Sunday, 3Pm October 27, 2019 Brahms Double Concerto for Violin and Cello Schubert Symphony in C, A

“leipzig week in boston” sunday, 3pm october 27, 2019

brahms double concerto for violin and cello schubert symphony in c, “ the great”

andris nelsons gewandhauskapellmeister BRINGING THE WORLD FACE-TO-FACE WITH BEETHOVEN

DHL are proud to deliver ‘BTHVN on Tour’, in cooperation with Beethoven-Haus Bonn, to celebrate Beethoven’s 250th birthday. His music remains as inspiring and revolutionary today as it was when it was written. Discover more about the musical genius, see priceless exhibits and perhaps wish the maestro a Happy Birthday yourself.

Visit us at New England Conservatory (Burnes Hall) from 27 October until 2 November or go to InMotion.dhl/BTHVN

The Gewandhausorchester would like to thank its Official Logistics Partner DHL for the generous support. Table of Contents

2 the bso/gho alliance 3 bso/gho historical connections 5 a message from german federal president frank-walter steinmeier 6 a message from andris nelsons 9 this afternoon’s program

Notes on the Program

10 Today’s Program in Brief… 11 An Introduction to This Week’s Programs by Christoph Wolff 14 Johannes Brahms 18 Franz Schubert

Artists

22 Andris Nelsons 22 Leonidas Kavakos 23 Gautier Capuçon 24 Gewandhausorchester Leipzig

28 sponsors and donors

The background of this week’s program cover is a photo of the second Gewandhaus concert hall in Leipzig, which was home to the Gewandhausorchester Leipzig from 1884 until it was destroyed in 1944 (see larger image on page 11 of this program).

“I am incredibly grateful to all my colleagues at the Boston Symphony Orchestra and Gewandhausorchester for coming together with me in a spirit of great camaraderie to create a new and absolutely unique partnership in music-making.”

Andris Nelsons, BSO Ray and Maria Stata Music Director, and GHO Gewandhauskapellmeister

Under the direction of Andris Nelsons, the Boston Symphony Orchestra (BSO) and Gewandhausorchester Leipzig (GHO) Alliance established a new, multidimensional collaboration in the 2017-18 season designed to create opportunities for the two orchestras and their respective audiences to explore each ensemble’s unique world of music-making, and to discover the great traditions and historic accomplishments that have played an important role in building their reputations as two of the world’s great orchestras. In addition, the programs of the BSO/GHO Alliance celebrate the shared mutual heritage of these two orchestras, while also shedding light on the overall culture of each ensemble and the cities they are proud to call home.

Taking place over a five-year period starting in 2017-18, the BSO/GHO Alliance encom- passes an extensive co-commissioning program, educational programs designed to spotlight each orchestra’s culture and history, and tour performances by the BSO at the Gewandhaus in Leipzig and the GHO at Symphony Hall in Boston—providing an extraordinary opportunity for orchestra musicians and audiences alike. This unprecedented alliance also includes the BSO/GHO Musician Exchange program, whereby members of the BSO play in the Gewandhausorchester while GHO members play with the BSO, as well as an exchange component within each orchestra’s acclaimed academy for advanced music studies. A major highlight of the BSO/GHO Alliance, to take place annually over the five-year period of the collaboration, is a focus on complementary programming, through which the BSO celebrates “Leipzig Week in Boston” and the GHO celebrates “Boston Week in Leipzig,” thereby highlighting each other’s musical traditions through uniquely programmed concerts, chamber music performances, archival exhibits, and lecture series.

To learn more about the BSO/GHO Alliance, please visit www.bso.org/leipzigweek.

2 The BSO/GHO Alliance: Sharing Historical Connections

The history of close cultural connections between Boston and Leipzig began in 1881, when the Boston Symphony Orchestra’s founder, Henry Lee Higginson, appointed Leipzig Conservatory-trained Georg Henschel as the BSO’s first conductor. Subsequent conductors of the BSO, including Wilhelm Gericke, Emil Paur, Max Fiedler, Karl Muck, and particularly Arthur Nikisch, were either educated in Leipzig and/or held posts with the Gewandhausorchester (GHO). In the mid-20th century, the Leipzig tie was reinforced when Charles Munch was the BSO’s music director from 1949 to 1962; Munch, who studied in Leipzig, was concertmaster of the Gewandhausorchester from 1926 to 1933.

Symphony Hall in Boston, which was inaugurated in 1900, is not simply a replica of the historically renowned second Gewandhaus, which opened its doors in 1884 and was destroyed in 1944. Major Higginson had visited the Leipzig concert hall while touring Europe and had instructed his team of architects to design, for Boston, a larger version of the Gewandhaus, with as many as 2,600 seats. Boston’s new hall also added the latest acoustical principles to the overall design of its Leipzig counterpart. These acoustical principles played a major role in determining the size of the stage and the placement of sound-absorbing statues in the auditorium, among other features. In 1974, the Gewandhaus- orchester appeared in Boston’s Symphony Hall during its first tour of the United States. To date, Boston has welcomed the Gewandhausorchester for ten guest performances, including its most recent appearance in the 2014-15 concert season. Though the BSO made its debut appearance at the Gewandhaus in May 2016, the Leipzig hall had already featured the BSO-affiliated Boston Youth Symphony Orchestra in 2008, during that ensemble’s European tour. Most recently, Andris Nelsons and the Boston Symphony Orchestra performed at the Gewandhaus in Leipzig this past September, during the BSO’s 2018 European tour.

Since its founding in 1743, the GHO has been associated with some of the greatest figures of music history, including Johann Sebastian Bach, who lived and worked in Leipzig from 1723 until 1750, the year of his death. Besides the GHO’s widely known reputation for performances of Bach’s works, the orchestra also gave the premieres of works by Beethoven, Schumann, Mendelssohn, and Brahms, among others. This tradition has continued into the 20th and 21st centuries with scores by such significant composers as Henze, Kancheli, and Rihm, among others. The BSO’s own commissioning legacy is similarly distinguished, including seminal 20th-century scores from composers ranging from Stravinsky, Prokofiev, and Bartók, to Messiaen and Dutilleux, and myriad Americans, among them Copland, Bernstein, Sessions, Carter, and Harbison.

the bso/gho alliance 3 About Celebrity Series of Boston

Founded in 1938 by pianist and impresario Aaron Richmond, the Celebrity Series of Boston is one of the nation’s largest and most highly regarded independent non-profit performing arts presenting organizations. From its inception, the Celebrity Series became a mainstay of Boston’s cultural life. Many nationally and internationally recognized artists have made their Boston debuts presented by the Celebrity Series. Today’s orchestra, Gewandhausorchester Leipzig, made its Boston debut in October 1974 under the baton of Kurt Masur. Other notable artists presented by Celebrity Series in their Boston debuts include soprano Leontyne Price (1959), Alvin Ailey American Dance Theater (1968), flutist James Galway (1978), cellist Yo-Yo Ma (1981), pianists Emanuel Ax (1981) and Evgeny Kissin (1991), and violinist Joshua Bell (1991).

With a reputation for artistic excellence and innovative curation honed over the decades, Celebrity Series now presents more than sixty-five main stage performances in eight to ten different venues. In a region rich with cultural offerings, Celebrity Series is a critical part of the cultural fabric of Boston and New England, not only bringing great artists to Boston whom audiences might not otherwise experience but also introducing new artists, new art forms, and new artistic experiences. Today, Celebrity Series’ audiences experience the world’s great orchestras, chamber ensembles and soloists, and leading artists in contemporary dance, jazz, world and folk music, and spoken word.

Alongside mainstage performances, Celebrity Series’ Arts for All! community engagement programs connect with a dynamic network of hundreds of community collaborators, reaching thousands of individuals annually, through 150+ activities. Arts for All! programs include Neighborhood Arts (hands-on, interactive workshops for youth and free community concerts for audiences of all ages at neighborhood venues, both led by a core group of Boston-area artists); Artist Connections (master classes with mainstage artists in public schools and conservatories); Take Your Seat (free and discounted tickets to mainstage performances); and large-scale, participatory Public Performance Projects, such as Street Pianos, Let’s Dance Boston, and most recently, Concert for One.

From the Celebrity Series of Boston archives…

Celebrity Series presented the Boston debut of the Gewandhausorchester Leipzig in October 1974, under the baton of Kurt Masur. This afternoon’s performance is the orchestra’s tenth for the Celebrity Series, the most recent being November 2014 with conductor Riccardo Chailly. Andris Nelsons leads the GHO in Boston for the first time today. Violinist Leonidas Kavakos’ Boston recital debut in February 2014 was presented by Celebrity Series and his most recent appearance on the Series was in February 2018, with Emanuel Ax and Yo-Yo Ma, performing Brahms trios. Cellist Gautier Capuçon made his Celebrity Series recital debut with pianist Yuja Wang in April 2019. A Message From Federal President Frank-Walter Steinmeier Patron of Deutschlandjahr USA 2018/19

Friendship, according to Aristotle, is a single soul dwelling in two bodies. The soul that unites us and forms the basis of the friendship between the United States of America and Germany is our belief in democracy, the inalienable rights of all people, and the rule of law. This is a constant struggle, an ideal that we both uphold and strive to perfect.

We know that friendship is not a miraculous gift that materializes without effort. It requires attentive listening, and being sensitive to the issues others care about. Taking the time to pay attention to others, and to show one another respect—that’s what friendship is built on and needs in order to grow. The special relationship between the Boston Sym- phony Orchestra and the Gewandhausorchester Leipzig is a wonderful example of such a well-tended friendship.

Germans and Americans have so much in common. We Germans are grateful for the political guidance that led us back into the fold of the international community and laid the groundwork for German reunification. But most importantly, the German-American friendship is built on a myriad of personal connections that span the Atlantic—centuries-old family ties and new friendships, twin towns and sister cities, and friendships between schools and universities.

All of these ties have one thing in common: they require tending if they are to thrive. We want to nurture and celebrate this friendship—through Deutschlandjahr USA 2018/19, a series of more than 1,000 events that will have run for over a year. The aim has been to create many opportunities to see old friends and make new ones, and to discuss the issues we care deeply about.

My heartfelt thanks go out to all those who have been promoting this friendship—as they put on events in towns and cities, in the heartland and along the East and West coasts, and in companies and universities all across the country. These events have allowed us to celebrate our friendship this past year and we can look forward to being even more “Wunderbar together” in the future.

Frank-Walter Steinmeier

The Gewandhausorchester and Gewandhauskapellmeister Andris Nelsons are giving five concerts in Boston—two on their own, and three sharing the stage with the Boston Symphony Orchestra. The first of the three joint concerts, on Thursday night, October 31, 2019, marks the official culmination of the Federal Republic of Germany’s “Year of German-American Friendship” in the USA, under the patronage of German President Frank-Walter Steinmeier. In addition, the Gewandhausorchester’s concerts in Boston commemorate the fall of the Berlin Wall, the 30th anniversary of which will be celebrated in November 2019.

a message from federal president frank-walter steinmeier 5 From Andris Nelsons

Watching the BSO/GHO Alliance become a reality has been one of the most exciting and fulfilling experiences for me. Now, as we approach a major highlight of this five-year alliance—bringing both of these great orchestras together at Symphony Hall for their first-ever joint performances—I am filled with joy that our audiences will experience a deeper appreciation for the many unique musical gifts this partnership has to offer.

