Table of Contents | Week 11

7 bso news 15 on display in hall 16 bso music director andris nelsons 18 the boston symphony orchestra 20 this week’s program

Notes on the Program

22 The Program in Brief… 23 Claude Debussy 29 43 Joseph Canteloube 51 61 To Read and Hear More…

Guest Artists

67 François-Xavier Roth 69 Renée Fleming

72 sponsors and donors 88 future programs 90 symphony hall exit plan 91 symphony hall information

program copyright ©2016 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Chris Lee cover design by BSO Marketing

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus , music director laureate 135th season, 2015–2016

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Susan W. Paine • John Reed • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Stephen R. Weber • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • Gabriella Beranek • Leo L. Beranek • Deborah Davis Berman • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • Mary S. Newman • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board board of overseers of the boston symphony orchestra, inc. Philip J. Edmundson, Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow •

week 11 trustees and overseers 3

photos by Michael J. Lutch

Karen Kaplan • Stephen R. Karp • John L. Klinck, Jr. • Tom Kuo • Jay Marks • Jeffrey E. Marshall • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Peter Palandjian • Donald R. Peck • Steven R. Perles • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Sarah E.R. Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • James L. Bildner • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

week 11 trustees and overseers 5

BSO News

A 2016 Grammy Nomination for Andris Nelsons and the BSO Released last summer, the first disc in Andris Nelsons’ continuing Shostakovich series with the BSO on Deutsche Grammophon, “Shostakovich Under Stalin’s Shadow”— Shostakovich’s Symphony No. 10 and the Passacaglia from his opera Lady Macbeth of Mtsensk—has been nominated for a 2016 Grammy in the category of Best Orchestral Performance. Coming up next in the series is a two-disc set due for release this coming summer, to include the composer’s 5, 8, and 9 plus selections from his inciden- tal music to Hamlet, all to be taken from concerts performed this season at Symphony Hall.

Mahler’s Symphony No. 6 the Newest Google Play Release From Andris Nelsons and the BSO Last June, Andris Nelsons and the Boston Symphony Orchestra released live performances of Bartók’s Miraculous Mandarin Suite and Tchaikovsky’s Symphony No. 6, Pathétique— both drawn from Maestro Nelsons’ BSO subscription performances of October 1-3, 2014—as the first releases in Google Play Music’s recording initiative “Classical Live,” which offers live concert performances from a number of orchestras worldwide. New from Andris Nelsons and the BSO in this series is Mahler’s Symphony No. 6, from their concerts of March 26-31, 2015, released last month along with a free holiday bonus track, Joy to the World—A Fanfare for Christmas Day, with Keith Lockhart and the Boston Pops Orchestra. Through “Classical Live,” the BSO and other participating orchestras expand their record- ing libraries by creating new digital recording catalogs with potential international access to more than one billion Android mobile and web devices by way of digital downloads and streaming subscription opportunities at music.google.com and classical-live.com.

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101: Are You Listening?” offers the opportunity to enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra on selected Wednesdays from 5:30-6:45 p.m. in Higginson Hall. The next of this season’s four remaining Symphony Hall sessions is scheduled for January 20, when BSO bass player James Orleans joins Marc Mandel to discuss “Shakespeare in Music.” Also this season, thanks to the generosity of an anonymous donor, BSO 101 takes to the road, offering three more BSO 101 sessions on Sunday afternoons from 2-3:30 p.m., at UMASS Lowell (February 7), the Newton Free Library (March 20), and the Watertown Arsenal Center for the Arts (April 10). All of these sessions include recorded musical examples, and each is self-

week 11 bso news 7 contained, so no prior musical training, or attendance at any previous session, is required. For further details, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

“Do You Hear What I Hear?” The second of this season’s two “Do You Hear What I Hear?” collaborations between the BSO and New England Conservatory takes place on Thursday, February 11, at 6 p.m. in Williams Hall at the New England Conservatory. Free and open to the public, these hour- long events introduce audiences to composers working with the BSO via composer-curated chamber music programs performed by NEC students with coaching by NEC faculty and the composers themselves. The February 11 program—to include works of Tsontakis, Beethoven, and Debussy—spotlights American composer George Tsontakis, whose Shakespeare-inspired BSO commission Sonnets, Concerto for English horn and orchestra, written for principal English horn Robert Sheena, will receive its world premiere on that evening’s BSO concert led by Andris Nelsons. individual tickets are on sale for all concerts in the bso’s 2015-2016 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Catherine and Paul Buttenwieser mittees, chaired Opening Night at Symphony Guest Artist, Thursday, for the 2008-09 season. Paul serves on the January 14, 2016 Executive, Leadership Gifts, and Trustees Renée Fleming’s appearance on Thursday Nominating and Governance Committees, evening is supported by a generous gift from and was a member of the Search Committee Great Benefactors Catherine and Paul Butten- recommending the appointment of Andris wieser. Elected a BSO Overseer in 1998 and Nelsons as the BSO’s Ray and Maria Stata Trustee in 2000, Paul currently serves as Music Director. President of the Board of Trustees. He served The Buttenwiesers support many arts organi- as a Vice-Chair of the Board of Trustees from zations in Boston and are deeply involved 2010 to 2013. with the community and social justice. Paul Paul’s interest in music began at a young age, recently stepped down as chairman of the when he studied piano, , , and Institute of Contemporary Art, Boston, after conducting as a child and teenager. Together, a decade of leading the Board of Trustees. Paul and Katie developed their lifelong love of He is a trustee and former chair of the Ameri- music, and they have attended the BSO’s per- can Repertory Theater, trustee of Partners in formances at Symphony Hall and Tanglewood Health, honorary trustee of the Museum of for more than fifty years. The Buttenwiesers Fine Arts, Boston, fellow of the American have generously supported numerous BSO Academy of Arts and Sciences, member of initiatives, including BSO commissions of new the President’s Advisory Council at Berklee works, guest artist appearances at Symphony College of Music and the Director’s Advi- Hall and Tanglewood, fellowships at the sory Council of the Harvard University Art Tanglewood Music Center, and Opening Museums, and former overseer of Harvard Nights at Symphony and Tanglewood. They University. In 1988, Paul and Katie founded also endowed a BSO First Violin Chair, cur- the Family-to-Family Project, an agency that rently held by Aza Raykhtsaum. Paul and works with homeless families in Eastern Katie, who have served on many gala com- Massachusetts. Katie, who is a social worker,

week 11 bso news 9 BSO “INSIGHTS,” JANUARY 20-FEBRUARY 11, 2016 MARKING THE 400TH ANNIVERSARY OF SHAKESPEARE’S DEATH In conjunction with the Boston Symphony Orchestra’s three weeks of Shakespeare-themed programs conducted by Andris Nelson (January 28-February 13; see page 89 for details), this season’s BSO “Insights” series offers a variety of lectures and additional concerts.

Wednesday, January 20, 5:30-6:45pm, Symphony Hall—BSO 101: “Shakespeare in Music”: BSO Director of Program Publications Marc Mandel, BSO bass player James Orleans, and BSO English horn player Robert Sheena discuss selected works from the BSO’s three weeks of Shakespeare-themed programs. Free admission. Sunday, January 24, 3pm, Sanders Theatre, Harvard University—Verdi’s “Otello”: Conductor Federico Cortese leads the Boston Youth Symphony Orchestra in a semi-staged performance, directed by Edward Berkeley, of Verdi’s great opera, sung in Italian with English supertitles. Tickets are $35-$50; visit BYSOweb.org or call (617) 496-2222. Thursday, January 28, 6-7pm, Symphony Hall—Chamber Music Concert I: Music of Schubert, Oliver Knussen, Alison Bauld, and David Lumsdaine, with soprano Sari Gruber, pianists Cameron Stowe and Stephen Drury, and additional performers. Free to ticket holders for the evening’s BSO concert at 8pm. Friday, January 29, 12:15-12:45pm, Symphony Hall—Friday Preview: Marc Mandel discusses that afternoon’s BSO program of Weber, Henze, and Mendelssohn, joined by Bill Barclay, stage director for the performance of Mendelssohn’s Midsummer Night’s Dream music using his adaptation of the text. Free to ticket holders for the afternoon’s BSO concert. Wednesday, February 3, 7-9pm, Symphony Hall—“Conversations With Creators” I: Professor Thomas Kelly of Harvard University moderates a discussion with Hans Abrahamsen, Paul Griffiths, and , the composer, librettist, and soprano soloist for Abrahamsen’s let me tell you, being performed in the BSO concerts of February 4, 5, and 6, and Harvard University Humanities Professor Stephen Greenblatt. Free admission. Thursday, February 4, 6-7pm, Symphony Hall—Chamber Music Concert II: Music of Strauss, Stravinsky, Ned Rorem, Beethoven, and Korngold, with soprano Sari Gruber, pianists Cameron Stowe and Randall Hodgkinson, and BSO musicians Clint Foreman, Thomas Martin, Wendy Putnam, Victor Romanul, Rebecca Gitter, and Mickey Katz. Free to ticket holders for the evening’s BSO concert at 8pm. Friday, February 5, 12:15-12:45pm, Symphony Hall—Friday Preview: BSO Assistant Director of Program Publications Robert Kirzinger discusses that afternoon’s BSO program of Shostakovich, Abrahamsen, and Prokofiev, joined by Hans Abrahamsen and Paul Griffiths, com- poser and librettist of Abrahamsen’s let me tell you. Free to ticket holders for the afternoon’s BSO concert. Tuesday, February 9, 7-9pm, Symphony Hall—“Conversations With Creators II: Professor Thomas Kelly moderates a discussion with Andris Nelsons, composer George Tsontakis, and BSO English horn player Robert Sheena about Tsontakis’s Sonnets, Concerto for English horn and orchestra, a BSO commission written for Robert Sheena and being given its world premiere performances by the BSO on February 11, 12, and 13. Free admission. Thursday, February 11, 6-7pm, Williams Hall, New England Conservatory—“Do You Hear What I Hear?”: Robert Kirzinger moderates a discussion with composer George Tsontakis as part of a musical performance coordinated by NEC’s Stephen Drury of works by Tsontakis, Beethoven, and Debussy featuring NEC students. Free admission.

For additional information, please visit bso.org. spent most of her career in early child devel- Bˇelohlávek leading music of Smetana, Martinu,˚ opment before moving into hospice and and Dvoˇrák with soloist Johannes Moser bereavement work. She is a graduate of Mount (January 22; encore February 1). Holyoke College and Boston University School of Social Work. Paul is a psychiatrist who specializes in children and adolescents, and BSO Members in Concert is also a writer. He is a graduate of Harvard The Concord Chamber Players, founded by College and Harvard Medical School. BSO violinist Wendy Putnam, are joined by other string players from the Boston Symphony Orchestra—violinist Julianne Lee, violists BSO Broadcasts on WCRB Steven Ansell and Cathy Basrak, and cellist BSO concerts are heard on the radio at 99.5 Adam Esbensen—for a program of Strauss, WCRB. Each Saturday-night concert is broad- Schoenberg, and Beethoven on Sunday, cast live at 8 p.m. with host Ron Della Chiesa, January 17, at 3 p.m. at the Concord Academy and encore broadcasts are aired on Monday Performing Arts Center, 166 Main Street, nights at 8 p.m. In addition, interviews with Concord, MA. Prior to the concert there will guest conductors, soloists, and BSO musi- be a 2 p.m. performance by students from cians are available online, along with a one- the New England Conservatory Preparatory year archive of concert broadcasts. Listeners School. Tickets are $42 and $33 (discounts can also hear the BSO Concert Channel, an for seniors and students). For more informa- online radio station consisting of BSO concert tion, visit www.concordchambermusic.org performances from the previous twelve or call (978) 371-9667. months. Visit classicalwcrb.org/bso. Current BSO associate principal Elizabeth Ostling and upcoming broadcasts include last week’s and BSO principal John Ferrillo, joined program of Gossec, Mozart, and Beethoven by pianist Rodríguez-Peralta, perform with François-Xavier Roth and BSO soloists works by Bach, Mozart, Messiaen, Stravinsky, Elizabeth Rowe and Jessica Zhou (encore and Widor on Friday, January 22, at 8 p.m. at broadcast of January 18); music of Dutilleux the Walter C. Kaiser Chapel, Gordon-Conwell and Canteloube with soprano Renèe Fleming, Theological Seminary, 130 Essex St., South in a program under François-Xavier Roth also Hamilton, MA. A reception will follow the including music of Debussy and Stravinsky performance. Admission is free, though an (January 16; encore January 25), and Jiˇrí

