra debut in tonight's performance of Porgy and Bess.

John Fulton (Robbins)

Making his Boston Symphony Orchestra debut this evening, American baritone John Fulton has completed two seasons with Arizona Opera in the Marian Roose Pulin Young Artist Studio, where he has performed the roles of Masetto in Don Giovanni, Sciarrone in Tosca,

the Cappadocian in Salome, Schaunard in La boheme, and Fiorello/Police Sergeant in 77 barbiere di Siviglia. During the 2007-08 season he debuted as a member of the New York Harlem Productions Inc. touring production of Porgy and Bess. With this company Mr. Fulton has performed the roles ofJake, Crown, and Jim in numerous opera houses across Europe, including the Stadtstheater Hannover, the Carre Theater in Amsterdam, and the Strasbourg Theatre, to name a few. Other recent engagements include performances as Morales in Carmen and as Crown in Porgy and Bess at Tulsa Opera, Fiorello with Michigan Opera Theatre, and Marullo in Rigoletto in concert with the Westfield Symphony Orchestra in New Jersey. Mr. Fulton has performed Figaro in II barbiere di Siviglia and Marquis d'Obigny in La traviata with Opera Colorado, Count Almaviva in Le nozze di Figaro for Opera Theatre of the Rockies, as well as Count Ceprano in Rigoletto and David in A Hand of Bridge with Berkshire Opera. He has also taken part in several outreach projects for Cincinnati Opera, including the role of Robert Garner in Richard Danielpour's Margaret Garner. In summer 2006 he returned to Berkshire Opera for Prince Yamadori in Madama Butterfly and Peter in Hansel und Gretel. In 2003 and 2005, as an apprentice artist at Central City Opera, he sang John/ Tom in Henry Mollicone's Face on the Barroom Floor, Barney Ford in Mollicone's Gabriel's

2PM Coast to Coast Septet featuring NEA Jazz Master Jimmy Cobb with vocalist Mary Stallings Jimmy Cobb The Mingus Orchestra conducted by NEA Jazz Master Gunther Schuller

8pm Sing the Truth: Celebrating the History of Women Vocalists at TANGLEW00DH7M1FESTIVAL Tanglewood with Angelique Kidjo, Dianne Reeves, and Lizz Wright Dianne Reeves

Cafe on Main TICKETS $19-77 * ONE DAY LAWN PASS $34 Robin McKelle Quartet 888-266-1200 • tanglewood.org Michael Kaeshammer Robin McKelle TANGLEWOOD JAZZ CAFE Quintet Jazz Cafe artists include Cedric Henriot, Rebecca Martin,

Sarah Manning and Ulysses Owens, Jr. Writer Bob SEPTEMBER 3 SAT Blumenthal will interview percussionist John Santos and 2pm Live taping of Judy Carmichael's NEA Jazz Masters Jimmy Cobb and Gunther Schuller and "Jazz Inspired" with host Judy conduct a session on jazz vocalists titled "Listen Here." actress Carmichael and Blythe Danner All are free with a ticket to the main stage event.

and and special guests from the worlds ,.,. <:1 NEA Jazz Masters Live is a program of the National k of Jazz, Broadway or Hollywood Endowment for the Arts in partnership with Arts Midwest,

that celebrates the living legends who have made 8piwi A Latin Jazz Tribute to Cachao with exceptional contributions to the advancement of jazz. Federico Britos Sextet and John Santos Sextet as featured in the "American TANGLEWOOD WINE & FOOD CLASSIC Masters"/ PBS documentary SEPTEMBER l-< John Santos "Cachao: Uno Mas" For details, visit tanglewood.org.

26 8

Daughter, and the Narrator and soloist in The Quartet of the Defeated in Britten's Paul Bunyan. Mr. Fulton was awarded the Richard F. Gold Career Grant and the Apprentice Artist Award at Central City in 2005 and he won the prestigious Dietrich Fischer-Dieskau Wolf Lieder Competition in New York in 2003. He has studied voice with Metropolitan Opera baritone Mark Oswald, and his primary vocal coaches are Kathleen Kelly and Mark Trawka. He has collaborated with conductors Steuart Bedford and Hal France and been directed by Catherine Malfitano, Ken Cazan, and James Robinson. A native of Charlotte, North Carolina, John Fulton studied at UNC Greensboro, before earning his master's at the Eastman School of Music and his Professional Studies Degree at Manhattan School of Music.

Robert Honeysucker (Frazier)

Baritone Robert Honeysucker is recognized internationally for performances in opera, concerts, and recital. His opera performances have included the roles of Amonasro, Escamillo, Ezio, Figaro, Germont, Miller, Iago, Renato, Rigoletto, and Sharpless, with such companies as Boston Lyric Opera, Connecticut Opera, Delaware Opera, Eugene Opera, Fort Worth Opera, Opera Boston, Opera Company of Boston, Sacramento Opera, Tulsa Opera, and Utah Opera. Overseas he has performed in Auckland, New Zealand, in Berlin, and as Daedalus in the world premiere of Paul Earls's Icarus at the Brucknerfest in Linz, Austria. He has also appeared in opera concerts in the Persian Gulf, and in numerous concerts in Europe, Australia, and New Zealand. He recently made his London debut performing songs of Charles Griffes in Wigmore Hall. Mr. Honeysucker has appeared as soloist in Elijah with Boston's Handel and Haydn Society under Christopher Hogwood; the world premiere of Howard Frazin's The Voice of Isaac with PALS Children's Chorus in Boston; Missa Solemnis with the Northwest Bach Festival Orchestra (Spokane, WA) under Gunther Schuller; Ives's General William Booth Enters into Heaven with the Pittsburgh Symphony under Michael Tilson Thomas at Great Woods Performing Arts Center; Copland's Old American Songs with the Flagstaff Symphony Orchestra; Carmina burana with the Roanoke and Omaha symphony GECKOS pod s

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TANGLEWOOD WEEK 8 GUEST ARTISTS 27 orchestras; and a PBS telecast of Vaughan Williams's Hodie with the Utah Symphony and Mormon Tabernacle Choir led by Keith Lockhart. Mr. Honeysucker has also performed with the Detroit Symphony, St. Louis Symphony, Long Island Philharmonic, Portland (Maine) Symphony Orchestra, and Sacramento Symphony Orchestra. Engagements in Japan have featured him as soloist with the Sapporo Symphony, Osaka Philharmonic, and Tokyo Phil- harmonic in Beethoven's Ninth Symphony; with the Tokyo Symphony in Handel's Messiah; with the Telemann Chamber Orchestra in Osaka in Bach's Christmas Oratorio; and with the Kansai Chamber Orchestra in Kobe and Kyoto in Handel's Messiah and Bach cantatas. Notable appearances with the Boston Symphony Orchestra include his December 1995 BSO debut as the Keeper of the Madhouse in Stravinsky's The Rake's Progress; Beethoven's Ninth Symphony in celebration of Seiji Ozawa's twenty-fifth season as music director; Wynton Marsalis's All Rise conducted by Kurt Masur at Symphony Hall and Tanglewood, and most recently, in March 2007, the Second Prisoner in Beethoven's Fidelio under James Levine. With the Boston Pops, he has appeared on the Esplanade and at Symphony Hall under John Williams, Keith Lockhart, Harry Ellis Dickson, and Grant Llewellyn. Mr. Honeysucker

is a member of Videmus, as well as a member and co-founder of the Jubilee Trio, which presents American art songs, including those of under-performed African American composers. Honored as 1995 "Musician of the Year" by the Boston Globe, Robert Honeysucker has also been a winner of the National Opera Association Artists Competition and a recipient of the New England Opera Club Jacopo Peri Award.

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28 Leon Williams (Jake)

Making his Boston Symphony debut this evening, American baritone Leon Williams is equally at home in classical repertoire and in programs of spirituals, holiday and popular standards, and show tunes. He appeared on Broadway and on tour in the musical Ragtime, and last season performed Christmas concerts with the Grand Rapids Symphony and a New

Year's Eve program with the Westfield Symphony. He is noted for performances of Mendels- sohn's Elijah (Honolulu Symphony and Florida Orchestra) and Orff's Carmina burana (Florida Orchestra, Baltimore, Reading, Alabama, Westchester, Grand Rapids, Jacksonville, Hartford, and Colorado symphonies, National Philharmonic, and at the Berkshire Choral Festival). In addition, he has performed Britten's War Requiem, the Requiems of Mozart and Faure, and Haydn's Creation with the Colorado Symphony; Vaughan Williams's A Sea Symphony with the Portland and Illinois symphonies and Florida Orchestra (also upcoming in Grand Rapids); Faure's Requiem with Raymond Leppard and the Kansas City Symphony; Brahms's Ein deutsches Requiem with the Alabama and Santa Barbara symphonies; Haydn's

// ritorno di Tobia and Harold Farberman's War Cry on a Prayer Feather With, the American Symphony Orchestra at Alice Tully Hall; Weill's Lindbergh/lug with Dennis Russell Davies and the American Composers Orchestra at Carnegie Hall; Mahler's Ruckert-Liederwith Christoph Eschenbach at Japan's Sapporo Festival, and Mahler's Lieder eines fahrenden Gesellen and Eighth Symphony with Leon Botstein at New York's Bard Festival; Vaughan Williams's Fantasia on Christmas Carols with the Orchestra of St. Luke's at Carnegie Hall; Mozart's Requiem with Joseph Flummerfelt at the Westminster Festival; Beethoven's Mass in C at France's Colmar Festival; Copland's Old American Songs with the Warren Philharmonic; and Verdi's Requiem with David Lockington and the Modesto Symphony. He recently opened the brand-new concert hall in Amarillo, Texas, performing Lee Hoiby's I Have a Dream with James Setapen and the Amarillo Symphony and returned there for Walton's Belshazzar's Feast. Mr. Williams has performed Brahms's Vier ernste Gesdnge with Sarah Rothenberg and the Da Camera Society of Houston (to which he returned for a special Wuorinen program,

repeated at the Guggenheim under the baton ofJames Levine) ; an "Art of the Spiritual" program at San Francisco's Herbst Theater; and an ail-American program at Japan's Tochigi Music Festival and Maine's Arcady Music Festival. He has given recitals in Hartford, Pitts- burgh, Princeton, and throughout his native New York City, including Carnegie's Weill Recital Hall, Merkin Hall (the songs of Richard Hundley), and the 92nd Street Y (a much- acclaimed all-Poulenc program with Michel Senechal and Dalton Baldwin)., He earned critical and public acclaim as Anthony in Sweeney Todd (Toledo Opera) and Papageno in Die Zauberflote (Hawaii Opera Theatre). A much-in-demand Porgy and Bess principal, he has sung Porgy, Sporting Life, and Jake.

Michael Aronov (Detective)

Michael Aronov will play Gromov in the upcoming American premiere of Blood and Gifts at the Lincoln Center Theatre, directed by Bartlett Sher. On the New York stage, he has pre- ^ *** T sented his solo show, Manigma, at the Harold Clurman Theatre and the 78th Street Theatre Lab, and played the Conquistador in Spain at the Lucille Lortel Theatre. In Europe he has portrayed Stanley Kowalski in A Streetcar Named Desire. Mr. Aronov received the Elliot Norton Award (best actor) for originating the role of Dennis in Mauritius at Boston's Huntington Theatre, worked with Terrence McNally on the world premiere of Unusual Acts ofDevotion in Philadelphia, and appeared in Los Angeles under the direction of Estelle Parsons in Salome starring Al Pacino. At the Actors Studio he was in Strindberg's Playing With Fire directed by Lee Grant and That Tuesday directed by Joseph Chaikin; he appeared in another Strindberg classic, portraying Jean in MissJulie at the Cherry Lane Theatre. Chaikin also directed him in the New York premiere of Sam Shepard's The Late Henry Moss at the Signature Theatre. He has appeared as Dionysus in The Bacchae 2.1, and Edgar in an award-winning production of King Lear. On television he was Armand Marku in last year's season-ending episodes of The Closer. In addition, he has been seen in The Good Wife, Burn Notice, Blue Bloods, White

TANGLEWOOD WEEK 8 GUEST ARTISTS 29 Collar, Life on Mars, Without a Trace, Threat Matrix, several episodes of the Law & Order fran- chise, Lipstick Jungle, The Beat, Spin City, The Game, and All My Children. His film credits include Amexicano (premiered at the Tribeca Film Festival) and two Sundance favorites: Hedwig and the Angry Inch and Lbs., which was nominated for an Independent Spirit Award.

Matthew Heck (Policeman)

Matthew Heck devotes his time to a diverse range of musical activities when he is not writing podcasts, advocating for student discount programs, and maintaining social media chan- nels for the Boston Symphony Orchestra. As an avid amateur violinist, Matthew performs regularly as a recitalist, chamber musician, and member of the Boston Philharmonic, and,

as one half of the electronic music duo Elder Brothers ?, Matthew spins records regularly in Cambridge, Boston, New York, and beyond.

Jeremiah Kissel (Coroner)

Jeremiah Kissel is a thirty-year veteran of New England's professional stages and has appeared on many occasions as narrator with the Boston Pops, for such works as Casey at the Bat, The Dream Lives On, and Christmas favorites The Polar Express, How The Grinch Stole Christmas, and A Christmas Carol. He has played major roles for the Huntington Theatre Company, American Repertory Theatre, the Lyric Stage, the New Rep, and the Commonwealth Shakespeare Company. Recent stage work includes acclaimed productions at the Wimberly Theater and Merrimack Rep; he can be seen on screen in the films The Town and The Fighter, and on television in ABC's Body of Proof. He is the recipient of the first annual Outstanding Boston Actor Award at the Elliot Norton Ceremonies in 1990 and several IRNE (Independent Reviewers of New England) awards; in 2003 he was presented with the Norton Prize for Sustained Excellence.

Ralph Petillo (Archdale)

Ralph Petillo has written, directed, and performed for Walt Disney World and Disney Productions. He co-founded and was resident director for Theatre On Park, Orlando's first Repertory Theatre Company, and established and directed Florida's first African-American Repertory Theatre Company. Directing credits include Berkshire Theatre Festival's Candide, A Little Night Music, Chicago, The Taming of the Shrew, Purlie, Ain't Misbehaven, and Company. Acting credits include Tevye, Henry II, Victor Frankenstein, and, for Berkshire Theatre Festival, Fagin, Captain Hook, Duncan/Doctor in Macbeth, and the Ghost of Christmas Present in A Christmas Carol.

To read about John Oliver and the Tanglewood Festival Chorus, see pages 56-58.