When we announced the BSO/GHO Alliance in September 2015, we had many hopes for what it might achieve. While conducting programs for “Leipzig Week in Boston” and “Boston Week in Leipzig,” I’ve seen musicians and audiences open their hearts to another world of music-making. The musician exchange programs—with both orchestras, as well as student musicians at Tanglewood and in Leipzig—have given those involved a tremendous glimpse into the inner workings of each other’s orchestras, and an incredible opportunity for audiences to see new faces within their beloved ensembles. In addition, discussions and archival exhibits have been created with a view toward expanding our audiences’ understanding of these two great orchestras. The co-commissioning program has brought important new music into the world, including works by Sean Shepherd, Jörg Widmann, Andris Dzenītis, Sebastian Currier, Betsy Jolas, Arturs Maskats, and HK Gruber. As we anticipate the next two years of BSO/GHO Alliance programs and activities, I am so looking forward to more commissions, as well as joint touring and recording projects in the coming years. Marc Mandel

The Gewandhaus in Leipzig

6 I am filled with gratitude for the unexpected gifts that have come through this partnership, in particular, observing how these two orchestras—each with unique deep traditions and impressive accomplishments—can look beyond their individual experiences to genuinely appreciate the value of coming together, and experience each other from a whole new perspective. Through this immersive and multi-level partnership, we have all grown to appreciate both our commonalities and our differences, a gift that transcends the extraordinary level of artistry on display.

As we forge ahead, I am inspired by the many connections between these two orchestras. The BSO’s founder Henry Lee Higginson used the second Gewandhaus as a model for what Symphony Hall would become. Six former BSO music directors either studied at the Leipzig Conservatory or were members of the Gewandhausorchester, including BSO music director Charles Munch, who was GHO concertmaster. These two esteemed orchestras also share a deep and time-honored commitment to the creation of new music, each responsible for bringing an astounding number of new works into the repertoire, essential masterpieces embraced by generations of music lovers everywhere.

This alliance has shown me that each of my extraordinary orchestras also embraces a spirit of risk and adventure in the effort to achieve big goals. I am deeply grateful to the leadership of both the BSO and the GHO for their extraordinary commitment to finding the resources to make the dream of a BSO/GHO Alliance become a reality.

Looking ahead to the future of this great partnership, we must keep our eyes on the most important goal—to share the unique gifts of these two world-renowned orchestras with our cherished audiences, while also doing our best to expand our wonderful circle of devoted patrons. As we continue to offer new and exciting programs of the BSO/GHO Alliance, we hope all who participate will discover and experience something that is filled with the possibility of inspiration, beauty, and deep meaning that can change all our lives for the good.

bso/gho from andris nelsons 7 CELEBRITY SERIES GRATEFULLY ACKNOWLEDGES

2019-20 SEASON SPONSORS

AMY & JOSHUA BOGER Sunday, October 27, 3pm Symphony Hall, Boston

Celebrity Series of Boston and Boston Symphony Orchestra present

GEWANDHAUSORCHESTER LEIPZIG Andris Nelsons, Gewandhauskapellmeister Leonidas Kavakos, violin soloist Gautier Capuçon, cello soloist andris nelsons conducting brahms concerto in a minor for violin, cello, and orchestra, opus 102 Allegro Andante Vivace non troppo leonidas kavakos, violin gautier capuçon, cello

{intermission} schubert symphony in c, d.944, “the great” Andante—Allegro ma non troppo Andante con moto Scherzo: Allegro vivace Allegro vivace

2019-20 Celebrity Series Season Sponsors: Amy & Joshua Boger Celebrity Series of Boston is supported by the Massachusetts Cultural Council, a state agency.

The Gewandhausorchester would like to thank its Official Logistics Partner DHL for the generous support.

In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

bso/gho program 9 Today’s Program in Brief...

By the time Brahms released his First Symphony, his publisher had been badgering him for one for years. But once he was past the pressure of following in Beethoven’s footsteps, No. 2 came much more easily: the First was premiered in November 1876, the Second composed in the summer of 1877. The Double Concerto came a decade later, by which time, as Jan Swafford observes in his program note, he had nothing more to prove. Here the impetus was personal: a gesture of reconciliation toward his former close friend, the renowned Austro-Hungarian violinist Joseph Joachim, their friendship having fractured when Brahms supported the violinist’s wife during the Joachims’ divorce proceedings.

Given the infrequency with which it is performed, and the austerity that characterizes particularly its outer movements (however strongly offset by the broad lyricism of the Andante, with its effusive main theme set out first in unison by the two soloists), the Double Concerto retains its reputation for novelty even today. Hear it as large-scale chamber music, thereby allowing you to admire and enjoy the ever-inventive interactions of soloists and orchestra that lead ultimately to—and justify—an ending that, despite the work’s minor-mode rigors, proves convincingly joyous and affirmative.

Long thought to predate his Unfinished Symphony (which went undiscovered for decades after its composition), Schubert’s Great C major symphony—so called because of its size, to distinguish it from his smaller C major symphony, No. 6—was actually the last symphony he completed. It received a reading rehearsal in Vienna at some point before his death in November 1828, but the first fully documented public performance took place only in 1839, with Felix Mendelssohn conducting the Gewandhausorchester Leipzig, at the instigation of Robert Schumann—and even then it was heavily cut, notwithstanding Schumann’s high praise of its “heavenly length.”

Such “heavenly lengths” characterize many of Schubert’s mature works, notably also his piano sonatas and chamber music. Schubert fills out the expanse of his conceptions with an ingenious sense of rhythmic propulsion, color contrasts (not only through choices of instrumentation, but also by juxtaposing unexpectedly contrasting key areas), and a sure sense of musical architecture and goal. His gift for lyricism and melody is also a major presence, reminding us that he was one of the greatest-ever composers of song. Yet it is not difficult to understand why performers and listeners could not immediately warm to this great (in the subjective sense!) work. There was no precedent for a purely instrumental symphony of this length (which exceeds an hour when all the repeats written into the score are taken); Schubert himself, working on essentially the same scale, had given up after just two movements of the Unfinished. Violinists in particular find theGreat C major incredibly taxing even today; when it was new, they were flabbergasted.

Marc Mandel

10 An Introduction to This Week’s Programs by Christoph Wolff

With the Gewandhaus Orchestra in residence in Boston, the alliance of the Boston Symphony Orchestra and the Gewandhausorchester Leipzig reaches a special highpoint in this third “Leipzig Week in Boston.” Under the baton of Andris Nelsons, music director of the BSO and concurrently Gewandhauskapellmeister in Leipzig, the two orchestras perform for the first time in the same city, not only in back-to-back concerts but also in a joint configuration. Hence, these five concerts provide an opportunity to spotlight the unique multidimensional relationship of the two musical institutions and make Boston audiences aware of their shared musical traditions.

Mendelssohn, Schumann, Wagner, Brahms, and Mahler are the featured names in the two Gewandhaus Orchestra (GHO) programs, names that in many ways define the historic reputation of a venerable Leipzig musical institution. Of the iconic figures mentioned, only Richard Wagner was born in Leipzig and received his early training there, but he returned to his hometown in 1862 and conducted the GHO for the world premiere of his Meistersinger Overture. A few decades earlier, in 1835, the twenty-six- year-old Felix Mendelssohn-Bartholdy had been appointed Gewandhauskapellmeister. He held the post until his death in 1849, establishing an exemplary orchestral culture with an immediate impact well beyond the Leipzig scene. Quite a few of Mendelssohn’s compositions were premiered at that time, including the Symphony No. 3 of 1842, known as the Scottish, his final completed work in this genre.

Robert Schumann lived and worked in Leipzig during much of the same time, and many of his compositions received their first performances at the Gewandhaus. Yet before Mendelssohn conducted his close friend and collaborator’s first symphonic work in 1841, Schumann had returned in early 1839 from a trip to Vienna with a spectacular discovery: a completely unknown symphony by Franz Schubert, the autograph manuscript of which was shown to him by Schubert’s brother Ferdinand ten years after the composer’s death. Ferdinand Schubert gave Schumann a copy of the work that enabled Mendelssohn to conduct its first public performance at the Gewandhaus in March 1839.

The second Gewandhaus concert hall in Leipzig, which opened its doors in Schumann reviewed the premiere 1884, was chosen by BSO founder Henry Lee Higginson as a model for the of the Great C major symphony design of Symphony Hall, and was destroyed in 1944 during World War II

bso/gho introduction to the program 11 enthusiastically in his journal, the Neue Zeitschrift für Musik, and praised the work for its “heavenly length.”

Johannes Brahms, who declined the city’s appointment to Bach’s former post of Thomas- kantor, never lived in Leipzig but nevertheless developed a close and long relationship with the GHO. At twenty-five, only a few days after its 1859 Hannover premiere, the young composer played the second performance of his Piano Concerto No. 1, Opus 15, in Leipzig with Germany’s then preeminent orchestra. Later Gewandhaus performances by Brahms included the 1868 inaugural presentation of the completed seven-movement version of his German Requiem, Opus 45, and in 1879 he conducted the world premiere of the Violin Concerto, Opus 77, with his friend Joseph Joachim as soloist.

During his resident years in Leipzig from 1886 to 1888 as Second Kapellmeister of the opera, Gustav Mahler conducted the GHO almost daily. At the time also more and more involved with composing, Mahler completed his First Symphony during these years. The symphony initially included as second movement an Andante entitled “Blumine,” which had originated independently as incidental music. After some early performances, however, the inserted Andante was permanently removed from the Symphony No. 1 and its published score of 1899. The “Blumine” movement was redis- covered only in 1966.

In this week’s joint BSO/GHO program, pieces by Strauss and Scriabin unfold the massive sound of the two combined orchestras. By way of contrast, Haydn’s Sinfonia concertante in B-flat major features four principal players as soloists—two each from the BSO and GHO.

Two works on that same program, Strauss’s Festive Prelude and Schoenberg’s Transfigured Night, happen to be closely connected with the Gewandhaus tradition. Richard Strauss was an early protegé of Arthur Nikisch when the latter served as Gewandhauskapellmeister from 1895 to 1922; prior to these years, Nikisch was from 1889 to 1893 music director of the BSO. Works by Strauss appeared on GHO programs every year, and Nikisch eventually even mounted a Strauss festival in 1920-21. Seven years earlier, the GHO season opened with Festliches Präludium, Opus 61, that highlighted the large E.F. Walcker organ at the Gewandhaus (destroyed in World War II), modeled after the organ made by the same builder for the Music Hall in Boston, the BSO’s original home. The Leipzig performance in 1914 took place only weeks after its first in Vienna and was followed by the premiere of Schoenberg’s Chamber Symphony, Opus 9. Schoenberg was another composer championed by Nikisch, who in 1917 conducted the first performance of a new version of the 1899 sextet Verklärte Nacht, Opus 4, which Schoenberg arranged for string orchestra. Thus the current “Leipzig Week in Boston” program with Strauss and Schoenberg echoes a similar juxtaposition of a century ago.

Worth special mention here is a display case in the Massachusetts Avenue corridor near the main entrance of Symphony Hall. Since virtually all of this week’s programming is in various ways linked to Leipzig, that city’s prominent role as a center of music publishing

12 must not be overlooked on the occasion of the 300th anniversary of the world’s oldest continuing music publishing house, Breitkopf & Härtel, established in Leipzig in 1719. On display are some representative Breitkopf productions, from J. S. Bach’s Musicalisches Gesang-Buch (1736) and the original edition of Mozart’s Requiem, K.626 (1800), to Schubert’s Great C major symphony (orchestral parts, 1840; full score 1849). Early on, Breitkopf was also the first to issue complete works of major composers in critical editions, including the works of Bach, Handel, Mozart, and Beethoven. Shown in the display are two individual volumes from the Schumann and Brahms editions which contain works from this week’s programs.