week 11 bso news 11 offering will be taken to benefit the GCTS and much more. Friends memberships start scholarship fund. at just $100. To join our community of music lovers as a Friend of the BSO, please In residence at Boston University, the Muir contact the Friends Office at (617) 638-9276, —BSO violinist Lucia Lin,BSO [email protected], or join online at principal violist Steven Ansell, violinist Peter bso.org/contribute. Zazofsky, and cellist Michael Reynolds— plays a free concert of Haydn, Villa-Lobos, and Beethoven’s C-sharp minor string quar- Those Electronic Devices… tet, Opus 131, on Monday, January 25, at As the presence of smartphones, tablets, and 8 p.m. at BU’s Tsai Performance Center, 685 other electronic devices used for communica- Commonwealth Avenue. tion, note-taking, and photography continues to increase, there have also been increased Join Our Community of Music expressions of concern from concertgoers Lovers—The Friends of the BSO and musicians who find themselves distracted not only by the illuminated screens on these Attending a BSO concert at Symphony Hall is devices, but also by the physical movements a communal experience—thousands of con- that accompany their use. For this reason, certgoers join together to hear 100 musicians and as a courtesy both to those on stage and collaborate on each memorable performance. those around you, we respectfully request Without an orchestra, there is no perform- that all such electronic devices be completely ance, and without an audience, it is just a turned off and kept from view while BSO per- rehearsal. Every single person is important to formances are in progress. In addition, please ensuring another great experience at Sym- also keep in mind that taking pictures of the phony Hall. There’s another community that orchestra—whether photographs or videos— helps to make it all possible, one that you is prohibited during concerts. Thank you very might not notice while enjoying a concert— much for your cooperation. the Friends of the BSO. Every $1 the BSO receives in ticket sales must be matched with an additional $1 of contributed support to Comings and Goings... cover its annual expenses. Friends of the BSO Please note that latecomers will be seated by help bridge that gap, keeping the music play- the patron service staff during the first con- ing to the delight of audiences all year long. venient pause in the program. In addition, In addition to joining a community of like- please also note that patrons who leave the minded music lovers, becoming a Friend of auditorium during the performance will not the BSO entitles you to benefits that bring be allowed to reenter until the next convenient you closer to the music you cherish. Friends pause in the program, so as not to disturb the receive advance ticket ordering privileges, performers or other audience members while discounts at the Symphony Shop, and access the music is in progress. We thank you for to the BSO’s online newsletter InTune, as your cooperation in this matter. well as invitations to exclusive donor events, such as BSO and Pops working rehearsals

week 11 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. Much of this year’s exhibit was inspired by the series of Shostakovich recordings currently being made by Andris Nelsons and the BSO in collaboration with Deutsche Grammophon. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor documenting the commercial recording history of the BSO • two displays cases in the Brooke Corridor focusing on historic BSO performances of Shostakovich’s music, and spotlighting the visit to America by a delegation of Soviet composers led by Shostakovich in November 1959, including a visit to Symphony Hall • two display cases in the Huntington Avenue corridor focusing on BSO members of Russian and Eastern European descent, and the BSO’s historic 1956 tour to the Soviet Union, the first visit by an American orchestra to Russia exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the appointment of Serge Koussevitzky as conductor of the BSO • a display case, also in the first-balcony corridor, audience-right, spotlighting the Tanglewood Music Center, which was founded by Koussevitzky (as the Berkshire Music Center) in 1940 and celebrated its 75th anniversary this past summer • a display case in the first-balcony corridor, audience-left, marking the 80th birthday this past September of BSO Music Director Laureate Seiji Ozawa • three exhibit cases in the Cabot-Cahners Room highlighting collections of memorabilia—the Paul Cherkassky, Albert Sand, and Josef Zimbler collections— originally belonging to BSO members of Russian or Eastern European origin

TOP OF PAGE, LEFT TO RIGHT: 78rpm label for one of the BSO’s recordings from its very first commercial session in 1917, the Prelude to Act III of Wagner’s “Lohengrin” with Karl Muck conducting November 1959 photo of (from left) Russian-born BSO violinists Vladimir Resnikoff and Victor Manusevitch with Dmitri Shostakovich at Symphony Hall (photo by Ed Fitzgerald) BSO manager Thomas D. Perry’s telegram of June 7, 1956, informing Charles Munch that the BSO has accepted the USSR’s invitation to perform in Leningrad and Moscow

week 11 on display 15 ac Borggreve Marco

Andris Nelsons

In 2015-16, his second season as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director, Andris Nelsons leads the BSO in thirteen wide-ranging programs, three of them being repeated at Carnegie Hall in New York. This past August, Maestro Nelsons’ contract as music director of the Boston Symphony Orchestra was extended through the 2021-22 season. In 2017 he becomes Gewandhauskapellmeister of the Gewandhaus- orchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance exploring historic connections between the two. Highlights of this season’s BSO programs include concert performances of Strauss’s Elektra; three weeks marking the 400th anniversary of the death of Shakespeare; new works by Hans Abrahamsen and George Tsontakis; and the continuation of the orchestra’s multi-year Shostakovich recordings project in collaboration with Deutsche Grammophon, “Shostakovich Under Stalin’s Shadow,” to be drawn from live performances at Symphony Hall of Shostakovich’s symphonies 5 through 10, the Passacaglia from his opera Lady Macbeth of Mtsensk, and selections from Shostakovich’s incidental music to Hamlet and King Lear, all composed during the period the composer labored under the life-threaten- ing shadow of Soviet dictator Joseph Stalin. Following this past summer’s Tanglewood season, Andris Nelsons and the BSO undertook a twelve-concert, eight-city tour to major European capitals, including Berlin, Cologne, London, Milan, and , as well as the Lucerne, Salzburg, and Grafenegg festivals. An eight-city tour to Germany, Austria, and Luxembourg is scheduled for May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Mr. Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and the Tanglewood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala (a concert avail- able on DVD and Blu-ray, and telecast nationwide on PBS). His first compact disc with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2—

16 was released last November on BSO Classics. Their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk—was released by Deutsche Grammophon this past summer.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collabora- tions with the Berlin Philharmonic, Philharmonic, the Royal Concertgebouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House, Vienna State Opera, and , and in summer 2016 returns to the Bayreuth Festival for a new pro- duction of Wagner’s Parsifal.

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 principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” For more information about Andris Nelsons, please visit andrisnelsons.com and bso.org. ac Borggreve Marco

week 11 andris nelsons 17 Boston Symphony Orchestra 2015–2016

andris nelsons bernard haitink seiji ozawa thomas wilkins Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity

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

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

week 11 boston symphony orchestra 19 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 135th season, 2015–2016

Thursday, January 14, 8pm Saturday, January 16, 8pm

françois-xavier roth conducting

debussy “jeux—poème dansé”

dutilleux “le temps l’horloge,” for soprano and orchestra (american premiere of final version) I. Le Temps l’horloge II. Le Masque III. Le Dernier Poème IV. Interlude V. Enivrez-vous renée fleming Texts and translations begin on page 39.

{intermission}

The Boston Symphony Orchestra notes with sadness the passing last week of composer/ conductor Pierre Boulez (1925-2016), a champion of modernist composers including Debussy and Stravinsky, and a close friend and colleague of conductor François-Xavier Roth. ac Borggreve Marco

20 canteloube selections from “songs of the auvergne” Baïlèro Malurous qu'o uno fenno Brezairola ms. fleming Texts and translations begin on page 48. stravinsky “petrushka,” burlesque in four scenes (original version, 1911) The Shrovetide Fair Petrushka’s Room The Moor’s Room The Shrovetide Fair (toward evening) vytas baksys, piano

thursday evening’s guest artist appearance by renée fleming is supported by a generous gift from catherine and paul buttenwieser. saturday evening’s guest artist appearance by renée fleming is supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and emc corporation are proud to sponsor the bso’s 2015-16 season.

These concerts will end about 10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, 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 orchestra—whether photographs or videos—is prohibited during concerts.

week 11 program 21 The Program in Brief...

This spring the BSO celebrates the centenary of the great French composer Henri Dutilleux with performances of three of his major orchestral works: Le Temps l’Horloge this week; Timbres, espace, mouvement in February, and Métaboles in April. Le Temps l’Horloge was a BSO 125th-anniversary commission, co-commissioned with the Orchestre National de and the Saito Kinen Festival in Matsumoto. Dutilleux composed the cycle for soprano Renée Fleming, who sang the first performances, including the American premiere in November/December 2007 here in Symphony Hall with the BSO led by James Levine. That original version consisted only of the first three songs, to which the composer later added the fourth-movement instrumental interlude and the finale, a setting of Baudelaire. The complete Le Temps l’Horloge was premiered by Fleming in Paris in 2009 under Seiji Ozawa’s direction. These songs (and interlude) reveal Dutilleux’s exquisite, unique sense of instrumental color as well as his deep sense of the correspondence between music and poetry.

Ms. Fleming also sings a selection from Joseph Canteloube’s Songs of the Auvergne, the composer’s arrangements of folk songs from the central French province, sung in the local Occitan language. Canteloube made these arrangements—compiled in five series— beginning in 1923, and they quickly became by far his most enduringly popular works. The gorgeously melodic “Baïlèro,” from Series I, is the most famous of all the songs; “Malurous qu’o uno fenno” and “Brezairola” are both from Series III. Canteloube’s orches- trations suggest the colors of the region’s folk music.

Beginning and ending the concert are two of the most innovative and influential scores that originated with Sergei Diaghilev’s Ballets Russes in the 1910s: Debussy’s Jeux and Stravinsky’s Petrushka. Jeux was first produced as a ballet in May 1913. Featuring choreog- raphy by Vaslav Nijinsky, the ballet veered toward abstract and surreal territory, centering on a young man and two young women ostensibly searching for a tennis ball. Debussy’s score is full of astonishing sonic effects of a more delicate and refined nature than we find even in his earlier La Mer. The network of small musical fragments that makes up the score gives the piece a mosaic-like, sparkling surface.

Petrushka, premiered in June 1911, was Stravinsky’s second great success (following The Firebird and preceding The Rite of Spring) for the Ballets Russes, and helped elevate him to the top of Europe’s musical life. He had originally conceived the piece as a kind of piano concerto, with the solo instrument representing the title character. The piano retains a major role in the final score, but the kaleidoscopic variety of the orchestration, depicting scenes from the joyous hysteria of a Russian Shrovetide (Mardi Gras) Fair, has an even greater presence. Petrushka, a puppet brought to life, is rejected by his fellow puppet, the Ballerina, and “killed” by her preferred lover, the puppet Moor. His creator, the Charlatan, proves he was never alive in the first place, but Petrushka has the defiant last word.

Robert Kirzinger

22 Claude Debussy “Jeux—Poème dansé”

ACHILLE-CLAUDE DEBUSSY was born at St. Germain-en-Lay, France, on August 22, 1862, and died in Paris on March 25, 1918. He composed “Jeux,” his “danced poem,” during the late summer of 1912. It was first performed, with choreography by Nijinsky, on May 15, 1913, by the Ballets Russes in Paris; the first concert performance was on March 1, 1914, conducted by Gabriel Pierné.

THE SCORE OF “JEUX” calls for two piccolos, two flutes, three oboes and English horn, three clarinets and bass clarinet, three bassoons, sarrusophone (replaced here by contrabassoon), four horns, four trumpets, three trombones, tuba, timpani, tambourine, triangle, , celesta, xylophone, two harps, and strings.

On the day Stravinsky’s Firebird was first staged in London by Diaghilev’s Ballets Russes, June 18, 1912, Claude Debussy signed a contract with Diaghilev for a ballet to be named Jeux and to be ready for performance in the 1913 Paris season. The fee of 10,000 francs was more than alluring for someone of Debussy’s ever uncertain finances, and as half of it was due on delivery of the piano score by the end of August, he set to work at once and composed with remarkable speed. So many of Debussy’s theatrical projects ended up for one reason or another “in the water” (as the French saying goes) after years of hesitation, failed collaborators, lack of money, lack of promoters, and so on, that this speedy conception and composition of Jeux is all the more remarkable.

