Week 13 Andris Nelsons Music Director

bernard haitink conductor emeritus seiji ozawa music director laureate

2014–2015 Season | Week 13 andris nelsons music director

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Table of Contents | Week 13

7 bso news 17 on display in symphony hall 18 bso music director andris nelsons 20 the boston symphony orchestra 23 a brief history of the bso 29 this week’s program

Notes on the Program

30 The Program in Brief… 31 Wolfgang Amadè Mozart 37 Anton Bruckner 49 To Read and Hear More…

Guest Artist

53 Lars Vogt

56 sponsors and donors 80 future programs 82 symphony hall exit plan 83 symphony hall information

the friday preview talk on january 16 is given by elizabeth seitz of the boston conservatory.

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 seiji ozawa, music director laureate 134th season, 2014–2015

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • Carmine A. Martignetti, Vice-Chair • Arthur I. Segel, Vice-Chair • Stephen R. Weber, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • George D. Behrakis • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara Hostetter • Charles W. Jack, ex-officio • Stephen B. Kay • Edmund Kelly • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • John Reed • Carol Reich • Roger T. Servison • Wendy Shattuck • Caroline Taylor • Roberta S. Weiner • Robert C. Winters life trustees

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

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Yumin Choi • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Philip J. Edmundson • 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 • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp •

week 13 trustees and overseers 3

photos by Michael J. Lutch

John L. Klinck, Jr. • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. † • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph Patton • Donald R. Peck • Steven R. Perles • Ann M. Philbin • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Susan Rothenberg • Joseph D. Roxe • Malcolm S. Salter • Kurt W. Saraceno • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • 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 • Robert A. Vogt • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Caroline Dwight Bain † • Sandra Bakalar • George W. Berry † • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • John P. Eustis II † • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • 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 • Farla H. Krentzman • 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 • Albert Merck † • Dr. Martin C. Mihm, Jr. • Robert Mnookin • John A. Perkins • May H. Pierce • 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 • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 13 trustees and overseers 5

BSO News

Focus on Andris Nelsons: A New Multimedia Display at Symphony Hall A new multimedia display in Higginson Hall has been designed to provide BSO fans with a kaleidoscope of information about Andris Nelsons and the excitement surrounding his presence as BSO music director. Highlighting the exhibit is a hologram of Maestro Nelsons speaking about his musical values; also included are several video screens offering backstage and other behind-the-scenes clips, interviews, press conferences, a promotional video about Maestro Nelsons’ new Sibelius/Wagner CD with the BSO, and concert footage from both Symphony Hall and Tanglewood, as well as a loop of the acclaimed documentary “Genius on Fire,” an iPad trivia contest about Andris Nelsons, and a display of memorabilia and press clippings. The exhibit runs until January 30, and is open to the public on Tuesdays, Thursdays, and Saturdays from 10 a.m. to 5 p.m., as well as during all evening concerts.

Andris Nelsons’ First Compact Disc with the BSO The Boston Symphony Orchestra and Andris Nelsons are very pleased to announce their first compact disc recording (also available as a download), a BSO Classics release pair- ing the overture to Wagner’s Tannhäuser and the Symphony No. 2 of Jean Sibelius. Both works are taken from concert performances earlier this season at Symphony Hall—the Wagner from Maestro Nelsons’ inaugural concert as music director on September 27, 2014, the Sibelius from his BSO program of November 6-11. The selections are particularly meaningful. It was hearing Wagner’s opera when he was just five years old that made Andris Nelsons want to be a conductor; the Sibelius reflects his strong interest in music of the Scandinavian and Slavic countries, and also builds upon the BSO’s distinguished history of past Sibelius recordings. Priced at $17.95 for the CD and $9.99-$13.99 for downloads (depending on format), the recording is available at the Symphony Shop and online at bso.org, as well as from Amazon.com and iTunes.

BSO 101—The Free Adult Education Series at Symphony Hall BSO 101 continues to offer informative sessions about upcoming BSO programming and behind-the-scenes activities at Symphony Hall from 5:30-6:45 p.m. on selected Tuesday and Wednesday evenings throughout the season. The next “Insider’s View” session on Tuesday, January 20, will feature a presentation by BSO senior archivist Bridget Carr. Since each BSO 101 session is self-contained, no prior musical training, or attendance at any previous session, is needed. Each session is followed by a reception offering beverages, hors

week 13 bso news 7 d’oeuvres, and further time to share your thoughts with others; the Wednesday sessions are also followed by a free, thirty-minute tour of Symphony Hall given by an experienced member of the Boston Symphony Association of Volunteers. Admission to the BSO 101 session is free; please note, however, that there is a nominal charge to attend the reception. To reserve your place, please e-mail [email protected] or call (617) 638-9345. For further information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on January 16 is given by Elizabeth Seitz of the Boston Conservatory. The Friday Preview on January 23 will be given by Harlow Robinson of Northeastern University and the one on January 30 by Robert Kirzinger.

New This Year: “Onstage at Symphony” The 2014-15 season brings the launch of the BSO’s Onstage at Symphony, a program con- vening amateur musicians of all backgrounds from across Massachusetts for a set of rehearsal and sectional experiences culminating in a performance on the Symphony Hall stage. Designed for adult amateur musicians residing in Massachusetts who have a true love for musical performance but who have pursued alternate career paths, this program celebrates the amateurs’ talent and continued commitment to music while also providing access to the resources of the Boston Symphony Orchestra and Symphony Hall, and giving community musicians an opportunity to experience a “day in the life” of a professional musician under the leadership of BSO Germeshausen Youth and Family Concerts Conductor Thomas Wilkins. Activities will take place from Wednesday, January 28, to Saturday, January 31; the group’s final performance will be free and open to the public. For more information, please visit bso.org/onstageatsymphony.

week 13 bso news 9 individual tickets are on sale for all concerts in the bso’s 2014-2015 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.