Although the display for obvious reasons focuses on Breitkopf & Härtel, the growth of the music publishing industry in Leipzig knows no parallel. By the end of the 19th century the city housed at least sixty music publishing firms, including C.F. Peters, M.P. Belaieff, Kistner, Merseburger, and Ernst Eulenburg, to mention but a few. And the skill and inventiveness of Leipzig music engravers contributed significantly to what still remains the gold standard for today’s advanced technology of computer music engraving. christoph wolff, Adams University Professor Emeritus at Harvard University, is Artistic Advisor to the BSO/GHO Alliance. Born and educated in Germany, he joined the Harvard faculty in 1976 and from 2001 to 2013 headed the Leipzig Bach Archive, a research institute affiliated with the University of Leipzig. He has published extensively in many areas of music history from the 15th to 20th centuries, notably on Bach and Mozart.

“LEIPZIG WEEK IN BOSTON”

Sunday, October 27, 3-4:50 Thursday, October 31, 8-10 (Presented by the BSO in association Friday, November 1 (Symphony Gala), 6-7:10 with the Celebrity Series of Boston) Saturday, November 2, 8-10 GEWANDHAUSORCHESTER LEIPZIG BOSTON SYMPHONY ORCHESTRA and ANDRIS NELSONS, conductor GEWANDHAUSORCHESTER LEIPZIG LEONIDAS KAVAKOS, violin ANDRIS NELSONS, conductor GAUTIER CAPUÇON, cello OLIVIER LATRY, organ JOHN FERRILLO, oboe BRAHMS Double Concerto for violin and cello RICHARD SVOBODA, bassoon SCHUBERT Symphony in C, The Great FRANK-MICHAEL ERBEN, violin CHRISTIAN GIGER, cello STRAUSS Festive Prelude, for organ and Tuesday, October 29, 8-9:55 orchestra GEWANDHAUSORCHESTER LEIPZIG HAYDN Sinfonia concertante in B-flat for ANDRIS NELSONS, conductor oboe, bassoon, violin, and cello GAUTIER CAPUÇON, cello SCHOENBERG Verklärte Nacht (October 31 and November 2 only) MAHLER Blumine SCRIABIN Poem of Ecstasy SCHUMANN Cello Concerto WAGNER Overture to The Flying Dutchman MENDELSSOHN Symphony No. 3, Scottish

bso/gho introduction to the program 13 Johannes Brahms Concerto in A minor for Violin, Cello, and Orchestra, Opus 102

JOHANNES BRAHMS was born in the free city of Hamburg on May 7, 1833, and died in Vienna on April 3, 1897. He composed his Double Concerto for violin, cello, and orchestra in the summer of 1887 at Thun, Switzerland, and tried the work out, at the piano, with violinist Joseph Joachim and cellist Robert Hausmann on September 21 and 22 that year at Baden-Baden. He then led an orchestral reading two days later with Joachim, Hausmann, and the Baden-Baden Spa Orchestra and conducted the official first performance, with the same two soloists, the following month, on October 18, 1887, with the Gürzenich Orchestra of Cologne.

IN ADDITION TO THE TWO SOLOISTS, the score of Brahms’s Double Concerto calls for an orchestra of two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, timpani, and strings.

In the summer of 1887, when Johannes Brahms sat down at his vacation spot in the Swiss mountains to write the Double Concerto in A minor, he was a composer with little left to prove. Despite the inevitable resistance, he had enjoyed a career about as successful as a career can be, succeeding in every major genre of music except opera, even in light classical music from his ubiquitous “Cradle Song” to his Hungarian Dances and Liebeslieder Waltzes. He had already been declared one of the “three great B’s” of music, in the company of Beethoven and Bach. Unlike his predecessors, he had never accepted a commission for a work in his adult life, writing only what he wanted, when he wanted. He had capped his symphonic output in 1885 with the tragic and climactic Fourth Symphony, beyond which, some further sketches notwithstanding, he ultimately felt no compulsion to go. What brought him to draft not one but two double concertos had to do with issues other than creative necessity.

Brahms had always had powerful and talented allies, also a long history of friction with them. In most cases the friction came from his own oblivious and imperious nature. One of those longtime friends was Joseph Joachim, from his teens one of the leading violin virtuosos in Europe, and one of the first to recognize Brahms’s genius. The break that

14 came between them after decades of friendship and collaboration, however, resulted for once from Brahms’s essential decency and common sense. Joseph had been a brutal husband to his first wife and there had been a messy divorce. Brahms wrote a private letter of support to Amalie Joachim that ended up being read in court. As a result, Joseph broke totally from his old friend.

At the same time, remarkably, Joachim kept performing Brahms’s music. Meanwhile, despite Brahms’s habitual posture of live-and-let-live and I-don’t-need-anybody, he felt the loss of the friendship as well as the collaboration—Joachim had shepherded the creation of the Violin Concerto as well as premiering it. So as a gesture of reconciliation, Brahms composed a concerto featuring both his favorite violinist and his favorite cellist. The latter was Robert Hausmann of the Joachim Quartet, for whom Brahms had composed the Second Cello Sonata. Brahms wrote his old love Clara Schumann an uncharacteristi- cally jaunty letter about the plan (but ending with entirely characteristic uncertainty): I’ve had the amusing idea of writing a concerto for violin and cello. If it is at all successful it might give us some fun. You can well imagine the sort of pranks one can play in such a case....I ought to have handed on the idea to someone who knows the violin better than I do....It’s a very different matter writing for instruments whose nature and sound one only has a chance acquaintance with...from writing for an instrument that one knows as thoroughly as I know the piano. That insecurity about writing for string instruments might seem shocking for a composer of Brahms’s experience and mastery, but he was perennially uncertain about instrumentation

bso/gho program notes 15 Joseph Joachim and his wife Amalie

in general. In the past he had had Joachim on hand to advise him about writing for strings. Now he was on his own.

The work and the personal initiative came off as hoped. Soon Brahms, Joachim, and Hausmann were rehearsing the concerto at Clara’s home in the resort of Baden-Baden. Clara wrote in her journal, “This concerto is a work of reconciliation—Joachim and Brahms have spoken to each other again after many years.” Brahms knew Joachim would understand and appreciate that the second theme of the first movement referred to a Viotti concerto they both loved, and that the themes emphasize the notes F, A, and E (usually as F E A), the acronym of Joachim’s personal motto “frei aber einsam,” “free but lonely.” With Brahms at the podium, they premiered the Double Concerto in Cologne in 1887. Despite mixed-to-negative reviews (which led Brahms to suppress the second double concerto he had drafted), the trio gave several performances during that season. Joachim received the manuscript, which was inscribed “To him for whom it was written.”

The whole idea of a double concerto is a prime example of Brahms’s traditionalism and no less his particular kind of originality. It harkens back to the concertos of the Baroque, to Mozart’s multi-soloist works, to Beethoven’s Triple Concerto for violin, cello, and piano. At the same time such a piece was rare in the Romantic era, and one for violin and cello unprecedented.

The first movement is large, over seventeen minutes, about as long as the next two movements combined. After a pealing orchestral motto on what will become the first theme proper, both soloists are presented in cadenza-like passages. The cello’s opening solo has a tone of virile, high-Romantic passion, echoing the motto theme, while the

16 violin’s answering passage is more flowing and lyrical, foreshadowing the “Viotti” second theme. If desired, one can imagine these as male and female characters, even a couple in love, sometimes individual in their utterances, sometimes complementary, sometimes completing each other’s thoughts in wide-sweeping figures suggesting some kind of super-instrument. If the beginning seems Romantically fateful, the overall tone of the first movement and the concerto will be as tender as passionate, often genial, finally playful. In keeping with that character, the central development section of the first movement is lyrical rather than dramatic. Brahms is not interested here in the tension and tragedy of some of his late large works including the Fourth Symphony.

After the spotlighted introduction of his two soloists, Brahms lays out the first movement close to traditional concerto form: an orchestral exposition of the bold and the lyrical themes, then the return of the soloists to elaborate on those themes and add extended “display” sections of virtuoso passagework. A unifying feature of the material from the first bars to the end of the concerto is a steady juxtaposition of duple figures and triplets, sometimes in succession, sometimes juxtaposed in Brahmsian polyrhythms. The first movement’s coda turns the heroic opening motto into an extended lyrical line, then dissolves into passagework.

As usual in Brahms concertos, the slow movement is warmly songful throughout, its broadly sweeping pentatonic opening sounding like an exalted folk song. The whole movement has a certain metric elusiveness: we often don’t know where the downbeat is, creating a dreamy rhythmic haze in which the lines wander. The movement is in a simple ABA format, the middle theme flowing and chorale-like, to which the soloists add garlands.

As in the other Brahms concertos, the finale has a gypsy flavor, the A minor main theme darting and puckish, the lyrical second theme rather recalling the B theme of the second movement. The solo writing throughout the concerto has included rich double- and triple-stopping effects; they flower vigorously here. The form is a sort of sonata-rondo with an extended central section, itself laid out ABA. At the last repeat of the second theme the music settles into A major. A long good-humored coda ends this, the last and the lightest-spirited of Brahms’s mature orchestral works.

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

bso/gho program notes 17 Franz Schubert Symphony in C, D.944, “The Great”

FRANZ PETER SCHUBERT was born in Liechtenthal, a suburb of Vienna, on January 31, 1797, and died in Vienna on November 19, 1828. He began this symphony in the summer of 1825 and completed it by, at latest, October 1826. At some point between the summer of 1827 and November 1828 the work received at least one reading at a rehearsal of the Vienna Society of the Friends of Music (Gesellschaft der Musikfreunde). The first fully authenticated performance, heavily cut, took place on March 21, 1839, with Felix Mendelssohn-Bartholdy conducting the Orchestra of the Leipzig Gewandhaus.

THE SCORE OF SCHUBERT’S “GREAT” C MAJOR SYMPHONY calls for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, three trombones, timpani, and strings.

Franz Schubert arrived at his most ambitious symphonies by a circuitous and unusual route. He was one of the most prodigiously gifted talents Western music has ever seen. By his later teens he was composing a great deal of music in a variety of genres, and he finished six symphonies before he reached twenty-two. Some of his early songs were already revolutionary and on their way to becoming the foundation of the Romantic Lieder tradition. His youthful symphonies are light, tuneful, distinctly Mozartian in weight and style. They show Schubert in his easygoing Viennese mood, his path guided not by a studied understanding of form but by his fertile gift for melody. So he wrote symphonies early, but did not show any significant ambition in them.

The reason for that is mainly a matter of context. His immediate predecessor Beethoven was from the beginning of his career part of the big-time Viennese music scene of public concerts and patronage from leading aristocrats. Schubert mostly composed in a setting of private music-making among friends, the so-called Schubertiades: gatherings of artists and bohemians that came to be named for him. What was called for in that setting was mostly small-scale works—songs, piano pieces, the occasional chamber work. Now and then a little orchestra might be scraped together to read through a symphony, if it wasn’t too hard.

18 So as his twenties went on, Schubert wrote his hundreds of songs, his piano works from miniatures to larger pieces, and created a stream of chamber works of rising weight and ambition. He sketched symphonies but finished none. Then in 1822 something remarkable happened: he wrote two movements of a symphony that, when it was finally discovered and performed many years later, came to be called theUnfinished . Especially in its first movement it had a dark, powerful, unique symphonic oicev that in effect sidestepped Beethoven, escaped his intimidating presence by taking a new direction.

In 1825, Schubert and a singer set out on a recital tour devoted to his songs. At age twenty-eight he was in a confident and expansive mood; he was finally beginningo t find a larger audience, more of his work was being published, and the tour not only elicited great enthusiasm but, for a change, some good income. He was also feeling healthy, the illness that would finally kill him in remission for the moment. It was on this tour that he conceived what would ultimately be numbered (though known for years as either No. 7 or No. 9) his Eighth Symphony, in C major, D.944. Probably finished in early 1826, it was finally dubbed The“ Great” to distinguish it from his earlier and smaller C major symphony, No. 6. This time he stepped confidently into Beethoven territory with a work that in its scope and heroic grandeur recalls his predecessor in many ways, yet is still utterly Schubertian.