Debussy had reached a point in his thinking about music where an altogether new approach to orchestral color and rhythm had worked its way to the front of his mind. He was ready to set down a piece that for the first time broke fully away from traditional notions of form and harmony, already weakened in a series of masterpieces from the Prélude a l’Après-midi d’un faune and La Mer to the set of orchestral Images. The “danced poem” Jeux works, most unexpectedly, on two quite different levels: as a transparent tissue of abstract musical ideas woven with filigree orchestral threads, or as a moment- by-moment representation of stage action and ballet movement.

week 11 program notes 23 Program page for the first Boston Symphony performances of Debussy’s “Jeux” on January 2 and 3, 1920, with Pierre Monteux conducting (BSO Archives)

24 Tamara Karsavina, Vaslav Nijinsky, and Ludmila Schollar in “Jeux,” 1913

Those who saw Jeux as a ballet (revivals on stage have been very rare) were struck by the modernity of Diaghilev’s conception. It was his idea to stage a ballet on a tennis court in the garden of a big country house. A man and two women play out what many then rec- ognized to be Diaghilev’s private sexual fantasy, the young man representing himself and the two girls making up an imagined threesome. Nijinsky, Diaghilev’s star male dancer, worked out the scenario and choreography, and Leon Bakst designed the set.

A tennis ball bounces across the stage, followed by a young man, who disappears after it. Two girls appear, and each dances in turn. When they notice the young man watching them, they start to run off, but he brings them back. He dances with the first girl, leading to an amorous embrace which piques the second girl. She does her own dance and gradually draws the young man’s attention to her. Now it’s the turn of the first girl to be hurt, and as she is consoled by the second girl the young man sweeps them both into a passionate dance culminating in a climactic triple kiss. Their ecstasy is broken by another tennis ball bouncing across the stage, and they disappear into the depths of the darkened garden.

The costumes were starkly modern, the girls wearing plain dresses reaching just below the knee and the young man wearing a tie over a white shirt and sporting pants. None of them carried rackets, and the ball was apparently much too big. Nijinsky himself had never played a game of tennis.

Debussy admired Diaghilev and remained on cordial terms with him, but he had little to say for Nijinsky, and by the time the first performance arrived his annoyance at Nijinsky’s style and manners reached a peak. Debussy was perfectly aware that Stravinsky’s Rite of Spring was being rehearsed for its own historic opening night just two weeks later

week 11 program notes 25 and that its far greater demands on the dancers and stage designers were a cause of Nijinsky’s distraction. The two girls were played by Tamara Karsavina and Ludmila Schollar, both stars of Diaghilev’s company, and although the opening night went well, the public was somewhat baffled by the inconclusiveness of the ballet, and—hardly sur- prising—few seemed to notice the music. By the time the Rite had opened, Jeux was almost entirely forgotten.

On the day of the premiere, Debussy took the remarkable step of publishing a letter in the press disassociating himself from the choreography, which he complained had been reduced to a series of arithmetical divisions, as if music were simply a series of numbers. He had devoted his life to attempting to disguise the crude rhythmic divisions of music, and in Jeux he used a subtle continuity of pulse (not quite the same as the beat) behind which the pace of the music can move back and forth, stop and start, treating tiny frag- ments of melody, and allowing one brief idea to dissolve into another. He was very aware that the score could seem to be a tissue of fragments, but insisted that there is a hidden continuum behind it, even if he could not identify it in words. Every listener can respond in his own way, of course. Many leading 20th-century composers, most notably Boulez, have absorbed the lessons of Jeux in their quest for a musical form that defies textbook archetypes but yet has organic life.

Debussy’s orchestral skill is astonishing. He calls for a large orchestra but never uses the full forces at any one time. The trombones do not take part until midway through. He had learned a lot from Stravinsky, even from Ravel, both younger than he, yet his timbre is distinctive and magical. While working on the score he said he was seeking “an orchestral color that seems to be illuminated from behind, of which there are such marvelous exam- ples in Parsifal.” Tennis or no tennis, Klingsor’s magic garden remained the image that Debussy, ever since his first visit to Bayreuth in 1888, could never drive from his mind.

Hugh Macdonald hugh macdonald was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich and is currently writing a book on the operas of Saint-Saëns. His most recent books are “Bizet” (Oxford University Press, 2014) and “Music in 1853” (University of Rochester Press, 2012).

THEFIRSTBOSTONSYMPHONYPERFORMANCES—WHICHWEREALSOTHE FIRSTAMERICAN PERFORMANCES—of “Jeux” were on January 2 and 3, 1920, with Pierre Monteux conducting, fol- lowing by performances in Baltimore and New York. After that, the BSO did not play it again until November and December 1951, again with Monteux conducting, in Boston and New York, subsequent BSO performances being given by Charles Munch, Pierre Boulez (including the BSO’s only Tanglewood performance, on August 2, 1969), Michael Tilson Thomas, Sir Colin Davis, David Robertson (the most recent subscription series, in March 2003), and James Levine (on Opening Night of the 2005-06 season, followed by a single subscription performance that October 1).

week 11 program notes 27

cotPooinMlnWager Promotion-Milan Schott

Henri Dutilleux “Le Temps l’Horloge,” for soprano and orchestra

HENRI PAUL JULIEN DUTILLEUX was born on January 22, 1916, in Angers and died in Paris on May 22, 2013, at age ninety-seven. “Le Temps l’Horloge” was commissioned jointly by the Saito Kinen Festival Matsumoto, Seiji Ozawa, director; the Boston Symphony Orchestra, James Levine, music director, and the Orchestre National de France, Kurt Masur, music director. The Boston Symphony commission—one of its 125th anniversary commissions—was made possible through the generous support of Catherine and Paul Buttenwieser. Dutilleux composed the first three songs in this cycle between 2006 and 2007, writing them specifically for soprano Renée Fleming. Seiji Ozawa led Fleming and the Saito Kinen Orchestra in the world premiere on September 6, 2007, at the Saito Kinen Festival in Matsumoto, Japan. Fleming, Levine, and the BSO gave the American premiere performances on November 29/30 and December 1/2, 2007, in Symphony Hall, and the New York premiere on December 3, 2007, at Carnegie Hall. Dutilleux later added the instrumental Interlude based on the Jean Tardieu poem “Le Futur antérieur,” and the final song, on Baudelaire’s “Enivrez-vous.” The completed, five-part work was given its premiere by Fleming, Ozawa, and the Orchestre National de France at the Théâtre des Champs-Elysées, Paris, on May 7, 2009, and receives its American premiere in these concerts.

IN ADDITION TO THE SOLO SOPRANO, the score for “Le Temps l’Horloge” calls for piccolo, two flutes, two oboes, two B-flat clarinets, E-flat clarinet, bass clarinet, two bassoons and contra- , three horns, three trumpets, three trombones, tuba, timbales, two percussion (crotales, high and medium suspended cymbals, medium and low tam-tams, wood block, , vibra- phone, marimbaphone), harp, celesta, harpsichord, , and strings. The duration of the complete cycle is about fourteen minutes.

This year the Boston Symphony Orchestra celebrates the centennial of Henri Dutilleux, a great presence in French music of the modern era and a profoundly important figure in the history of the Boston Symphony Orchestra. On January 10, the Boston Symphony Chamber Players performed four of the composer’s chamber works in an all-French concert at Jordan Hall. In addition to Le Temps l’Horloge, later this season the BSO performs his Timbres, espace, mouvement under Charles Dutoit (February 25-27) and his Métaboles under Andris Nelsons (April 21-23).

week 11 program notes 29 Program page for the first Boston Symphony performances—also the American premiere—of Dutilleux’s “Le Temps l’Horloge” in November/December 2007, with soprano Renée Fleming under James Levine’s direction (BSO Archives)

30 BSO music director Charles Munch introduced the BSO and its audience to Dutilleux’s music in 1954 with the American premiere of the composer’s First Symphony; also during Munch’s tenure, the composer was one of a select group commissioned to celebrate the BSO’s 75th anniversary. He responded with his Symphony No. 2, Le Double, which Munch and the BSO premiered in 1959. During Seiji Ozawa’s tenure as music director, the BSO commissioned and premiered The shadows of time (1997), and under James Levine the orchestra was a co-commissioner of Le Temps l’Horloge, a BSO 125th anniversary com- mission. The Boston Symphony Chamber Players performed, and in 2011 recorded for CD, the composer’s Les Citations. Other works figuring in the BSO repertoire are his cello concerto “Tout un monde lointain…,” written for , and the 1964 orchestral work Métaboles, composed originally for the Cleveland Orchestra’s 40th anniversary. Although he taught relatively infrequently, Dutilleux’s further connections with the BSO included time at Tanglewood as a member of the TMC composition faculty in 1995 and 1998.

As a composer, Henri Dutilleux was an obsessive perfectionist. His meticulous attention to each detail in his scores endowed them with a jewel-like gleam, reflecting his affinity for the Flemish artists of the Northern Renaissance. His self-critical attitude is unwaver- ing—and a key to Dutilleux’s artistic personality. The composer reputedly rejected a large amount of material in the process of molding the relatively small list of works published throughout a lengthy career (he began composing at thirteen). In the last ten years or so

week 11 program notes 31

S Archives BSO

Seiji Ozawa, Henri Dutilleux, Charles Munch, and Olivier Messiaen at the 1966 Besançon Festival

of his life he published only a handful of works, including the song cycle Le Temps l’Horloge. He remained active well beyond his ninetieth year.

Dutilleux was born roughly in the middle of the generation separating Messiaen and Boulez and, like both, turned away from the superficial charm and artifice that had become iden- tified with French music before the war. Yet he was something of a loner—a fact only emphasized by his longevity—and always stood apart from the sackcloth-and-ashes earnestness once associated with international postwar modernism. A chief appeal of Dutilleux’s music is its sensuousness of texture. His works evoke a colorful garden of sounds so delicately cultivated as to suggest a latter-day Ravel.

While Dutilleux’s father fought in the First World War, his family remained in temporary exile from its home in the northern French Flanders town of Douai. Dutilleux studied at the Paris Conservatoire and eventually won the Prix de Rome, but the outbreak of the Second World War intervened, and the young artist had to return abruptly from Italy to Paris. Dutilleux’s formative years were thus bracketed by the two world wars, whose horrors obviously came close to home. Could it be that the concentrated perfectionism of Dutilleux’s music involves an attempt to distill order and beauty from an otherwise chaotic world?

He patched together a career working as a chorus master at the Opéra and writing musical arrangements for nightclubs (one can detect an occasional influence of jazz elements). Later, Dutilleux got a job with Radio France writing incidental music for radio plays as head of a department labeled “musical illustrations.” But it was in the realm of “absolute” instrumental music that Dutilleux eventually found his authentic voice, beginning with his (1948)—written for his pianist wife Geneviève Joy—and his Symphony No. 1 (1951). His reputation began to spread in the 1960s; curiously, this was largely a result of commissions from American (rather than French) orchestras. The Boston

week 11 program notes 33

Symphony Orchestra in particular played a vital role, commissioning such pivotal works as the Symphony No. 2 (1955-59) and, more recently, in 1997, The shadows of time, Dutilleux’s musical reflections on the tragedies of the Second World War.

Dutilleux is mostly identified with highly abstract, coloristic orchestral scores, but fre- quently taps into the visual arts and literature to enrich his inspiration. A number of his major compositions involve deeply personal relationships with texts or paintings. When Dutilleux taught music at the École Normale in Paris, his classes often included visits to art galleries, and his most frequently performed work, the cello concerto “Tout un monde lointain...,” is saturated with a love of Baudelaire. Although he belongs to no particular school, Dutilleux is clearly part of a significant lineage of French composers—among them might be numbered Berlioz, Debussy, and Messiaen—whose creative intuition has been enhanced by their enthusiasm for the other arts.