The Gilbert Family Concert to Fernand Gillet for almost fifty years, she Thursday, January 15, 2015 devoted much of her life to teaching piano privately and at the New England Conserva- The concert on Thursday evening is support- tory of Music, and attending Boston Symphony ed by a generous gift from Joy S. Gilbert and concerts in Symphony Hall and at Tanglewood. her family in memory of Richard Gilbert, a She maintained a very special relationship longtime BSO donor. The Gilbert family has with several of her “pupils” until her death provided multi-generational support to the in October 1988. Mrs. Gillet’s love for and BSO for many years. Richard and Joy have devotion to the Boston Symphony Orchestra regularly supported the Symphony Annual spanned more than sixty years. A faithful Fund since 1970. The couple followed in the subscriber to the Friday-afternoon concerts footsteps of Richard’s parents, Sara and Moses through the 1987 season, she was a member Gilbert, who often sat with Mrs. Koussevitzky of the Higginson Society from its inception at Symphony Hall. Joy has continued her and regularly attended special events, includ- Symphony subscription and Annual Fund ing the luncheon in the spring of 1987 for support after more than four decades. Richard those who had been attending BSO concerts and Joy introduced their three children, Paul for fifty years or more. The Tanglewood Music B. Gilbert, Joanne Arnold, and Susan R. Gilbert, Center was very important to her; in 1983 she to the Symphony when they were young. Paul endowed two Guarantor Fellowships—the and his wife, Patricia, have maintained their Fernand Gillet Fellowship for an oboe student own Symphony subscription for thirty-five and the Marie L. Audet Gillet Fellowship for consecutive years, and are also longtime a piano student. supporters of the Symphony Annual Fund. Additionally, they have made a generous Born in Paris, oboist Fernand Gillet (1882- commitment to the Symphony Hall Forever 1980) performed with the Lamoureux Or- Capital Fund. Patricia was elected to the BSO chestra and the Paris Grand Opera before Board of Overseers in 2014. Serge Koussevitzky invited him to join the Boston Symphony Orchestra in 1925 as principal oboe, a position he held for twenty-one The Marie L. Audet and years. During the course of his seventy-five- Fernand Gillet Concerts, year teaching career he served on the facul- January 16 and 17, 2015 ties of the Tanglewood Music Center, the New In recognition of a bequest from Marie L. England Conservatory, and Boston University; Audet Gillet, the first pair of Friday-afternoon the New England Conservatory and the East- and Saturday-evening Boston Symphony man School of Music presented him with concerts of the new year is dedicated to the honorary Doctor of Music degrees; and he memory of Mrs. Gillet and her husband, the published several technical methods for oboe late Fernand Gillet, who was the BSO’s princi- in his native France. Mr. Gillet was awarded pal oboe from 1925 to 1946. Mrs. Gillet’s the Croix de Guerre for his service in the bequest endows in perpetuity two subscrip- French Flying Corps during World War I. tion concerts each year, in memory of her and her husband. The first such concerts were Planned Gifts for the BSO: given in January 1990. Orchestrate Your Legacy Throughout her eighty-nine years, Marie There are many creative ways that you can Gillet was surrounded by glorious music that support the BSO over the long term. Planned brought her much joy and pleasure. Married gifts such as bequest intentions (through

week 13 bso news 11 your will, personal trust, IRA, or insurance Chauffeured Transportation, is marked “BSO policy), charitable trusts, and gift annuities Shuttle,” and loops to and from Symphony can generate significant benefits for you now Hall every fifteen to twenty minutes, depend- while enabling you to make a larger gift to the ing on traffic. Please visit bso.org for further BSO than you may have otherwise thought details. possible. In many cases, you could realize significant tax savings and secure an attrac- tive income stream for yourself and/or a BSO Members in Concert loved one, all while providing valuable future Founded by former BSO cellist Jonathan support for the performances and programs Miller, the Boston Artists Ensemble performs you care about. When you establish and Bartók’s String Quartet No. 6 and Beethoven’s notify us of your planned gift for the Boston String Quartet in C-sharp minor, Opus 131, on Symphony Orchestra, you will become a Friday, January 16, at 8 p.m. at the ensemble’s member of the Walter Piston Society, joining new venue in Salem, historic Hamilton Hall, a group of the BSO’s most loyal supporters and on Sunday, January 18, at 2:30 p.m. at who are helping to ensure the future of the Trinity Church in Newton Centre. Joining Mr. BSO’s extraordinary performances. Named Miller are violinists Bayla Keyes and Peter for Pulitzer Prize-winning composer and Zazofsky and cellist Kathryn Lockwood. noted musician Walter Piston, who endowed Tickets are $27 (discounts for seniors and the BSO’s principal flute chair with a bequest, students), available at the door. For more members of the Piston Society are recognized information, visit bostonartistsensemble.org in several of our publications and offered a or call (617) 964-6553. variety of exclusive benefits, including invita- BSO cellist Mickey Katz performs a recital of tions to various events in Boston and at unaccompanied cello works by Bach, Kodály, Tanglewood. If you would like more informa- and Ben Haim on Sunday, January 18, at 2 tion about planned gift options and how to p.m. at the Newton Free Library, 330 Homer join the Walter Piston Society, please contact Street, Newton. Admission is free. John MacRae, Director of Principal and Planned Giving, at (617) 638-9268 or [email protected]. The Inside Out Ensemble performs Schubert’s We would be delighted to help you orchestrate Octet in F for winds and strings, D.803— your legacy with the BSO. “Schubert Octet: A Celebration of Human Connection”—on Sunday, January 18, at 3 p.m. at the Arlington Street Church Chapel, Complimentary Shuttle Service 351 Boylston Street. Horn player and Inside Between Prudential Center and Out founder Eli Epstein serves as “tour guide,” Symphony Hall on Friday with four BSO members among the ensem- Afternoons ble: Rebecca Gitter, viola; Adam Esbensen, The BSO continues to offer patrons who park cello; Thomas Van Dyck, double bass, and in the Prudential Center garage a complimen- Michael Wayne, clarinet. Admission is free tary shuttle service between the Prudential (no tickets required). For further information, Center and Symphony Hall before and after call (617) 536-7050. the Friday-afternoon subscription concerts. Collage New Music, founded by former BSO The 23-passenger shuttle picks up passen- percussionist Frank Epstein and whose mem- gers in front of P.F. Chang’s restaurant on bers include former BSO cellist Joel Moerschel Belvidere Street near Huntington Avenue and current BSO violinist Catherine French, before the concert, and at Symphony Hall performs its Winter Concert on Sunday, after the concert. Service begins one hour January 18, at 8 p.m., at Edward Pickman Hall before the concert starts and runs for up to at the Longy School of Music, 27 Garden one hour after it ends (or until there are no Street, Cambridge. The program includes more passengers needing return service). The works by Evan Chambers, Nicola LeFanu, shuttle is run by Commonwealth Worldwide Mario Davidovsky, Kyong Mee Choi, and