It begins with a horncall on a simple, folklike melody, a kind of gesture evoking the outdoors that would become familiar in the Romantic century. (Brahms would echo that horncall in the finale of the First Symphony and the beginning of his Second Piano

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bso/gho program notes 19 From the manuscript of Schubert’s “Great” C major symphony, beginning at bar 154 of the finale

Concerto.) That melody is the seed-idea of what becomes a gigantic, ebullient, enor- mously energetic symphony.

Behind its movements are the familiar Classical models; the outer movements are in sonata form, the third a massive scherzo-and-Trio. But Schubert handles the old out- lines with great freedom, taking them in his own directions to what Robert Schumann, who discovered the piece years later, called “heavenly length.” For a composer who never heard a well-rehearsed performance of any of his symphonies, it is also master- ful in the variety and transparency of its orchestration. Most notable in its distinctive sound is the steady presence of trombones. Beethoven had used them starting in his Fifth, usually discreetly, with the occasional solo. Schubert wields his trombones con- stantly, even in the scherzo.

The first sign of the symphony’s formal originality is the gigantic Andante introduction, if it can even be called an introduction. It forms almost a little sonata form in itself: a multi-part and multi-key expanse gravitating around the horncall, a bit of development, then a return. Just when the listener is settling into this music, with its lyricism alter- nating with orchestral explosions, an Allegro non troppo erupts with a furious burst of energy that never flags through the course of a huge movement. Meanwhile, in the introduction Schubert had already laid out the leading ideas: sudden orchestral explosions, dotted rhythms, a tendency to divert in a flash to unexpected keys, especially ones a third up or down from C: E minor and major (later he will get to E-flat major), A-flat major (later also A minor and major). Schubert was a genius of melody and had enormous facility with modulations; he was able to jump from one key to another effortlessly. Both those gifts are on lavish display in the symphony.

The opening Allegro theme is more rhythmic than melodic, with its dynamic dotted rhythms and chattering triplets. The woodwinds’ second theme, which turns up in

20 E minor, is more tuneful but still driving. It leads to what appears to be a concluding section to end the exposition, the traditional first part of sonata form. But that nom- inal closing section drives on for eleven pages in the score, all of it developing ideas from the second theme. Here is where Schumann’s “heavenly length” really takes hold. Finally, when the exposition is finished Schubert appends the usual igns for a repeat—not for the fainthearted, often not taken in performance. Since he has already been developing his material at length, he goes on to a relatively modest development section, tracing a long crescendo, before the recapitulation. After a recap as long as the exposition comes an enormous multi-part coda that ends with the opening horn theme—not heard fully since the introduction—proclaimed in glory.

In the lyrical second movement Schubert shows off his melodic side. The key is A minor; that key and the dancing Andante quality recall the mournful second movement of Beethoven’s Seventh. But the mood here is not tragic, more a kind of lilting, piping exoti- cism. This movement is, again, expansive, a large ABABA, the lovely second theme songful and hymnlike. In the usual third place comes a C major scherzo, marked Allegro vivace, returning to the driving energy of the first movement, and exceeding even Beetho ven’s expansions of the form. For contrast there is a singing and folksy Trio, lushly scored, with lots of trombone and lots of harmonic excursions.

Call the mood of the finale, another giant movement marked Allegro vivace, a kind of frantic gaiety punctuated by brass fanfares. Previously there tended to be a divide between the rhythmical and lyrical ideas; here they alternate in quick succession, but the rhythmic élan never flags. One of its secondary themes will sound familiar: it is a phrase from the famous tune of the Beethoven Ninth finale. There are the usual first and second theme sections, but it is as if Schubert does not want to let either of them go; he strings out and develops the ideas through page after page and key after key. After, as in the first movement, a comparatively short development, the recapitulation comes back and dashes on for just as long as the exposition. The joyous, multi-part coda ends—after the symphony’s more than fifty-five minutes of extravagant harmonic excursions—with some six pages of pure C major.

Thus Schubert’s last and by far grandest symphony. It is sad to contemplate where he might have gone from there, if he had lived and continued to explore. He died in 1828, a year after Beethoven, at age thirty-one. Meanwhile, it took years for the C major to gain a foothold—it did not really find a place in the repertoire until the early 20th century— and still longer for the Unfinished, premiered at last in 1865. These works never had the influence on the mid-century Romantic symphonies they could have had. It was only with the arrival of Brahms that a composer of genius absorbed them and knew what to do with the directions they pointed: Beethoven plus Schubert is the essence of Brahms’s creative foundation.

Jan Swafford

bso/gho program notes 21 Artists

Andris Nelsons The 2019-20 season, Andris Nelsons’ sixth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, marks his fifth anniversary in that position. NamedMusical America’s 2018 Artist of the Year, Mr. Nelsons leads fifteen of the BSO’s twenty-six weeks of concerts this season, encompassing repertoire favorites, world and American premieres of BSO-commissioned works, the continuation of his complete Shostakovich symphony cycle with the orchestra, and collaborations with an impressive array of guest artists. In addition, February 2020 brings a major tour to Asia in which Maestro Nelsons and the BSO give their first concerts together in Seoul, Taipei, Hong Kong, and Shanghai. They have previously made three European tours together, as well as a tour to Japan. In February 2018, Andris Nelsons became Gewandhauskapellmeister of the Gewandhausorchester (GHO) Leipzig, in which capacity he also brings the BSO and GHO together for a unique multi-dimensional alliance, a major highlight being a focus on complementary programming through which the BSO celebrates “Leipzig Week in Boston” and the GHO celebrates “Boston Week in Leipzig.” For this season’s “Leipzig Week in Boston” under Maestro Nelsons’ leadership, the entire Gewandhausorchester Leipzig comes to Symphony Hall this week for joint concerts with the BSO as well as two concerts of its own, the first being this afternoon’s co-presentation of Celebrity Series of Boston and the Boston Symphony Orchestra. During the 2019-20 season, Andris Nelsons also continues his ongoing collaborations with the Vienna Philharmonic. Throughout his career, he has also established regular collaborations with the Berlin Philharmonic, Bavarian Radio Symphony Orchestra, and Royal Concertgebouw Orchestra of Amsterdam, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden. Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007.

Leonidas Kavakos Leonidas Kavakos is recognized as a violinist and artist of rare quality, known for his virtuosity and the integrity of his playing. By age twenty-one, Mr. Kavakos had already won the Sibelius, Paganini, and Naumburg competitions. This success led to his making the first-ever recording of the original version of the Sibelius Violin Concerto (1903/4), which won the 1991 Gramophone Concerto of the Year Award. He was named Gramophone’s Art- ist of the Year 2014 and in 2017 won the Léonie Sonning Music Prize. In the 2019-20 season, in addition to concerts with major orchestras in Europe and the United States, Mr. Kavakos will join Yo-Yo Ma and Emanuel Ax, his frequent chamber music partners, for three programs at Carnegie Hall of Beethoven trios and sonatas. Also this season he will undertake two Asian tours, first as soloist with the Singapore Symphony and Seoul Philharmonic and in recital in the NCPA Beijing, and then, in the spring, with

22 the Hong Kong Philharmonic and Taiwan National Symphony Orchestra, prior to playing Beethoven sonata cycles in Shanghai and Guangzhou with Enrico Pace. In recent years, Leonidas Kavakos has built a strong profile as a conductor. This season he returns to two orchestras with which he has developed close ties as both violinist and conductor, the Orchestre de la Suisse Romande and the Orchestre Philharmonique de Radio France. He will also double as soloist and conductor with the Czech Philharmonic, Deutsches Symphonie- Orchester Berlin, and Orchestra Sinfonica Nazionale della RAI. Mr. Kavakos is an exclusive recording artist with Sony Classics. His latest recording, to be released this month, is of Beethoven’s Violin Concerto, which he conducted and played with the Bavarian Radio Symphony Orchestra, coupled with the Beethoven Septet played with members of that orchestra. In 2017 he joined Yo-Yo Ma and Emanuel Ax for a highly successful Sony Classics recording of the Brahms piano trios. Leonidas Kavakos plays the “Willemotte” Stradivarius violin of 1734.

Gautier Capuçon Performing each season with many of the world’s foremost conductors and instrumentalists, cellist Gautier Capuçon is also founder and leader of the Classe d’Excellence de Violoncelle at the Fondation Louis Vuitton in Paris. Acclaimed internationally for his expressive musicianship, his exuberant virtuosity, and the deep sonority of his 1701 Matteo Goffriller cello, Mr. Capuçon is this season’s artist-in-residence at Lugano Musica. Committed to exploring and expanding the cello repertoire, he performs an extensive array of works each season and regularly premieres new commissions. Current projects include the world premiere of Michael Tabachnik’s cello concerto, Summer, and collaborations with Danny Elfman and Thierry Escaich. In the 2019-20 season he appears as soloist with such ensembles as the philharmonic orchestras of Los Angeles, the Czech Republic, and Rotterdam; the St. Louis Symphony, Singapore Symphony, and Bavarian Radio Symphony Orchestra; and the hr-Sinfonieorchester. He tours Europe and the U.S. with the Gewandhausorchester Leipzig led by Andris Nelsons and the San Francisco Symphony under Michael Tilson Thomas. As a chamber musician, Mr. Capuçon performs on tour this season with Yuja Wang in such venues as the Elbphil- harmonie Hamburg, Vienna’s Konzerthaus, London’s Barbican Centre, and the Philharmonie in Paris, as well as with Renaud Capuçon, Frank Braley, Jérôme Ducros, and Leonidas Kavakos. Other regular recital partners include Nicholas Angelich, Martha Argerich, Daniel Barenboim, Lisa Batiashvili, Jean-Yves Thibaudet, and the Artemis and Ébène quartets. Mr. Capuçon records exclusively for Erato (Warner Classics), the most recent addition to his extensive discography being an album of Schumann works recorded live with Martha Argerich. His next album, recorded with Yuja Wang and due in December, features sonatas by Chopin and Franck. Earlier recordings include concertos by Shostakovich and Saint-Saëns, the complete Beethoven sonatas, and Schubert’s String Quintet. Mr. Capuçon also appears on screen and online in programs such as The Artist Academy, Prodiges, and Now Hear This; as of this fall he is a guest presenter on Radio Classique. In 2013, Deutsche Grammophon released a DVD featuring him with the Berlin Philharmonic and Gustavo Dudamel in a live performance of Haydn’s Cello Concerto No. 1. Born in Chambéry, Gautier Capuçon began playing the cello at age five. He studied at the Conservatoire National Supérieur in Paris with Philippe Muller and Annie Cochet-Zakine, and later with Heinrich Schiff in Vienna.

bso/gho artists 23 Jens Gerber

Andris Nelsons conducting the Gewandhausorchester in Leipzig’s Gewandhaus

Gewandhausorchester Leipzig

The Gewandhausorchester (GHO) is the oldest civic symphony orchestra in the world. The enterprise was founded in 1743 by a group of sixteen musical philanthropists—representatives of the nobility as well as regular citizens—forming a concert society by the name of Das Große Concert. On taking residence in the trading house of the city’s textile merchants (the “Gewandhaus”) in 1781, the ensemble assumed the name Gewandhausorchester. Many celebrated musicians have been appointed to the office of Gewandhauskapellmeister (Music Director and Principal Conductor), including Johann Adam Hiller, Felix Mendelssohn- Bartholdy, Arthur Nikisch, and Kurt Masur. After his inauguration in 2005, Riccardo Chailly’s phenomenally successful tenure as Gewandhauskapellmeister came to an end in 2016. Andris Nelsons assumed the position of Gewandhauskapellmeister in the 2017-18 season. The GHO has toured the globe on a regular basis since 1916 and enjoys almost unparalleled presence in the media of radio, television, CD, and DVD. The Gewandhausorchester’s unique contribution to Europe’s historical and current musical wealth has been recognized with the award of the European Cultural Heritage Label.