One unmistakably abiding concern for Dutilleux was a preoccupation with the interplay of memory and time passing (which has given the writing of Proust a special place in his artistic cosmos). Time and space, presence and absence, shadows and reflections— these form a network of imagery that recurs throughout Dutilleux’s oeuvre, from purely instrumental works such as his string quartet (subtitled ) to his settings of texts in Le Temps l’Horloge.

After a long absence of the human voice from his scores, Dutilleux again began writing for it when he introduced children’s voices in The shadows of time (1997). Preceding Le Temps l’Horloge came the song cycle (2003), written for Dawn Upshaw to texts drawn from the letters of Prithwindra Mukherjee, Rilke, Solzhenitsyn, and Van Gogh. Its title alludes to the famous poem of Baudelaire, whose artistic “shadow” recurs through Dutilleux’s career. Le Temps l’Horloge, written for soprano Renée Fleming, not only recapitulates poetic ideas that long fascinated the composer; it also distills the essence of his musical personality in intriguingly potent concentrations (the first and

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

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

week 11 program notes 35

ihe .Lutch J. Michael

James Levine, Renée Fleming, and Henri Dutilleux following the American premiere of the composer’s “Le Temps l’Horloge” on November 29, 2007

third songs last only two minutes each). Dutilleux moreover seems to revel in the combi- nation of the human voice in all its lyrical freedom and the pointillist textures of his orchestration. In her valuable study of the composer, Caroline Potter observes that Dutilleux has described himself as possessing “two opposing sides”: a love for “freedom of expression” and an instinct for “precise, clear, and strict form.”

The three poems by Jean Tardieu (1903-95) strike dramatically contrasting attitudes. Tardieu, like Dutilleux, worked at Radio France (and was indeed one of the chief architects of French radio). His poetry reflects a Mallarmé-inspired lyricism, while as a playwright he was aligned with the postwar theater of the absurd of Ionesco, Beckett, and others. “Le Temps l’horloge” (from which the whole song cycle takes its title) plays off the irony of mechanically measured time versus the tricks and feints of psychological time—which more accurately reflects the human soul? Dutilleux responds with a gentle, melancholy humor: as if to counter the triple-meter flow (speeded up in the winds and harpsichord), the song nearly comes to a standstill in the middle as the clarinet erupts in a brief, meter-defying solo. The soprano’s rising and falling lines meanwhile hint at time’s recur- rent patterns.

“Le Masque” presents us with quite another atmosphere: a chimerical confrontation between the narrator and a sphinx-like mask whose mystery is left unexplained. The vocal line’s wide-ranging intervals seem palpably to trace the object. Here Dutilleux brings his mastery of coloristic textures—both elegant and dramatic—into supreme focus with music that alternately brightens and scurries into the shadows. Echoes of Bartók’s nocturnal moods deepen the poem’s sense of mysterious spaces, while muted brass bring in the briefest tinge of nightclub jazz. Notice how much Dutilleux can evoke with the harmonic brushstroke of one chord (describing the “green star”)—or how a sud- den crescendo spells unnamed fears. At the song’s climax, even the voice resorts to a wordless melisma.

week 11 program notes 37 “Le Dernier Poème” of Robert Desnos (1900-45) is a deeply moving lyric of loss—and also the subject of ongoing controversy. Desnos was a surrealist poet who experimented with automatic writing and was hailed (though later condemned) by the surrealist guru André Breton. Desnos worked as an active member of the Resistance until the Gestapo arrested him in 1944 and deported him to a series of death camps. The poet survived the liberation of Terezín, but he died only a month after the war ended from illnesses he had incurred in the camps. He is the sole poet commemorated on the walls of the Monument to the Martyrs of the Deportation in Paris, where the text of “Le Dernier Poème” is inscribed.

The controversy pertains to the origins of the poem itself. For a while it was believed to have literally been Desnos’s final poem, written in the ultimate desperation of the camps; however, the text has since been shown to be a variant of a poem he had actually com- posed in 1926. Regardless, the heartrending eloquence of “Le Dernier Poème” is undeniable. It draws from Dutilleux a setting of profound sparseness. A sonority mixing timpani strokes and strings frames the song, creating an oddly unsettling ambience of hollowed-out nostalgia. A brief cluster of instruments gathers at the moment the narrator tries to embrace the absent lover. But Dutilleux’s music inexorably thins out, leaving tentative fragments of melody behind to comb through the shadows.

The brief instrumental Interlude is based on Jean Tardieu’s prose poem “Le Futur antérieur,” the French grammatical term corresponding to the English “future perfect,” that is, describing expected completion of an action in the future. (For example, “By the end of this season, the BSO will have performed three Dutilleux works in honor of his centenary.”) With a little introspection one might read it as meaning “looking back from the future,” which is essentially the meaning of Tardieu’s poem. The Interlude opens with a long line for the cellos, which then divide themselves into several lines, like the different potential paths of a life. A tiny flurry of cadenza for the harpsichord leads directly into the final song, “Enivrez-vous” (“Get Drunk”). Charles Baudelaire’s prose poem isn’t advocating mere alcoholic drunkenness, but the imbibing of experience to the point of intoxication— to be drunk on life, whatever media you choose. His specific suggestions, among infinite possibilities, are “de la vin, de poésie, de vertu”—wine, poetry, virtue—to escape “being the enslaved martyrs of Time.” Dutilleux’s setting takes a very fluid perspective on pulse, which is definite but constantly changing, like our perception of time, especially in the throes of joyous inebriation.

Thomas May (2007), updated for the present performances by Robert Kirzinger

thomas may writes about the arts, lectures about music and theater, and blogs at memeteria.com Composer and annotator robert kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

38 Henri Dutilleux “Le Temps l’Horloge” Poems by Jean Tardieu, Robert Desnos, and Charles Baudelaire i. le temps l’horloge time and the clock L’autre jour j’écoutais le temps The other day I was listening to time Qui passait dans l’horloge. As it passed through the clock. Chaînes, battants et rouages Chains, clappers and cogs Il faisait plus de bruit que cent It made more noise than one hundred Au clocher du village At the village bell et mon âme en était contente And this pleased my soul. J’aime mieux le temps s’il se montre I prefer time when it shows itself Que s’il passe en nous sans bruit Rather than passing among us noiselessly Comme un voleur dans la nuit Like a thief in the night.

Jean Tardieu, from “Plaisantineries” Trans. Benjamin Schwartz (Editions Gallimard) ii. le masque the mask Un lourd objet de bronze creux A heavy object of hollow bronze En forme de masque aux yeux clos In the shape of a mask with eyes closed S’élève lentement et seul Rises slowly and alone Très haut dans le désert sonore. Very high in the sonorous desert. Jusqu’à cet astre vert, à cette Face Up to this green star, to this Visage Qui se tait depuis dix mille ans, Which has remained silent for ten thousand years Sans effort je m’envole, I fly with no effort, sans crainte je m’approche. I approach with no fear. Je frappe de mon doigt replié I knock with my curled finger Sur le front dur sur les paupières bombées, On the hard forehead on the convex eyelids, Le son m’épouvante et me comble: The sound terrifies and overwhelms me: Loin dans la nuit limpide Far away in the limpid night Mon âme éternelle retentit. My eternal soul echoes. Rayonne, obscurité, sourire, solitude! Radiance, darkness, smile, solitude! Je n’irai pas violer le secret I will not go violate the secret Je reste du côté du Visage I remain next to the Face Puisque je parle et lui ressemble. Since I speak and resemble it. Cependant tout autour la splendeur Meanwhile all around the splendor c’est le vide, is emptiness, brillants cristaux nocturnes de l’été. brilliant nocturnal crystals of summer.

Jean Tardieu, from “Histoires obscures” Trans. Benjamin Schwartz (Editions Gallimard)

Please turn the page quietly.

week 11 texts and translations 39 iii. le dernier poème the last poem J’ai rêvé tellement fort de toi, I’ve dreamt so strongly of you, J’ai tellement marché, tellement parlé, I’ve walked so much, talked so much, Tellement aimé ton ombre, So loved your shadow, Qu’il ne me reste plus rien de toi, That I’ve nothing left of you, Il me reste d’être l’ombre parmi les ombres I’m left to be the shadow among shadows D’être cent fois plus ombre que l’ombre To be one hundred times more shadow than the shadow D’être l’ombre qui viendra et reviendra To be the shadow that will appear and reappear dans ta vie ensoleillée. in your sun-filled life.

Robert Desnos Trans. Benjamin Schwartz

40 iv. interlude The instrumental Interlude is based on the following poem, which is not sung, but is given here for reference. le futur antérieur the future as past Très jeune, je me suis installé dans mon passé. Very young, I settled into my past. Not in a Non dans un passé réel que je ne pouvais encore real past, which would not yet have allowed posséder mais dans une vision anticipée de mon me an anticipated vision of my fate, as if my destin, comme si ma vie s’était déjà déroulée life had already proceeded to the end, as if I jusqu’au bout, comme si je la contemplais du contemplated the immediacy of my death in haut de ma mort, dans la mélancolie du souvenir. melancholy remembrance. Peu à peu, le vrai passé recouvre cette sorte Little by little, the real past covers this kind d’image antérieure, à la façon d’une ombre de of earlier image, as a cloud shadows the nuage épousant les contours et les volumes contours and volumes of a mountain. The d’une montagne. Le passé prévu et le passé vécu past anticipated and the past lived are slowly se rejoignent lentement: la zone encore claire, reconciled: the area again clear, approached, pressentie, reconnue, acceptée, diminue chaque valued, accepted, diminished each day. jour. Elle n’est qu’une illusion de liberté et de There is only an illusion of freedom and découverte. discovery. Ainsi, quand viendra la mort, elle ne trouvera So when death comes, it will find no one: personne : il y a longtemps que j’ai cessé de it was a long time ago that I ceased living, vivre et que je me contemple avec une infinie and now contemplate myself with an infinite tristesse dans la paix des temps accomplis. melancholy in the peace of time fulfilled. Jean Tardieu, from “Le Part de l’ombre: Proses 1937-1967” (Editions Gallimard) v. enivrez-vous get drunk Il faut être toujours ivre, tout est là; c’est Always be drunk. That’s it! The great l’unique question. Pour ne pas sentir imperative! In order not to feel time’s l’horrible fardeau du temps qui brise vos horrid burden on your shoulders, grinding épaules et vous penche vers la terre, il faut you into the earth, get drunk and stay vous enivrer sans trêve. that way. Mais de quoi? De vin, de poésie, ou de But on what? On wine, poetry, virtue, vertu à votre guise, mais enivrez-vous! whatever. But get drunk! Et si quelquefois, sur les marches d’un And if you sometimes happen to wake up palais, sur l’herbe verte d’un fossé, dans la on the porches of a palace, in the green solitude morne de votre chambre, vous vous grass of a ditch, in the dismal loneliness réveillez, l’ivresse déjà diminuée ou disparue, of your own room, your drunkenness gone demandez au vent, à la vague, à l’étoile, à or disappearing, ask the wind, the wave, l’oiseau, à l’horloge; à tout ce qui fuit, à tout the star, the bird, the clock, ask everything ce qui gémit, à tout ce qui roule, à tout ce that flees, everything that groans or rolls qui chante, à tout ce qui parle, demandez or sings, everything that speaks, ask what quelle heure il est. Et le vent, la vague, l’étoile, time it is; and the wind, the wave, the star, l’oiseau, l’horloge, vous répondront, il est the bird, the clock will answer you: “Time l’heure de s’enivrer; pour ne pas être les to get drunk! Don’t be martyred slaves of esclaves martyrisés du temps, enivrez-vous, Time: Get drunk! Stay drunk! On wine, enivrez-vous sans cesse de vin, de poésie, virtue, poetry, whatever!” de vertu, à votre guise. Charles Baudelaire, from “Le Spleen de Paris: Petits po`emes en prose”

week 11 texts and translations 41

Joseph Canteloube Selections from “Songs of the Auvergne”

JOSEPH CANTELOUBE was born in Annonay, near Lyon, France, on October 21, 1879, and died in Grigny, south of Paris, on November 4, 1957. His thirty folksong arrangements known as “Songs of the Auvergne” were composed at intervals between 1924 and 1955 and published in five series. They are in the Occitan language, and their original interpreter was the French soprano Madeleine Grey, who performed “Baïlèro” for the first time in 1926.