week 13 bso news 13 14 Stephen Jaffe. General admission is $25 in admission is $35 (discounts for seniors and advance, $30 at the door (discounts for sen- students). For more information, visit ric.edu/ iors and students). For more information, visit pfa or call (401) 456-8144. collagenewmusic.org or call (513) 260-3247. Founded by BSO violinist Wendy Putnam, the Those Electronic Devices… Concord Chamber Music Society presents As the presence of smartphones, tablets, and the Borromeo Quartet on Sunday, January 18, other electronic devices used for communica- at 3 p.m. at Concord Academy Performing tion, note-taking, and photography continues Arts Center, 166 Main Street, Concord. The to increase, there have also been increased all-Beethoven program includes the string expressions of concern from concertgoers quartets Opus 130 in B-flat and Opus 131 in and musicians who find themselves distracted C-sharp minor, and the Grosse Fuge, Opus 133. not only by the illuminated screens on these Members of the quartet will discuss Beetho- devices, but also by the physical movements ven’s musical vocabulary in a pre-concert dis- that accompany their use. For this reason, cussion at 2 p.m. Tickets are $42 and $33 and as a courtesy both to those on stage and (discounts for seniors and students). For those around you, we respectfully request more information, visit www.concordcham- that all such electronic devices be turned bermusic.org or call (978) 371-9667. off and kept from view while BSO perform- BSO cellist Mihail Jojatu gives a faculty artist ances are in progress. In addition, please recital with pianist Wayman Chin on Sunday, also keep in mind that taking pictures of the January 25, at 7 p.m. at Edward Pickman Hall orchestra—whether photographs or videos— at the Longy School of Music, 27 Garden is prohibited during concerts. Thank you very Street, Cambridge. The program includes much for your cooperation. music of Haydn, Schumann, and Shostakovich; admission is free. Comings and Goings... In residence at Boston University, the Muir String Quartet—BSO violinist Lucia Lin and Please note that latecomers will be seated BSO principal violist Steven Ansell, violinist by the patron service staff during the first Peter Zazofsky, and cellist Michael Reynolds— convenient pause in the program. In addition, plays a free concert of quartets by Mozart, please also note that patrons who leave the Janáˇcek, and Debussy on Monday, January hall during the performance will not be 26, at 8 p.m. at BU’s Tsai Performance Center, allowed to reenter until the next convenient 685 Commonwealth Avenue. In addition, the pause in the program, so as not to disturb the group plays quartets of Mozart, Janáˇcek, and performers or other audience members while Dvoˇrák on Monday, February 2, at 7:30 p.m. the concert is in progress. We thank you for in the Nazarian Center at Rhode Island College, your cooperation in this matter. 600 Mt. Pleasant Avenue, Providence. General

week 13 bso news 15 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • two displays in the Huntington Avenue corridor celebrating the 200th anniversary of Boston’s Handel and Haydn Society, the oldest continually operating arts organization in the United States, and which performs fourteen concerts at Symphony Hall during its 2014-2015 bicentennial season exhibits on the first-balcony level of symphony hall include: • a display in the first-balcony corridor, audience-right, celebrating the recent 50th anniversary of the Boston Symphony Chamber Players • a display case in the first-balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrated its 75th anniversary last season

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad A portrait of Paul Cherkassy (BSO violinist from 1923 to 1952), a 2014 gift to the BSO from the estate of Paul and Chloe Cherkassy, part of a display of orchestra member memorabilia located at the stage-end of the first-balcony corridor, audience-right Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 13 on display 17 ac Borggreve Marco

Andris Nelsons

Andris Nelsons begins his tenure as the BSO’s Ray and Maria Stata Music Director with the 2014-15 season, during which he leads the orchestra in ten programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in April. Mr. Nelsons made his Boston Symphony debut in March 2011, conducting Mahler’s Symphony No. 9 at Carnegie Hall. 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 subsequently issued on DVD and Blu-ray, and televised nationwide on PBS), following that the next day with a BSO program of Stravinsky and Brahms. His Sym- phony Hall and BSO subscription series debut followed in January 2013, and at Tanglewood this past summer he led three concerts with the BSO, as well as a special Tanglewood Gala featuring both the BSO and the TMC Orchestra. His appointment as the BSO’s music director cements his reputation as one of the most renowned conductors on the international scene today, a distinguished name on both the opera and concert podiums. He made his first appearances as the BSO’s music director designate in October 2013 with a subscription program of Wagner, Mozart, and Brahms, and returned to Symphony Hall in March 2014 for a concert performance of Strauss’s Salome. He is the fifteenth music director in the history of the Boston Symphony Orchestra.

Maestro Nelsons has been critically acclaimed as music director of the City of Birming- ham Symphony Orchestra since assuming that post in 2008; he remains at the helm of that orchestra until summer 2015. With the CBSO he undertakes major tours worldwide, including regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berlin Festival. Together they have toured the major European concert halls, including Vienna’s Musikverein, the Théâtre des Champs-Élysées in Paris, the Gasteig in Munich, and Madrid’s Auditorio Nacional de Música. Mr. Nelsons made his debut in Japan on tour with the Vienna Philharmonic and returned to tour Japan and the Far East with the CBSO in November 2013. Over the next few seasons he will continue collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw

18 Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra. He is a regular guest at the Royal Opera House–Covent Garden, the Vienna State Opera, and New York’s Metro- politan Opera. In summer 2014 he returned to the Bayreuth Festival to conduct Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010.

Andris Nelsons and the CBSO continue their recording collaboration with Orfeo Inter- national as they work toward releasing all of Tchaikovsky’s orchestral works and a majority of works by Richard Strauss, including a particularly acclaimed account of Strauss’s Ein Heldenleben. Most of Mr. Nelsons’ recordings have been recognized with the Preis der Deutschen Schallplattenkritik. In October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his CBSO recording of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release being a Dvoˇrák disc entitled “From the New World” with the Bavarian Radio Symphony Orchestra, released on DVD and Blu-ray in June 2013. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.”

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 Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of Latvian National Opera from 2003 to 2007. ac Borggreve Marco

week 13 andris nelsons 19 Boston Symphony Orchestra 2014–2015

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

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

week 13 boston symphony orchestra 21

S Archives BSO

The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882

A Brief History of the BSO

Now in its 134th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert performances in Boston and at Tanglewood, but also via the internet, radio, television, educational programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important training grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.

Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expan- sion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all backgrounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members.

The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most

week 13 a brief history of the bso 23

revered concert halls, opened on October 15, 1900. Henschel was S Archives BSO succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama- Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians.

It was in 1936 that Koussevitzky led the orchestra’s first concerts Major Henry Lee Higginson, founder in the Berkshires; he and the players took up annual summer of the Boston Symphony Orchestra residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).

Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named

Music Director Laureate. In Archives BSO 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.

Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orchestra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984.

week 13 a brief history of the bso 25

The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, particularly from significant American composers; issued a number

S Archives BSO of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle- wood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he has taken up in the 2014-15 season, following a year as music director designate.

Rush ticket line at Symphony Hall, probably in the 1930s Today, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offer- ings, and internet presence, but also through its expanding use of virtual and electronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever- changing, 21st-century world.

week 13 a brief history of the bso 27

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 134th season, 2014–2015

Thursday, January 15, 8pm | the gilbert family concert Friday, January 16, 1:30pm | the marie l. audet gillet concert Saturday, January 17, 8pm | the fernand gillet concert andris nelsons conducting mozart piano concerto no. 24 in c minor, k.491 Allegro Largo Vivace lars vogt

{intermission} bruckner symphony no. 7 in e Allegro moderato Adagio: Sehr feierlich und sehr langsam [Very solemn and very slow] Scherzo: Sehr schnell [Very fast] Finale: Bewegt, doch nicht schnell [Moving along, but not fast]

thursday evening is bso business partners appreciation night. thursday evening’s performance of mozart's piano concerto no. 24 in c minor, k.491, is supported by a generous gift from jane and neil pappalardo. bank of america and emc corporation are proud to sponsor the bso’s 2014-2015 season.