30 Tanglewood Festival Chorus John Oliver, Conductor

(Gershwin, Porgy and Bess, August 26, 2011)

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

Sopranos

Margaret Batista • Joy Emerson Brewer • Alison M. Burns • Angelina Calderon •

Jeni Lynn Cameron • Catherine C. Cave • Anna S. Choi • Lisa Conant •

Sarah Dorfman Daniello # • Christine Pacheco Duquette # • Mary A.V. Feldman # •

Margaret Felice • Katherine Barrett Foley • Bonnie Gleason • Alexandra Harvey •

Stephanie Janes • Carrie Kenney • Donna Kim • Nancy Kurtz • Barbara Abramoff Levy § •

Erin Nafziger • Heather O'Connor • Ebele Okpokwasili-Johnson • Jaylyn Olivo •

Laurie Stewart Otten • Adi Rule • Laura C. Sanscartier • Johanna Schlegel •

Dana R. Sullivan • Anna Ward • Alison Zangari

Mezzo-Sopranos

Virginia Bailey • Kristen S. Bell • Martha A.R. Bewick • Betty Blanchard Blume •

• Betsy Bobo • Lauren A. Boice • Donna J. Brezinski • Janet Casey • Abbe Dalton Clark

Kathryn DerMarderosian • Diane Droste • Paula Folkman # • Debra Swartz Foote •

Dorrie Freedman * • Irene Gilbride # • Denise Glennon • Mara Goldberg • Betty Jenkins •

Gale Livingston # • Anne Forsyth Martin • Louise-Marie Mennier • Tracy Elissa Nadolny •

Lori Salzman • Elodie Simonis • Julie Steinhilber # • Lelia Tenreyro-Viana •

Michele C. Truhe • Marguerite Weidknecht

Tenors

Armen Babikyan • John C. Barr # • Adam Kerry Boyles • Felix M. Caraballo •

Chad D. Chaffee • Jiahao Chen • Stephen Chrzan • William Cutter • Tom Dinger •

• • • • # • Ron Efromson Keith Erskine Len Giambrone Leon Grande J. Stephen Groff

Luke A. Hamblen • Lance Levine • Dane Lighthart • Ronald Lloyd • Henry Lussier * •

Jeffrey L. Martin • Glen Matheson • David Norris # • Guy F. Pugh • Peter Pulsifer •

Brian R. Robinson • Blake Siskavich • Stephen E. Smith • Leslie Tay • Stephen J. Twiraga

Basses

• • # • • Thomas Anderson Thaddeus Bell Daniel E. Brooks Stephen J. Buck

• • • # • • Matthew Collins Mark Costello Mark Gianino Jay S. Gregory Marc J. Kaufman

Kelby Khan . David M. Kilroy • Will Koffel • G.P. Paul Kowal . Timothy Lanagan # .

Nathan Lofton • David K. Lones # • Patrick McGill • Devon Morin • Joshua H. Nannestad

Stephen H. Owades § • William Brian Parker • Jonathan Saxton • Karl Josef Schoellkopf •

• Matthew Stansfield • Scott Street • Joseph J. Tang • Craig A. Tata • Bradley Turner Thomas C. Wang # • Channing Yu

Mark B. Rulison, Chorus Manager Martin Amlin, Rehearsal Pianist

TANGLEWOOD WEEK 8 GUEST ARTISTS 31 - •

Tanglewood BOSTON SYMPHONY ORCHESTRA

Re-Use Initiative

Tanglewood is pleased to continue its program book re-use initiative as part of the process of increasing its recycling arid eco-friendly efforts. We are also studying the best approaches for alternative and more efficient energy

If you would like your program book to be re-used, please choose fro. the following: 11) Rfturn your unwanted clean program bo< an usher following the performance.

2) Leave your program book on your seat.

3) Return your clean program book to the program bins.

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Boston Symphony Orchestra 130th season, 2010-2011

Saturday, August 27, 8:30pm THE ABE POLLIN MEMORIAL CONCERT

ITZHAK PERLMAN, conductor and violin soloist

All-Beethoven Program

Romance No. 1 in G for violin and orchestra, Opus 40 Romance No. 2 in F for violin and orchestra, Opus 50

Mr. PERLMAN

Symphony No. 1 in C, Opus 21 Adagio molto—Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Adagio—Allegro molto vivace

{Intermission}

Symphony No. 5 in C minor, Opus 67 Allegro con brio Andante con moto Allegro Allegro

<^J<^3 Bank of America is proud to sponsor the 201 1 Tanglewood season.

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.

TANGLEWOOD WEEK 8 SATURDAY PROGRAM 33 1

The Abe Pollin Memorial Concert Saturday, August 27, 201

The performance on Saturday evening is supported by a generous gift from BSO Overseer Elect Irene Pollin in memory of her late husband, Abe Pollin, who died on November 24, 2009.

Although he was best-known as the owner of the Washington Wizards basketball team and its arena, the Verizon Center, Abe was also known as a devoted philanthropist. He was involved with numerous charitable and civic activities in the Washington, D.C., area, as well as on a national and international level. Abe worked tirelessly to revitalize the Washington, D.C., community, and he supported many education and healthcare initiatives. Abe and Irene have given generously to such causes as the United States Holocaust Memorial and the I Have a Dream Foundation, among many others. Abe and Irene were married for over sixty-four years, and they had four children. Abe and Irene began attending performances at Tanglewood together in 2001. Since then, they have been generous supporters of the Tanglewood

Annual Fund. Irene is a Koussevitzky Society member at the Virtuoso level.

Irene was recently elected to the BSO Board of Overseers, and her term begins on September 1. A pioneer in many areas of women's health, Irene has received numerous awards for her work. In 1999, Irene founded Sister to Sister, a non-profit foundation dedicated to preventing heart disease in women. She has written many articles on coping with chronic illness, as well as two books, Medical Crisis Counseling and Taking Charge: Overcoming the Challenges of Long-Term Illness. Irene and Abe had two children that died from congenital heart failure, Kenneth at fifteen months and Linda at sixteen years. After struggling to cope with the death of her two children, Irene returned to school to complete a master's degree in psychiatric social work at Catholic University. In 1976 she created the first Medical Crisis Counseling Center in Chevy Chase, MD, developed to treat patients and families coping with chronic illness.

Irene currently serves on the Harvard School of Public Health Nutrition Round Table; the Office of Women's Health at NIH Heart Attack Campaign Expert Panel; the Executive Committee of National Symphony Orchestra Board (thirty-three years

of service) , and the BSO Board of Overseers. In the past she served on the New York Presbyterian Hospital Health Sciences Advisory Committee; Office of Women's Health at NIH Advisory Committee, and the executive board of her alma mater, American University, where she was the guiding force behind the development of the new library. In 2007, Irene received an honorary doctoral degree from Howard University.

34 NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827)

Romance No. 1 in G for violin and orchestra, Opus 40 Romance No. 2 in F for violin and orchestra, Opus 50

First performances: Dates unknown, but composed not later than fall 1802, when Beethoven's brother Karl offered both Romances to the publishers Breitkopf & Hartel. First BSO performance of the F major Romance, Opus 50: January 14, 1898, Emil Paur cond., Timothee Adamowski, violin. First Tanglewood performance of the F major Romance, Opus 50: July 18, 1965, Erich Leinsdorf cond., Isaac Stern, violin. First BSO performance of the G major Romance, Opus 40: July 24, 1965, Tanglewood, Erich Leinsdorf cond., Isaac Stern, violin. Most recent Tanglewood performance of the G major Romance, Opus 40: August 19, 2000, Itzhak Perlman, cond. and violin. Most recent Tanglewood performance of the F major Romance, Opus 50: August 21, 2010, Susanna Malkki, cond., Joshua Bell, violin.

Eighteenth-century German composers borrowed the term "Romance," or Romanze, from their French contemporaries to denote a kind of simple but affecting song; eventually Haydn and Mozart used the label not only for vocal works but also for some lyrical slow movements in their larger works. In each of the movements they labeled thus, melodic invention and lyrical feeling dominate. Ill, S, "Romance," however, was not a name used for individual character pieces until the nineteenth century. [

Beethoven studied the violin when he lived in Bonn, and even played viola

in an orchestra there before he moved to Vienna in 1792. Thus it is not surprising that he displayed an interest in writing for the violin early on in his career, and that he wrote two Romances—No. 1 in G, Opus 40, and No. 2 in F, Opus 50. One way to approach his two charming single-movement Romances is to perceive them as way stations on his journey to the composition of his famous Violin Concerto, which he completed in 1806. These pieces, composed in sectional form, also require both technical fluency and elegant musicianship from the violin soloist. Music historians know that they had both certainly been completed by 1802, when the composer's brother negotiated their publication, but it is most likely that they were composed as early as 1798 or 1799. The Romance in F is presumed to have been composed first, although it is called No. 2 and has a later opus number than the other Romance. It was probably premiered shortly after it was completed, although facts about its early performance history are not available. The year of its publication was the same year that Beethoven completed his Symphony No. 2 and his Heiligenstadt Testament, in which he revealed his despair about his increasing deafness.

Marion M. Scott, an English biographer of Beethoven, writes of the Romances, "They are beautiful in their way, not easy as to technique, and very difficult to inter- pret satisfactorily." The famous nineteenth-century violinist Joseph Joachim was known to have valued the Romance in F highly and counted the original manuscript for the work, which he received as a gift from an admirer, as one of his most prized possessions.

No one knows just why Beethoven composed his Romances. Some historians specu- late that one or the other may have been originally intended as the slow central movement for a fragmentary C major violin concerto that he had begun earlier; but some ponder that if that were true, why would he have created two Romances in

TANGLEWOOD WEEK 8 SATURDAY PROGRAM NOTES 35 different keys? In any event, the two Romances share a similarity in form as well as in mood, both being completely lyrical in spirit.

SUSAN HALPERN

Susan Halpern writes program notes for venues including Carnegie Hall and the Kimmel Center in Philadelphia, as well as for many chamber music series and orchestras throughout the country.

Ludwig van Beethoven

Symphony No. 1 in C, Opus 21

First performance: April 2, 1800, Vienna, Beethoven cond. First BSO performance:

October 1881, Georg Henschel cond. First Tanglewood performance: August 1, 1940, Serge Koussevitzky cond. Most recent Tanglewood performance: August 21, 2009, Kurt Masur cond.

Popular writing about Beethoven has found it all too easy to belittle the early, pre- Eroica symphonies as offspring of the eighteenth century, as little more than student

works, forerunners of the masterpieces to come. Quite aside from its gratuitous den- igration of the rich legacy of Haydn and Mozart, this attitude shows little real understanding of Beethoven's music. Beethoven's contemporaries, at least, were aware that the First Symphony marked the arrival of an arresting new voice in the concert hall, one that made demands possibly beyond the audience's willingness to follow. Certainly the work that succeeded most brilliantly with those who attended Beethoven's "academy" (as such concerts were called)

on April 2, 1800, was not the symphony but another new piece, the Septet in

E-flat, Opus 20. That work, delightful as it was, did not make the kinds of intellectual demands that the symphony did. The symphony was full to over- flowing with musical ideas and demanded full attention throughout. It was no lightweight piece, but rather a dense composition in its interrelationship

of thematic idea and harmonic plan, in its expansion to a larger scale than most earlier symphonies had aimed at, and in the intricate interplay of small motivic

gestures that helped to unify it.

We know nothing of why Beethoven wrote this symphony. He had certainly planned an attack on the largest musical genre more than once before—sketches survive for earlier symphonies that never got beyond the embryo stage—but it was not until he was twenty-nine years old, already established as a piano virtuoso and composer for the piano, with recently-won laurels as a composer for string quartet, that he came before the public as a symphonist. No sketches seem to survive, and even the complete autograph score is lost. We are left, then, only with the work itself.

Today, after having heard the Beethoven First so many times over so many years, it is difficult to recapture what must have been the audience's sense of disorientation in the opening measures, when Beethoven's first two chords seem to imply a symphony in F, only to have that move cancelled by the next chord, which aims at G. We now think of that opening as a wonderful, oblique approach to the home key, a setting up of harmonic tensions that are only resolved with the establishment of the main Allegro con brio. But early listeners found themselves befuddled by what seemed to be contradictory signals from the composer. Right from the outset there was no doubt that this was a new and individual voice.

Once underway with his Allegro con brio, Beethoven suggests the expanded frame- work of his material by presenting his theme first on the tonic of the home key, then

36 —

immediately repeating it one step higher. It is a favorite gambit of the composer's. Such a gesture cannot be repeated again literally without becoming exasperating; it virtually forces something varied in consequence. At the same time, the elevated pitch of the repetition screws up the energy level one notch, the first step in a journey of skillfully weighted tension and release.

The slow movement (though not too slow: Beethoven qualifies his Andante cantabile with the words "con moto"—"with movement") is a full-fledged sonata form, complete with an extensive development section (rare at this tempo) , in which the principal theme consists of imitative statements overlapping each other in a fugato. A dotted rhythm subtly introduced as part of the melody in the third bar gradually gains in importance until it becomes an extended motive in the timpani (against flute and violin triplets) at the end of the exposition and dominates the development section.

The recapitulation feels as if it moves faster since, as so often in Beethoven, there is an underlying faster pulse that was not present earlier; the dotted rhythm provides striking contrast from the passages of smooth equal sixteenths.

Beethoven still uses the generic term Menuetto for the third movement, though the tempo marking, Allegro molto e vivace, shows how far we have come from that state- ly aristocratic dance. In fact, this movement is a scherzo in everything but name. The main part of the movement consists of a headlong dash toward far harmonic vistas, with chords constantly changing in ceaseless activity; by way of the most striking contrast, the Trio features woodwinds and violins in a gentler passage with almost no harmonic motion at all—a stasis designed to allow a catching of breath before the return of the mad race.

Charles Rosen has noted in his book The Classical Style how important the upbeat is to the fundamental wit of the music of Haydn, Mozart, and Beethoven. A regular upbeat pattern in a theme can lead the listener's expectation in a certain direction

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TANGLEWOOD WEEK 8 SATURDAY PROGRAM NOTES 37 .

and perhaps mislead it for expressive purposes. Beethoven's finale begins with a passage in which an upbeat grows from just two notes to three, then four, five, six, and finally a seven-note upward scale and two reiterations of the note at the top before reaching the downbeat. This huge "upbeat," which extends for nearly a measure and a half, accumulates such a load of potential energy in its climb that the reaction can be nothing less than an explosion of wit and high spirits in which a series of thematic ideas develops in the most intricate counterpoint. The long upbeat phrase some-

times leads to the theme, but often (especially in the development) it ends unex- pectedly in nothing or intertwines with itself turned upside down. This splendid final movement in the first of Beethoven's nine contributions to the literature of the symphony remains one of the best examples of the Beethovenian guffaw.

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.

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38 OK Ludwig van Beethoven Symphony No. 5 in C minor, Opus 67

First performance: December 22, 1808, Vienna, Beethoven cond. (see below). First BSO performance: December 1881, Georg Henschel cond. First Tanglewood performance: August 5, 1937, Serge Koussevitzky cond. Most recent Tanglewood performance: July 10, 2010, Rafael Friihbeck de Burgos cond.