THE ORCHESTRAL COMPONENTS for each of the three songs on this program are as follows: BAÏLÈRO—two flutes, piccolo, oboe, two clarinets, two bassoons, two horns, , timpani, piano, and strings; MALUROUS QU’O UNO FENNO—flute, piccolo, two oboes, two clarinets, two bassoons, two horns, trumpet, timpani, bass drum, crash cymbals, sleighbells, suspended cym- bal, piano, and strings; BREZAIROLA: flute, two clarinets, two bassoons, two horns, trumpet, piano, and strings.

Certain composers have possessed the gift of transforming local and regional music into the property of the whole world. Bartók achieved this for the treasure-store of Hungarian folk song, despite its unfamiliar scales and intervals, and Canteloube achieved something similar in his collections of French folk song. His arrangements of songs from the Auvergne have found a place in the repertoire of many fine interpreters of French song, beginning with Madeleine Grey, to whom many of Canteloube’s Chants d’Auvergne were dedicated.

Although Canteloube lived for many years in Paris, he was passionate about the moun- tainous region of France that lies between the rivers Dordogne and Rhône and comprises the Départements of Cantal, Haute-Loire, and Puy-de-Dôme. He prized the dialect, the melodies, and the landscape of this region; he also gathered songs from other parts of France and edited some French Canadian songs.

His predilections were reinforced when he went to study at the Schola Cantorum in Paris, since Vincent d’Indy, its founder and director, was a strongly committed nationalist who had introduced French folk song into his own orchestral works. D’Indy’s teaching, and the

week 11 program notes 43 Program page for the first Boston Symphony performance of selections from “Songs of the Auvergne,” at Tanglewood on July 5, 1985, with soloist and conductor Seiji Ozawa (BSO Archives)

44 companionship of Déodat de Séverac, another enthusiastic regionalist composer, provid- ed Canteloube with the inspiration to embark on his first serious compositions, mostly songs and orchestral works. Two operas, Mas and Vercingétorix, were staged between the wars at the Paris Opéra, the first extolling French country life and the second recalling the leader of the Gallic nation with undisguised patriotism.

It was the Chants d’Auvergne that brought Canteloube’s name most prominently before the public. The first two books came out in 1924, containing eleven songs, with an accompaniment for modern orchestra of amply rich coloring. “Baïlèro,” the second song in the first book, had been noted down in 1900 on a mountainside overlooking Vic-sur-Cère, in Cantal. Canteloube heard it sung by a shepherdess, answered by a distant shepherd singing the response. The composer then spoke to the shepherdess in the local dialect and discovered that the shepherd’s reply was carried over a distance of nearly four miles. Many years later, in 1923, when he made the arrangement of the song while traveling by train from Montauban to Toulouse, he marked the second line of each verse as a “far dis- tant echo” and “fading to nothing.” Canteloube’s harmonization and warm orchestration give the song a marvelously nostalgic feeling, as if heard as a distant memory.

Many of the songs are bourrées, the characteristic dance of the Auvergne, most of them in quick triple time and only distantly related to the courtly bourrée adopted by Parisian composers of opera and ballet in the Baroque period. “Malurous qu’o uno fenno” is a lively bourrée from the second book with a neatly cynical message. Between the two verses the composer pictures his singer dancing to the oboe’s twirls over violin open strings and then returning for the punchy second verse.

The beautiful “Brezairola” is a cradle-song with the simplest of tunes. Canteloube injects a few pungent chromatic notes without disturbing the mother’s calm comforting. The opening introduces a solo violin, and for the middle section the music modulates to a darker key. Here the melody is taken by the strings while the singer provides a simple

week 11 program notes 45

French soprano Madeleine Grey (1896-1979), the original interpreter of “Songs of the Auvergne”

counterpoint. Then the happy original key returns together with its chromatic coloring, and even the last chord is left with some lingering alien notes.

In his arrangements Canteloube respects the inflections and modal character of the melodies and has preserved their dialect texts. He is fond of drone basses and the char- acteristic local la-la-las, but not afraid to apply chromatic harmony for expressive purposes. He brings out both the sentiment and the humor of the songs. His orchestration is bright and colorful, with a wide sonority and a special fondness for the rustic upper woodwinds.

The country folk who people these songs are rough and tender by turns, obsessed with the follies and delights of love. Their world is made up of the trees and pastures of Auvergne, dotted between the hills and rivers, and their companions are more often birds and animals than their fellow human beings. These songs evoke a French country- side that in its physical aspect is still there to be admired, and in its social milieu has not entirely vanished, even today.

Hugh Macdonald

THEBOSTONSYMPHONYORCHESTRA has performed varied selections from Canteloube’s “Songs of the Auvergne” on just three previous occasions, all of them at Tanglewood: on July 5, 1985, with Kiri Te Kanawa and conductor Seiji Ozawa; on July 30, 2005, with Frederica von Stade and conductor Hans Graf; and on August 20, 2010, with Dawn Upshaw and conductor Ludovic Morlot.

week 11 program notes 47 Joseph Canteloube Selections from “Songs of the Auvergne”

baïlero shepherd’s song Pastré, dè dèlaï l’aïo, as gaïré Shepherd across the water, you are dé boun tèms? hardly having a good time? Dio lou baïlèrô, lèrô, lèro Sing baïlèrô, lèrô, lèro lèro lèro lèro baïlèro lô. lèro lèro lèro baïlèro lô. E n’aï pa gaïre, è dio, tu? No, I’m not, and you? Baïlèrô lèrô, lèro lèro, etc. Sing baïlèro, lèro, lèro, lèro, etc. Pastré, lou prat faï flour, Shepherd, the meadows are abloom, li cal gorda toun troupel! come graze your flock over here! Dio lou baïlèrô, lèrô, lèro, etc. Sing baïlèro, lèro, lèro, lèro, etc. L’erb’ es pu fin’ ol prat d’oïci! The grass is lusher in my meadow! Baïlèrô lèrô, lèro lèro, etc. Baïlèrô lèrô, lèro lèro, etc. Pastré, couci foraï, en obal io Shepherd, the stream lies between us, lou bel rîou! and I cannot cross it! Dio lou baïlèrô, lèrô, lèro, etc. Sing baïlèro, lèro, lèro, lèro, etc. Es pèromè, té baô çirca! Then I shall come and fetch you! Baïlèrô lèrô, lèro lèro, etc. Baïlèrô lèrô, lèro lèro, etc.

48 malurous qu’o uno fenno wretched the man who has a wife Malurous qu’o uno fenno, Wretched the man who has a wife, Malurous qué n’o cat! wretched the man without one! Que n’o cat n’en bou uno, He who hasn’t got one, wants one, Que n’o uno n’en bou pas! he who has one, doesn’t! Trad`era, lad`eri, d`er`ero... Trad`era, lad`eri, d`er`ero... Urouzo lo fenno Happy is the woman Qu’o l’omé qué li cau! who has the man she needs! Urouz’ inqu`ero maito But happier still is she O qu`elo qué n’o cat! who’s managed to stay free! Trad`era, lad`eri, d`er`ero... Trad`era, lad`eri, d`er`ero... brezairola lullaby Soun, soun, béni, béni, béni; Come, come, sleep descend upon these eyes, Soun, soun, béni, béni, doun. Come, sleep, oh come! Soun, soun, béni, béni, béni; Come, come sleep, descend upon these eyes, Soun, soun, béni, d’èn docon! Come from wherever you will! Lou soun, soun, bouol pas béni, pécairé! Sleep will not come: the lazy one! Lou soun, soun, bouol pas béni, Sleep will not come, Lou néni s’en bouol pas durmi! Oh! the baby will not sleep! Oh! Soun, soun, béni, béni, béni; Sleep, come, hurry up! Soun, soun, béni, béni, doun! Sleep, oh, do come here! Lou soun, soun bouol pas béni, It doesn’t want to come, L’èfontou bouol pas durmi! The baby will not sleep! Soun, soun, béni, béni, béni; Sleep, come, hurry up! Soun, soun, béni, o l’èfon! Oh! Oh! Sleep, come to the baby! Oh! Soun, soun, béni, etc. Come, come sleep, etc. Atso lo qu’es por oqui, pécairé! It is coming at last, the lazy one! Atso lo qu’es por oqui, It is coming, here it is! Lou néni s’en boulio durmi... Ah! And the baby is going to sleep... Ah!

week 11 program notes 49

Igor Stravinsky “Petrushka,” Burlesque in four scenes (1911 version)

IGOR FEDOROVICH STRAVINSKY was born at Oranienbaum, Russia, on June 17, 1882, and died in New York on April 6, 1971. He composed “Petrushka” at Lausanne and Clarens, Switzerland, at Beaulieu in the south of France, and in Rome, between August 1910 and May 26, 1911. The first performance was given by Diaghilev’s Ballets Russes at the Théâtre du Châtelet, Paris, on June 13, 1911. Scenario, scenery, and costumes were by Alexandre Benois, to whom the music is dedicated, and whose name appears on the title page as co-author of these “scènes burlesques.” The choreog- raphy was by Michel Fokine. Pierre Monteux conducted, the principal roles being taken by Vaslav Nijinsky as Petrushka, Tamara Karsavina as the Ballerina, Alexander Orlov as the Moor, and Enrico Cecchetti as the Magician. It was also Monteux who conducted the first concert perform- ance, on March 1, 1914, at the Casino di Paris, with Alfredo Casella playing the piano solo. Stravin- sky reorchestrated “Petrushka”—reducing the original instrumentation somewhat, particularly in the woodwinds and brass—in 1946, the new edition being generally identified by the date of its publication as the “1947 version.” It is the original 1911 version that is being played in these concerts.

THE SCORE OF STRAVINSKY’S “PETRUSHKA” in its original 1911 version calls for four flutes, two piccolos, four oboes, English horn, four clarinets and bass clarinet, four bassoons and contra- bassoon, four horns, two trumpets, two cornets, three trombones, tuba, timpani, triangle, tam- bourine, bells, cymbals, , military drum, bass drum, xylophone, celesta, two harps, piano, and strings. The pianist at these performances is Vytas Baksys.

In 1910 Stravinsky became the darling of Paris with a brilliant ballet, The Firebird, produced by Diaghilev’s Russian Ballet. The impresario had risked failure with a young and relatively unknown composer (Stravinsky turned twenty-eight a week before the premiere) and had enjoyed a resounding triumph. Naturally he wanted a new Stravinsky ballet for the following season, and he was overjoyed with the proposed scenario: an exotic picture of life in prehistoric Russia featuring the sacri- fice of a maiden, who is chosen for the honor of dancing herself to death for the fertility of the earth. The work promised wonderful richness of orchestral color and

week 11 program notes 51 Program page for the first Boston Symphony performances of music from Stravinsky’s “Petrushka” on November 26 and 27, 1920, with Pierre Monteux conducting (BSO Archives)

52 rhythmic energy, two features that Stravinsky had already demonstrated in abun- dance.

After the Paris season ended, the young composer went off with his family for a vacation in Switzerland, first to Vevey, then to Lausanne, with every intention of composing his planned ballet. But his musical fantasy took him in an utterly unex- pected direction. Before starting the ballet (which he eventually did finish as Le Sacre du printemps), he wanted to compose something quite different by way, almost, of recreation. He had in mind a little concerto-like piece for piano and orchestra; his first image was of a romantic poet rolling two objects over the black and white keys, respectively, of the piano (this image was to give rise to the com- plex bichord consisting of C major and F-sharp major simultaneously arpeggiated). Later his image became more detailed, with the piano representing a puppet sud- denly come to life and cavorting up and down the keyboard, metaphorically thumb- ing his nose at the orchestra, which would finally explode in exasperation with overwhelming trumpet blasts. “The outcome,” Stravinsky wrote, “is a terrific noise which reaches its climax and ends in the sorrowful and querulous collapse of the poor puppet.”

Having finished this little piece, Stravinsky hunted for a suitable title and was delighted when it occurred to him to call it Petrushka, after a puppet character (roughly the Russian equivalent of Punch) popular in Russian fairs. Soon after, Diaghilev came to visit, expecting to hear some of the new ballet. As Stravinsky recalled, He was much astonished when, instead of sketches of the Sacre, I played him the piece which I had just composed and which later became the second scene of Petrushka. He was so much pleased with it that he would not leave it alone and began persuading me to develop the theme of the puppet’s sufferings and make it into a whole ballet. While he remained in Switzerland we worked out together the general lines of the subject and plot in accordance with ideas which I suggested.... I began at once to compose the first scene of the ballet.