The evening concerts will end about 10:10, the Friday concert about 3:40. 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 and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. 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 devices during the concert, including tablets, cellular phones, pagers, watch alarms, and messaging devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 13 program 29 The Program in Brief...

At the height of his popularity in Vienna, Mozart wrote a stunning series of piano concertos for himself to play, of which the dramatically wide-ranging C minor, from 1786, is arguably the most innovative. His only other minor-mode concerto, the D minor, from a year earlier, ends in a bright D major, in keeping with the expectations of Mozart’s audience. The C minor, on the other hand, finishes in the somber minor mode—which would surely have caught contemporary listeners by surprise. Also unusual is the fact that the last movement is in theme-and-variations form—a form not typically associated with the concerto genre. We have no idea why Mozart chose to write so atypical a work; but since his big project at the time was his great opera The Marriage of Figaro, numerous commentators suggest he may have needed an outlet for some of the darker musical ideas that, brewing within him, gave rise to this minor-mode piece—which, like all his mature piano concertos, also strikes a perfect balance in the varied juxtapositions and interactions of the orchestral winds, orchestral strings, and solo instrument.

Premiered in December 1884 by the Gewandhaus Orchestra of Leipzig, Bruckner’s Seventh Symphony, composed when he was nearing 60 years of age, was his most consistently successful and popular. The Boston Symphony first played it in February 1887, making it the first of his works to be played by the BSO.

At more than twice the length of the Mozart concerto that opens this concert, Bruckner’s Symphony No. 7 operates on an entirely different scale, at an entirely different temperature. In his symphonies, Bruckner expanded the form established by Haydn and Mozart—four individual movements in the sequence fast-slow-fast-fast, even if the word “fast” can seem hardly applicable in the Brucknerian context—to a size his Classical predecessors never envisioned. From this perspective, it is useful to hear the individual movements as being built not on short, readily digestible themes, but instead in broad theme-paragraphs whose contrasts are based in measured and expansive changes of sonority, texture, and mood.

Bruckner’s emulation of Wagner is evident not only in the enormous expanse of Bruckner’s musical structures, but also in the size of his brass section (his inclusion of Wagner tubas in the Seventh was their first usage outside Wagner’s own music). This was of no help to him in Vienna, the seat of a huge controversy between the ardent Wagnerians, with their “music of the future,” on the one hand, and, on the other, the staunchly conser- vative advocates of the more Classically-oriented Brahms. No matter that Bruckner’s symphonies can also be heard as following upon Classical models: the problem was that, when they were new, they tended hardly to be heard at all, let alone seriously considered. Yet his massive symphonic structures remain unique, and uniquely significant, accomplish- ments, offering rich rewards to the patient listener. It is not for nothing that, in keeping with the composer’s own deeply felt Catholicism, they are often referred to as monu- mental “cathedrals in sound.”

Marc Mandel

30 Wolfgang Amadè Mozart Piano Concerto No. 24 in C minor, K.491

JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART—who began calling himself Wolfgango Amadeo about 1770 and Wolfgang Amadè about 1777 (he used “Amadeus” only in jest)—was born in Salzburg, Austria, on January 27, 1756, and died in Vienna on December 5, 1791. Mozart entered the C minor concerto, K.491, into his own catalogue of his works on March 24, 1786. He himself introduced the concerto at Vienna’s Burgtheater ten days later, on April 3.

IN ADDITION TO THE SOLO PIANO, the score calls for an orchestra of one flute, two oboes, two clarinets, two bassoons, two horns, two trumpets, timpani, and strings. No cadenzas by Mozart survive; at these performances, Lars Vogt plays his own first-movement cadenza.

Mozart composed three concertos during the time he was working on Le nozze di Figaro in the winter of 1785-86. The first two of these (K.482 in E-flat and K.488 in A) were, to some extent, retrenchments to a decorative lyric style that would be sure to please the Viennese, as if Mozart realized that the very symphonic pair of concertos that immediately preceded them—K.466 in D minor and K.467 in C major—had stretched the limits of his audience’s comprehension. Both of the first two concertos in the triptych exploit new instrumental colors (they have clarinets for the first time in Mozart’s concertos, though they omit oboes) and boast an incredible wealth of fresh melodic ideas. The third of the concertos, however, in the key of C minor, which was always, in Mozart’s mind, a tonality for music of particularly dramatic character, reverts to the symphonic elabora- tion of the earlier concertos without, however, losing the new coloristic interest; it is the only Mozart concerto to have both oboes and clarinets.

At the same time, it is unusually single-minded in its concentration on the principal thematic material presented at the very outset—a rare procedure for Mozart, especially in the piano concertos, where a multiplicity of ideas usually helps to differentiate soloist and orchestra. But here, possibly inﬂuenced by Haydn’s tendency to monothematicism, Mozart composes a work that is tightly organized thematically—Haydn’s technique, but

week 13 program notes 31 Program page from the first Boston Symphony Orchestra performance of Mozart’s C minor piano concerto, K.491, on December 1, 1959, in Cambridge, with Claude Frank as soloist and Charles Munch conducting (BSO Archives)

32 Mozart’s family as painted in 1780/81 by Johann Nepomuk della Croce: Wolfgang’s sister Nannerl, Wolfgang, and Leopold, with a painting on the wall of Mozart’s mother, who had died in July 1778

in Mozart’s style. The tense emotional storms called forth by the tonality, the frequent chromatic movement, and the thematic concentration bespeak Mozart at every moment. The symphonic development, built up of fragments of the ﬁrst theme, cost him a great deal of effort, as the much-cancelled and rewritten manuscript reveals.

The introductory orchestral ritornello is so completely devoted to the opening material and its developments that there is hardly a hint of any second theme. Even when the piano takes off on its own exposition, the relative major key of E-ﬂat does not bring with it a memorable new melody, just a momentary relief from chromatic intensity—and the relief is indeed momentary.

After this tempest of uncertainty, the slow movement brings the air of something almost too pure to exist in the real world, as exempliﬁed by the passions of the opening movement. The play of the woodwinds is particularly felicitous; for much of the movement, even though he has both clarinets and oboes at hand, Mozart builds his woodwind inter- ludes with ﬂute on top, bassoon on the bottom, and either clarinets or oboes in the middle. Gradually they begin to impinge upon one another until all of the woodwinds (supported by the horns), like balmy zephyrs, bring in the soloist for another statement of his theme.