On December 17, 1808, the Wiener Zeitung announced for the following Thursday, December 22, a benefit concert at the Theater-an-der-Wien on behalf of and to be led by Ludwig van Beethoven, with all the selections "of his composition, entirely new, and not yet heard in public," to begin at half-past six, and to include the following:

First Part: 1, A Symphony, entitled: "A Recollection of Country Life," in F major (No. 5). 2, Aria. 3, Hymn with Latin text, composed in the church style with chorus and solos. 4, Pianoforte Concerto played by himself.

Second Part: 1, Grand Symphony in C minor (No. 6). 2, Sanctus with Latin text composed in the church style with chorus and solos. 3, Fantasia for Pianoforte alone. 4, Fantasia for the Pianoforte which ends with the gradual entrance of the entire orchestra and the introduction of choruses as a finale.

One witness to this event of gargantuan proportion—which lasted for about four hours in a bitterly cold, unheated hall—commented on "the truth that one can easily have too much of a good thing—and still more of a loud one."

The hymn and Sanctus were drawn from Beethoven's Mass in C, the concerto was the Fourth, and the aria was "Ah! perfido" (with a last-minute change of soloist). The solo piano fantasia was an improvisation by the composer; the concluding number was the Opus 80 Choral Fantasy (written shortly before the concert—Beethoven did not want to end the evening with the C minor symphony for fear the audience would be too tired to appreciate the last movement); the symphony listed as "No. 5" was the one actually published as the Sixth, the Pastoral; and the symphony labeled "No. 6" was the one published as the Fifth.

Beethoven was by this time one of the most important composers on the European musical scene. He had introduced himself to Viennese concert hall audiences in April 1800 with a program including, besides some Mozart and Haydn, his own Septet and First Symphony; and, following the success of his ballet score The Creatures ofPrometheus during the 1801-02 musical season, he began to attract the attention of foreign publishers. He was, also at that time, becoming increasingly aware of the deterioration in his hearing (the emotional outpouring known as the Heiligenstadt Testament dates from October 1802) and only first coming to grips with this problem that would ultimately affect the very nature of his music. As the nineteenth century's first decade progressed, Beethoven's music would be performed as frequently as Haydn's and Mozart's; his popularity in Vienna would be rivaled only by that of Haydn; and, between 1802 and 1813, he would compose six symphonies, four concertos, an opera, oratorio, and mass, a variety of chamber and piano works, incidental music, songs, and several overtures.

Beethoven composed his Third Symphony, the Eroica, between May and November 1803. From the end of 1804 until April 1806 his primary concern was his opera Leo- nore (which ultimately became Fidelio), and the remainder of 1806 saw work on compositions including the Fourth Piano Concerto, the Fourth Symphony, the Violin Concerto, and the Razumovsky Quartets, Opus 59. Sketches for both the Fifth and Sixth symphonies are to be found in Beethoven's Eroica sketchbook of 1803-04—it

TANGLEWOOD WEEK 8 SATURDAY PROGRAM NOTES 39 LISTEN TONIGHT. PLAY TOMORROW.

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was absolutely typical for Beethoven to concern himself with several works at once and, as noted above, the Fifth was completed in the spring of 1808 and given its first performance that December, on the very same, very long concert that concluded with the Choral Fantasy.

In a Boston Symphony program note many years ago, John N. Burk wrote that "something in the direct impelling drive of the first movement of the C minor Symphony

commanded general attention when it was new, challenged the skeptical, and soon

forced its acceptance. Goethe heard it with grumbling disapproval, according to Mendelssohn, but was astonished and impressed in spite of himself. Lesueur, hide- bound professor at the Conservatoire, was talked by Berlioz into breaking his vow never to listen to another note of Beethoven, and found his prejudices and resistanc- es quite swept away. A less plausible tale reports Maria Malibran as having been thrown into convulsions by this symphony. The instances could be multiplied. There was no gainsaying that forthright, sweeping storminess."

In the language of another age, in an important review for the Allgemeine musikalische Zeitung ofJuly 4 and 11, 1810, E.T.A. Hoffmann recognized the Fifth as "one of the most important works of the master whose stature as a first-rate instrumental com-

poser probably no one will now dispute" and, following a detailed analysis, noted its effect upon the listener: "For many people, the whole work rushes by like an ingen- ious rhapsody. The heart of every sensitive listener, however, will certainly be deeply and intimately moved by an enduring feeling—precisely that feeling of foreboding, indescribable longing—which remains until the final chord. Indeed, many moments will pass before he will be able to step out of the wonderful realm of the spirits where pain and bliss, taking tonal form, surrounded him."

In his Eroica Symphony, Beethoven introduced, in the words of his biographer May- nard Solomon, "the concept of a heroic music responding to the stormy currents of

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TANGLEWOOD WEEK 8 SATURDAY PROGRAM NOTES 41 contemporary history." The shadow of Napoleon hovers over the Eroica; for the Fifth Symphony we have no such specific political connotations. But we do have, in the Fifth, and in such post-Eroica works as Fidelio and Egmont, the very clear notion of affirmation through struggle expressed in musical discourse, and perhaps in no instance more powerfully and concisely than in the Symphony No. 5.

So much that was startling in this music when it was new—the aggressive, compact language of the first movement, the soloistic writing for double basses in the third- movement Trio, the mysterious, overwhelmingly powerful transition between scherzo and finale, the introduction of trombones and piccolo into the symphony orchestra for the first time (in the final movement) —is now taken virtually for granted, given the countless performances the Fifth has had since its Vienna premiere, and given the variety of different languages music has since proved able to express. And by now, most conductors seem to realize that the first three notes of the symphony must not sound like a triplet, although just what to do with the fermata and rest following the first statement of that four-note motive sometimes seems open to argu- ment. But there are times when Beethoven's Fifth seems to fall from grace. Once rarely absent from a year's concert programming, and frequently used to open or

close a season, it is periodically deemed to be overplayed, or just too "popular." But

the Fifth Symphony is popular for good reason, and so ultimately retains its important and rightful place in the repertoire. It needs, even demands, to be heard on a

regular basis, representing as it does not just what music can be about, but everything that music can succeed in doing.

MARC MANDEL

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

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42 ^ Guest Artist

Itzhak Perlman

Itzhak Perlman is treasured by audiences throughout the world who respond not only to his remarkable artistry, but also to his irrepressible joy in making music. In January 2009 he took part in the inauguration of President Barack Obama, premiering John Williams's Air and Simple Gifts with clarinetist Anthony McGill, pianist Gabriela Montero, and cellist Yo-Yo Ma. Born in Israel in 1945, Mr. Perlman completed his initial training at the Academy of Music in Tel Aviv. He came to New York and soon was propelled into the international arena with an appearance on the Ed Sullivan Show. Following his studies at the Juilliard School with Ivan Galamian and Dorothy DeLay, Mr. Perlman won the 1964 Leventritt Competition, which led to a burgeon- ing worldwide career. Since then, he has appeared with every major orchestra and % in recitals and at festivals around the world, including increasingly frequent appearances on the conductor's podium. Artistic Director of the Westchester Philharmonic Orchestra, he was previously music advisor of the St. Louis Symphony and principal guest conductor of the Detroit Symphony. He has been guest conductor with numerous orchestras in the United States and abroad, as well as at the Ravinia and OK Mozart festivals. Highlights of Mr. Perlman's 2010-11 season included performances in Chile, Brazil, Japan, and South Korea; the New York Philharmonic's opening subscription week; a Chicago Symphony benefit concert for the Rotary Foundation's campaign to End Polio Now; a performance with the Toronto Symphony at Carnegie Hall, and recitals across North America. Mr. Perlman also appeared with students and alumni from the Perlman Music Program in New York, Washington, D.C., and Princeton, New Jersey. He has made many television appearances and has won four Emmy Awards, most recently for PBS's "Fiddling for the Future," a film about the Perlman Music Program; in July 2004 PBS aired "Perlman in Shanghai," about that program's visit to China. In 2008 Mr. Perlman joined renowned chefJacques Pepin on the PBS special "Artist's Table" to discuss the relationship between the culinary and musical arts, and also narrated "Visions of Israel." One of his proudest achievements was his collaboration with composer John Williams on Steven Spielberg's Schindler's List, in which he performed the violin solos. He was also violin soloist on the soundtracks of Hero (music by Tan Dun) and Memoirs of a Geisha (music by John Williams). Winner of fifteen Grammy Awards, Itzhak Perlman received a Grammy Lifetime Achievement Award in February 2008. His most recent releases include an all-Mozart recording with the Berlin Philharmonic (EMI) with Mr. Perlman as both soloist and conductor and a Deutsche Grammophon recording with Mr. Perlman conducting the Israel Philharmonic, with which he has had a long association. Mr. Perlman

has taught full-time at the Perlman Music Program each summer since its founding in 1994 and currently holds the Dorothy Richard Starling Foundation Chair at the Juilliard School. Harvard, Yale, Brandeis, Roosevelt, Yeshiva, and Hebrew universities are among the institutions that have awarded him honorary degrees. President Reagan honored Mr. Perlman with a Medal of Liberty, and President Clinton awarded him the National Medal of Arts. He was a 2003 Kennedy Center Honoree. His presence on stage, on

camera, and in personal appearances of all kinds speaks eloquently on behalf of the

disabled, and his devotion to their cause is an integral part of Mr. Perlman's life. Visit www.itzhakperlman.com for more information. Itzhak Perlman made his Boston Sym- phony Orchestra debut in December 1966 and his Tanglewood debut in August 1967, since which time he has appeared a great many times as concerto soloist with the BSO in Boston, on tour, and particularly at Tanglewood, most recently in August 2007. His only previous appearance as guest conductor with the BSO was at Tanglewood in August 2000, doubling as soloist and conductor for a program including the two Beethoven Romances, Mozart's Symphony No. 29, and Brahms's Symphony No. 4.

TANGLEWOOD WEEK 8 GUEST ARTIST 43 1

The Norio Ohga Memorial Concert Sunday, August 28, 201

The performance on Sunday afternoon is in memory of the late Norio Ohga (b. January 29, 1930; d. April 23, 2011), former President, Chairman, and CEO of Sony Corporation, BSO Great Benefactor, and former BSO Overseer. In 1993, Mr. Ohga became the largest single donor to the campaign for the new concert hall at Tanglewood with a $1.25 million personal gift from himself and his wife Midori, plus a $750,000 campaign contribution from Sony Corporation. Along with these donations came the privilege to name the new hall. Mr. Ohga generously chose to name the new venue Seiji Ozawa Hall, in honor of his friend and fellow countryman's BSO achievements and contributions to the world of music.

Mr. Ohga was born in Numazu, Japan. He was an aspiring operatic baritone enrolled at the Tokyo National University of Fine Arts and Music when he wrote a letter to Sony co-founder Akio Morita, offering opinion on needed improvements for a tape recorder the fledging company had just introduced. Mr. Morita and Sony co-founder Masuru Norio Ohga backstage at Heinz Hall in Pittsburgh Ibuka were so impressed with Mr. Ohga's expert with Lorin Maazel, April 9, 1994 knowledge of sound and electrical engineering that

they appointed him a consultant and advisor in 1953 while he was still a student. In 1954, Mr. Ohga left Tokyo to further his vocal studies at the Berlin University of the Arts. Yet Mr. Morita stayed in touch, and in 1959 convinced Mr. Ohga to join Sony as a full-time employee.

As a corporate executive, Mr. Ohga was a man of vision and foresight. Among his many accomplishments that were key to Sony's worldwide success and growth as a global entertainment leader, he recognized the future potential of compact optical disc formats and personally drove Sony's initiatives to explore this new frontier.

During the development of the CD, it was Mr. Ohga's instincts as a trained musician that led him to push for a twelve-centimeter format, providing sufficient recording capacity at 75 minutes to enable listeners to enjoy all of Beethoven's Ninth Symphony

without interruption. These negotiations resulted in the CD specifications still in use today.

Throughout his long career, Mr. Ohga's personal love of music remained undimin- ished. For many years he cherished a plan to return to the world of music as a conductor. While head of Sony Music, Mr. Ohga studied conducting with Herbert von Karajan while he and Maestro von Karajan worked on Sony's iconic Berlin Philharmonic recordings. In 1990, Mr. Ohga's dream was realized when he made his conducting debut with the Tokyo Philharmonic on his sixtieth birthday. He made subsequent guest appearances with orchestras around the world, including the BSO (in the Seiji Ozawa Hall Inaugural Concert in 1994), the Metropolitan Opera Orchestra, the Berlin Philharmonic, and, with his friend Lorin Maazel as guest violinist, the Pittsburgh Symphony.

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Sunday, August 28, 2:30pm THE NORIO OHGA MEMORIAL CONCERT

LORIN MAAZEL 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, alia Marcia Andante maestoso—Adagio ma non troppo, ma divoto—Allegro energico, sempre ben marcato—Allegro ma non tanto Prestissimo

JOYCE EL-KHOURY, soprano MARGARET GAWRYSIAK, mezzo-soprano GARRETT SORENSON, tenor ERIC OWENS, bass-baritone TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Text and translation begin on page 50.

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

^J^_ Bank of America is proud to sponsor the 201 1 Tanglewood season.

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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.

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46 NOTES ON THE PROGRAM

First performance: May 7, 1824, Karntnerthor 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 29, 2010, Kurt Masur cond.; Nicole Cabell, Marietta Simpson, Garrett Sorenson, 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, mar- riage, 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.

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES 47 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 some- how 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 com-

plex. 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 repeti-

tions 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 peri-

od. 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 unfolding 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 ofjoy 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 accompaniments, 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,

48 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?

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 ter-

ror 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.

JAN SWAFFORD

A faculty member at the Boston Conservatory, and an alumnus of the Tanglewood Music Center, where he studied composition, Jan Swafford is an award-winning composer and author whose books include biographies ofJohannes Brahms and Charles Ives, and The Vintage Guide to Classical Music. He is currently working on a biography of Beethoven for Houghton Mifflin.

TANGLEWOOD WEEK 8 SUNDAY PROGRAM NOTES 49 Text to the finale of Beethoven's Ninth Symphony, based on Schiller's ode, "To Joy"

O Freunde, nicht diese Tone! 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, schoner Gotterfunken, 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 Briider, All men are made brothers Wo dein sanfter Fliigel 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 ofJoy An den Briisten der Natur, At Nature's breasts. Alle Guten, alle Bosen All good, all evil souls Folgen ihrer Rosenspur. Follow in her rose-strewn wake. Kiisse gab sie uns und Reben, She gave us kisses and vines, Einen Freund, gepriift 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 pracht'gen Across the glorious landscape of the Plan, heavens, Laufet, Briider, eure Bahn, Brothers, follow your appointed course, Freudig wie ein Held zum Siegen. Gladly, like a hero to the conquest.

Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium, Daughter of Elysium,

50 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 Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Ihr stiirzt nieder, Millionen? Do you fall headlong, ye Millions? Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn iiberm Sternenzelt! Seek him above the canopy of the stars! Uber Sternen muss er wohnen. Surely he dwells beyond the stars.

Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world!