The work was put on the stage with the collaboration of designer Alexandre Benois, who entered enthusiastically into Stravinsky’s vision, eager as he was to “immortalize” the character of Petrushka, “my friend since my earliest childhood.” The choreography was created by Michel Fokine, who described the rehearsals, on the stage of the , as often degenerating to lessons in mathematics, since the dancers had so much difficulty with Stravinsky’s irregular fast rhythms. Once orchestral rehearsals started with Pierre Monteux, some of the players were offended at the curious sounds they were asked to make with their instruments. The scene changes were hampered by the fact that they had to be made in total darkness, and it was a noisy darkness, since Stravinsky had placed four drums in the prompt corner to play a continuous racket of sixteenth-notes to link scenes. Yet all the problems vanished in that most magical of balms, a successful opening night. One critic hailed the work as “a masterpiece, one of the most unexpected,

week 11 program notes 53

A drawing by Alexander Benois of Stravinsky at work on “Petrushka,” April 1911

most impulsive, most buoyant and lively that I know.” Though the success was credited to the effectiveness of all the elements—not least Nijinsky’s brilliant per- formance as the mechanical puppet with searing emotions—the music came in for lavish praise.

Petrushka became a banner work for the Russian Ballet, enjoying enormous success all over Europe and even in America, where in most cities it was the first work of Stravinsky’s to be performed. Of course no one at the time could predict that Stravinsky would go on very soon to an even more astonishing and seminal work, Le Sacre du printemps, one that proved disconcerting, even to many of Stravinsky’s warmest admirers. Still, even though Le Sacre is universally regarded as the more important work, Petrushka remains as fascinating and delightful as these early appreciative critics found it. From the opening measure it positively dazzles the listener with its color and energy, and it moves with easy assurance between the “public” world of the fairground and the “private” world of Petrushka and his fellow puppets. The music is often so gestural that even in a concert performance, the images of the dancers are likely to perform in the listener’s mind’s eye.

The scenario is divided into four scenes, of which the first and last take place on the Admiralty Square in St. Petersburg during the 1830s during the Shrovetide fair (just before the beginning of Lent). These scenes are filled with incident and with elaborate overlays of musical figures representing the surge of characters coming and going at the fair. The second and third scenes of the ballet are interiors, devoted to the private emotional life of the puppet Petrushka, who is in love with the ballerina,

week 11 program notes 55 while she in turn is enchanted by the Moor. Only at the very end of the work do the “public” and “private” worlds—or should one say “reality” and “fantasy”?—become entangled with one another.

The “plot” as such can be briefly told: the crowds at the fair are drawn to a small theater, where a showman opens the curtains to reveal three lifeless puppets, Petrushka (a sad clown), the pretty but vacuous ballerina, and the exotic but dan- gerous Moor. He charms them into life with his flute and they execute a dance, first jiggling on their hooks on the stage, then—to the astonishment of the spectators— coming down from the theater and dancing among the crowd.

The second scene begins as Petrushka is kicked or thrown into his little cell. He picks himself up and dances sadly, conscious of his grotesque appearance. He wants to win over the ballerina, but when she enters, his ecstatic dance of joy is so

56 Sketches of Nijinsky as Petrushka in the second tableau

uncouth that she flees. The third scene takes place in the Moor’s cell. The ballerina captivates him, but their tryst is interrupted by the entrance of the jealous Petrushka. They quarrel, and the powerful Moor throws him out.

The final scene reverts to the main square, where the revelry has reached a new height. Crowds surge forward as all seek to celebrate the final evening before the start of Lent. Suddenly a commotion is heard in the little theater; Petrushka races out, closely pursued by the Moor, who strikes him down with a scimitar. The crowd is stunned by this apparent murder, and the showman is summoned. He, the supreme rationalist, demonstrates that the “body” is nothing more than a wooden puppet stuffed with sawdust. The crowd disperses. As the showman starts to drag the puppet offstage, he is startled to see Petrushka’s ghost on the roof of the little theater, thumbing his nose at the showman and at all who have been taken in by his tricks.

The first and last tableaux, which take place in the “real” world of the fair, have lit- tle in the way of storytelling; instead they rely on multiplicity of incident to suggest the throngs and the surge of life. The orchestra is full and busy, enlivened by vari- ous layers of frenzied activity. The inner tableaux differ strikingly in musical charac- ter. The orchestra often plays in smaller units, the music is more disjunct, and there is a marked avoidance of the folk material that fills the “public” sections of the score. Even the scale on which Stravinsky builds his melodies and harmonies is dif- ferent. Here he exploits what theorists call the “octatonic” scale, a pattern espe- cially favored by Stravinsky; it is a series of eight pitches alternating half-steps and whole-steps within the octave. Even without the visual element, the shape and character of the story are projected in Stravinsky’s score.

We know that Petrushka was first conceived as a Konzertstück for piano and orches-

week 11 program notes 57 tra, and the music that Stravinsky wrote first corresponds to the Russian Dance at the end of the first tableau and the bulk of the second tableau, in which the piano plays a central role. But once he had embarked on the full-scale ballet, Stravinsky rather surprisingly forgot his musical protagonist, and the piano scarcely appears again, even when Petrushka is supposed to be onstage. When he rescored the work in 1946-47, Stravinsky corrected this oversight to some extent and gave the piano considerably more to play. It is usually claimed that Stravinsky’s sole motiva- tion for the revised orchestration was to enable him to copyright the work again, so that he could collect performance royalties. Though the financial consideration cer- tainly played a role in Stravinsky’s thinking, Robert Craft notes (in an appendix to the first volume of Stravinsky correspondence that he edited) that many of the changes had been marked by Stravinsky years earlier as improvements that he desired after the experience of hearing Petrushka frequently in performance. In addition to increasing the piano part, the revision was also designed to correct many mistakes that had not been caught in the original edition and incorporate second thoughts to improve the projection of musical lines. Generating income from performance fees was a happy by-product.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

“petrushka” came to the united states with the Russian Ballet and Ernest Ansermet conducting, with Leonid Miassine (later Massine) as Petrushka, Lydia Lopokova as the ballerina, and Adolf Bolm as the Moor. The same cast gave the work at the Boston Opera House on Febru- ary 4, 1916.

THEFIRSTBOSTONSYMPHONYPERFORMANCES of any music from “Petrushka” were on November 26 and 27, 1920, when Pierre Monteux conducted a suite consisting of the Russian Dance from the first scene and the whole of the second and fourth scenes. Later, Serge Koussevitzky, Richard Burgin, Stravinsky himself, Ernest Ansermet, Leopold Stokowski, and Erich Leinsdorf all conducted suites assembled in various ways from the full score. was the first to conduct the complete 1911 score with the Boston Symphony Orchestra, in January 1948. Since then, Monteux, Leinsdorf, Sarah Caldwell, Charles Dutoit, Bernard Haitink, and Dennis Russell Davies have also led BSO performances of the 1911 version, the most recent subscription performances being Dutoit’s in March 2009, the most recent Tanglewood performance being Dutoit’s on August 7, 2015 (Dutoit having previously led the BSO in the 1911 score at Symphony Hall in April 1985 and at Tanglewood in 1987, 1998, and 2004). In February 1946 the composer conducted a hybrid suite in a pair of BSO concerts, playing the first tableau in the revised version, just finished, and the fourth tableau in the 1911 version. Since then, the revised score has been played by the BSO under Eleazar de Carvalho, Jorge Mester, Seiji Ozawa, Alain Lombard, Michael Tilson Thomas, Sergiu Comissiona, Klaus Tennstedt, Simon Rattle, Kent Nagano (the most recent Tanglewood performance, on August 15, 1997), David Zinman, and Fabio Luisi (the most recent subscription performances, in November 2009).

week 11 program notes 59

To Read and Hear More...

Edward Lockspeiser’s Debussy: His Life and Mind, in two volumes, is the standard study of the composer (Macmillan). Roger Nichols’s The life of Debussy is in the useful series “Musical lives” (Cambridge paperback). Nichols wrote the Debussy article for the 1980 edition of The New Grove Dictionary of Music and Musicians and more recently came out with Debussy Remembered, a 2003 anthology drawing upon recollections from various friends, colleagues, and acquaintances of the composer (Amadeus Press). More recent than that is Victor Lederer’s Debussy: the Quiet Revolutionary, a close look at the composer’s musical style and output, accompanied by a CD that is specifically referenced in Lederer’s discussion of the music (also Amadeus Press). The entry in the revised Grove (2001) is by François Lesure and Roy Howat. Still interesting and useful for its wealth of contem- porary documentation is Léon Vallas’s Claude Debussy: His Life and Works, translated from the French by Maire and Grace O’Brien and published originally in 1933 (Dover paper- back). Also useful are David Cox’s Debussy Orchestral Music in the series of BBC Music Guides (University of Washington paperback), Marcel Dietschy’s La Passion de Claude Debussy, edited and translated—as A Portrait of Claude Debussy—by William Ashbrook and Margaret G. Cobb (Oxford), and two collections of essays: Debussy and his World, edited by Jane F. Fulcher (Princeton University paperback), and The Cambridge Companion to Debussy, edited by Simon Trezise and Jonathan Cross (Cambridge University Press).

Listed alphabetically by conductor, noteworthy recordings of Jeux include Pierre Boulez’s with either the New Philharmonia Orchestra (Sony) or Cleveland Orchestra (Deutsche Grammophon), André Cluytens’s with the Orchestre de la Société du Conservatoire Paris (EMI), Stéphane Denève’s with the Royal Scottish National Orchestra (Chandos), Charles Dutoit’s with the Montreal Symphony Orchestra (London/Decca), Bernard Haitink’s with the Concertgebouw Orchestra of Amsterdam (Philips), Jean Martinon’s with the ORTF National Orchestra (EMI), and Michael Tilson Thomas’s with the London Symphony Orchestra (Sony)

Caroline Potter’s 1997 Henri Dutilleux: His Life and Works provides an excellent introduction to the composer and his music (Ashgate). Henri Dutilleux: Mystère et mémoire des sons: Entrétiens avec Claude Glayman (“Mystery and Memory of Sounds: Conversations with Claude Glayman”), published originally in 1994 and expanded in 1997, includes several useful appendices, among them a list of works, discography, bibliography, and filmography. This appeared in English translation as Henri Dutilleux: Music—Mystery and Memory (also Ashgate). Gernot Gruber’s article as it appears in the 2001 New Grove Dictionary of Music and Musicians is more than twice as long as Gruber’s earlier entry in the 1980

week 11 read and hear more 61 62 Grove. A newer article by Caroline Potter, updated recently enough to include the com- poser’s final works, appears in the online version of the New Grove (www.oxfordmusicon- line.com, by subscription only; try your university library for access). English composer Jeremy Thurlow’s Dutilleux...La musique des songes, although written in English, has been published only in French translation (Millénaire III, 2006).

Renée Fleming’s recording of the five-movement final version of Le Temps l’Horloge with the Orchestre National de France under Seiji Ozawa was released on her CD “Poèmes,” along with works by Ravel and Messiaen (Decca; recipient of the 2013 Grammy Award for Best Classical Vocal Solo). That recording of Le Temps l’Horloge was first released on CD in 2009 by the Théatre des Champs-Élysées, Paris, and can also be found in two fair- ly comprehensive box sets: a seven-disc “Dutilleux Centennial Edition” released in 2015 (Erato), and a six-disc “Henri Dutilleux Edition” from 2014 (Deutsche Grammophon). All of the composer’s orchestral works and most of the chamber music, performed by various ensembles, conductors, and soloists, are included in both sets (most in the same performances), including the BSO-commissioned Symphony No. 2, Le Double, and The shadows of time. Virtually all of the recordings can be found in single-disc releases, as well. The BSO’s release of The shadows of time was issued on an Erato CD “single” in a recording drawn from performances given here by Seiji Ozawa and the BSO in March 1998. The Boston Symphony Chamber Players recorded the composer’s Les Citations for their Grammy-nominated disc of 20th-century French chamber music, “Profanes et Sacrées” (BSO Classics).