In Mozart’s earlier minor-key piano concerto (K.466 in D minor) the ﬁnale had been light enough to disperse the memory of the opening movement’s stormy qualities. In this concerto, however, the ﬁnale—a theme and six variations plus coda—draws upon many of the same chromatic gestures that made the opening so powerful. There is variety here, to be sure, but many reminders of the overall mood, even when, after the cadenza, the piano unexpectedly takes off in a rollicking—or what would normally be a rollicking—6/8 version of the theme to bring the concerto to its conclusion.

week 13 program notes 33

The C minor concerto is one of those works in which Mozart approached most closely to the romantic expression of the next generation. It is not surprising that Beethoven is known to have especially admired it. Once, in the summer of 1799, he was walking through the Augarten in Vienna with the visiting pianist and composer J.B. Cramer when they heard a performance of this concerto. Beethoven drew Cramer’s attention to a particular passage at the end of the first movement and cried, “Cramer, Cramer, we shall never be able to do anything like that!” It is most likely that the passage Beethoven had in mind was that surprising moment after the first-movement cadenza when the pianist enters again. (Up until this work, the soloist’s job was normally finished after playing the cadenza, and the orchestra would normally conclude the movement with a more-or-less perfunctory final ritornello.) In this case, what follows the cadenza is the big surprise: rather than ending with fortissimo orchestral statements and flashy virtuosic fireworks, all is suddenly misty and mysterious, vanishing in a whisper. How unlike any concerto that had ever been written! Small wonder that when Beethoven came to write his own piano concerto in C minor soon after hearing the performance in the Augarten, he should rein- troduce the piano in a similar way, with his own surprising, quiet culmination, thus overtly signaling his recognition of the grand tradition and his indebtedness to the old master.

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

THE FIRST AMERICAN PERFORMANCE OF K.491 took place in St. Louis on March 19, 1868, with Egmont Froelich conducting the Philharmonic Society (soloist unknown). The first Boston performance took place on February 13, 1874, with Carl Zerrahn conducting the Harvard Musical Association and soloist Hugo Leonhard.

THEFIRSTBOSTONSYMPHONYPERFORMANCES of K.491 took place in December 1959 in Cambridge, Boston, Brooklyn, and New York; Charles Munch conducted, with soloist Claude Frank. Later BSO performances featured Gabriel Tacchino and Claude Frank with Erich Leinsdorf conducting; Robert Casadesus with William Steinberg; André Watts with Riccardo Muti; Vladimir Ashkenazy as soloist/conductor; Alicia de Larrocha with Hiroshi Wakasugi and Leonard Slatkin; André Previn as soloist/conductor on several occasions; András Schiff with Charles Dutoit; Horacio Gutiérrez with Previn conducting; Malcolm Frager with Yuri Temirkanov; Murray Perahia with Andrew Davis; Peter Serkin with Seiji Ozawa; Richard Goode with Edo de Waart; Imogen Cooper with Sir Colin Davis (the most recent subscription performances, in January 2007), and Gerhard Oppitz with Ken-David Masur (the most recent Tanglewood performance, on July 22, 2012).

week 13 program notes 35

Anton Bruckner Symphony No. 7 in E

JOSEF ANTON BRUCKNER was born in Anfelden, Upper Austria, on September 4, 1824, and died in Vienna on October 11, 1896. He began work on his Symphony No. 7 on September 23, 1881, completing the first movement on December 29, 1882. The Adagio was ready in sketch on January 22, 1883, and in score three months later, on April 21. The scherzo was sketched by July 14, 1882, and finished on October 16 that year. The finale, and with it the entire symphony, was completed on September 5, 1883. Bruckner’s pupils Josef Schalk and Franz Zottmann had already played the first and third movements on two pianos in Vienna in February 1883. Schalk and another Bruckner pupil, Ferdinand Löwe, gave the whole symphony in that form in Vienna a year later. Bruckner undertook a few revisions after the formal premiere, which Arthur Nikisch conducted with the Gewandhaus Orchestra of Leipzig on December 30, 1884. The dedication, which Bruckner decided upon after the first performance of the work in Munich, is “to H.M., King Ludwig II of Bavaria, in deepest reverence.”

THE SCORE OF BRUCKNER’S SYMPHONY NO. 7 calls for two flutes, two oboes, two clarinets, two bassoons, four horns, four Wagner tubas (two tenor and two bass), three trumpets, three trombones, bass tuba (alternating with contrabass tuba), timpani, and strings. The question of the cymbal and triangle parts in the Adagio—not used by Andris Nelsons in this week’s performances—is discussed below.

Bruckner was born in a village where his father, like his father before him, was the schoolmaster. Before that, and as far back as the fourteenth century, the Bruckners had been farmers and laborers. He sang in the choir, was allowed to play the organ, and learned musical rudiments from a cousin. In 1837, the year his father died, the twelve-year-old Anton was taken as a choirboy into the Augustinian monastery of St. Florian, whose buildings, Austrian Baroque at its most splendid, dominate the countryside southeast of Linz. There the musician and man gradually emerged. In 1840 he ﬁrst heard orchestral music by Beethoven and Weber. He studied Bach’s Art of Fugue and Well-tempered Clavier, became acquainted with the works of Schubert and Mendelssohn, played dance music for a living, and equipped himself

week 13 program notes 37 Program page from the first Boston Symphony performance of Bruckner’s Symphony No. 7 on February 5, 1887, with Wilhelm Gericke conducting (BSO Archives)

38 From the first printing of Bruckner’s Symphony No. 7

to become a schoolteacher. In 1848 he was appointed organist at St. Florian. All his life, he was never to feel so sure anywhere as on the organ bench. As organist he enjoyed the success that was withheld from him as a composer; in Paris he played in a crowded Notre-Dame before an audience that included Franck, Saint-Saëns, Auber, and Gounod; the Vienna Chamber of Commerce sponsored a series of recitals in London (one every day for a week in the Royal Albert Hall and five more in the Crystal Palace); and when the sixty-seven-year-old master stood as a newly created Doctor of Philosophy before the Rector magnificus of Vienna’s university, he said “I cannot find the words to thank you as I would wish, but if there were an organ here, I could tell you.”

And all the while at St. Florian, he composed whatever the community needed, from sacred motets to dances for piano four-hands to part-songs for men’s choral societies. In 1855 he began to travel regularly to Vienna for lessons with Simon Sechter, the tsar of Austria’s music-theory world. (Twenty-seven-years earlier, at the same age and, as it turned out, just two weeks before his death, Schubert had decided on the same step.) Sechter was a curious ﬁgure, who, to clear his head, wrote a fugue every morning of his adult life and whose compositions include poly- phonic fantasies for piano duet on operatic airs as well as settings of chapters from a geography textbook and, once, of an entire issue of a Viennese newspaper. In Bruckner he met his match when it came to compulsive counterpointing, and, on one particular occasion, when he received from his pupil seventeen ﬁlled exercise books at the same time, he felt obliged to caution the young man about overdoing it and the possible perils to his health. In person and by correspondence, Bruckner worked with Sechter for six years, during which time he was forbidden to do any free composition. He emerged with a Meisterbrief (a certificate of mastery like

week 13 program notes 39

Arthur Nikisch, who conducted the premiere of Bruckner’s Seventh Symphony, and who was conductor of the Boston Symphony Orchestra from 1889 to 1893

those issued by the old guilds), a nervous breakdown, and a sovereign command of contrapuntal craft. But Bruckner’s hunger for learning was not yet stilled, and he went on to study with Otto Kitzler, principal cellist of the Linz theater orchestra. While Sechter was oriented to the past, Kitzler taught from modern scores by Beethoven, Mendelssohn, and even Wagner, whose Tannhäuser he was determined to perform in Linz and which he analyzed with his eager student.