Ihr stiirzt nieder, Millionen? Do you fall headlong, ye Millions! Ahnest du den Schopfer, Welt? Have you any sense of the Creator, World? Such ihn iiberm Sternenzelt! Seek him above the canopy of the stars! Briider—iiberm 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 Briider, All men are made brothers Wo dein sanfter Fliigel weilt. Where your gentle wings abide.

Seid umschlungen, Millionen! Be embraced, ye Millions! Diesen Kuss der ganzen Welt! This kiss to the whole world! Briider—iiberm Sternenzelt Brothers—beyond the canopy of the stars Muss ein lieber Vater wohnen. Surely a loving Father dwells. Freude, schoner Gotterfunken, Joy, beauteous, godly spark, Tochter aus Elysium! Daughter of Elysium! Freude, schoner Gotterfunken! Joy, beauteous, godly spark!

TANGLEWOOD WEEK 8 TEXT AND TRANSLATION 51 X^ Guest Artists

Lorin Maazel

Lorin Maazel is completing his fifth and final season as the first music director of the Santiago Calatrava-designed opera house in Valencia, Spain, the Palau de les Arts "Reina Sofia." Music director of the New York Philharmonic from 2002 to 2009, he assumes the music directorship of the Munich Philharmonic in 2012-13. He

is also the founder and artistic director of the new Castleton Festival, launched in July 2009. His 2010-11 season was highlighted by productions of Aida and his own opera, 1984, at the Palau de les Arts, two concerts with the newly formed resident orchestra of China's National Center for the Performing Arts in Beijing, a New Year's Eve marathon concert of all nine Beethoven symphonies in Tokyo, return appearances with the Royal Concertgebouw Orchestra and the Boston Symphony Orchestra, a Mahler cycle in London with the Philharmonia, and touring with that orchestra. Mr. Maazel marked the centennial of the premiere of Mahler's Eighth Symphony at the Ruhr Festival, conducting forces numbering in excess of one thousand performers, and brought Castleton Festival Opera productions of Britten's Rape ofLucretia and Albert Herring to Berkeley, California. In 2009-10 he twice stepped in for indisposed colleagues, leading Verdi's Requiem in Parma, Italy, and the second half of a Beethoven cycle with the Boston Symphony Orchestra in both Boston and New York. In Valencia he led Madama Butterfly, a double-bill of La vida breve and Cavalleria rusticana, and La traviata. He led tours with the Philharmonia Orchestra and the Vienna Philharmonic, and celebrated his 80th birthday in Vienna with the Philharmonic, conducting the premiere of a symphonic suite drawn from his opera 1984. He also made return appearances in the United States with both the National Symphony Orchestra and the Los Angeles Philharmonic. In China he inaugurated the new opera house in Guangzhou with Turandot and closed the opera festival at Beijing's National Center for the Performing Arts with La traviata. A second-generation American born in Paris, Lorin Maazel made his European conducting debut in 1953 and quickly established himself as a major artist, appearing at Bayreuth (the first American to do so) and with the Boston Symphony in 1960, and at the Salzburg Festival in 1963. He has conducted more than 150 orchestras in more than 5000 opera and concert performances, and has made over 300 recordings. He has held chief conducting and artistic posts with the Bavarian Radio Symphony Orchestra, the Pittsburgh Symphony, the Cleveland Orchestra, the Vienna State Opera, and Deutsche Oper Berlin. His close association with the Vienna Philharmonic includes eleven internationally televised New Year's Concerts. Mr. Maazel founded a major competition for young conductors in 2000 (culminating in a final round at Carnegie Hall) and has since been an active mentor to many of the finalists. Through his Chateauville Foundation in Castle- ton, Virginia, he has created a new festival and residency program for aspiring singers,

instrumentalists, and conductors. He is also extremely active in philanthropy, and has received many honors worldwide. Lorin Maazel made his initial Boston Symphony appearances in December 1960, returning to the BSO podium in March/April 1973 for concerts at Symphony Hall, Lincoln Center, and Carnegie Hall. Following his only previous Tanglewood appearances in August 1994, when he led two concerts here with the Pittsburgh Symphony Orchestra, he returned to the Symphony Hall podium, substituting for James Levine, in October/November 2009, conducting the BSO in Beethoven's symphonies 6, 7, 8, and 9 as part of a complete Beethoven symphony cycle, and most recently led a BSO subscription program of Tchaikovsky, Stravinsky, and Scriabin in January 2011.

52 Joyce El-Khoury

Making her Boston Symphony Orchestra and Tanglewood debuts in this afternoon's concert, Joyce El-Khoury is a 2011 graduate of the Metropolitan Opera's Lindemann Young Artist Development Program. In 2011-12 and beyond she will make her European debut as Violetta in La traviata with Welsh National Opera, record Antonina in Donizetti's Belisario with Sir Mark Elder (Opera Rara), and make debuts in Beijing as Rosina in The Barber of Seville, in Amsterdam as Violetta, with the Canadian Opera Company as Musetta in La boheme, and with Opera Lyra Ottawa as Mimi in La boheme. In concert she will perform Beethoven's Ninth Symphony and Bruckner's TeDeum with the Baltimore Symphony, Rossini's Petite messe solennelle with the New York Choral Society, and Beethoven's Missa Solemnis with the Munich Philharmonic. In 2009-10 she performed Mozart's Requiem at Carnegie Hall with the New York Choral Society, as well as the title role of Suor Angelica and Lauretta in Gianni Schicchi with Lorin Maazel at the Castleton Festival. In 2010-11 she returned to the Met as Frasquita in Carmen, sang Esmeralda in The Bartered Bride under James Levine atjuilliard, and returned to the Castleton Festival for her role debut as Mimi. In 2009 she was heard as Pamina in Die Zauberflote with Opera Lyra Ottawa and performed in recital with the Metropolitan Opera's "Met in the Parks" Recital Series. Also a graduate of the Academy of Vocal Arts (AVA) in Philadelphia, Ms.

El-Khoury performed there as Tatiana in Eugene Onegin, the title role in Massenet's Manon, Fiordiligi in Cost fan tutte, the title role in Puccini's Manon Lescaut (Act II), and Violetta in La traviata. Also with AVA, she has been the soprano soloist in Rossini's Stabat Mater and Mendelssohn's Elijah. Among her many honors are first prizes in the Opera Index Competition and from the George London Foundation, second prize in the Gerda Lissner International Voice Competition, and International Semi-Finalist in Placido Domingo's Operalia Competition.

Margaret Gawrysiak

Making her Boston Symphony Orchestra and Tanglewood debuts in this concert, mezzo-soprano Margaret Gawrysiak recently sang Frugola in // tabarro and Zita in Gianni Schicchi under the direction of Lorin Maazel at the Castleton Festival. As a graduate of Seattle Opera's Young Artist Program, she was featured as Dinah in Bernstein's Trouble in Tahiti, Zita in Gianni Schicchi, Olga in Eugene Onegin, and Hippolyta in A Midsummer Night's Dream. As a member of San Francisco Opera's Merola Program, she performed Isabella in scenes from Vitaliana in Algeri on the Schwabacher Concert Program. Ms. Gawrysiak was twice a member of the Young American Artists Program at Glimmerglass Opera, where she sang Juno in Orpheus in the Underworld. Favorite performances include Madame de la Haultiere in Cendrillon with the Aspen Opera Theatre, a double bill of Gianni

Schicchi and LEnfant et les sortileges with the Opera Company of Philadelphia, Marcellina in Le nozze di Figaro with Eugene Opera, the Witch in Hansel and Gretel with

the Buffalo Philharmonic, Berta in LI barbiere di Sivigliawith Cedar Rapids Opera Theatre, Mother Marie in Dialogues of the Carmelites at the Eastman School of Music, and Little Buttercup in HMS Pinafore with Opera Illinois. In concert, she has performed the Requiems of Mozart and Verdi with the Springfield Symphony, Prokofiev's Alexander Nevsky with the Syracuse Symphony Orchestra, and Mahagonny Songspiel with the Seattle Symphony. In 2009 Ms. Gawrywiak was a winner of the Sullivan Foundation Award and received second place in the Lotte Lenya Competition. She has received awards from the Jensen Foundation, Portland Opera's Lieber Awards, the Gerda Lissner Foundation, and Fort Worth Opera's McCammon Awards. Upcoming operatic engagements include Mrs. Lovett in Sweeney Todd and Antonia's mother in Les Contes d'Hoffmann at Wolf Trap

TANGLEWOOD WEEK 8 GUEST ARTISTS 53 Opera, a workshop of Nico Muhly's Two Boys with the Metropolitan Opera, and a second season at the Castleton Festival singing Frugola and Zita.

Garrett Sorenson

Garrett Sorenson's 2010-11 season included Verdi's Requiem with the Houston Sym- phony under Thomas Dausgaard and also with the Temple University Symphony under Luis Biava; his European operatic debut, also a role and house debut, as Gabriele Adorno in Simon Boccanegra with English National Opera, and Don Jose in Carmen with Arizona Opera. Highlights of 2009-10 included San Fran- cisco Opera's production of Salome, followed by Kdtya Kabanovd with Lyric Opera of Chicago; debuts with Canadian Opera and West Australian Opera as Don Jose; Handel's Messiah with the Alabama Symphony, and Verdi's Requiem with the Grand Rapids Symphony. Mr. Sorenson's 2008-09 season included role debuts as Froh in Das Rheingold at the Metropolitan Opera under James Levine; the Duke of Mantua in Rigoletto, his Arizona Opera debut, and, in his Kentucky Opera debut, the title role of Massenet's Werther opposite his wife, Elizabeth Batton, as Charlotte. Mr. Sorenson appeared as soloist in Beethoven's Ninth Symphony with the San Francisco Symphony under Michael Tilson Thomas (including a concert

at Carnegie Hall) , as well as with the Pacific Symphony. He also sang in a concert version of Simon Boccanegra with the Boston Symphony Orchestra conducted by James Levine and Handel's Messiah with the Omaha Symphony. Other recent highlights include Cassio in Otello at the Metropolitan Opera opposite Renee Fleming and Johan Botha, his role debut as Rodolfo in La boheme with Houston Grand Opera, and Alfredo in La traviata for his Opera Colorado debut, as well as role debuts as Hoffmann in Les Contes d 'Hoffmann with Opera Theatre of St. Louis and in the title role of Faust with New

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54 Orleans Opera. Other roles at the Metropolitan Opera include Da-Ud in Strauss's Die dgyptische Helena starring Deborah Voigt, Alfred in Die Fledermaus, Scaramuccio in Ariadne aufNaxos, Arturo in Lucia di Lammermoor, the Shepherd in Tristan und Isolde, the Young Man in DieFrau ohne Schatten, the Youth in Moses und Aron, Itulbo in II pirata, and Cassio in Otello opposite Ben Heppner's Otello for opening night of the 2004-05 season. Mr. Sorenson is a graduate of the Met's Lindemann Young Artist Development Program. He was the winner of the Opera Birmingham Young Singer Contest and the Sorantin Young Artist Award; a finalist in the Loren L. Zachary Society Contest for Young Opera Singers and in the Metropolitan Opera National Council Auditions (Southwest Region); a winner at the 2003 George London Foundation Competition, and recipient of a Sara Tucker Study Grant and a 2004 Richard Tucker Foundation Career Grant. Garrett Sorenson made his Tanglewood debut in August 2008, singing the role of Lenski in a concert performance of Tchaikovsky's Eugene Onegin with the Tanglewood Music Center Orchestra conducted by Andrew Davis. He has previously sung on two occasions with the Boston Symphony Orchestra: in concert performances of Verdi's Simon Boccanegra led by James Levine at Symphony Hall in January/February 2009, and as tenor soloist in the BSO's August 2010 Tanglewood performance of Beethoven's Ninth Symphony.

Eric Owens

American bass-baritone Eric Owens opened the 2010-11 season of the Metropolitan Opera as Alberich in Das Rheingold in a new production by Robert Lepage, conducted by James Levine. He sang the title role in Peter Sellars's new production of Handel's Hercules, conducted by Harry Bicket at Lyric Opera of Chicago, and returned to San Francisco Opera as Ramfis in Aida. His concert calendar included Beethoven's Missa Solemnis with the Atlanta Symphony, Mozart's Requiem with the Handel and Haydn Society under Harry Christophers, and Brahms's Ein deutsches Requiem at Carnegie Hall with the Collegiate Chorale. Mr. Owens has created an uncommon niche for himself in the ever-growing body of contemporary opera works, earning great critical acclaim for portraying the title role in the world premiere of Elliot Goldenthal's Grendel with Los Angeles Opera, and again at the Lincoln Center Festival, in a production directed and designed by Julie Taymor. He also enjoys a close association with John Adams, for whom he created the role of General Leslie Groves in the world premiere of Doctor Atomic at San Francisco Opera, and of the Storyteller in the world premiere of A Flowering Tree at Peter Sellars's New Crowned Hope Festival in Vienna. His Boston Symphony Orchestra debut was under the baton of David Robertson in Adams's Nativity oratorio El Nino. Mr. Owens's multiple awards include the 2003 Marian Anderson Award, a 1999 ARIA award, and first prize in the Placido Domingo Operalia Competition, the Metropolitan Opera National Council Auditions, and the Luciano Pavarotti International Voice Competition. A native of Philadelphia, Eric Owens studied voice while an undergraduate at Temple University, and then as a graduate student at the Curtis Institute of Music; he currently studies with Armen Boyajian. He serves on the Board of Trustees of both the National Foundation for Advancement in the Arts and Astral Artistic Services. Visit www.eric-owens.com for additional information. Today's performance of Beethoven's Ninth Symphony marks Mr. Owens's first Tangle- wood appearance with the BSO. In addition to his BSO debut in Adams's El Nino in December 2006, he sang with the orchestra in concert performances of Berlioz's Les Troyens led by James Levine in April/May 2008.

TANGLEWOOD WEEK 8 GUEST ARTISTS 55 Tanglewood Festival Chorus John Oliver, Conductor

The Tanglewood Festival Chorus gave its first performance in April 1970, and celebrated

its 40th anniversary last summer and throughout the 2010-11 season. This summer at Tanglewood, the ensemble joins the Boston Symphony Orchestra during the BSO's opening weekend for music from Bellini's Norma and Berlioz's Requiem with Charles Dutoit conducting, and, during the final weekend of the season in August, a concert performance of Gershwin's Porgy and Bess under Bramwell Tovey and Beethoven's Ninth Symphony led by Lorin Maazel. Also in August, the chorus performs Brahms's Nanie, Schicksalslied, and Alto Rhapsody with Rafael Friihbeck de Burgos and the Tanglewood Music Center Orchestra, and participates in "Stephanie Blythe and Friends" in Ozawa Hall, performing Dallapiccola's Canti di prigionia and the world premiere of Alan Smith's An Unknown Sphere for mezzo-soprano and chorus, the latter work commissioned by the BSO specifically for the 40th anniversary of the Tanglewood Festival Chorus. In June, members of the chorus joined James Taylor in Seiji Ozawa Hall for 'James Taylor and Friends."