Music lovers worldwide revere the highly individual sound palette that distinguishes the Gewandhausorchester from all other symphony orchestras. This unique sound identity, along with the extraordinarily rich diversity of the repertoire which the Gewandhaus- orchester performs, is cultivated in over 200 performances each year in the GHO’s three “homes”: as concert orchestra in the Gewandhaus, as the orchestra of the Leipzig Opera, and as the orchestra for the weekly performances of the cantatas of Johann Sebastian Bach with the Thomanerchor in St. Thomas’s Church. No other elite symphony orchestra dedicates itself so intensively to the performance of the music of J.S. Bach.

Few other ensembles have exerted such significant and enduring influence on the development of the symphonic music tradition as the Gewandhausorchester. Throughout its history, the orchestra has consistently attracted the collaborative energies of the world’s most eminent composers, conductors, and soloists. The Gewandhausorchester performed a complete cycle of the symphonies of Beethoven during his lifetime (1825-26), as well

24 as the first-ever cycle of Bruckner’s symphonies to be mounted (1919-20). Wagner’s Pre- lude to Die Meistersinger von Nürnberg, Beethoven’s Fifth Piano Concerto (the Emperor), Brahms’s Violin Concerto and Ein deutsches Requiem, and Bruckner’s Seventh Symphony are just a fraction of the wealth of the core symphonic repertoire to be given its first performance by the Gewandhausorchester. To this day, the orchestra commissions and premieres new works each season.

A decisive contribution to the development of the symphonic repertoire must be attributed to the celebrated Gewandhauskapellmeister, Felix Mendelssohn-Bartholdy. During his tenure from 1835 until 1847, he presided over the first performances of numerous works from his own pen, for instance the Violin Concerto, Scottish Symphony, and his Overture to Ruy Blas, as well as the world premieres of many works of other composers, including Schubert’s Great C major symphony and Schumann’s First, Second, and Fourth symphonies. Through the introduction of new programming concepts—highly innovative for the time— Mendelssohn sharpened the Gewandhaus audience’s awareness of the music of times past, most notably reviving the performance of the orchestral oeuvre of J.S. Bach.

It was on Mendelssohn’s initiative that Germany’s first conservatoire was founded, in Leipzig, in 1843—the modern-day University of Music and Theatre “Felix Mendelssohn- Bartholdy.” Following the principles established by Mendelssohn himself, the Gewandhaus- orchester and University collaborate in the form of the Mendelssohn Orchestra Academy, offering the most talented young musicians the opportunity to hone their skills to the level required by the world’s elite orchestras. Graduates of the Orchesterakademie receive a master’s degree from the University.

The CD and DVD productions released by the Gewandhausorchester since the turn of the millennium have been decorated with a plethora of international record awards, including a Golden Disc. Under the direction of Riccardo Chailly, the Decca label produced a complete cycle of Beethoven’s symphonies and nine of his overtures (CD, 2007-2009) and a cycle of Brahms’s symphonies (CD, 2012-2013). Riccardo Chailly also led the orchestra in numerous acclaimed DVD recordings of the symphonies of Gustav Mahler (accentus music, 2011-2015). To mark the occasion of Herbert Blomstedt’s 90th birthday in July 2017, a new complete cycle of Beethoven’s symphonic oeuvre conducted by the Gewandhaus- orchester’s Conductor Laureate was released by accentus music. This label has released two DVD productions with the GHO and the new Gewandhauskapellmeister, Andris Nelsons: Antonín Dvoˇrák’s Symphony No. 9, From the New World (released February 2018), and Alban Berg’s Violin Concerto coupled with Felix Mendelssohn-Bartholdy’s Scottish Symphony (released August 2018). Andris Nelsons is currently leading the Gewandhaus- orchester in the recording of a complete cycle of the symphonies of Anton Bruckner, produced on CD by Deutsche Grammophon. The Symphony No. 3 was the initial release in the spring of 2017, followed by No. 4 in February 2018 and No. 7. in April of that year. Symphonies 6 and 9 were released in May 2019.

bso/gho a brief history of the gewandhausorchester leipzig 25 Gewandhausorchester Leipzig Andris Nelsons, Gewandhauskapellmeister (BSO/GHO)

Gewandhausorchester musicians whose names are followed by “BSO/GHO” are participating in the joint BSO/GHO concerts of October 31, November 1 (the “Symphony Gala”), and November 2 as well as in the Gewandhausorchester’s own concerts of October 27 and 29.

first violins Lydia Dobler (BSO/GHO) double basses Frank-Michael Erben (BSO/GHO) Nemanja Bugarcic Rainer Hucke 1st Concertmaster 1st Solodoublebass Camille Gouton (BSO/GHO) Andreas Buschatz Karsten Heins (BSO/GHO) 1st Concertmaster Aleksander Daszkiewicz Solodoublebass Henrik Hochschild Sophie Schüler * Burak Marlali Assistant 1st Concertmaster Solodoublebass

Yun-Jin Cho (BSO/GHO) violas Waldemar Schwiertz (BSO/GHO) Assistant 1st Concertmaster Vincent Aucante Eberhard Spree (BSO/GHO) Elisabeth Dingstad 1st Soloviola Thomas Stahr (BSO/GHO) Jürgen Dase Dorothea Hemken (BSO/GHO) Soloviola Slawomir Rozlach (BSO/GHO) Susanne Hallmann (BSO/GHO) Norbert Tunze Ertug Torun Regine Korneli Alice Wedel (BSO/GHO) Aaron Pagani * Dorothea Vogel (BSO/GHO) Katharina Dargel (BSO/GHO) Gunnar Harms (BSO/GHO) flutes Matthias Weise Anna Schuberth-Richwien (BSO/GHO) Katalin Stefula (BSO/GHO) Immo Schaar (BSO/GHO) 1st Soloflute Franziska Mantel (BSO/GHO) Anne Wiechmann-Milatz (BSO/GHO) Sébastian Jacot Mao Zhao (BSO/GHO) David Lau (BSO/GHO) 1st Soloflute Kana Ohashi Ivan Bezpalov (BSO/GHO) Judith Hoffman-Meltzer (BSO/GHO) Yuri Katsumata (BSO/GHO) ♦ Anton Jivaev (BSO/GHO) Clint Foreman Anna Volkwein * Ivo Bauer Lisa Ji Eun Kim ♦ oboes Jihye Han Domenico Orlando (BSO/GHO) second violins 1st Solo Oboe cellos Peter Gerlach Andres Otin Montaner 1st Concertmaster Christian Giger (BSO/GHO) 1st Solo Oboe 1st Solocello Anna Steckel (BSO/GHO) Thomas Hipper Concertmaster Veronika Wilhelm Assistant 1st Solocello Simon Sommerhalder (BSO/GHO) Jennifer Banks (BSO/GHO) Solo English horn Matthias Schreiber (BSO/GHO) Karl Heinrich Niebuhr (BSO/GHO) Gayane Khachatryan (BSO/GHO) clarinets Markus Pinquart Heiko Schumann (BSO/GHO) Peter Schurrock Kathrin Pantzier 1st Soloclarinet Christian Erben Edwin Ilg Andreas Lehnert Kristin Elwan 1st Soloclarinet Bernadette Wundrak (BSO/GHO) Dorothée Erbiner Matthias Kreher (BSO/GHO) Dietrich Reinhold Henriette-Luise Neubert Solo Eflat Clarinet Lars Peter Leser (BSO/GHO) Axel von Huene (BSO/GHO) Volker Hemken (BSO/GHO) Tobias Haupt (BSO/GHO) Solo Bass Clarinet Michael Peternek (BSO/GHO) Ewa Helmers (BSO/GHO)

26 photos by Jens Gerber and Gert Mothes bassoons trumpets gewandhausdirektor Thomas Reinhardt Lukas Beno Andreas Schulz (BSO/GHO) 1st Solobassoon 1st Solotrumpet David Petersen (BSO/GHO) Jonathan Müller (BSO/GHO) verwaltungsdirektor 1st Solobassoon 1st Solotrumpet Gereon Röckrath (BSO/GHO) Eckehard Kupke (BSO/GHO) Peter Wettemann (BSO/GHO) Solo Contrabassoon Felix Petereit * (BSO/GHO) orchestermanager Jeremy Bager * Marco Eckertz (BSO/GHO) trombones horns Tobias Hasselt stage manager Clemens Röger 1st Solotrombone 1st Solofrenchhorn Jean-Peer Krutz (BSO/GHO) Tomás Trnka Bernhard Krug (BSO/GHO) 1st Solotrombone 1st Solofrenchhorn stage crew Dirk Lehmann Jan Wessely Holger Berger Alexander Apfler (BSO/GHO) Simen Fegran (BSO/GHO) Solobasstrombone Florian Kothe

Jürgen Merkert (BSO/GHO) tuba Wolfram Straßer (BSO/GHO) Ole Heiland * (BSO/GHO) Julian Schack timpani Mathias Müller (BSO/GHO) Tom Greenleaves

harp Cornelia Smaczny (BSO/GHO) * Mendelssohn-Orchesterakademie ♦ BSO member participating this fall in the BSO/GHO Musician Exchange

DHL is presenting the »Simply Saxony.«, a promotional campaign The concert on 31 October 2019 is the Gewandhausorchester’s Autumn of the Free State of Saxony, is supporting official closing concert of the Federal Tour, and has been the Orchestra’s the Gewandhausorchester’s concerts on Republic of Germany’s Year of German- Official Logistics Partner since 2009. its Autumn Tour and as part of the Leipzig American Friendship in the USA, taking Week in Boston. place under the motto »wunderbar together«.

bso/gho gewandhausorchester leipzig 27 LIVE PERFORMANCE! ARTS FOR ALL THE ENDOWMENT, INNOVATION & ANNUAL FUND CAMPAIGN

LIVE PERFORMANCE! ARTS FOR ALL CAMPAIGN

Celebrity Series gratefully acknowledges the following individuals who have made a commitment to the LIVE PERFORMANCE! Arts for All Campaign to support endowment, innovation, and annual operations.