At the end of his time with Kitzler, Bruckner was in his fortieth year and ready to heed his vocation as composer. He began work on the symphony he was later to call “die Nullte”—No. 0—and, over the next decade, followed that with three Masses and the first versions of symphonies 1 through 4. Momentous events in his life included his ﬁrst time seeing Tristan and meeting Wagner, both in 1865; his move to Vienna in 1868; and the success of the First and Second symphonies in Linz and Vienna in 1868 and 1873, respectively.

Friends had talked him into the move to Vienna, where, for less money than he was making as cathedral organist in Linz, he taught organ, counterpoint, and ﬁgured bass at the Conservatory and where he occupied an unpaid and essentially imagi- nary post of Court Organist in exspectans. He could not afford to have his Fourth Symphony copied, and he was convinced he would “celebrate the idiocy of [his] move” in debtor’s prison. He found himself drawn into the musico-political war between the Wagnerians and the supporters of Brahms, a conﬂict in which he was temperamentally unsuited to engage and which in any event did not interest him. Altogether, with his peasant speech, his social clumsiness, his clothes that looked as though a carpenter had built them, his disastrous inclination to fall in love with girls of sixteen, his piety (he knelt to pray in the middle of a counterpoint class when he heard the angelus sound from the church next door), his powerful intelli- gence that functioned only when channeled into musical composition, his unaware-

week 13 program notes 41 ness of intellectual or political currents of his or any other day, Bruckner was not a likely candidate for survival in the sort of compost-heap of gossip and intrigue that Vienna was, nor indeed anywhere in the world where for a composer so much depended on things other than his skill at inventing music.

Buoyed by occasional successes, wounded and bewildered by rather more frequent failures, pushed this way and that by ardent and sometimes profoundly misguided disciples, Bruckner found himself firm in his vocation as a symphonist. He had learned from Beethoven about scale, preparation and suspense, mystery, and the ethical content of music, from Schubert something about a specifically Austrian tone and much about the handling of harmony; from Wagner, along with a few mannerisms, everything about a sense of slow tempo, a breadth of unfolding previously unknown to instrumental music. The vision, in the largest sense, is his own. So is the simple magnificence of sound. The Fifth Symphony of 1875-78, the craggi- est of Bruckner’s mountains, is the summit of this first long stage of his growth, his gradual discovery of a new and extraordinary idea of the symphony. A string quin- tet, whose Adagio is as great a slow movement as chamber music has to show after Beethoven, followed in 1879, and the subtle Sixth Symphony, which Bruckner himself thought his boldest, was completed in 1881. He then began almost at once on the Seventh, the work that most consistently brought him the most unqualified successes, that was the most widely circulated (performances in Munich, Karls- ruhe, Vienna, Graz, Hamburg, Cologne, Amsterdam, Chicago, New York, Boston, Berlin, London, and Budapest following a Leipzig premiere within three years), and which still speaks to audiences with a quite singular directness.

Six of Bruckner’s symphonies begin with a hum from which thematic fragments detach themselves or against which he projects a spacious melody. Here in the Seventh, as Robert Simpson so aptly says it in his beautiful study of Bruckner, “the entrance...leads to a very lofty and light interior,” a vastly arching melody in which

42 The controversial clash of cymbals in the Adagio of Bruckner’s Seventh; some scholars feel that the words “gilt nicht” (“not valid”)—at the upper right in this image—are not in Bruckner’s handwriting

the cellos are subtly supported, now by a horn, now by the violas, now by a clarinet. To the extent that Bruckner here conveys the feeling of an immense arch, he is giving us in microcosm the sense of this entire movement with its grand pull away from the opening E major into the regions of B minor and B major, and its sovereign reconquest of the original tonality.

Until the solemn Adagio begins we don’t even notice that Bruckner has so far stayed away from one of the most obvious harmonies to which a movement in E major might aspire, that of the relative minor, C-sharp.* With that harmony that is both so close and so new, he introduces a new sound, that of a quartet of Wagner tubas, instruments designed for Der Ring des Nibelungen and intended to combine the mellowness of horns with something of the weight of tuba tone. There is, however, a deeper association with Wagner, for in January 1883, Bruckner wrote to the conductor Felix Mottl: “One day I came home and felt very sad. The thought had crossed my mind that before long the Master would die, and then the C-sharp minor theme of the Adagio came to me.” Wagner did in fact die in Venice on February 13, and the quiet closing music that begins with the quartet of tubas and contrabass tuba became Bruckner’s memorial to the man he worshipped above all living musicians. What would one not give to have been present when at one of his improvisations at St. Florian’s Bruckner wove together his own Adagio with the music for Siegfried’s funeral?

* The relative minor is that minor key whose scale uses the same notes as that of its relative major. In general, when two keys share a large number of notes, we speak of them as closely related; con- versely, when two keys share relatively few notes, we speak of them as distant or remote. The more distant two keys are, the more striking, or dramatic, or even startling, a shift from one to the other is apt to be, though, as Bruckner does here, it is possible for a composer paradoxically to make a close key feel like fresh territory.

week 13 program notes 43

Following the example of Beethoven’s Ninth, Bruckner builds the movement on two contrasting ideas—the initial solemn one in minor, in 4/4 time, and a more pastoral, Schubertian one in major and in triple meter—of which the second is aban- doned after two statements, both scored with striking richness and loveliness. What the strings play immediately after the movement begins, a ﬁrm sequence of rising steps, is an allusion to music in Bruckner’s own Te Deum, his last choral work on a large scale, in progress at the same time as the symphony, and completed in March 1884. The words at that point in the Te Deum are “non confundar in aeternum” (“let me not be confounded for ever”), and Bruckner uses the momentum of those upward steps to build a great climax in the ﬁrst variation. Later he achieves another, one as stupendous as we can find in any symphony, and reached in a place— C major—that is almost unimaginably far from the harmonic origins of the movement. From that summit the music descends into the grief-stricken, then profoundly peaceful, threnody for Wagner.

In most performances, the thrilling arrival at the great C major climax in the Adagio is marked by a clash of cymbals with a roll of drums and triangle. This has been controversial almost from the beginning. It is clear that the cymbals and triangle were an afterthought of Bruckner’s, for their entry appears on an insert to the auto- graph score. To this insert Bruckner added six question marks! These have been crossed out and the words “gilt nicht” (“not valid”) added above the measure in question (see illustration on page 43); not all scholars, however, are convinced that this notation is in Bruckner’s hand.