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 talent, 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 numbering more than 250 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.

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

56 ,

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, and, with James Levine and the BSO, Ravel's complete Daphnis and Chloe (a Grammy-winner for Best Orchestral Performance of 2009), Brahms's Ein deutsches Requiem, and William Bolcom's Eighth 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 Orchestra, 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 on Opening Day, 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 forty-year 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 900 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. 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

TANGLEWOOD WEEK 8 GUEST ARTISTS Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. He made his Boston Symphony conducting debut at Tanglewood in August 1985, led subscription concerts for the first time in December 1985, conducted the orchestra most recently in July 1998, and returned to the BSO podium to open the BSO's final Tanglewood concert of 2010 with a TFC performance of Bach's motet, Jesu, meine Freude.

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 Stravinsky, as well as seldom heard works by Carissimi, Bruckner, Ives, Martin, and Dallapiccola. 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 Andre 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. Also an expert chef and master gardener, John Oliver lives in western Massachusetts.

Garrick Ohlsson soio piano Andre Previn new works Previn Clarinet Quintet, world premiere: TMF Commission sponsored by Carol &

Joseph Reich. Previn Sonata for Clarinet and Piano, American premiere: Maestro

Previn, piano. With Thomas Martin, clarinet, & members of the BSO.

Symphony Hall Boston, Monday November 14

www.terezinmusic.org. email [email protected]; tel. 857-222-8263

TEREZIN MUSIC FOUNDATION (j^y Ary masomB| JZO^ls&i/i/oe/sM/Y/ Generously sponsored by Mandarin Oriental Hotel Boston; Mandarin Oriental TCRE23N Hotel, Prague; Boston Gourmet Catering; Eliot Hotel, Boston; Michael J. Lutch Photography; Schantz Galleries, Stockbridge; Nancy Edman Interiors; Executive Search Associates; Turquoise Bee Productions

58 Tanglewood Festival Chorus John Oliver, Conductor

(Beethoven Symphony No. 9, August 28, 2011)

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

Sopranos

Margaret Batista • Joy Emerson Brewer • Alison M. Burns • Angelina Calderon •

Jeni Lynn Cameron • Catherine C. Cave • Anna S. Choi • Lorenzee Cole # • Lisa Conant •

Emilia DiCola • Christine Pacheco Duquette # • Mary A.V. Feldman # • Margaret Felice •

Bonnie Gleason • Stephanie Janes • Carrie Kenney • Donna Kim • Sarah Kornfeld •

Nancy Kurtz • Barbara Abramoff Levy § • Suzanne Lis • Meagan McNulty • Erin Nafziger •

Ebele Okpokwasili-Johnson • Jaylyn Olivo • Kimberly Pearson • Adi Rule •

Melanie Salisbury • Laura C. Sanscartier • Johanna Schlegel • Dana R. Sullivan •

Jessica Taylor • Anna Ward • Alison L. Weaver • Alison Zangari

Mezzo-Sopranos

Virginia Bailey • Kristen S. Bell • Martha A.R. Bewick • Betty Blanchard Blume •

• Betsy Bobo • Donna J. Brezinski • Janet Casey • Abbe Dalton Clark • Elizabeth Clifford

Sarah Dorfman Daniello # • Kathryn DerMarderosian • Diane Droste •

Barbara Naidich Ehrmann • Paula Folkman # • Debra Swartz Foote • Dorrie Freedman * •

Irene Gilbride # • Mara Goldberg • Betty Jenkins • Eve Kornhauser • Gale Livingston # •

Anne Forsyth Martin • Louise-Marie Mennier • Tracy Elissa Nadolny • Fumiko Ohara # •

Roslyn Pedlar • Lori Salzman • Ada Park Snider # • Julie Steinhilber # •

Lelia Tenreyro-Viana • Michele C. Truhe • Martha F. Vedrine • Christina Lillian Wallace •

Sara Weaver • Marguerite Weidknecht

Tenors

Brad W. Amidon • Armen Babikyan • John C. Barr # • Adam Kerry Boyles • Colin Britt •

Felix M. Caraballo • Chad D. Chaffee • Jiahao Chen • Stephen Chrzan • William Cutter •

Tom Dinger • Ron Efromson • Jonathan Erman • Keith Erskine • Len Giambrone •

# • • • • • J. Stephen Groff Luke A. Hamblen Lance Levine Dane Lighthart Ronald Lloyd

Henry Lussier * • Jeffrey L. Martin • Glen Matheson • David Norris # • Guy F. Pugh •

Peter Pulsifer • David L. Raish # • Francis Rogers • Blake Siskavich • Stephen E. Smith •

Leslie Tay • Stephen J. Twiraga • Andrew Wang • Joseph Y. Wang • Matthew Wang

Basses

Nicholas Altenbernd • Thomas Anderson • Thaddeus Bell • Daniel E. Brooks # •

Stephen J. Buck • Matthew Collins • Mark Costello • Mark Gianino • Alexander Goldberg

S. # • • • • • Jay Gregory Robert Hicks Marc J. Kaufman Kelby Khan David M. Kilroy

Will Koffel • G.P. Paul Kowal • Timothy Lanagan # • Daniel Lichtenfeld • Nathan Lofton •

David K. Lones # • Patrick McGill • Devon Morin • Joshua H. Nannestad •

Stephen H. Owades § • William Brian Parker • Peter Rothstein * • Jonathan Saxton •

Karl Josef Schoellkopf • Matthew Stansfield • Scott Street • Joseph J. Tang • Craig A. Tata <

Samuel Truesdell • Bradley Turner • Thomas C. Wang # • Terry L. Ward • Channing Yu

Mark B. Rulison, Chorus Manager Martin Amlin, Rehearsal Pianist

TANGLEWOOD WEEK 8 GUEST ARTISTS dt^ C^ 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 neverfully 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 Elizabeth P. Roberts, Director ofDevelopment— Campaign and Individual Giving, at 617-638-9269 or [email protected].

Ten Million and above

Mr. Julian Cohen t • Fidelity Investments • Linde Family Foundation •

Ray and Maria 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 •

Paul and Catherine Buttenwieser • Germeshausen Foundation •

NEC Corporation • UBS • Stephen and Dorothy Weber

Two and One Half Million

Mr. and Mrs. J.P. Barger • Peter and Anne Brooke • Eleanor L. Campbell and Levin H. Campbell

Commonwealth of Massachusetts • Cynthia and Oliver Curme/The Lost & Foundation, Inc. •

• Alan J. and Suzanne W. Dworsky • EMC Corporation The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts •

Jane and Jack t Fitzpatrick • Sally and Michael Gordon • The Kresge Foundation •

Susan Morse Hilles Trust • Liberty Mutual Foundation, Inc. • National Endowment for the Arts •

William and Lia Poorvu • Miriam and Sidney Stoneman t • Estate of Elizabeth B. Storer •

Mr. and Mrs. John Williams • Anonymous (2)

One Million

American Airlines • Mr. and Mrs. Harlan E. Anderson • Dorothy and David B. Arnold, Jr. •

AT&T • Gabriella and Leo Beranek • Mr. William I. Bernell t • George and Roberta Berry •

BNY Mellon • Alan S. and Lorraine D. Bressler • Jan Brett and Joseph Hearne •

Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation •

Mr. t and Mrs. William H. Congleton • William F. Connell t and Family • Country Curtains •

John and Diddy Cullinane • Lewis S. and Edith L. Dabney • Mr. and Mrs. Stanton W. Davis t •

Estate of Mrs. Pierre de Beaumont • Estate of Elizabeth B. Ely •

John P. II and Nancy S. t Eustis • Shirley and Richard Fennell • Estate of Anna E. Finnerty •

The Ann and Gordon Getty Foundation • Estate of Marie L. Gillet •

P&G Gillette • Sophia and Bernard Gordon • Mrs. Donald C. Heath t •

Estate of Francis Lee Higginson • Major Henry Lee Higginson t •

Estate of Edith C. Howie • Dorothy and Charlie Jenkins • John Hancock Financial Services •

Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation •

Estate of Richard L. Kaye • George H. t and Nancy D. Kidder •

60 Harvey Chet t and Farla Krentzman • Liz and George Krupp • Bill t and Barbara Leith •

Estates ofJohn D. and Vera M. MacDonald • Nancy Lurie Marks Family Foundation •

Massachusetts Cultural Council • Andrew W. Mellon Foundation • Kate and Al Merck •

Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller • Mr. and Mrs. Paul M. Montrone •

The Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust •

Mrs. Robert B. Newman • Mrs. Mischa Nieland t and Dr. Michael L. Nieland •

Megan and Robert O'Block • Mr. t and Mrs. Norio Ohga • Carol and Joe Reich •

Mr. and Mrs. Dwight P. Robinson, Jr. t • Susan and Dan Rothenberg •

Estate of Wilhemina C. Sandwen • Dr. Raymond and Hannah H. t 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. Sternberg •

Dr. Nathan B. and Anne P. Talbot t • Caroline and James Taylor • Diana O. Tottenham •

The Wallace Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund •

Estate of Mrs. Helen Zimbler • Anonymous (10) t Deceased

TANGLEWOOD WEEK 8 GREAT BENEFACTORS 61 ^ The Koussevitzky Society

The Koussevitzky Society recognizes gifts made since September 1, 2010, to the followingfunds: Tanglewood Annual Fund, Tanglewood Business Fund, and Tanglewood restricted annual

gifts. The Boston Symphony Orchestra is grateful to the following individuals, foundations, and businesses for their annual support of $3,000 or more during the 2010-11 season. For further information on becoming a Koussevitzky Society member, please contact Allison Goossens, Associate Director of Society Giving at 413-637-5161.

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

Appassionato $100,000 and above

Sally and Michael Gordon • Caroline and James Taylor

Virtuoso $50,000 to $99,999

Linda J.L. Becker • George and Roberta Berry • Cynthia and Oliver Curme •

Sanford and Isanne Fisher • Dorothy and Charlie Jenkins • Mrs. Joyce Linde • Mrs. Irene Pollin •

Carol and Joseph Reich • Kitte t and Michael Sporn

Encore $25,000 to $49,999

Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix •

Canyon Ranch • Country Curtains • Elizabeth W. and John M. Loder • Kate and Al Merck

Drs. Eduardo and Lina Plantilla • Renee Rapaporte • Ronald and Karen Rettner •

Susan and Dan Rothenberg • Stephen and Dorothy Weber

Benefactors $20,000 to $24,999

Joseph and Phyllis Cohen • Dr. and Mrs. T Donald Eisenstein • Ginger and George Elvin •

The Frelinghuysen Foundation • Cora and Ted Ginsberg • Robert and Stephanie Gittleman •

Mr. and Mrs. Lawrence S. Horn • Leslie and Stephen Jerome • James A. Macdonald Foundation •

Jay and Shirley Marks • Dr. Robert and Jane B. Mayer • Henrietta N. Meyer •

Claudio and Penny Pincus • Carole and Edward I. Rudman • Evelyn and Ronald Shapiro • The Ushers and Programmers Fund

Maestro $15,000 to $19,999

• • BSO Members' Association • Nancy J. Fitzpatrick and Lincoln Russell Mr. and Mrs. Scott M. Hand

Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Millard H. Pryor • Mr. Jan Winkler and Ms. Hermine Drezner

Patrons $10,000 to $14,999

Helaine Allen • Robert and Elana Baum • Mr. and Mrs. George D. Behrakis •

The Berkshire Capital Investors • Phyllis and Paul Berz • Blantyre • Mr. and Mrs. Lee N. Blatt •

Paul and Catherine Buttenwieser • Ronald and Ronni Casty • John F Cogan, Jr. and Mary L. Cornille •

Ranny Cooper and David Smith • Lori and Paul Deninger • Jane and Jack t Fitzpatrick • Rhoda Herrick

Mr. and Mrs. Stuart Hirshfield • Dr. and Mrs. Edwin H. Hopton • Valerie and Allen Hyman •

Carol and George Jacobstein • Margery and Everett Jassy • Prof. Paul L. Joskow and

Dr. Barbara Chasen Joskow • In memory of Florence and Leonard S. Kandell • Mr. Brian A. Kane •

Robert and Luise Kleinberg • Mr. and Mrs. Jacques Kohn • Lizbeth and George Krupp •

The Claudia & Steven Perles Family Foundation • Frank M. Pringle • The Red Lion Inn •

John S. and Cynthia Reed • Maureen and Joe Roxe/The Roxe Foundation • Alan Sagner •

Gloria Schusterman • Mr. and Mrs. Marvin Seline • Arlene and Donald Shapiro •

Daniel and Lynne Shapiro • The Honorable and Mrs. George P. Shultz • Carol and Irv Smokier •

Margery and Lewis Steinberg • Suzanne and Robert Steinberg • The Studley Press, Inc. •

Jacqueline and Albert Togut • Mr. Gordon Van Huizen • Loet and Edith Velmans • Wheatleigh Hotel and Restaurant

62 Sponsors $5,000 to $9,999

Abbott's Limousine Service & Livery • Alii and Bill Achtmeyer • American Terry Company •

Dr. Norman Atkin • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch •

Joan and Richard Barovick • Berkshire Bank and Berkshire Insurance Group •

Berkshire Money Management, Inc. • Linda and Tom Bielecki • Hildi and Walter Black •

Brad and Terrie Bloom • Jane and Jay Braus • Judy and Simeon Brinberg • Ann Fitzpatrick Brown •

Lynn and John Carter • Richard and Patricia Cavanagh • James and Tina Collias •

Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Crane & Company, Inc. •

Mr. and Mrs. William F. Cruger • Ursula Ehret-Dichter and Channing Dichter • Marion and Sig Dubrow •

Mr. Alan R. Dynner • Eitan and Malka Evan • Gwenn Earl Evitts • Mr. David Fehr •

• • Myra and Raymond Friedman • Lynne Galler and Hezzy Dattner Mr. and Mrs. Leslie J. Garfield

Dr. Donald and Phoebe Giddon • Joe and Perry Goldsmith • Corinne and Jerry Gorelick •

John and Chara Haas • Joseph K and Mary Jane Handler • Dr Lynne B Harrison • Richard Holland •

Stephen and Michele Jackman • Liz and Alan Jaffe • Mr. and Mrs. R. Courtney Jones •

Kahn Family Foundation • Natalie Katz, in memory of Murray S. Katz • Deborah and Arthur Kaufman •

• • Koppers Chocolate • William and Marilyn Larkin • Legacy Banks Cynthia and Robert J. Lepofsky

Arlene and Jerome Levine • Murray and Patti Liebowitz • Phyllis and Walter F. Loeb •

Mr. and Mrs. Edwin N. London • Wesley McCain and Noreene Storrie • Ms. Janet A. McKinley •

• • • Rebecca and Nathan Milikowsky Judy and Richard J. Miller Mr. and Mrs. Michael Monts