LEADERSHIP DONORS OF $1,000,000+ Anonymous Mary Elisabeth Swerz & Robert S. Sherman Amy & Joshua Boger Peter J. Wender Stephanie L. Brown Royal Little Family Foundation $25,000+ Eleanor & Frank Pao Anonymous (3) Roz & Wally Bernheimer $500,000+ Joseph & Kathleen Cefalu Donna & Michael Egan Dale & Peter Coxe Melinda & James Rabb Susan Y. Friedman & Norm Appel Susan & Michael Thonis Susan, Charles & David Gessner $250,000+ Rosalind Gorin & Matthew Budd Anonymous (3) Stephen C. Harrison & Tomas Kirchhausen Deloitte LLP Paul & Elizabeth Kastner Yvette & Lawrence Hochberg Kate & Tom Kush Cerise Lim Jacobs, for Charles Alexander Levine Peter & Anna Kolchinsky Theresa C. McLoud, MD Lawrence T. P. Stifler & Mary McFadden Marilyn Miller Dorothy & Stephen Weber Ellen & James Perrin Suzanne Priebatsch $100,000+ Michael & Debra Raizman Anonymous Samuel & Gretchen Shubrooks Dr. Harris A. Berman & Ruth Nemzoff Marylen Sternweiler CELEBRITY SERIES OF BOSTON CELEBRITY Julia Byers & Steven Holtzman Janet T. Tobin Michael & Adrianne Canning Yukiko Ueno & Eran Egozy Amy & Ethan d'Ablemont Burns Paul & Jennifer Sudduth Walsh Kathleen & Chris Gaffney Eric & Sarah Ward for the Gabor Garai & Susan Pravda Barnet & Sandra Weinstein Drs. Joan & Alfred Goldberg $10,000+ Randolph Hawthorne & Carliss Baldwin Andrea & Frederick Hoff Anonymous (2) In memory of Blanche & George Jones The Aliad Fund Joan Lebach Ulla M. Hansen & Keith Backman Reuben Reynolds & Bill Casey Nadine & Paul Broude Martin Carmichael & Dr. Lisa Gruenberg $50,000+ Fernadina Chan & Albert Wong Anonymous (2) Joanne & Larry Cheng Diana Bourgeois Stuart Cohen THE CAMPAIGN THE CAMPAIGN Katie & Paul Buttenwieser Mark H. Cooley, MD Jolyon Cowan & Vanessa Trien Anne & Gary Dunning Timothy W. Diggins & Garth & Lindsay Greimann Deborah Coleman Diggins Ilisa Hurowitz & Nicholas Alexander The Goldenheim Family Valeria Lowe-Barehmi David R. Janero & Jeffrey A. Thomson Norman & Eleanor Nicholson Martha H. Jones & Christine Armstrong Arnold & Ellen Offner Stephen M. Leonard Drs. Stuart & Barbara Pizer Margot LeStrange & Andrew Stern Millard Rose & Elizabeth Lacey Charlotte & Gordon Moore Sandra Shapiro & John Kirsch John David Ober † Catherine & Joel Stein John Patterson & Michele Demarest Drs. Elizabeth & Stephen Tréhu Sharon & Howard Rich Sally S. Seaver, PhD †deceased

*List as of June 30, 2019 LIVE PERFORMANCE! ARTS FOR ALL THE ENDOWMENT, INNOVATION & ANNUAL FUND CAMPAIGN

MARTHA H. JONES SOCIETY FOR LIFETIME GIVING

The Martha H. Jones Society for Lifetime Giving was established in 2018 in honor of former Executive Director Martha H. Jones. The Society honors the following individuals whose cumulative gifts to Celebrity Series have totaled or exceeded $100,000. Anonymous (4) Sharon & Howard Rich Leslie & Howard Appleby Abby & Donald Rosenfeld Joan & Steven Belkin Sally S. Seaver, PhD THE CAMPAIGN Dr. Harris A. Berman & Ruth Nemzoff Spring Sirkin & Arthur Frank Amy & Joshua Boger Marylen Sternweiler Stephanie L. Brown Dr. Lawrence Stifler & Mary McFadden Katie & Paul Buttenwieser Mary Elisabeth Swerz & Robert S. Sherman Julia Byers & Steven Holtzman Belinda Termeer Michael & Adrianne Canning Susan & Michael Thonis Rosalie Cohen Sanjay & Sangeeta Verma Caroline & Bob Collings Dorothy & Stephen Weber Amy & Ethan d'Ablemont Burnes Barnet & Sandra Weinstein JoAnne & Charles Dickinson Nancy Richmond Winsten Timothy W. Diggins & Miriam M. Wood & Charles O. Wood, III for the Deborah Coleman Diggins Ellen & Arnold Zetcher Donna & Michael Egan INSTITUTIONS Kathleen & Chris Gaffney Anonymous Gabor Garai & Susan Pravda CELEBRITY SERIES OF BOSTON Drs. Joan & Alfred Goldberg Bank of America The Goldenheim Family Bank of Boston Harriet & David Griesinger BankBoston Kathleen & Steven Haley Barr Foundation Zachary R. Haroutunian and The Garbis & Joan and Steven Belkin Foundation Arminé Barsoumian Charitable Foundation Boch Center Randolph Hawthorne & Carliss Baldwin The Boston Foundation Yvette & Lawrence Hochberg Stephanie L. Brown Foundation Andrea & Frederick Hoff The Catered Affair Ilene & Richard Jacobs Charlesbank Capital Partners LLC David R. Janero & Jeffrey A. Thomson Clipper Ship Foundation In memory of Blanche & George Jones Collings Foundation Martha H. Jones & Christine Armstrong Susanne Marcus Collins Foundation Paul & Elizabeth Kastner Comcast Cable Frances DeMoulas Kettenbach Deloitte LLP Paul L. King DeMoulas Foundation Peter & Anna Kolchinsky Emerson College George & Lizbeth Krupp Fidelity Investments Jann E. Leeming & Arthur D. Little FleetBoston Financial Alexander Levine Foley & Lardner LLP Paul F. Levy & Farzana Mohamed Linde Family Foundation Robert † & Syrul Lurie Massachusetts Cultural Council Susanne Marcus Collins Pierre and Tana Matisse Foundation Stewart Myers, in memory of National Endowment for the Arts Maureen McGuire Myers New England Foundation for the Arts Eleanor & Norman Nicholson P&G Gillette John David Ober † Bessie Pappas Charitable Foundation Eleanor & Frank Pao The Peabody Foundation John Patterson & Michele Demarest PTC Stephen C. Perry & Oliver Radford Mabel Louise Riley Foundation Melinda & James Rabb Royal Little Family Foundation Cynthia & John S. Reed Talbots deceased Reuben Reynolds & Bill Casey Tufts Health Plan † If your name was inadvertently omitted or misspelled, we apologize and ask that you contact us so that we may correct your listing for future programs. LIVE PERFORMANCE! ARTS FOR ALL THE ENDOWMENT, INNOVATION & ANNUAL FUND CAMPAIGN

AARON RICHMOND LEGACY SOCIETY

The Aaron Richmond Legacy Society was established in 2001 and honors the memory of Celebrity Series of Boston founder Aaron Richmond (1895-1964). The Society recognizes the following individuals who have notified Celebrity Series of estate provisions including bequest intentions, charitable remainder trusts, gift annuities, and other forms of deferred support.

Anonymous Dr. Harris A. Berman & Ruth Nemzoff Diana Bourgeois Mark H. Cooley, MD Martin Gantshar Gabor Garai & Susan Pravda Randolph Hawthorne & Carliss Baldwin Ellen S. Heller David R. Janero & Jeffrey A. Thomson Martha H. Jones & Christine Armstrong Mary Ellen Kiddle Joan Lebach Margot LeStrange & Andrew Stern CELEBRITY SERIES OF BOSTON CELEBRITY Charlotte & Gordon Moore Stewart Myers, in memory of Maureen McGuire Myers John David Ober † for the Eleanor & Frank Pao Sandra Shapiro & John Kirsch Marylen Sternweiler Peter J. Wender Constance White Nancy Richmond Winsten Miriam M. Wood & Charles O. Wood, III THE CAMPAIGN THE CAMPAIGN Ron & Janet Zwanziger † deceased

For information about Planned Giving, please contact Alec Bleday, Major Gift Officer, at 617-598-3249 or by email at [email protected]. Walter Pierce Annual Performance Fund & Harris A. Berman and Ruth Nemzoff Fund for Community Programs

The Celebrity Series of Boston acknowledges, with deep appreciation, the following individuals, corporations, and foundations, whose generous financial support makes every Celebrity Series program possible. To learn more about how you can help the Celebrity Series bring the performing arts to life in Boston, please visit our website, celebrityseries.org, or call us at 617-482-2595. If your name was inadvertently omitted or misspelled, we apologize and ask that you contact us so that we may correct your listing for future programs. Celebrity Series Annual Fund – List as of October 7, 2019

Founder’s Circle – $100,000 and above Amy & Joshua Boger Michael & Adrianne Canning Donna & Michael Egan Stephanie L. Brown Susanne Marcus Collins Eleanor & Frank Pao

Virtuoso’s Circle – $50,000-$99,999 Leslie & Howard Appleby John David Ober † Gabor Garai & Susan Pravda Nancy Richmond Winsten* Producer’s Circle – $25,000-$49,999 Anonymous (2) Melinda & James Rabb Dr. Lawrence Stifler & Julia Byers & Steven Holtzman Cynthia & John Reed Mary McFadden* Harriet & David Griesinger Reuben Reynolds & Bill Casey Susan & Michael Thonis Paul L. King* Angel’s Circle – $10,000-$24,999 Anonymous Hannah M. & Jack Grove Stephen C. Perry & Oliver Radford* Harris A. Berman, MD & Yvette & Lawrence Hochberg Sharon & Howard Rich* Ruth Nemzoff* Andrea & Frederick Hoff Sally S. Seaver, PhD* Joanne & Larry Cheng Peter & Anna Kolchinsky Belinda Termeer Amy & Ethan d’Ablemont Burnes George & Lizbeth Krupp Dorothy & Stephen Weber* Kathleen & Chris Gaffney Maura McCarthy & Bill Haney The Goldenheim Family John Patterson & Michele Demarest Sponsor’s Circle – $5,000-$9,999 Joan & Steve Belkin Ernie & Kathleen Herrman Abby & Donald Rosenfeld* Katie & Paul Buttenwieser* Peter E. Hornstra* Marylen Sternweiler* Joseph & Kathleen Cefalu Cerise Lim Jacobs, for Charles Mary Elisabeth Swerz & Anne & Gary Dunning Sheila & Charles † Landay Robert S. Sherman Sasha Ebrahimi & Eric Griffith Alexander M. Levine* Yukiko Ueno & Eran Egozy Fereydoun Firouz Paul Maeder & Gwill York Paul & Jennifer Sudduth Walsh Susan Y. Friedman & Norm Appel Mary McGagh Deanna & Sidney Wolk Drs. Joan & Alfred Goldberg* Marilyn Miller* Gail Goodman & Dave Swindell Arnold & Ellen Offner* Randolph Hawthorne & Melody Pao Carliss Baldwin Michael & Debra Raizman* President’s Circle – $2,500-$4,999 Anonymous (5) D’Amato Family Ilisa Hurowitz & Nicholas Alexander Liliana & Hillel Bachrach JoAnne & Charles Dickinson* Dr. Lisa I. Iezzoni & Dr. Reed Drews* Meryl Beckingham Timothy W. Diggins & Cindy Lewiton Jackson Paul Belanger & Teri Groome Deborah Coleman Diggins David R. Janero & Marilyn Benson* J. Robb Dixon & Barbara Snow* Jeffrey A. Thomson* Wally & Roz Bernheimer Harvey & Brenda Freishtat Maurice Peter Joffe Nadine & Paul Broude Mrs. Nicki Nichols Gamble Lisa Kelly-Croswell & Tom Croswell Drs. Andrea & Brad Buchbinder Jacqueline & Peter Gordon* Kate & Tom Kush* Kevin & Virginia Byrne Rosalind Gorin & Matthew Budd Stephen Leonard* Martin Carmichael & Garth & Lindsay Greimann Margot LeStrange & Dr. Lisa Gruenberg* Zachary R. Haroutunian Andrew Stern* Fernadina Chan Stephen Harrison & Maryel Locke* Donna E. Cohen Tomas Kirchhausen* Valeria Lowe-Barehmi Mark H. Cooley, MD* Brenda Hayes & Adam Koppel Nancy & Richard Lubin Theresa McLoud, MD Mr. & Mrs. Peter Coxe James & Diane Hirshberg Sharon Miller

* 25+ Year Subscribers † deceased Charlotte & Gordon Moore* Millard Rose & Elizabeth Lacey Drs. Stephen & Elizabeth Tréhu Jane & Robert Morse* Cynthia & Grant Schaumburg Eric & Sarah Ward Norman & Eleanor Nicholson Freema Shapiro* Wendy L. Watson James Nuzzo & Bryann Bromley Samuel & Gretchen Shubrooks* Sharon R. Weinstein, MD Beth Pinals & Bill Jewett Dr. & Mrs. Michael Silverman Betty & Ed Weisberger* Drs. Stuart & Barbara Pizer Drs. Margaret & Michael Simon Peter J. Wender* Suzanne Priebatsch Peter M. Solomon Julia & Sarkis Zerounian Malcolm & Mona Roberts* Lori & John Solon