From a letter written by Josef Schalk to his brother Franz, we know that the cymbal clash in the Adagio of the Seventh was their idea and that the twenty-nine-year-old Arthur Nikisch, who conducted the premiere, talked Bruckner into accepting it— “which delights us wildly.” The structurally similar climax of the Adagio of Bruckner’s Symphony No. 8 has two cymbal clashes of undisputed authenticity; citing this parallel case, some measure of doubt about who added the “gilt nicht,” and the

week 13 program notes 45

undeniable effectiveness of this spectacular punctuation, most conductors use the cymbals and triangle in the Seventh.

The third movement is a scherzo dominated by the restless ostinato of strings and the cheerily trumpeting cock-crow with which it begins. As is Bruckner’s custom, the Trio is slightly slower, lightly scored, and pastoral in character. One of the features that deﬁne its pastoral nature is the prevalence of bagpipe-like, long-held notes in the bass, much as one might ﬁnd them in musette movements in Baroque music.

The finale, to quote Simpson again, “blends solemnity and humor in festive gran- deur.” It presents highly diversified ideas that run the gamut from the capricious and even the magnificently grotesque to the sublimely simple. Here, to hang on to any semblance of order, it is necessary to ignore the many tempo modifications that almost certainly go back to Nikisch rather than to Bruckner, which unfortu- nately are still to be found in the widely used score edited by Leopold Nowak for the International Bruckner Society, and whose observance produces a distressingly spastic effect.* At the end, all is gathered into a blaze of E major as intimations of the symphony’s beginning return and the heavens open.

Michael Steinberg

michael steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

the first american performance of Bruckner’s Symphony No. 7 was given by Theodore Thomas conducting his own orchestra on July 29, 1886, in Chicago.

the first boston symphony performance of Bruckner’s Symphony No. 7 was led by Wilhelm Gericke on February 5, 1887, subsequent BSO performances being given by Karl Muck, Max Fiedler, Serge Koussevitzky, Charles Munch, Erich Leinsdorf, William Steinberg, Bruno Maderna, Stanislaw Skrowaczewski, Klaus Tennstedt, Seiji Ozawa, Marek Janowski, Simon Rattle, Bernard Haitink, Kurt Masur, Herbert Blomstedt (the most recent Tanglewood performance, on August 26, 2006, and Hans Graf (the most recent subscription performances, in March 2009).

* Nikisch, who was conductor of the Boston Symphony Orchestra from 1889 to 1893 and who appeared here with the London Symphony as late as 1912, was a conductor evidently of genius and of undoubted and extraordinary magnetic force for players and audiences alike. Toscanini condemned him as inclined to draw attention to himself at the expense of the music, but other observers, including Sir Adrian Boult and Roger Sessions, cannot say enough in praise of the simplicity of his method and the effect of inevitability his interpretations had. It seems altogether believable that he himself could make perfect and convincing sense of those tempo changes that seem so grotesque when written down and then reinterpreted by other conductors.

week 13 program notes 47

To Read and Hear More...

The important modern biography of Mozart is Maynard Solomon’s Mozart: A Life (Harper- Perennial paperback). Peter Gay’s wonderfully readable Mozart is a concise, straightforward introduction to the composer’s life, reputation, and artistry (Penguin paperback). John Rosselli’s The life of Mozart is one of the compact composer biographies in the series “Musical Lives” (Cambridge paperback). For deeper delving, there are Stanley Sadie’s Mozart: The Early Years, 1756-1781 (Oxford); Volkmar Braunbehrens’s Mozart in Vienna, 1781-1791, which provides a full picture of the composer’s final decade (HarperPerennial paperback); Julian Rushton’s Mozart: His Life and Work, in the “Master Musicians” series (Oxford), and Robert Gutman’s Mozart: A Cultural Biography (Harcourt Brace Jovanovich/ Harvest paperback). Peter Clive’s Mozart and his Circle: A Biographical Dictionary is a handy reference work with entries on virtually anyone you can think of who figured in Mozart’s life (Yale University Press). The Mozart Compendium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon, includes an entry by Robert Levin on the concertos (Schirmer). A Guide to the Concerto, edited by Robert Layton, includes a chapter by Denis Matthews on “Mozart and the Concerto” (Oxford paperback). Alfred Einstein’s Mozart: The Man, the Music is a classic older study (Oxford paperback). Other older books still worth knowing are Cuthbert Girdlestone’s Mozart and his Piano Concertos (Dover paperback) and Arthur Hutchings’s A Companion to Mozart’s Piano Concertos (Oxford paperback). Michael Steinberg’s program note on Mozart’s C minor piano concerto, K.491, is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s note on K.491 is among his Essays in Musical Analysis (Oxford paperback).

Recordings of Mozart’s C minor piano concerto, K.491, include—listed alphabetically by soloist, who also doubles as conductor unless otherwise noted—Géza Anda’s with the Camerata Academica of the Salzburg Mozarteum (Deutsche Grammophon), Daniel Barenboim’s with the English Chamber Orchestra (Warner Classics), Alfred Brendel’s with Sir Charles Mackerras and the Scottish Chamber Orchestra (Philips), Imogen Cooper’s with Bradley Creswick and the Northern Sinfonia (Avie), Jen˝o Jandó’s with András Ligeti and the Concentus Hungaricus (budget-priced Naxos), Murray Perahia’s with the English Chamber Orchestra (Sony), Maurizio Pollini’s with the Vienna Philharmonic (Deutsche Grammophon), and Mitsuko Uchida’s with Jeffrey Tate and the English Chamber Orchestra (Philips).

week 13 read and hear more 49 50 The two good basic biographies of Anton Bruckner are Derek Watson’s Bruckner in the “Master Musicians” series (Schirmer hardcover or Oxford paperback) and Hans-Hubert Schönzeler’s well-illustrated Bruckner in the Library of Composers series (Calder; also Grossman paperback). The Cambridge Companion to Bruckner, edited by John Williamson, in the series “Cambridge Companions to Music,” offers a compendium of essays primarily on Bruckner as symphonist, but also on the historical and cultural context in which he lived and worked, and on his choral music (Cambridge University paperback). Dika Newlin’s Bruckner, Mahler, Schoenberg links those three composers with regard to the Viennese musical tradition (Norton). Philip Barford’s Bruckner Symphonies in the series of BBC Music Guides provides a useful brief introduction to the composer’s symphonic output, including consideration of the authenticity questions surrounding certain scores (University of Washington paperback). A Guide to the Symphony, edited by Robert Layton, includes a chapter on Bruckner by Philip Coad (Oxford paperback). Robert Simpson’s The Essence of Bruckner subjects the symphonies to close critical and musical analysis (Gollancz paperback). Michael Steinberg’s program notes on Bruckner’s Fourth through Ninth symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Crucial to sorting out the different versions of Bruckner symphonies is Deryck Cooke’s “The Bruckner Problem Simplified,” a monograph based on a series of articles originally published in The Musical Newsletter and later restored to print in Vindications, a posthumous collection of Cooke’s essays (Cambridge University Press).