Mr. and Mrs. John C. Morris • Robert and Eleanor Mumford • Myriad Productions, Inc. •

Jerry and Mary Nelson • Mrs. Alice D. Netter • Mr. and Mrs. Chet Opalka • Dr. and Mrs. Simon Parisier •

Jonathan and Amy Poorvu • Quality Printing Company, Inc. • The Charles L. Read Foundation •

Dr. Robin S. Richman and Dr. Bruce Auerbach • Elaine and Bernard Roberts •

Barbara and Michael Rosenbaum • Mr. and Mrs. Milton Rubin • Suzanne and Burton Rubin •

Sue Z. Rudd • Mr. and Mrs. Kenan Sahin • Malcolm and BJ Salter • Dr. and Mrs. James Satovsky •

Marcia and Albert Schmier • Mr. and Mrs. Ernest Schnesel • Mr. Daniel Schulman and

Ms. Jennie Kassanoff • Mr. and Mrs. Joel Shapiro • Sheffield Plastics, Inc. •

Hannah and Walter Shmerler • The Silman Family • Marion and Leonard t Simon •

Mr. and Mrs. Robert L. Singleton • Jerry and Nancy Straus • Roz and Charles Stuzin •

Lois and David Swawite • Mr. and Mrs. William Taft • Aso O. Tavitian • Jean C. Tempel •

Jerry and Roger Tilles • Ms. Gay G. Tucker • Mrs. Charles H. Watts II • Karen and Jerry Waxberg •

Mr. and Mrs. Edwin A. Weiller III • Robert and Roberta Winters • Patricia Plum Wylde • Anonymous (6)

Members $3,000 to $4,999

Abbott Capital Management, LLC • Mark and Stephanie Abrams • Deborah and Charles Adelman •

Mr. Howard Aibel • Mr. Michael Albert • Mr. and Mrs. Ronald Altman • Arthur Appelstein and

Lorraine Becker • Apple Tree Inn • Gideon Argov and Alexandra Fuchs •

Barrington Associates Realty Trust • Mr. Stephen Y. Barrow • Timi and Gordon Bates •

Dr. Burton and Susan Benjamin • Jamie and Ethan Berg • David and Cindy Berger •

Helene and Ady Berger • Jerome and Henrietta Berko • Mr. and Mrs. Richard Berkowitz •

Berkshire Co-op Market • Berkshire Landmark Builders • Mr. and Mrs. James L. Bildner •

Dr. Stanley and Gail Bleifer • Mr. and Mrs. Nat Bohrer • Mr. and Mrs. Nicholas Boraski •

Marlene and Dr. Stuart H. Brager • Mr. and Mrs. James H. Brandi • Anne E. and Darrel S. Brodke •

Ms. Sandra L. Brown • Samuel B. and Deborah D. Bruskin • Mr. and Mrs. Jon E. Budish •

Mr. and Mrs. Allan S. Bufferd • Careers Through Culinary Arts Program * Phyllis H. Carey •

David and Maria Carls • Mary and Robert Carswell • Joel Cartun and Susan Cartun •

Frederick H. Chicos • Lewis F. Clark, Jr. • Cohen Kinne Valicenti & Cook LLP •

Barbara Cohen-Hobbs • Carol and Randy Collord • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Herbert and Jeanine Coyne • Cranwell Resort, Spa & Golf Club •

Mr. Ernest Cravalho and Ms. Ruth Tuomala • Mrs. Ann Cummis • Mr. Richard H. Danzig •

Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Dresser-Hull Company •

Terry and Mel Drucker • Ann Dulye and Linda Dulye • Mrs. Harriett M. Eckstein •

Mr. and Mrs. Leonard Edelson • Elaine Sollar Eisen and Edwin Roy Eisen • Elm Court Estate •

Mr. and Mrs. Monroe B. England • Dr. and Mrs. Gerald D. Falk • Ms. Marie V. Feder •

Mr. and Mrs. Carl M. Feinberg • Dr. Jeffrey and Barbara Feingold • Ms. Nancy E. Feldman •

TANGLEWOOD WEEK 8 THE KOUSSEVITZKY SOCIETY 63 Mr. and Mrs. Richard Fentin • Mr. and Mrs. Philip Fidler • Karen and James Finkel •

Doucet and Stephen Fischer • Betty and Jack Fontaine • Herb and Barbara Franklin •

Rabbi Daniel Freelander and Rabbi Elyse Frishman • The Hon. Peter H.B. Frelinghuysen t •

Mr. Michael Fried • Carolyn and Roger Friedlander • Audrey and Ralph Friedner •

Mr. David Friedson and Ms. Susan Kaplan • Mr. and Mrs. Robert L. Gable • Genatt Associates •

Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. Melvin Y. Gershman •

Drs. Anne and Michael Gershon • Virginia and James Giddens • Stephen A. Gilbert and

Geraldine R. Staadecker • David H. Glaser and Deborah F. Stone • Sy and Jane Glaser •

Mr. Stuart Glazer and Mr. Barry Marcus • Ms. Erika Z. Goldberg and Dr. Stephen Kurland •

Mrs. Patricia Goldman • Roberta Goldman • Mr. and Mrs. Seymour L. Goldman • Judith Goldsmith •

Roslyn K Goldstein • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman •

Dr. and Mrs. Sherwood L. Gorbach • Goshen Wine and Spirits, Inc. • Jud and Roz Gostin •

Mrs. Roberta Greenberg • Mr. Harold Grinspoon and Ms. Diane Troderman •

Mr. and Mrs. Sheldon A. Gross • Carol B. Grossman • Michael and Muriel Grunstein •

Mr. and Mrs. Robert Haber • Felda and Dena Hardymon • Dr. and Mrs. Leon Harris •

William Harris and Jeananne Hauswald • Ricki T and Michael S. Heifer • Mr. Gardner C. Hendrie and

Ms. Karen J. Johansen • Mr. Arnold J. and Helen G. Hoffman • Charles and Enid Hoffman •

Mr. David J. Hurvitz and Ms. Martha W. Klein • Lolajaffe • Mr. and Mrs. Werner Janssen, Jr. • Mr. and Mrs. Daniel R. Johnson • Ms. Lauren Joy • Mrs. Louis Kaitz • Carol and Richard Kalikow •

Adrienne and Alan Kane • Ms. Cathy Kaplan • Marcia Simon Kaplan • Martin and Wendy Kaplan •

Monsignor Leo Kelty • Kemble Inn • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff •

Drs. Sharon and Jonathan Kleefield • Mr. Robert E. Koch • Sam Kopel and Sari Scheer •

Dr. and Mrs. David Kosowsky • Diane Krane and Myles Slosberg • Mr. and Mrs. Richard Kronenberg •

Naomi Kruvant • Mr. James E. Kucharski • Norma and Sol D. Kugler • Dr. and Mrs. Stephen Kulvin •

Shirley and Bill Lehman • Helaine and Marvin Lender • David and Lois Lerner Family Foundation •

• Mr. Arthur J. Levey and Ms. Rocio Gell • Marjorie T. Lieberman • Geri and Roy Liemer

Ian and Christa Lindsay • Mr. and Mrs. A. Michael Lipper • Jane and Roger Loeb •

Gerry and Sheri Lublin • Diane H. Lupean • Gloria and Leonard Luria • Mrs. Paula M. Lustbader •

Mr. and Mrs. Darryl Mallah • The Marketplace • Suzanne and Mort Marvin •

Mary and James Maxymillian • Dr. and Mrs. Malcolm Mazow • The Messinger Family •

Wilma and Norman Michaels • Peter and Yvette Mulderry • Mr. and Mrs. Raymond F. Murphy, Jr. •

Mr. and Mrs. Joseph L. Nathan • Paul Neely • Linda and Stuart Nelson • Bobbie and Arthur Newman •

Mr. Richard Novik • Mike, Lonna and Callie Offher • Mr. and Mrs. Gerard O'Halloran •

Patten Family Foundation • Wendy C. Philbrick • Ms. Joyce Plotkin and Bennett Aspel, M.D. •

Ted Popoff and Dorothy Silverstein • The Porches Inn at Mass MoCA • Walter and Karen Pressey •

Mary Ann and Bruno A. Quinson • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber •

Ms. Deborah Reich and Mr. Frank Murphy • Robert and Ruth Remis • Mr. and Mrs. Albert P. Richman •

Mary and Lee Rivollier • Mr. Brian Ross • Mr. and Mrs. Stanley Ross • Dr. Beth Sackler •

Mr. and Mrs. Michael Salke • Mr. Robert M. Sanders • Dr. and Mrs. Wynn A. Sayman •

Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Pearl and Alvin Schottenfeld •

Karyn and James Schwade • Martin and Jane Schwartz • Carol and Marvin Schwartzbard •

Carol and Richard Seltzer • Lois and Leonard Sharzer • Natalie and Howard Shawn •

Jackie Sheinberg and Jay Morganstern • The Richard Shields Family • Beverly and Arthur T. Shorin •

Linda and Marc Silver • Richard B. Silverman • Robert and Caryl Siskin •

Arthur and Mary Ann Siskind • Jack and Maggie Skenyon • Mr. Peter Spiegelman and Ms. Alice Wang •

Mrs. Lauren Spitz • Lynn and Ken Stark • Mr. and Mrs. Lewis Stein • Mr. and Mrs. Daniel S. Sterling •

Norma and Jerry Strassler • Mrs. Pat Strawgate • Mr. and Mrs. Edward Streim •

Michael and Elsa Daspin Suisman • Marjorie and Sherwood Sumner • Mr. and Mrs. George A. Suter, Jr. •

Mr. and Mrs. Gerald E. Swimmer • Mr. and Mrs. Richard Taylor • TD Bank • John Lowell Thorndike •

• David J. Tierney, Jr., Inc. • Diana O. Tottenham • Barbara and Gene Trainor

Myra and Michael Tweedy • Ron and Vicki Weiner • Betty and Ed Weisberger •

Mr. and Mrs. Barry Weiss • Dr. and Mrs. Jerry Weiss • Tom and Suky Werman • Ms. Michelle Wernli and

Mr. John McGarry • Ms. Carol Andrea Whitcomb • Carole White • Peter D. Whitehead Builder, LLC •

Mr. Robert G Wilmers • The Wittels Family • Pamela and Lawrence Wolfe • Mr. and Mrs. Ira Yohalem •

Carol and Robert Zimmerman • Lyonel E. Zunz • Anonymous (6)

t Deceased

64 . *'.>\Ur

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MCLA Gallery 51 • MCLA Presents! • Berkshire Hills Internship 98.3FM (Lee) Program (B-HIP) • DownStreet Art • Tricks of the Trade 106.1FM (Pittsfield) 413-664-8718 * www.mcla.edu/bcrc 96.3FM (Williamstown) Massachusetts College Of Liberal Arts, North Adams, MA AM640/91.7FMWNNZ Located in the beautiful and culturally rich Berkshires

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August 6-14, 2011 PAIR Mount Sunapee Resort Newbury, NH

Ceramic Turtle by Glen Maclnnis

Lead Sponsor f^ Tickets available at ILA DUPREY www.nhcrafts.org COMPANIES

Qh August at Tanglewood

Tuesday, August 2, 8:30pm (Gala Concert) Wednesday, August 10, 8pm Tanglewood on Parade Stephanie Blythe and Friends {Grounds open at 2pm for activities throughout STEPHANIE BLYTHE, mezzo-soprano the day.) ALAN SMITH, piano BSO, BOSTON POPS ORCHESTRA, and ANDREW JENNINGS, violin TMC ORCHESTRA NORMAN FISCHER, cello STEFAN ASBURY, CHRISTOPH ESCHEN- TANGLEWOOD FESTIVAL CHORUS, BACH, RAFAEL FRUHBECK DE BURGOS, JOHN OLIVER, conductor and JOHN WILLIAMS, conductors MEMBERS OF THE BSO and FELLOWS OF THE TMC Friday, August 5, 6pm, Ozawa Hall Music of Alan Smith and Dallapiccola, plus (Prelude Concert) early American popular songs and choruses MEMBERS OF THE BSO Music of Bohme, Bozza, Hindemith, and Friday, August 12, 6pm, Ozawa Hall Bach/Rosenthal (Prelude Concert) MEMBERS OF THE BSO Friday, August 5, 8:30pm IEVAJOKUBAVICIUTE, piano BSO—RAFAEL FRUHBECK DE BURGOS, Music of Dahl and Dvorak conductor YUJA WANG, piano Friday, August 12, 8:30pm BEETHOVEN Symphony No. 8 BSO—RAFAEL FRUHBECK DE BURGOS, RACHMANINOFF Rhapsody on a Theme conductor of Paganini PEPE ROMERO, guitar STRAUSS Suite from Der Rosenkavalier BIZET Orchestral excerpts from Carmen RODRIGO Concierto de Aranjuez, for guitar Saturday, August 6, 10:30am and orchestra Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BOCCHERINI/BERIO II ritirata notturna di BSO program of Sunday, August 7 Madrid FALLA Excerpts from La vida breve

Saturday, August 6, 8:30pm GRANADOS Intermezzo from Goyescas GIMENEZ Intermezzo from La boda de Luis BSO—SEAN NEWHOUSE, conductor Alonso SARAH CHANG, violin

JALBERT Music of air and fire Saturday, August 13, 10:30am MENDELSSOHN Violin Concerto Open Rehearsal (Pre-Rehearsal Talk, 9:30am) RACHMANINOFF Symphony No. 2 BSO program of Saturday, August 13

Sunday, August 7, 2:30pm Saturday, August 13, 8:30pm BSO—LIONEL BRINGUIER, conductor BSO—CHRISTOPH VON DOHNANYI, EMANUEL AX, piano conductor SMETANA "The Moldau" from Ma Vlast YO-YO MA, cello MOZART Piano Concerto No. 22 in E-flat, PROKOFIEV Symphony No. 1, Classical K.482 SCHUMANN Cello Concerto TCHAIKOVSKY Symphony No. 5 BRAHMS Symphony No. 1

Monday, August 8, 7pm Sunday, August 14, 2:30pm TRAIN The Leonard Bernstein Memorial Concert TMC ORCHESTRA—RAFAEL FRUHBECK Tuesday, August 9, 8pm DE BURGOS, conductor BOSTON SYMPHONY CHAMBER PLAYERS STEPHANIE BLYTHE, mezzo-soprano ANDRE PREVIN, piano TANGLEWOOD FESTIVAL CHORUS, Music of Martinu, Previn, Milhaud, and JOHN OLIVER, conductor Mozart ALL-BRAHMS PROGRAM Ndnie and Schicksalslied, for chorus and orchestra Alto Rhapsody Symphony No. 2 Bravo Tanglewood!