Impresario’s Circle – $1,800-$2,499 James E. Aisner Gabrielle Jacquet Bryan Rafanelli Madelyn Bell* In memory of Blanche & George Jones* Ann L. Rosoff Alicia & Jeff Bowman Dr. Nelson Prentis Lande, PhD & Sandra Shapiro & John Kirsch* William C. & Carol Beth Carroll* Dr. Maydee G. Lande, PhD* Catherine L. & Joel A. Stein* Kathe & Allan Cohen Annie Lenox & Jim Sersich Christopher Welles Mary E. Darmstaetter Mary & Sherif Nada* Xiaohua Zhang Drs. Anna L. & Peter B. Davol Ellen & James Perrin* Ilene & Richard Jacobs* Steve Pittman & Jenifer Handy

Celebrity Circle – $1,250-$1,799 Anonymous Ellen & Kalman Heller Claire Muhm & Rory O’Connor* Betsey Ansin* Olivann & John Hobbie* Robert Neary & Shoshana Burgett Ulla M. Hansen & Keith Backman* Cynthia & John Hughes* Sondra Newman Charles & Birgit Blyth* Heidi Hutton Chrissie & Rich Parker, MD* Ed Boesel, in memory Allison & Edward Johnson IV Paul & Laureen Pfizenmaier of Darrell Martinie Martha H. Jones* Elaine & Art Robins* Kenneth & Robin Boger Samuel Kaplan & Rachel Wilson Sara & Benjamin Robinson Pamela Bynum & Henry Ferrara Michael & Claire King* Etta & Mark Rosen John & Barbara Chickosky In memory of J. Peter Adler Susan & Geoffrey Rowley* Debra & Joseph Corrado Stephen Langlois & Sally Marrer Paul & Ann Sagan Eugene Cox Fred & Tamara Ledley The Seacoast Academy of Music Marie-Pierre & Michael Ellmann Lisa & Jeff Leiden Robert N. Shapiro* Barry & Eleanor Elkin Fred & Jean Leventhal* Mr. & Mrs. Robert Shope* Louise Elving & Steve Carr Lars Liebisch & Jeremy Silverman & Mary Sutherland Ruth P. Fields & Gerald McCue* Ivana Magovčević-Liebisch Nancy Slater, MD & Alan Millner Pamela & Guy Forman Ann O. Lord Mr. & Mrs. Jay E. Stempel* Meri Fox* Robert & Cathrine Lowndes Anthony & Kumiko Strauss Tracey & David Frankel Susan & Thomas Mancuso Anne Symchych* Soheila & Shahin Gharakhanian Don & Glenda Mattes Richard & Yvette Tenney* Joan & Francis Gicca Drs. Michael & Irina Merport Jane M. Timken Ellen Glanz & Richard Berger Eugene B. Meyer Jacobus Van Heerden Nancy & Gary Greenberg Helaine Miller Rita Weiner John Grossman Richard Moldovan & Andrea Itano

Arts Society – $500-$1,249 Anonymous (3) Selina & Joe Chow Marjorie & Nick Greville Jon Abbott & Shari Malyn Ambar & Mary Chowdhury Ryan & Atsu Gunther Bob & Pam Adams Dennis Churchman & Laurie Halloran & Gary Bagnall John Alam & Sylvie Gregoire James Evans, MD Bridget Hanson & Christoper Ickler Albert-Lyons-Rozenberg Family* In memory of Vincent Cioffari* Paul & Bettina Henderson Barbara & Ted Alfond George & Ann Colony Kalon Ho Ms. Mary Allen Wilkes* James Dalsimer & Ellen Steinbaum* Sandra & Morton Hoffman Mr. & Mrs. Daniel Arons* Deborah & Lenny Dawidowicz Diana & Lee Humphrey Ronald & Emily Axelrod Terry Decima* Douglas Inloes Mr. & Mrs. Henry Bass* Paul Eldrenkamp & Anne Bark Peter Jordan & Barbara Palmer* Evan M. Beckman Thomas G. Evans* Mieko Kamii & Donald Hafner* Mr. Cornelis Been Leon Fernandez Drs. Paul & Judy Kantrowitz* Chris Benson Robert Field & Susan Geller* Barbara & Gerry Katz Ronda & Frank Berkman Mark & Judy Fleming Dr. John Klensin* Robert Binney & Janet Veasey Jeffrey Flier & Eleftheria Maratos-Flier Charlotte Knox & Kenneth Stein Leslie & Paul Blachman Ms. Deborah Friedman & Marcel & Gail Korn Ron & Maureen Bleday Dr. David Hoffman* Alexander Kossey Anne & Paul Bolno Edward N. Gadsby & Amy Lam & Charlie Breckling Robert & Anne Bowen Nancy Brown* Joan Lebach* Dr. Julie G. Breskin & Jeff Gross Kathryn Gann* Marla & Ricardo Lewitus Drs. Clifford & Irene Briggin James Gaskell* Dr. Kenneth J. Livak Allan & Rhea Bufferd* Blaine & Nancy Gaustad Gerald & Jeannie Lloyd Paul Burega Bruce & Margaret Gelin Syrul Lurie Thomas Burger & Andree Robert Ursula Germann & Karl Munger David & MaryBeth MacBain Tracey Cannistraro Merry & Dan Glosband Deborah K. Manegold & Charles S. Carignan & Michael Cerruti Dawn Goralewicz & Daniel Hartman Dwight W. Quayle F. Javier & Josée Cevallos Amy & Norm Gorin Jim McGuire & Stephen Coy Donna & Robert Metafora Dr. & Mrs. Tom Rapoport Paul Shindler* Murray R. Metcalfe R. Lynn Rardin & Lynne A. O’Connell Paul Skelly & Elizabeth Reza Skelly Lindsay Miller & Peter Ambler* Barbara Reade Martin P. Smith Ryan Miller Melinda & William Reno Alan & Susan Solomont Paul Moran Sally Rubin & Arthur Applbaum* Harriett Tee Taggart & Jack Turner Gary & Karen Mueller Marieve Rugo* Mary & Nakul Talcherkar Martha S. Mugar Allison K. Ryder & David B. Jones Ramita Tandon & Kazi Chrani Nancy K. & Stuart J. Murphy David Schechter – Marlene & Eric Taussig Daniel Newton & Christopher Flynn Schechter Foundation Ms. Antra Thrasher Jonathan Painter Arthur & Linda Schwartz Sidney & Libby Topol Ms. Vita Paladino Ann Besser Scott Marjorie & Thomas Walsh* Spyros Papapetropoulos & Phyllis & Lawrence Selter Christoph Westphal & Georgia Mitsi Raj & Ila Shah Sylvia Pagán Westphal Richard & Petra Paulson Varda & Israel Shaked* Mary & Gary Wolf Rebecca Pearson Lo & York Lo Maureen Hershman Shaw & Marvin & Katherine Wolfthal Dr. Harry Penn & Carol Saivetz* Gregory Shaw* Ann & Jim Wu In memory of Katherine Porter Rick & Gitte Shea Anna Maria & Paul Radvany* Linda & Ashley Shih

Benefactor Society – $250-$499 Anonymous (14) Erin Higgins Helen Raizen Morton Abromson & Joan Nissman Dr. William Holgerson Ms. Diana Reisen* Rosemary Allen Jessica Hook Andrew Reschovsky & Julia K. Murray Dan Ambrose & David Skeens Katherine Hope & Ron Blackman Lucille Rexroad* Donald A. Antonioli* Hugh & Erica Johnston* Dr. Mark A. Richardson & Liz Augustine & Robert Praetorius* Jean & David Jones Dr. Martha C. Tompson Toby Axelrod & Larry Marks Marilyn & Paul Kalis* In memory of my beloved mother Martha Bailey & Lewis Sudarsky Elaine Boyer Kateman Vivian Richman Dr. Irene Belsky Kathy & John Kaufmann Fran Rivkin & Amy MacDonald Robyn Belsky* Stephen M. Kelley Cassidy Roh Martha & Bob Berardino* Mrs. Joan Kinne Gordon & Barbara Russell Judy Bigby Galina Korsunsky Drs. Judy Schechtman & Ed De Vos For James Ronan Bleday Barbara Krakow & Andrew Witkin Evelyn Shen & Jason Tong J. Carey Bloomfield Eddington & Gloria Lee* In memory of George Shur Marcia M. Booth & Robert G. Fox* Julie Levin & Marc Daigle Erica Sigal Victoria Buckley & Robin Lovett Marilyn Levitt & Andrew Friedland Ms. Ellen L. Simons Robert L. Buckwalter Barry & Nancy Levy Raymond Singh Lisa Zankman Burke Sherilyn & David Levy Marc E. Snyder Sally Carrothers Reid Susan Lewinnek Gail & Abraham Sonenshein Lynn T. Cetrulo Giles Li & Sopheak Tek Ellie Starr Polyxane Cobb* Louise & John Loewenstein Dr. Allen Steere* Lisa Cole Peggy Lowenstein Andrew Strassman Miriam F. Cooper Mr. Mark Lutton* Stephen Symchych Jay Copeland Quinn MacKenzie Julie Taylor Joseph Couture Mariola Magovčević & Jack A. Test Joanne Creedon Kai Angermueller Margaret Tracey & Russell Kaiser Ellen-Deane Cummins Dave Malin Richard L. Tuck Brian Davis & Marija Strazdas Barbara Manzolillo Felipe Venegas Colleen & Charles Dean John McBride Kasumi Verdine Alla Devitskaya Emily & T.K. McClintock* Christopher & Carolynn Vincent Thomas P. Dixon Mary & Mike McConnell Amy & David Wanger Judy Dorf* Robert McGowan & Dianne Cabral Louise & Charles Weed Kenneth Douglass* Lisa & John McLellan Stephen Weiner & Donald Cornuet Roberta Duncan Dorothy Miller & Daniel Klubock* Mrs. Constance White* Ellen Edelberg* Zarmik Moqtaderi Jeffrey S. Wieand Cathy Edwards & Mike Wishnie Dr. Robert M. Neer* Annette Wilson Alan Elliott & Barbara Cullen Drs. Siripanth Nippita & Ms. Anne Winslow Perry Herbert & Jean Epstein Gernot Wagner San San Wong Lansing & Julia Fair Dr. & Mrs. David Nolan Robert Woodburn, Jr Glenda & Robert Fishman Hans Oh David Bruce Wright & Michael Flier & David Trueblood Nora Osman Joseph-Rocque Dion Felice C. Frankel Constance L. Otradovec* Ioannis Yannas Richard Fried & Pam Velardo Dr. Chanho H. Park Ellen Ziskind* Robert Garner Leslie & Bill Patton Madeleine & Norman Gaut Sydney & Michael Pearlman Paula & Ralph Gilbert Stéphane & Marisa Peluso Mr. Michael Goldstein Cynthia Perkins & Ed Thaute Alexander Goriansky* Mr. & Mrs. Ronald Perry Edmund J. Gorman Mark Pfaff & Michelle Lenox Rebecca Greber Sharon Phipps Jonathan & Victoria Guest Charles Popper* Dean Hashimoto Helen Powell Donald Heckathorn Paul Rabin * 25+ Year Subscribers † deceased LOVE LIVE PERFORMANCES? GET INVOLVED WITH CELEBRITY SERIES! YOU CAN JOIN THOUSANDS OF INDIVIDUALS WHO:

Join a Dress Circle or Patron Society and get great benefits all season long

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Join the Celebrity Society for special ticket discounts, meetups, and networking opportunities for individuals ages 21-35

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FOR MORE INFORMATION, VISIT OUR WEBSITE AT celebrityseries.org or contact the Advancement Office at [email protected] or 617-598-3226