There’s little to read about Joseph Canteloube in English beyond Richard Langham Smith’s essay in The New Grove Dictionary of Music, and whatever can be gleaned online from such sources as Wikipedia. Renée Fleming has recorded Canteloube’s “Baïlèro” with Jeffrey Tate and the English Chamber Orchestra on her album “The Beautiful Voice” and “Malurous qu’o uno fenno” with Sebastian Lang-Lessing and the Philharmonia Orchestra on her album “Guilty Pleasures” (both Decca). Complete recordings of the Songs of the Auvergne include those by Véronique Gens with and the Lille National Orchestra (Naxos), Dawn Upshaw with Kent Nagano and the Lyon Opera Orchestra (Erato), Kiri Te Kanawa with Jeffrey Tate and the English Chamber Orchestra (London/Decca), Frederica von Stade with Antonio de Almeida and the Royal Philharmonic Orchestra (Sony), and, highly regarded from the mid-1960s, Netanya Devrath with the conductor Pierre De la Roche (Vanguard). Individual selections can also be found in albums by a number of other singers, Victoria de los Angeles among them.

Stephen Walsh, who wrote the Stravinsky article in the 2001 Grove Dictionary of Music and Musicians, is also author of a two-volume Stravinsky biography: Stravinsky–A Creative Spring: Russia and France, 1882-1934 and Stravinsky–The Second Exile: France and America, 1934-1971 (Norton). The 1980 Grove entry was by Eric Walter White, author of the crucial reference volume Stravinsky: The Composer and his Works (University of California). Other useful books include Stravinsky and his World, a collection of essays and documents edit- ed by Tamara Levitz (Princeton University Press); The Cambridge Companion to Stravinsky,

week 11 read and hear more 63 edited by Jonathan Cross, which includes a variety of essays on the composer’s life and works (Cambridge University Press); and Michael Oliver’s Igor Stravinsky in the wonder- fully illustrated series “20th-Century Composers” (Phaidon paperback). If you can find a used copy, Stravinsky in Pictures and Documents by Vera Stravinsky and Robert Craft offers a fascinating overview of the composer’s life (Simon and Schuster). Craft, who worked closely with Stravinsky for many years, has also written and compiled numerous other books on the composer. Noteworthy among the many specialist publications are Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler (California) and Richard Taruskin’s two-volume, 1700-page Stravinsky and the Russian Traditions: A Biography of the Works through “Mavra,” which treats Stravinsky’s career through the early 1920s (University of California).

François-Xavier Roth has recorded Petrushka with Les Siècles, his ensemble that employs instruments appropriate to the period of the music being played (Musicales Actes Sud, with Le Sacre du printemps in its original 1913 edition). The Boston Symphony Orchestra famously recorded the original 1911 version of Petrushka in 1959, with Pierre Monteux conducting (RCA); a Monteux/BSO telecast from shortly before the RCA sessions is available on DVD (VAI). Seiji Ozawa recorded the 1947 version with the BSO in 1969, with Michael Tilson Thomas as pianist (RCA). Serge Koussevitzky recorded a suite from Petrushka with the BSO in 1928 (originally Victor; reissued on BSO Classics). Stravinsky himself recorded the 1947 version of Petrushka with the Columbia Symphony Orchestra (Sony); his earlier recording, of the 1911 version with the , has also been reissued (at one time on Pearl). Recordings of the 1911 version also include Claudio Abbado’s with the London Symphony Orchestra (Deutsche Grammophon), Pierre Boulez’s with the Cleveland Orchestra (Deutsche Grammophon), and Charles Dutoit’s first with the London Symphony Orchestra (Deutsche Grammophon), later with the Montreal Symphony (Decca).

Marc Mandel

week 11 read and hear more 65

Guest Artists

François-Xavier Roth

Born in Paris in November 1971, François-Xavier Roth is general music director of the City of Cologne, leading both the Gürzenich Orchestra and Cologne Opera, and principal conduc- tor of the SWR Sinfonieorchester Baden-Baden und Freiburg. His repertoire ranges from music of the 17th century to contemporary work and encompasses all genres, symphonic, operatic, and chamber. In 2003 he founded Les Si`ecles, an orchestra that performs con- trasting and colorful programs on modern and period instruments, often within the same concert. With Les Si`ecles he has given concerts in France, Italy, Germany, England, and Japan. To mark the centenary of The Rite of Spring, they toured the work on period instru- ments, including performances at the BBC Proms and the Alte Oper, Frankfurt, captured in a widely acclaimed, award-winning recording. In summer 2016 they will partner with the Pina Bausch Company for danced performances of the work. This season, marking its 70th anniversary, Mr. Roth leads the SWR Sinfonieorchester Baden-Baden und Freiburg in guest appearances in London (BBC Proms) and Hamburg and at the Lucerne and Berlin festivals; they will complete their cycle of performances and recordings of the symphonic poems of Richard Strauss. With this orchestra he has premiered works by Philippe Manoury, Yann Robin, and Georg-Friedrich Haas and collaborated with composers Wolfgang Rihm, Jörg Widmann, and Helmut Lachenmann. Mr. Roth is in demand around the globe, working with such leading orchestras as the Berlin Philharmonic, Royal Concertgebouw, and Boston Symphony Orchestra. With the London Symphony over the next two seasons he curates a series exploring the musical legacy of the post-Romantic period. His work in the opera house has included productions of Thomas’s Mignon, Offenbach’s Les Brigands, and Delibes’

week 11 guest artists 67 68 Lakmé at the Opéra-Comique in Paris, Morton Feldman’s Neither at the Berlin Staatsoper, and Wagner’s The Flying Dutchman with Les Si`ecles. His first Cologne opera season includes Berlioz’s Benvenuto Cellini in a new production by La Fura dels Baus, and Mozart’s Don Giovanni. Outreach projects are an important aspect of François-Xavier Roth’s work. He is conductor of the groundbreaking LSO Panufnik Young Composers Scheme and, with the Festival Berlioz and Les Si`ecles, founded the Jeune Orchestre Européen Hector Berlioz, an orchestra-academy with its own collection of period instruments. Mr. Roth and Les Si`ecles devised “Presto!,” their own television series for France 2, attracting weekly audiences of over three million. In Cologne he has announced initiatives to take music to new, unconven- tional venues and initiate collaborations with the city’s other cultural institutions. For more information visit francoisxavierroth.fr. Until his two weeks of concerts this month, François-Xavier Roth's only previous BSO appearances were in April 2014, when he made his Boston Symphony debut with a subscription program of Bach, Stravinsky, and Beethoven.

Renée Fleming

In 2013 President Obama awarded Renée Fleming America’s highest honor for an individual artist, the National Medal of Arts. Winner of the 2013 Best Classical Vocal Grammy Award (for her album “Poèmes”), Ms. Fleming has sung at momentous occasions around the world, from the Nobel Peace Prize ceremony to performances in Beijing during the 2008 Olympic Games. In 2014 she became the first classical singer ever to perform “The Star- Spangled Banner” at the Super Bowl. In another historic first, she sang on the balcony of Buckingham Palace in the 2012 Diamond Jubilee Concert for Queen Elizabeth II. Featured in the 2009 televised inaugural concert for President Obama, she has performed for the United States Supreme Court, and in 2014 celebrated the 25th anniversary of the fall of the Berlin Wall in a televised concert at the Brandenburg Gate. In 2008 she became the first woman in the 125-year history of the Metropolitan Opera to headline an opening night gala. On New Year’s Eve 2014 Ms. Fleming appeared in the title role in the Metropolitan Opera’s new production of The Merry Widow. In April 2015 she made her Broadway theater debut in Living on Love, for which she earned a Drama League Award nomination. Ms. Fleming has appeared in virtually all of the world’s great opera houses and concert halls, and her recital

week 11 guest artists 69 schedule in recent years has taken her around the globe. Recipient of four Grammy Awards and fourteen Grammy nominations to date, she has recorded everything from complete operas and song recitals to jazz and indie-rock covers. Her recent opera DVDs include Strauss’s Arabella and Ariadne auf Naxos, Donizetti’s Lucrezia Borgia, and, in the Metro- politan Opera’s “Live in HD” series, Handel's Rodelinda, Massenet’s Thaïs, and Rossini’s Armida. With a multimedia profile rare among contemporary opera singers, Renée Fleming has hosted both television and radio broadcasts, including the Metropolitan Opera’s “Live in HD” series for movie theaters and television, and PBS’s “Live from Lincoln Center.” She was the subject of an HBO “Masterclass” documentary and has been a frequent guest on NPR’s “Prairie Home Companion.” In 2013 she collaborated with the John F. Kennedy Center for the Performing Arts to present “American Voices,” a concert and three-day festival celebrating the best American singing in all genres. The festival became the subject of a “Great Performances” documentary on PBS. Ms. Fleming’s book The Inner Voice was published by Viking Penguin in 2004 and released in paperback by Penguin the following year. A champion of new music, she has performed works by Anders Hillborg, Henri Dutilleux, Brad Mehldau, André Previn, and Wayne Shorter. In 2010 she was named the first-ever creative consultant at Lyric Opera of Chicago, where she curated the creation of this season’s world premiere of an opera based on the best-seller Bel Canto. Ms. Fleming is an exclusive recording artist for Decca and Mercury Records (UK). Her jewelry is by Ann Ziff for Tamsen Z. Ms. Fleming is currently a member of the Board of Trustees of the Carnegie Hall Corporation, the Board of Sing for Hope, and the Artistic Advisory Board of the Polyphony Foundation. Among her awards are the Fulbright Lifetime Achievement Medal, the Chevalier de la Légion d’Honneur, Germany’s Cross of the Order of Merit, Honorary Membership in the Royal Academy of Music, Sweden’s Polar Music Prize, and honorary doctorates from Duke University, Harvard University, Carnegie Mellon University, the Eastman School of Music, and the Juilliard School. Renée Fleming made her Boston Symphony Orchestra debut in July 1991 at Tanglewood, as Ilia in a concert performance of Mozart’s Idomeneo led by Seiji Ozawa. Her BSO subscription debut was in December 1998, in Haydn’s The Creation with James Levine conducting, since which time her BSO appearances have included Strauss’s Four Last Songs (Tanglewood 2003); a wide-ranging program of opera arias and other numbers (Tanglewood 2004); Barber’s Knoxville: Summer of 1915 and music of Gershwin (September 2006, to open the BSO’s 2006-07 Hall season); the American premiere of Dutilleux’s Le Temps l’Horloge, plus songs of Duparc (November/ December 2007, in Boston and New York); Strauss’s Four Last Songs and Mahler’s Symphony No. 4 (February 2010, her most recent subscription appearances with the orchestra), and music of Barber, Rodgers & Hammerstein, and Gershwin (to open the BSO’s 2014 Tangle- wood season). She has also been heard in recital in Tanglewood’s Seiji Ozawa Hall and as Tatyana in a 2008 concert performance of Tchaikovsky’s Eugene Onegin with the Tanglewood Music Center Orchestra. For more information, visit www.reneefleming.com.

week 11 guest artists 71 The Great Benefactors

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

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

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

five million Alli and Bill Achtmeyer • Bank of America • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Alan J. and Suzanne W. Dworsky • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber • Anonymous

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Fairmont Copley Plaza and Fairmont Hotels and Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

72 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Bob and Happy Doran • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (7)

‡ Deceased

week 11 the great benefactors 73

The Maestro Circle

Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2015-16 season. ‡ This symbol denotes a deceased donor.

Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Roberta and George ‡ Berry • Peter and Anne Brooke • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • National Endowment for the Arts • Megan and Robert O’Block • The Claudia and Steven Perles Family Foundation • Mrs. Irene Pollin • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Miriam Shaw Fund • Caroline and James Taylor • Stephen and Dorothy Weber • Roberta and Stephen R. Weiner

The Higginson Society ronald g. casty, chair, boston symphony orchestra annual funds

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and first benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $4 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by December 21, 2015. For further information on becoming a Higginson Society member, please contact Leslie Antoniel, Leadership Gifts Officer, at 617-638-9259. ‡ This symbol denotes a deceased donor.

founders $100,000+ Peter and Anne Brooke • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • Alan J. and Suzanne W. Dworsky • Barbara and Amos Hostetter • Joyce Linde • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • William and Lia Poorvu • John S. and Cynthia Reed • Sue Rothenberg • Kristin and Roger Servison • Wendy Shattuck and Samuel Plimpton • Stephen and Dorothy Weber • Brooks and Linda Zug • Anonymous

week 11 the maestro circle 75 encore $25,000 to $49,999 Noubar and Anna Afeyan • Jim and Virginia Aisner • Lloyd Axelrod, M.D. • Gabriella and Leo Beranek • Joan and John ‡ Bok • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • John F. Cogan, Jr. and Mary L. Cornille • Dr. Lawrence H. and Roberta Cohn • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • The Grossman Family Charitable Foundation • Mr. and Mrs. Brent L. Henry • Josh and Jessica Lutzker • Mr. and Mrs. Jeffrey E. Marshall • Henrietta N. Meyer ‡ • Sandra Moose and Eric Birch • Louise C. Riemer • Cynthia and Grant Schaumburg • Richard and Susan Smith Family Foundation: Richard and Susan Smith; John and Amy S. Berylson and James Berylson; Jonathan Block and Jennifer Berylson Block; Robert Katz and Elizabeth Berylson Katz; Robert and Dana Smith; Debra S. Knez, Jessica Knez and Andrew Knez • Theresa M. and Charles F. Stone III • Stephen, Ronney, Wendy and Roberta Traynor • Robert and Roberta Winters • Anonymous (4) patron $10,000 to $24,999 Amy and David Abrams • Vernon R. Alden • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David ‡ Arnold • Mr. and Mrs. Eugene F. Barnes III • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mr. and Mrs. William N. Booth • Mr. and Mrs. ‡ John M. Bradley • Karen S. Bressler and Scott M. Epstein • Lorraine Bressler • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Eleanor L. and Levin H. Campbell • Ronald G. and Ronni J. Casty • Katherine Chapman and Thomas Stemberg ‡ • Jill K. Conway • Ernest Cravalho and Ruth Tuomala • Sally Currier and Saul Pannell • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Edith L. and Lewis S. ‡ Dabney • Gene and Lloyd Dahmen • Mr. and Mrs. Miguel de Bragança • Michelle Dipp • Pamela Everhart and Karl Coiscou • Mr. Earl N. Feldman and Mrs. Sarah Scott • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Dr. David Fromm • Dr. and Mrs. Levi A. Garraway • Barbara and Robert Glauber • Thelma ‡ and Ray Goldberg • Mr. and Mrs. Mark Goldweitz • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Dr. Rebecca Henderson • Mrs. Nancy R. Herndon • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockfield and Dr. Thomas Byrne • Albert A. Holman III and Susan P. Stickells • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Tom Kuo and Alexandra DeLaite • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Dr. and Mrs. Joseph B. Martin • Jane and Robert J. Mayer, M.D. • Mr. and Mrs. Jack R. Meyer • Dr. Martin C. Mihm, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • Kristin A. Mortimer • Avi Nelson • Jerry and Mary ‡ Nelson • Mary S. Newman • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy Pierce • Janet and Irv Plotkin • Susanne and John Potts • William and Helen Pounds • Rita and Norton Reamer • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Benjamin Schore • Arthur and Linda Schwartz • Eileen Shapiro and Reuben Eaves • Dr. and Mrs. Phillip Sharp • Solange Skinner • Anne-Marie Soullière and Lindsey C.Y. Kiang • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Marillyn Zacharis • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (7)

week 11 the higginson society 77 78 sponsor $5,000 to $9,999 Helaine B. Allen • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Liliana and Hillel Bachrach • Mrs. Hope Lincoln Baker • Dr. Peter A. Banks • John and Molly Beard • Deborah Davis Berman and William H. ‡ Berman • Jim and Nancy Bildner • Mrs. Linda Cabot Black • Brad and Terrie Bloom • Mark G. and Linda Borden • Traudy and Stephen Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • James Catterton ‡ and Lois Wasoff • The Cavanagh Family • Yi-Hsin Chang and Eliot Morgan • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Eve and Philip D. Cutter • Robert and Sara Danziger • Tamara P. and Charles H. Davis II • Drs. Anna L. and Peter B. Davol • Charles and JoAnne Dickinson • Phyllis Dohanian • Happy and Bob Doran • Julie and Ronald M. Druker • Mrs. Richard S. Emmet • Priscilla Endicott • Mr. and Mrs. Joseph F. Fallon • Roger and Judith Feingold • Shirley and Richard ‡ Fennell • Beth and Richard Fentin • Barbie and Reg Foster • Nicki Nichols Gamble • Beth and John Gamel • Jim and Becky Garrett • Mr. and Mrs. Paul B. Gilbert • Jody and Tom Gill • Jordan and Sandy Golding • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Mrs. Barbara Haynes • Carol and Robert Henderson • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Timothy P. Horne • G. Lee and Diana Y. Humphrey • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Dr. and Mrs. G. Timothy Johnson • Holly and Bruce Johnstone • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Barbara and Leo Karas • Joan Bennett Kennedy • Mrs. Thomas P. King • Seth A. and Beth S. Klarman • Mr. John L. Klinck, Jr. • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Rosemarie and Alexander Levine • Ms. Betty W. Locke • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Ann Merrifield and Wayne Davis • Mr. and Ms. John P. Meyer • Dale and Robert Mnookin • Kyra and Jean Montagu • Betty Morningstar and Jeanette Kruger • Mr. and Mrs. Joseph M. Paresky • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • James and Melinda Rabb • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Mr. and Mrs. Michael Rater • Peter and Suzanne Read • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Sharon and Howard Rich • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • Norma and Roger A. Saunders • Mr. and Mrs. William Schmidt • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Christopher and Cary Smallhorn • Ms. Nancy F. Smith • Mr. James Sun • Patricia L. Tambone • Tazewell Foundation • Jean C. Tempel • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Marc and Nadia Ullman • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Matthew and Susan Weatherbie • Ruth and Harry Wechsler • Mr. and Mrs. David Weinstein • Sally and Dudley Willis • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Drs. Richard and Judith Wurtman • Dr. and Mrs. Nicholas T. Zervas • Anonymous (9)

week 11 the higginson society 79

Administration

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

Bridget P. Carr, Senior Archivist • Kristie Chan, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Chorus and Orchestra Management Assistant • H.R. Costa, Technical Director • Erik Johnson, Chorus Manager • Tuaha Khan, Stage Technician • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Andrew Tremblay, Assistant to the Orchestra Personnel Manager/ Audition Coordinator boston pops Dennis Alves, Director of Artistic Planning Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller Sophia Bennett, Staff Accountant • Angelina Collins, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • Nia Patterson, Senior Accounts Payable Assistant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 11 administration 81 82 development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Leslie Antoniel, Leadership Gifts Officer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • James Jackson, Assistant Director, Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Laine Kyllonen, Assistant Manager, Donor Relations • Katherine Laveway, Major Gifts Coordinator • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Drew Schweppe, Major Gifts Coordinator • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 11 administration 83 information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

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

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Leslie Kwan, Associate Director of Marketing Promotions and Events • George Lovejoy, SymphonyCharge Representative • Mary Ludwig, Manager, Corporate Sponsor Relations • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager

Jane Esterquest, Box Office Administrator • Arthur Ryan, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Office Coordinator • Gary Wallen, Associate Director for Production and Scheduling

week 11 administration 85

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Gerald L. Dreher Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Trish Lavoie • Leah Lee Co-Chairs, Tanglewood Judith Benjamin • Bob Braun • David Galpern Liaisons, Tanglewood Glass Houses, Stanley Feld • Ushers, Carolyn Ivory boston project leads 2015-16

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond and Christine Watson • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, George Mellman • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Richard Pokorny • Recruitment, Retention, Reward, Rosemary Noren • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

week 11 administration 87 Next Program…

Thursday, January 21, 10:30am (Open Rehearsal; Pre-Rehearsal Talk from 9:30-10am in Symphony Hall) Thursday, January 21, 8pm Friday, January 22, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, January 23, 8pm

jiríˇ bˇelohlávek conducting

smetana “the moldau” (“vltava”) from “má vlast”

martin˚u “fantaisies symphoniques” (symphony no. 6) Lento—Allegro—Lento Allegro Lento—Allegro

{intermission}

dvorákˇ cello concerto in b minor, opus 104 Allegro Adagio, ma non troppo Finale: Allegro moderato johannes moser

Czech conductor Jiˇrí Bˇelohlávek leads an all-Czech program featuring three different generations of composers. Smetana was the first and most important Czech nationalist composer; his tone poem The Moldau, from his large orchestral suite Má Vlast (“My Country”), traces the river’s course through the region of the composer’s birth. Bohuslav Martinu˚ studied in Paris and adopted a more cosmopolitan style, but a Czech flavor infuses much of his work. The BSO was a major champion of his music under its music directors Serge Koussevitzky and Charles Munch; the rich, colorful, thirty-minute Fantaisies symphoniques was commissioned for the orchestra’s 75th anniversary and was premiered under Munch’s direction in 1955. To close the program, German-Canadian cellist Johannes Moser is featured in Antonín Dvoˇrák’s Cello Concerto; begun during the Czech composer’s sojourn in the United States in the mid-1890s, the piece conveys meaningful ties to his native land.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200, or at the Symphony Hall box office Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

88 Coming Concerts… friday previews and rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Thursday, January 21, 10:30am (Open Rehearsal) Thursday ‘B’ February 4, 8-10:15 Thursday ‘D’ January 21, 8-10 Friday ‘B’ February 5, 1:30-3:45 Friday ‘A’ January 22, 1:30-3:30 Saturday ‘B’ February 6, 8-10:15 Saturday ‘B’ January 23, 8-10 ANDRISNELSONS, conductor JIRÍBˇ ELOHLÁVEKˇ , conductor BARBARAHANNIGAN, soprano JOHANNESMOSER , cello SHOSTAKOVICH Suite from Incidental music SMETANA The Moldau from Má Vlast to Hamlet MARTINU˚ Fantaisies symphoniques ABRAHAMSEN let me tell you, for soprano (Symphony No. 6) and orchestra DVORÁKˇ Cello Concerto PROKOFIEV Suite from Romeo and Juliet

Thursday ‘A’ January 28, 8-10:10 Thursday ‘D’ February 11, 8-10:10 Friday ‘A’ January 29, 1:30-3:40 Saturday ‘B’ February 13, 8-10:10 Saturday ‘A’ January 30, 8-10:10 ANDRISNELSONS, conductor Tuesday ‘B’ February 2, 8-10:10 ROBERTSHEENA, English horn ANDRISNELSONS, conductor STRAUSS Macbeth AMANDAFORSYTHE, soprano DVORÁKˇ Othello Overture, Op. 93 ABIGAILFISCHER , mezzo-soprano TSONTAKIS Sonnets, Concerto for English BILL BARCLAY, adaptation and stage director horn and orchestra (world KARENMACDONALD, actor (Titania), CARSON premiere; BSO commission) ELROD, actor (Puck), ANTONIOWEISSINGER, TCHAIKOVSKY Romeo and Juliet actor (Boy), and WILL LYMAN, actor (Oberon) KATHLEEN DOYLE, costume designer CRISTINATODESCO, set designer Friday Eve February 12, 8-9:15 HILLARYLEBEN, video artist (Casual Friday, with introductory comments WOMEN OF THE TANGLEWOOD FESTIVAL CHORUS, by a BSO member and no intermission) WILLIAMCUTTER, guest chorus conductor ANDRISNELSONS, conductor WEBER Overture to Oberon ROBERTSHEENA, English horn HENZE Symphony No. 8 STRAUSS Macbeth MENDELSSOHN Incidental music to A Midsummer Night's Dream TSONTAKIS Sonnets, Concerto for English horn and orchestra (world premiere; BSO commission) TCHAIKOVSKY Romeo and Juliet

Programs and artists subject to change.

week 11 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens at least two hours prior to most Sunday performances. Single tickets for all Boston Symphony subscription concerts are available at the box office. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons.

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

week 11 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

92