Thank you for inspiring young performing

artists from Berkshire County and beyond. %, "^^Huihan Liu ~ Fine Art Galleries Performances Berkshire School SHEFFIELD, MASSACHUSETTS The Bennington 413.229.851 1 www.berkshireschool.org Vermont 802-442-7158 benningtoncenterforthearts.org

4 Enchanted Evenings. 200 Voices in Song. H July 16 7:30pm Carol Barnett-The World Beloved: W A Bluegrass Mass Leonard Bernstein—Chichester Psalms Adolphus Hailstork-Break Forth ,-J

July 23 7:30pm Mendelssohn-ii/i^/? Ol July 30 7:30pm Elgar- The Music Makers X Vaughan WiHiams-Magnificat U Brahms-Alto Rhapsody w August 6 7:30pm

Monteverdi- Vespro della Beata Vergine (Monteverdi Vespers) X CO Beethoven is alive and well and performing his cabaret act this summer. Join us nightly for BOX Office: 413.229.1999 Tickets: $15-$45 an irreverant take on his life and times. PREPs: Free pre-concert talks at 6:15pm Pi Tickets at www.ludwiglive.com or the Seven Hills Inn 245 North Undermountain Road W 40 Plunkett Street, Lenox 413-637-0060 Sheffield, MA 01257 www.choralfest.org PQ Sunday, August 14, 8pm Sunday, August 21, 8pm EMANUEL AX, piano RADIO DELUXE with JOHN PIZZARELLI YO-YO MA, cello and JESSICA MOLASKY ANTHONY MCGILL, clarinet plus special guests from the worlds of jazz, Music of Schubert, Beethoven, and Brahms pop, and Broadway

Tuesday, August 16, 7:30pm Thursday, August 25, 8pm PHILHARMONIA BAROQUE ORCHESTRA BRAD MEHLDAU, piano NICHOLAS McGEGAN, conductor DOMINIQUE LABELLE, YULIA VAN DOREN, Friday, August 26, 6pm (Prelude Concert) DIANA MOORE, CLINT VAN DER LINDE, MEMBERS OF THE BSO and WOLF MATTHIAS FRIEDRICH, vocal Music of Beethoven, Srnka, and Gershwin soloists

HANDEL Orlando (concert performance) Friday, August 26, 8:30pm Extended concert with two intermissions BSO—BRAMWELL TOVEY, conductor Sung in Italian with English supertitles ALFRED WALKER, LAQUITA MITCHELL, NICOLE CABELL, MARQUITA LISTER, Friday, August 19, 6pm (Prelude Concert) JERMAINE SMITH, GREGG BAKER, and MEMBERS OF THE BSO additional vocal soloists Music of Schroeder and Dvorak TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor

Friday, August 19, 8:30pm GERSHWIN Porgy and Bess BSO—CHRISTOPH VON DOHNANYI, Concert performance of original 1935 production conductor version MARTIN HELMCHEN, piano Saturday, August 27, 10:30am SCHOENBERG Chamber Symphony No. 1 SCHUMANN Piano Concerto Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BSO program of Sunday, August 28 BEETHOVEN Symphony No. 3, Eroica

Saturday, August 27, 8:30pm Saturday, August 20, 10:30am Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BOSTON SYMPHONY ORCHESTRA BSO program of Sunday, August 21 ITZHAK PERLMAN, conductor and violin ALL- BEETHOVEN PROGRAM Saturday, August 20, 8:30pm Romances Nos. 1 and 2 for violin and Film Night at Tanglewood orchestra BOSTON POPS ORCHESTRA Symphony No. 1 JOHN WILLIAMS, conductor Symphony No. 5 GIL SHAHAM, violin MORGAN FREEMAN, narrator Sunday, August 28, 2:30pm A program featuring Gil Shaham in film BSO—LORIN MAAZEL, conductor music arranged for violin and orchestra, JOYCE EL-KHOURY, MARGARET and a salute to the Hollywood western GAWRYSIAK, GARRETT SORENSON, and with Morgan Freeman as guest narrator ERIC OWENS, vocal soloists for John Williams's Suite from The Reivers TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor Sunday, August 21, 2:30pm BEETHOVEN Symphony No. 9 BSO—BERNARD LABADIE, conductor BENEDETTO LUPO, piano ALL-MOZART PROGRAM Chaconne from Idomeneo Piano Concerto No. 18 in B-flat, K.456 Symphony No. 41, Jupiter

Programs and artists subject to change. massculturalcouncil.or C>^ 2011 Tanglewood Music Center Schedule

Unless otherwise noted, all events take place in the Florence Gould Auditorium of Seiji Ozawa Hall. Other venues are the Shed, Chamber Music Hall, and Theatre.

* indicates that tickets are available through the Tanglewood box office or SymphonyCharge.

i> indicates that admission is free, but restricted to that evening's concert ticket holders.

* Tuesday, June 28, 11am, 3pm (Theatre) Sunday, July 10, 10am Wednesday, June 29, 11am, 3pm (Theatre) * Chamber Music String Quartet Marathon: Music of HAYDN, Sunday, July 10, 8pm (Theatre) BEETHOVEN, BRAHMS, BARTOK, DVORAK, An Evening of Opera and Song SHOSTAKOVICH, and others. One ticket TMC VOCAL, INSTRUMENTAL, and provides admission to all four performances. CONDUCTING FELLOWS * Tuesday, June 28, 8pm MARK MORRIS, stage director * Wednesday, June 29, 8pm Milhaud's Trois Operas-minutes, plus music MARK MORRIS DANCE GROUP of Monteverdi, Handel, and Carissimi TANGLEWOOD MUSIC CENTER FELLOWS Monday, July 11, 6pm J> Choreography by Mark Morris to music of Steinway Series Piano Prelude STRAVINSKY and BACH * Monday, July 11, 8pm Sunday, July 3, 10am TMC ORCHESTRA Chamber Music—Stefan Asbury, conductor STEFAN ASBURY and TMC CONDUCTING TMC Conducting Fellows FELLOWS, conductors

Tuesday, July 5, 2:30pm STRAVINSKY Danses concertantes Opening Exercises PROKOFIEV Lieutenant Kije Suite (free admission; open to the public) RACHMANINOFF Symphonic Dances

Wednesday, July 13, 8pm. Tuesday, July 5, 6pm J> Steinway Series Piano Prelude Vocal and Chamber Music

* Tuesday, July 5, 8pm Saturday, July 16, 6pm J> The Phyllis and Lee Coffey Memorial Concert Prelude Concert

TMC ORCHESTRA Sunday, July 17, 10am MIGUEL HARTH-BEDOYA and TMC Chamber Music CONDUCTING FELLOWS, conductors * Sunday, July 17, 8pm BARBER Second Essay for Orchestra The Daniel Freed and Shirlee Cohen Freed COPLAND Billy the Kid Suite Memorial Concert BERNSTEIN Symphony No. 2, The Age of Anxiety TMC ORCHESTRA—KURT MASUR and TMC CONDUCTING FELLOWS, conductors Wednesday, July 6, 8pm STRAUSS Till Eulenspiegel's Merry Pranks Vocal and Chamber Music KODALY Hdryjdnos Suite

Saturday, July 9, 6pm J> DUKAS The Sorcerer's Apprentice Prelude Concert (TMC Faculty) SCHUMANN Symphony No. 2

For TMC concerts other than TMC Orchestra concerts, tickets are available one hour prior to concert start-time at the Ozawa Hall box office only. Tickets are $11. Please note that avail-

ability of seats inside Ozawa Hall is limited and concerts may sell out.

Order your tickets in advance for TMC Orchestra concerts (July 5, July 11, July 17, July 25, August 14) and FCM events (August 3-7) by calling SymphonyCharge at 1-888-266-1200 or (617) 266-1200.

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, the Fromm Concert,

and TMC Orchestra concerts) . Friends should present their membership cards at the Bernstein Gate one hour before concert time.

Additional and non-member tickets (excluding TMC Orcherstra concerts) can be purchased one hour prior to each recital, chamber music, or Festival of Contemporary Music concert for $11.

FOR INFORMATION ABOUT BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267. Tuesday, July 19, 8pm Chamber Music Wednesday, August 3—Sunday, August 7 2011 FESTIVAL OF CONTEMPORARY Saturday, July 23, 6pm J> MUSIC Prelude Concert Charles Wuorinen, Festival Director Sunday, July 24, 10am The 201 1 Festival Contemporary Music is Chamber Music of made possible by grants from the Aaron Copland Sunday, July 24, 8pm Fund for Music, the Fromm Music Foundation, Vocal Chamber Concert the National Endowment for the Arts, the Ernst von Siemens Music Foundation, the Helen F. Monday, July 25, 6pm J> Whitaker Fund, and by the generous support Vocal Prelude Concert ofDr. Raymond and Hannah H. Schneider. * Monday, July 25, 8pm Wednesday, August 3, 8pm TMC ORCHESTRA—JAAP VAN SWEDEN and Charles Wuorinen, conductor TMC CONDUCTING FELLOWS, conductors Ken Schmoll, director BEETHOVEN Leonore Overture No. 3 WUORINEN Never Again the Same; It DEBUSSY "Nuages" and "Fetes" from Nocturnes Happens Like This (world premiere; TCHAIKOVSKY Symphony No. 4 TMC commission)

Saturday, July 30, 6pm J> Thursday, August 4, 8pm Prelude Concert The Fromm Concert at Tanglewood Sunday, July 31, 10am ENSEMBLE SIGNAL, guest ensemble Chamber Music BRAD LUBMAN, conductor CHRISTOPHER OTTO, violin Tuesday, August 2 * FRED SHERRY, cello TANGLEWOOD ON PARADE Music of HO (world premiere; TMC To benefit the Tanglewood Music Center commission), PICKER, ECKARDT, 2:30pm: Chamber Music TMC FERNEYHOUGH, BABBITT, CHOWN- 5pm: TMC Chamber Music ING, and ZORN (world premiere; TMC 8pm: TMC Brass Fanfares (Shed) commission) 8:30pm: Gala concert (Shed) Friday, August 5, 2:30pm TMC ORCHESTRA, BSO, and BOSTON POPS ORCHESTRA ERROLLYN WALLEN, piano Music of HO, BEGLARIAN, HYLA, FES- STEFAN ASBURY, CHRISTOPH ESCHEN- TINGER, WALLEN, and PETERSON BACH, RAFAEL FRUHBECK DE BURGOS, and JOHN WILLIAMS, conductors Saturday, August 6, 2:30pm (Theatre)

To include music of Wagner, Vaughan GEORGE FLYNN, piano < Williams, and Tchaikovsky AVI AVITAL, mandolin Music of HO, FLYNN, KONDO, and Saturday, August 6, 6pm j> KEREN Prelude Concert

Sunday, August 7, 10am Thursday, August 11, 8pm DAVID FULMER, violin Chamber Music LOUIS KARCHIN, conductor Saturday, August 13, 11am Music of HO, BABBITT, FULMER, Works by TMC Composition Fellows DAWE, and KARCHIN

Saturday, August 13, 6pm J> Sunday, August 7, 6pm J> Prelude Concert (Prelude Concert) URSULA OPPENS, piano Sunday, August 14, 10am Music of ECKARDT, BABBITT, RANDS, Vocal Concert KONDO, and PICKER * Sunday, August 14, 2:30pm (Shed) Sunday, August 7, 8pm The Leonard Bernstein Memorial Concert TMC ORCHESTRA—RAFAEL FRUHBECK The Margaret Lee Crofts Concert TMC ORCHESTRA DE BURGOS, conductor STEFAN ASBURY and TMC CONDUCT- STEPHANIE BLYTHE, mezzo-soprano ING FELLOWS, conductors TANGLEWOOD FESTIVAL CHORUS Music of LARA, KONDO, NORMAN, ALL-BRAHMS PROGRAM FELDER, and ROUSE Ndnie and Schicksalslied, for chorus and orchestra Alto Rhapsody for s mezzo-soprano, male chorus, and orchestra Symphony No. 2 —

Saturday MAY 28 at 6pm AMERIGO TRIO with ALON GOLDSTEIN piano

Saturday JUNE 11 at 8pm ANDRES DIAZ cello WENDY CHEN piano

Saturday JULY 2 at 8pm CHRISTINE BREWER soprano CRAIG RUTENBERG piano

Saturday JULY 23 at 8pm VASSILY PRIMAKOV piano FINE ARTS BOARDING Creative Writing

Saturday AUGUST 13 at 8pm HIGH SCHOOL Dance ILYA POLETAEV piano Grades 9-12 Motion Picture Arts Saturday SEPTEMBER 3 at 8pm ARABELLA ENSEMBLE with CHRISTIAN STEINER piano Music

Saturday SEPTEMBER 17 at 6pm Theatre HARLEM STRING QUARTET with SUMMER ARTS CAMP DANE JOHANSEN cello MISHA DICHTER piano Visual Arts Grades 3-12

nances are held on the grounds of Mount Lebanon Darrow School New Lebanon, NY. Information 888 820 1696 or www.tannerypondc www.interlochen.org

Lenox (413) 637-9893 90 Pittsfield Road Fitness Lenox, MA

www.lenoxfitnesscenter.com Center The reputation of the Jewish Nursing Home wasn't built from steel and stone.

It grew out of the values embraced by and Spa the compassionate individuals who founded Jewish Geriatric Services. So yc shouldn't be surprised to learn that this • aerobics same tradition of quality and professional care is found throughout Jewish Gerial: • step Services' family of healthcare program

• Jewish Nursing Home • yoga • Ruth's House Assisted Living Resident • Spectrum Home Health and Hospice Care • Spinning® • Wernick Adult Day Health Care Center • JGS Family Medical Care • pilates • Genesis House Subsidized Housing

• outdoor programs Open to all faiths, Jewish Geriatric Services provides health-related care to individuals no matter what stage of life they are in. And these services • strength equipment will continue to be here for clients as their lifestyles and health change just as they have for nearly 100 years. • personal training • free weights

• tanning to for are. Come know us who we Jewish Call us at 41.1.567.621 1 Or visit • fitness apparel Geriatric Services^ www.JewishGeriatric.org. Serving People of all Faiths • spa services

Julian J Leawitl Spectrum Home Genesis House • juice bar Family Jewish Health and Subsidized Nursmij Homy Hospice C

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 unlimited access to all performances of the Boston Sym- phony Orchestra and the Tanglewood Music Center.

Now in its 46th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its interaction with the Boston Symphony Orchestra and the (photo: Michael J. Lutch) Tanglewood Music Center makes BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administra- tors. The Institute includes Young Artists Programs for students age fourteen to nineteen (Instrumental, Vocal, Piano, Harp, and Composition) as well as Institute Workshops (Clari- net, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the Institute's students receive financial assistance from funds contributed by individuals, foundations, and corporations to the Boston University Tanglewood Institute Scholarship Fund. 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) 637-1430 or (617) 353-3386.

2011 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRA PROGRAMS: Saturday, July 16, 2:30pm, Paul Haas conducts Tchaikovsky's Symphony No. 6 (Pathetique) and works of Shostakovich and Revueltas. Saturday, July 30, 2:30pm, Mei-Ann Chen conducts Rachmaninoff s Symphonic Dances and Franck's Symphony in D minor. Saturday, August 13, 2:30pm, David Hoose conducts Elgar's Enigma Varia- tions and Walton's Viola Concerto featuring Steven Ansell, BSO principal viola.