The Celebrity Series of Boston, Inc. is a non-profit 501(c)(3) organization and all gifts are tax-deductible to the extent of the law. Corporate, Foundation, & Government Donors Principal Producers – $50,000 and Above Barr Foundation through its Susanne Marcus Collins D.L. Saunders Real Estate Corp. ArtsAmplified initiative Foundation Stephanie L. Brown Foundation Deloitte LLP

Lead Producers – $25,000-$49,999 Anonymous Klarman Family Foundation Cynthia & John S. Reed The Catered Affair Massachusetts Cultural Council Foundation Foley & Lardner LLP Angels – $10,000-$24,999 Anonymous National Endowment Rafanelli Events Management AVFX for the Arts Royal Little Family Foundation The Boston Foundation Outside the Box: SGPS/ShowRig Boston Inc Ipsen Biopharmaceuticals A Production of the Boston Stifler Family Foundation Liberty Mutual Foundation Arts Summer Institute Port Lighting Systems

Sponsors – $5,000-$9,999 Boston Children’s Hospital- The Charles & Cerise Jacobs PEAK Event Services Sports Medicine Division Charitable Foundation Tufts Health Plan First Republic Bank M. Steinert & Sons

Partners – $2,500-$4,999 Bessie Pappas Charitable Consulate General of mindSHIFT Technologies Foundation Israel to New England Winston Flowers Carruth Management LLC Egloff & Wood, LLP Foley Hoag LLP

Friends – $1,000-$2,499 AAFCPAs Christine Armstrong, Flagship Press, Inc. Anchor Capital Advisors LLC Financial Advisor, Morgan Stanley

CELEBRITY SERIES OF BOSTON Performance Venue and Access Information LATECOMERS CELLULAR PHONES & DIGITAL DEVICES Latecomers will be seated at an appropriate As a courtesy to other patrons and the artists, interval during the performance. This interval is please remember to silence digital watches, paging predetermined by the artists and management. devices, and mobile phones before taking your Some performances offer no late seating seat. Please also limit screen use as the light from opportunity. screens distracts artists and other patrons. Thank you for your cooperation. ACCESSIBILITY Celebrity Series welcomes people of all abilities INCLEMENT WEATHER to our performances and programs. Please Celebrity Series of Boston performances take place contact us at 617-482-6661 regarding any need for as scheduled regardless of the weather. In the rare accommodations. case of postponement or cancellation due to a weather emergency, information will be available: CHILDREN · Via recorded message at the Celebrity Series Celebrity Series welcomes young audience office, 617-482-6661 members ages 5 years and above to all · On the Celebrity Series website, celebrityseries.org performances. Everybody, regardless of age, must · By calling the performance venue have a ticket. · On Celebrity Series social media feeds: · twitter.com/celebrityseries; CAMERAS AND RECORDING DEVICES · facebook.com/celebrityseries The use of cameras and recording devices of any kind is prohibited by Celebrity Series, the artists, Please be advised that in the case of inclement and venue management. weather, there will be no exchanges or refunds for performances that take place as scheduled.

GIVING. PEOPLE. PERFORMANCE.

The Aaron Richmond Legacy Society is stronger than ever. It would be our pleasure to discuss including the organization in your will. Make the arts in Boston a part of your legacy for years to come! AARON RICHMOND LEGACY SOCIETY

If you have included the Celebrity Series in your estate plans, or if you wish to consider making a bequest or planned gift, please contact the Celebrity Series Advancement Office at 617-598-3249 or [email protected].

Visit celebrityseries.org/ARLS for more info.

Our founder, Aaron Richmond, at the piano with members of Richmond’s Little Symphony Ensemble. 1910s Our founder, Aaron Richmond, at the piano with members of Richmond’s Little Symphony Ensemble. 1910s BOARD OF DIRECTORS Joshua Boger, PhD, Chair+ Paul D. Goldenheim, MD Sharon L. Rich* Howard Appleby Randolph Hawthorne, ex officio Lawrence Stifler* Stephanie L. Brown+ Yvette Hochberg Mary Elisabeth Swerz+ Michael S. Canning+ Andrea Hoff Belinda Termeer Joanne Cheng Steven H. Holtzman Susan Thonis Amy d’Ablemont Burnes Anna Kolchinsky Yukiko Ueno Margaret Eagle John Patterson Dorothy Altman Weber* Donna Egan Leontyne Price, Honorary Director Janet Zwanziger* Kathleen Gaffney Melinda Rabb Gabor Garai Reuben Reynolds BOARD EMERITI Harris A. Berman, MD* Jann E. Leeming* Walter W. Pierce* Caroline Collings Norman C. Nicholson, Jr. Nancy Richmond Winsten* Benjamin H. Lacy Eleanor Y. Pao Arnold B. Zetcher

BOARD OF OVERSEERS Randolph Hawthorne, Chair Stephen C. Harrison* Millard Rose Bill Casey, Vice Chair Paul Hartung Abby Rosenfeld* Leslie Appleby Betty Hillmon Howard Salwen* Meryl Beckingham Ilisa Hurowitz Sally S. Seaver, PhD* Marilyn Benson* Cindy Lewiton Jackson Sandra Shapiro* Nadine Broude Maurice Joffe Dr. Samuel J. Shubrooks, Jr.* Martin Carmichael* Lisa Kelly-Croswell Dr. Michael Silverman Joseph C. Cefalu Stephen Leonard* Dr. Margaret Simon Fernadina Chan Margot LeStrange* Lori Solon Jolyon Cowan Valeria Lowe-Barehmi Joel A. Stein* JoAnne Dickinson* Susan Shapiro Magdanz* Marylen R. Sternweiler* Timothy W. Diggins Theresa C. McLoud, MD Jeffrey A. Thomson C. Nancy Fisher Marilyn Miller* Elizabeth G. Tréhu, MD Gail Flatto Dr. Gordon Moore* Paul Walsh Susan Y. Friedman James L. J. Nuzzo Sarah Rainwater Ward Ellen Glanz James Perrin Wendy L. Watson Dr. Joan Goldberg* Stephen C. Perry* Barnet Weinstein Dr. Peter H. Gordon* Dr. Beth Pinals Sharon R. Weinstein, MD Rosalind E. Gorin Suzanne Priebatsch Peter J. Wender* Harriet Griesinger Oliver Radford* Sarkis Zerounian Teri Groome Michael Raizman* Zachary R. Haroutunian Mona J. Roberts* + Denotes Executive Committee * Denotes 25+-year subscriber

Gary Dunning President and Executive Director Liz Rosenthal Associate Director of Performance Operations Robin Baker Associate Director of Community Engagement ADVANCEMENT Elizabeth Kracunas Manager of Performance Operations Emily Borababy Chief Advancement Officer Amanda Ice Public Projects Manager Sarah Long Holland Associate Director of Institutional Giving Harrison Pearse Burke Dance Production Manager Erica Leung Lawless Associate Director of Advancement Shea Rose Community Concerts Coordinator Alec Bleday Major Gifts Officer Hope Aubrey Production & Office Coordinator Emily Eagan Manager of Events and Engagement Nora Reilly Leadership Giving Associate TICKETING SERVICES Anya Hess Advancement Coordinator Andrew Moreau Associate Director of Ticketing Services and Technologies FINANCE AND ADMINISTRATION Vawnya Nichols Audience Services Manager Alex Larin Senior Accountant Nicole Williams Audience Services Associate Connor Buckley Accounts Payable and Payroll Coordinator Saralyn Klepaczyk, Poornima Kirby, Emma Quinn, MARKETING AND COMMUNICATIONS Kristin Sereyko Ticketing Representatives Jack Wright Director of Marketing and Communications Myles Lobdell Operations Assistant CELEBRITY SERIES BOARD AND STAFF CELEBRITY SERIES BOARD Gillian Morrison Associate Director of Marketing Stephanie Janes PR, Media Relations Paul Sayed Digital Marketing Manager Robert Torres Senior Graphic Designer / Photographer Prince Lobel Tye, LLP, Legal Counsel Susanna Bonta Program Book Associate AAFCPAs, Auditors Kristín Otharsson Graphic Designer / Videographer Celebrity Series of Boston PERFORMANCE AND COMMUNITY ENGAGEMENT 20 Park Plaza, Suite 1032 · Boston, MA 02116-4303 Amy W. Lam Artistic Programmer Tel 617-482-2595 · Fax 617-598-3291 Karen Brown Director of Performance Operations Box Office 617-482-6661 (M-F, 10-4) celebrityseries.org 2019-20 SEASON

SEPTEMBER Concert for One 9/20-29 OCTOBER Sergio Mendes and Bebel Gilberto: 10/18 The 60th Anniversary of Bossa Nova Chick Corea Trilogy 10/20 with Christian McBride & Brian Blade Jerusalem Quartet 10/26 Black Grace 10/26 & 27 Gewandhausorchester Leipzig with Andris Nelsons, 10/27 Leonidas Kavakos and Gautier Capuçon Triptych (Eyes of One on Another) 10/30 - 11/3 Wynton Marsalis (November 10, 2019) NOVEMBER Richard Goode 11/9 Wynton Marsalis Quintet 11/10 Chamber Music Society of Lincoln Center 11/17 MARCH Noam Pikelny & Stuart Duncan and Sierra Hull 11/22 Bobby McFerrin 3/1 Los Angeles Philharmonic with 11/23 Calidore String Quartet 3/4 Gustavo Dudamel and Yuja Wang Miloš, The Voice of the Guitar 3/6 Camille A. Brown & Dancers 3/7 & 8 DECEMBER Aoife O’Donovan, Songs and Strings 3/12 Joyce Yang 12/4 The Chieftains, The Irish Goodbye 3/13 Chucho Valdés, Jazz Batá 12/6 Daniil Trifonov 3/15 What Makes It Great? with Rob Kapilow, 12/8 An Evening with Chris Thile 3/18 Michael Winther, Gabrielle Stravelli, and STAVE SESSIONS: Labyrinth Choir — Dreaming of a Jewish Christmas Kinan Azmeh’s CityBand 3/17 Sheku Kanneh-Mason & Isata Kanneh-Mason 12/13 Meklit 3/18 Sid Sriram 3/19 JANUARY Sybarite5 with Ehsan Matoori 3/20 Terence Blanchard featuring the E-Collective 1/18 Kronos Quartet, 3/21 Patricia Kopatchinskaja & Jay Campbell 1/23 & 24 Music For Change: The Banned Countries Sérgio Assad, Clarice Assad, 1/25 Béla Fleck and the Flecktones 3/27 and Third Coast Percussion Lyon Opera Ballet, Trois Grandes Fugues 3/27-29 Caleb Teicher & Company with Conrad Tao, 1/30-2/1 Pierre-Laurent Aimard 3/28 & 29 More Forever Trey McLaughlin and The Sounds of Zamar 1/31 APRIL Davóne Tines 4/1 FEBRUARY Celebrity Series Gala 4/4 An Evening with Sutton Foster 2/1 David Sedaris 4/10 Cécile McLorin Salvant and Aaron Diehl 2/7 Angela Gheorghiu 4/ 17 Bereishit Dance Company 2/8 & 9 Paul Taylor Dance Company 4/17 - 19 What Makes it Great? with Rob Kapilow 2/9 Dakh Daughters 4/24 and the Verona Quartet — The Arc of Genius: Alicia Olatuja, Intuition: From the Minds of Women 4/25 Beethoven’s First and Last Quartets and the Matthew Whitaker Quartet Ying Fang 2/12 Renée Fleming & Evgeny Kissin 4/26 John Pizzarelli Trio’s Nat King Cole Centennial 2/14 Alvin Ailey American Dance Theater 4/30 - 5/3 and Veronica Swift Steven Osborne & Paul Lewis, duo-piano 2/21 MAY Academy of St Martin in the Fields with Joshua Bell 2/23 Danish String Quartet 5/3 celebrityseries.org