WIND ENSEMBLE PROGRAMS: Friday, July 15, 8pm, David Martins conducts Jager, Wilby, Maslanka, and Epstein, featuring soloist Robert Sheena, BSO English horn, and a premiere by TMC Fellow Ruby Fulton. Friday, July 30, 8pm, H. Robert Reynolds conducts W. Schuman, Mackey, Bernstein, Rudin, Gould, and Bennett, featuring the Vento Chiaro Wind Quintet.

VOCAL PROGRAMS: Saturday, August 6, 2:30pm, Ann Howard Jones conducts Brahms, Rheinberger, Paulus, Pinkham, Corigliano, Ligeti, Willan, and Wilberg.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 18; Tuesday, July 19; Wednesday, July 20; Tuesday, August 9; Wednesday, August 10; Thursday, August 11.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1431. 1

MODERNISM. South Mountain Concerts

INSIDE AND OUT. Pittsfield, Massachusetts FROM ANCIENT TO ABSTRACT NEWLY RESTORED 93 rd Season of Chamber Music FOOTAGE OF GEORGE'S 1934 TRAVEL FILMS Concerts Sundays at 3 P.M.

September 4 Menahem Pressler & Friends

September 1 Orion String Quartet

September 18 Juilliard String Quartet

September 25 Wu Han, David Finckel, Philip Setzer

October 2 Emerson String Quartet

FRELINGHUYSEN MORRIS For Brochure and Ticket Information Write HOUSE & STUDIO South Mountain Concerts, Box 23

92 Hawthorne Street Lenox 413 637 0166 Thursday-Sunday Tours Pittsfield, 01 41 442-21 | | j 202 3 | MA Phone 06 from Tanglewood: 0.2 mi south on Rte. 183, left on Hawthorne Road, left on www.SouthMountainConcerts.com Hawthorne Street, entrance is 0.3 miles on left frelinghuysen.org

What are you doing Friday nights this fall?

invites you to the PBS Arts Fall Festival ^A/etheB^ Nine new adventurous arts programs check wgby.org Starting October 14th O for details Friday nights at 9 Tanglewood Business Partners

The BSO gratefully acknowledges the followingfor their generous contributions of $650 and higher

during the 2010-11 fiscal year. An eighth note J) denotes support of$l,250-$2,999, and those names that are capitalized denotes support of $3000 or more. For information on how to become a Tanglewood Business Partner, please contact Susan Beaudry, Manager of the Tanglewood Business Partners at (413) 637-5174 or [email protected].

Nancy J. Fitzpatrick, Chair, Tanglewood Business Partners Committee

Accounting/Tax Preparation

^Warren H. Hagler Associates • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, CPA • f Mr. and Mrs. Emery Sheer in honor of Mr. and Mrs. Alfred Schneider

Advertising/PR/Market Research/Professional Business Services/Consulting

Ed Bride Associates • ^The Cohen Group • Robert Gal Consulting • ^General Systems Company, Inc. •

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Elise Abrams Antiques • DeVries Fine Art International • ^ Hoadley Gallery • Paul Kleinwald Art & Antiques, Inc. • R.W. Wise, Goldsmiths, Inc. Architects/Designers

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Adams Co-Operative Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • LEGACY BANKS • Lenox National Bank • J> The Pittsfield Cooperative Bank • South Adams Savings Bank • TD BANK Beverage/Food Sales/Consumer Goods

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Financial Services

ABBOTT CAPITAL MANAGEMENT, LLC • THE BERKSHIRE CAPITAL INVESTORS • BERKSHIRE MONEY MANAGEMENT, INC. • ^Berkshire Wealth Advisors of Raymond James • Mr. and Mrs. Robert Haber • J> Kaplan Associates L.P. • J True North Financial Services High Technologies/Electronics

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CRANWELL RESORT, SPA & GOLF CLUB • CANYON RANCH • -^Jiminy Peak Mountain Resort/EOS Ventures Transportation

ABBOTT'S LIMOUSINE SERVICE 8c LIVERY DR. KAREN LAVOIE Professor, Music Department Red Sox Fan

We are explorers and scholars, builders and innovators, artists and athletes, dream seekers and care takers. We are a community of possibilities — onsite, online and in touch, what makes us diverse brings us together.

WeAreWestfield.com STATE UNIVERSITY Friends are Instrumental to Tanglewood

Join the Friends of Tanglewood today.

THOUSANDS OF PEOPLE EACH YEAR.

You can make our important education and community OUTREACH PROGRAMS POSSIBLE.

Friends of Tanglewood enjoy a special relationship as members of the BSO's Tanglewood family. By making a gift today, you will support

Tanglewood and ensure that its glorious music keeps playing. Friends memberships start at just $75, and when you join, you will receive priority ticket ordering privileges, our donor-only online newsletter, and exclusive parking and dining opportunities*.

For more information about the Friends of Tanglewood, visit the Friends Office or the information cart on the lawn, or call at 413-637-5261; 617-638-9267; or [email protected]. loin online at tanglewood.org/contribute.

Offers for exclusive parking and dining opportunities vary by giving level.

FRIENDS OF Tanglewood Tanglewood Major Corporate Sponsors 2011 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 (61 7) 638-9279 or at [email protected].

Bank of America

At Bank of America, we celebrate the arts as a way to

honor history, inspire innovation and creativity, and stimulate local economies.

Here at Tanglewood, our philanthropy funds scholar- ships for hundreds of youth to participate in "Days

in the Arts at Tanglewood," providing access to this Bob Gallery

Massachusetts President, wonderful program for children from every corner Bank of America of the Commonwealth.

Bank of America offers customers free access to more than 150 of the nation's finest cultural institutions

on the first full weekend of every month through its

acclaimed Museums on Us® program. In fact, Massachu-

setts Museum of Contemporary Art in North Adams is our most recent addition to this program, joining the other five participating Massachusetts museums in Boston, Cambridge, Cape Cod, Lincoln and Worcester. Visit www.bankofamerica.com/museums to learn more.

The arts, in all its forms, lend vitality to a community.

At its best, art inspires, transcending socio-economic

barriers and celebrating diversity - it represents what

is best about the Berkshires. We are honored to continue our longstanding partnership with the Boston Symphony Orchestra - both during summers at Tangle- wood, and the remainder of the year in Boston - and regard them with the deepest admiration for enriching our communities, educating our families, celebrating the past and inspiring the future. OMMONWEALTH WORLDWIDE \ CHAUFFEURED TRANSPORTATION JM* 4 Ifv tH*' ' jf''^ « Commonwealth Worldwide Chauffeured Transportation is proud to be the Official Chauffeured Transportation of the

Dawson Rutter Boston Symphony Orchestra and Boston Pops. The BSO has President and CEO 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.

HARVARD DIVISION OF CONTINUING EDUCATION

Harvard's Division of Continuing Education is pleased to

sponsor the Boston Symphony Orchestra at Tanglewood. Michael Shinagel, Through Harvard Extension School, Harvard Summer School, PhD

Dean of Continuing and the Institute for Learning in Retirement, the Division Education and University offers more than 900 liberal arts and professional courses to Extension the public, educating more than 20,000 students each year. The BSO and Harvard Extension School have enriched the community for more than a century, and share the important

tradition of bringing arts and education to the community.

STEINWAY 6 SONS

Steinway 8c Sons is proud to be the exclusive provider of pianos to Symphony Hall and Tanglewood. Since 1853, Ron Losby Steinway pianos have set an uncompromising standard President - Americas for sound, touch, beauty, and investment value. Steinway

remains the choice of 9 out of 10 concert artists, and it is the preferred piano of countless musicians, professional and amateur, throughout the world. FAVORITE RESTAURANTS OF THE BERKSHIRES

Our Own Ice Cream & Sorbets HAVEN Cafe & Bakery Kjhocolaie Spr/nys Breakfast & tuned served alt day 'Dinner 'Wed. - Sun. Tanglewoodpicnics Cafe *We support Local businesses farmers & (413) 637-9820 - Route 7, Lenox, MA franklin street lenox 413.637.8948 WWW.CHOCOLATESPRINGS.COM

413-442-2290 117FENNST PITTSFIELD

www.madjacksbbqonline.com call us for a TANGLEWOOD Picnic Pack

ENTREES Route 102, Lee, MA 413-394-4047 FROM $13 Serving Daily 5pm to 10pm

BOMBAY CLASSIC INDIAN CUISINE

LUNCH • DINNER • WEEKEND BRUNCH At Quality Inn 435 Laurel Street • Lee, MA 01238 413 243 6731 www.fineindiandining.com FARE FOR ALL SUMMER MENUS, PERFECTLY SEASONED

TAVERN I MAIN DINING ROOM I LION'S DEN PUB ^Comparable to the Best in NYC" Zagat 2009

Supporting Local Farmers and Producers IheRedLmInn m^EH Gourmet Japanese Cuisine & Sushi Bar DISTINCTIVE LODGING • ARTFUL CUISINE • TIMELESS ELEGANCE 17 Railroad, Great Barrington, MA 413-528-4343 30 Main Street, Stoekbridge, MA (413)298-5545 | RedLionlnn.com | Tatami Rooms Kaiseki Robata Bar FAVORITE RESTAURANTS OF THE BERKSHIRES

£9ug& restaurant & bistro

3 Center Street • West Stockbridge, MA (413) 232-4111 •www.rougerestaurant.com

Elm Street Market

Bf^eXKFXST, LUNCH & LOCXL COtflP SGrWeD. TXNCL6W00D PICNIC BASKETS XVXILXBL6.

STOCKBPJDqe, MA • 413-298-3634

47 Railroad Street Great Barrington, MA 01 230 413.528.0351 http://www.fiorirestaurant.com

(413)298-4433 Chef Luis Zambrano, Proprietor Route 183 www.VivaBerkshires.com Glendate, MA 01229

CUCI9&L ITALIJMfa &

If you would like to be part of 'Enjoy Authentic Italian this restaurant page, please 'food in the (Berl(sfuTes www.trattoria-vesuvio.com call 781-642-0400. cF%\cnO'RJ& "IL VESZLVIO" "RpVrES7dr20, Lew^M/l 01240 (413)637-4904 Tanglewood Emergency Exits

Koussevitzky Music Shed

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^ Seiji Ozawa Hall

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FIRST BALCONY SECOND BALCONY Hi There!

We're so happy to see you in the Berkshires this summer. We love sitting next to you and listening to the music, but do us a favor. Leave your firewood at home.

Bugs that kill us live in firewood. When you move it, you could accidently bring them here with you. We want to welcome you with open branches every time you come back. So, leave the firewood at home, and buy local when you get here.

Enjoy the shade!

Sincerely,

That's What Tree Said ii

AUSTEN RIGGS CENTER

A distinctive psychiatric hospital Intensive psychotherapy in an open community.

Stockbridge, MA 01 262 (41 3) 298-551 1 www.austenriggs.org SECURE YOUR jUtllTCy PROTECT YOUR USSCtSy enjoy life.

Celebrating 21 years of excellence, Kimball Farms provides a setting that is active, meaningful and rewarding.

Independent Living Assisted Living— Traditional & Dementia Care Skilled Nursing

Wanning 1""* o«r startedfir

. Wellness V Center/ A Member of Berkshire Healthcare

Kimball Farms Life Care 235 Walker Street Lenox, MA 01240 Kimball Farms Retirement Community www.kimballfarms.org • (413) 637-7000 ONE ONE DAY UNIVERSITY® DAY UNIVERSITY at Tanglewood

Sunday, August 28, 2011 at Beethoven, The Beatles, FDR, and Your Brain Tanglewood Join acclaimed professors from Columbia, Brown and Vanderbilt for

three stimulating presentations in Ozawa Hall. Then join conductor EVENT SCHEDULE for AUGUST 28, 2011 Lorin Maazel as he leads the Boston Symphony Orchestra in its

LECTURES TAKE PLACE IN OZAWA HALL perennial Tanglewood finale: Beethoven's Ninth Symphony.

8:30 am Check in FDR and the Path to WWII: What We Know Now That We Didn't Know Then 9:00-10:10 RICHARD PIOUS, am Richard M. Pious • Columbia University Columbia On December 7, 1941, the Japanese bombed Pearl Harbor; four days later Germany and Italy also declared the U.S. Yet America's involvement 10:10-10:25 am Break war on in World War II had been predetermined as early as May of 1940 when FDR 10:25-11:35 am JOHN STEIN, circumvented an isolationist Congress by making a secret deal with Brown Winston Churchill and the British.

11:35-11:50 am Break Where Are My Keys? Understanding How Memory Works 11:50 am-i:oo pm MICHAEL ROSE, John J. Stein • Brown University Vanderbilt Why can't you remember where you left your keys? Why can't you remember 1:00-2:30 pm Break the name of that person you met last week? Why do these memory lapses and communication problems increase in frequency as some people grow 2:30 pm BSO, older, but others don't have this problem at all? Is there something changing Koussevitzky in the way our brains function? Music Shed

GENERAL REGISTRATION: The Beatles and Beethoven: Hearing the Connection Michael Alec Rose • Vanderbilt University $149 The finale of Beethoven's Ninth Symphony and the Beatles song "Hey Jude"

Advance purchase required share compelling connections. The scope of each work is unprecedented: a vast choral movement and a seven-minute song were both radical departures Each registration includes all three professor presentations and one complimentary lawn for symphonic music and rock 'n' roll, respectively. But it's the singular admission to the Shed concert* spiritual message shared by these pieces which truly binds them together

(Route 183, West Street, Lenox, MA) across historical time and stylistic distance.

To register, or for more After the lectures, enjoy the Tanglewood Lawn Experience: information, call BOSTON SYMPHONY ORCHESTRA 888-266-1200 BEETHOVEN Symphony No. 9 Lorin Maazel, conductor Eric Owens, bass-baritone or visit us online at: Joyce El-Khoury, soprano Tanglewood Festival Chorus, tanglewood.org/onedayu Margaret Gawrysiak, mezzo-soprano John Oliver, conductor Garrett Sorenson, tenor

ONE DAY UNIVERSITY a* Tanglewood • 888-266-1200 • tanglewood.org/onedayu

One Day University lawn admissions have no dollar value and may not be used to upgrade for a ticket inside the Shed. All One Day University lecture ticket holders are

eligible for a 10% discount on 8/28 Shed tickets purchased in advance of the concert. Tanglewood is a registered service mark of the Boston Symphony Orchestra, Inc. Visit us at bankofamerica.com

e re proud to suppor e voices o our community.

When community members speak about supporting the arts, we respond to their call for making the possible actual. Valuing artistic diversity within our neighborhoods helps to unite communities, creating shared experiences and inspiring excellence.

Bank of America is proud to support Tanglewood for their leadership in creating a successful forum for artistic expression.

Bank of America