A memorable 1977 Boston Symphony telecast of Bruckner’s Symphony No. 7 from Symphony Hall with Klaus Tennstedt conducting is available on DVD (ICA Classics), as is a 1958 BSO telecast from Sanders Theatre with Charles Munch (also ICA Classics). Noteworthy recordings of Bruckner’s Symphony No. 7 on CD include (listed alphabetically by conductor) Daniel Barenboim’s with the Berlin Philharmonic (Warner Classics), Carlo Maria Giulini’s with the Vienna Philharmonic (Deutsche Grammophon), Bernard Haitink’s with the Concertgebouw Orchestra of Amsterdam (Philips), Eugen Jochum’s with the Bavarian Radio Symphony Orchestra (Deutsche Grammophon), Herbert von Karajan’s with the Vienna Philharmonic (Deutsche Grammophon), Kurt Masur’s with the Gewand- haus Orchestra of Leipzig (RCA) and New York Philharmonic (Teldec), Tennstedt’s live in concert from 1984 with the London Philharmonic (LPO), and Georg Tintner’s with the Royal Scottish National Orchestra (budget-priced Naxos). For those interested in historic releases, there is a 1951 tour performance of the Bruckner Seventh from Cairo, Egypt, with Wilhelm Furtwängler conducting the Berlin Philharmonic (Music & Arts, Archipel, and other labels) and a 1935 broadcast with Toscanini leading the New York Philharmonic— not quite complete, but the only preserved recording of Toscanini conducting Bruckner (Pristine Audio, available online).

Marc Mandel

week 13 read and hear more 51

Guest Artist

Lars Vogt

Lars Vogt has established himself as one of the leading musicians of his generation. Born in the German town of Düren in 1970, he first came to public attention by winning second prize at the 1990 Leeds International Piano Competition. Now increasingly working with orchestras both as conductor and directing from the keyboard, he was recently appointed music director of the Royal Northern Sinfonia at the Sage, Gateshead, beginning with the 2015-16 season. Mr. Vogt has performed with such notable orchestras as the Royal Con- certgebouw Orchestra, Berlin Philharmonic, Vienna Philharmonic, London Philharmonic, London Symphony Orchestra, New York Philharmonic, Boston Symphony Orchestra, NHK Symphony, and Orchestre de Paris, collaborating with such conductors as Sir Simon Rattle, Mariss Jansons, Claudio Abbado, and Andris Nelsons. His special relationship with the Berlin Philharmonic has continued with regular collaborations following his 2003-04 appointment as its first pianist-in-residence. Highlights of his 2014-15 season include opening the Royal Northern Sinfonia’s season conducting Beethoven and Brahms and an April 2015 program of Janáˇcek, Schumann, and Dvoˇrák. In Europe he performs concertos with the Orchestre Philharmonique de France, Vienna Symphony, Czech Philharmonic, and Salzburg Mozarteum Orchestra, as well as with the London Philharmonic under Yannick Nézet-Séguin both in London and on tour in Germany. In North America he appears with the Philadelphia Orchestra, with the Boston Symphony under Andris Nelsons, and in Mexico City; in South America he performs in São Paolo, Brasilia, and Bogotá. A key soloist in the Deutschekammerphilharmonie Bremen’s Brahms cycle, he performs Brahms piano concertos under Paavo Järvi at the Mostly Mozart Festival, Tanglewood (Brahms’s Piano

week 13 guest artist 53

Concerto No. 1 in Ozawa Hall last summer), and the Lanaudière Festival, as well as in Tokyo’s Opera City Hall, returning to Japan at season’s end for concerts with the New Japan Phil- harmonic under Daniel Harding. During 2013-14 Lars Vogt conducted performances with the Zurich Chamber Orchestra, Arte del Mondo, and Cologne Chamber Orchestra, also appearing in Amsterdam and London with the Royal Concertgebouw Orchestra, in Berlin and Vienna with the Deutsches Symphonie-Orchester Berlin, and in Paris with the Dresden Staatskapelle. Chamber projects included recitals with Ian Bostridge at the Edinburgh Festival and with actor Klaus Maria Brandauer in Vienna, as well as six concerts in North America with Christian Tetzlaff and trios in Europe with Christian and Tanja Tetzlaff. In June 1998 Mr. Vogt founded his own chamber festival, known as “Spannungen,” in Heimbach, Germany; the festival’s huge success has been marked by the release of ten live recordings on EMI. In 2005 he founded “Rhapsody in School,” which brings musical colleagues to schools across Germany and Austria. Also an accomplished and enthusiastic teacher, he was recently appointed professor of piano at the Hannover Conservatory of Music, succeeding Karl-Heinz Kämmerling, his former teacher and close friend. As an EMI recording artist, Lars Vogt made fifteen discs for the label, including Hindemith’s Kammermusik No. 2 with the Berlin Philharmonic and Claudio Abbado, and, with the City of Birmingham Symphony Orchestra and Sir Simon Rattle, the Schumann and Grieg concertos and the first two Beethoven concertos. Recent recordings include Schubert piano works (Cavi-music), Mozart concertos with the Salzburg Mozarteum Orchestra (Oehms), Liszt and Schumann piano works (Berlin Classics), and Mozart sonatas for violin and piano with Christian Tetzlaff (Ondine). Lars Vogt made his Boston Symphony Orchestra debut at Tanglewood in August 2004 with Beethoven’s Piano Concerto No. 1, subsequently returning there for BSO performances of Beethoven’s Emperor Concerto (August 2006) and Piano Concerto No. 4 (August 2013, his most recent BSO appearances). He has appeared twice previously for BSO subscription concerts, in October 2007 in Beethoven’s Piano Concerto No. 3, and January 2011 playing two Debussy piano Préludes and Mozart’s C major piano concerto, K.467.

Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance ononHuntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

week 13 guest artist 55 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 Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Germeshausen Foundation • Sally ‡ and Michael Gordon • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • 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 (2)

56 one million Alli and Bill Achtmeyer • 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 • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George ‡ Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • 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 ‡ • 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 • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • 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 • 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 (8)

‡ Deceased

week 13 the great benefactors 57

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. ‡ 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 • Alan J. and Suzanne W. Dworsky • Fidelity Investments • Michael L. Gordon • Mr. and Mrs. Ulf B. Heide • Dorothy and Charlie Jenkins • Stephen Kay and Lisbeth Tarlow • Ted and Debbie Kelly • Joyce Linde • Carmine A. and Beth V. Martignetti • Richard P. and Claire W. Morse Foundation • Commonwealth of Massachusetts • National Endowment for the Arts • Megan and Robert O’Block • Mrs. Irene Pollin • John S. and Cynthia Reed • Carol and Joe Reich • Susan and Dan ‡ Rothenberg • 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 committee peter c. andersen, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

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 Symphony Annual Fund provides more than $4 million in essential funding to sustain our mission. The BSO is grateful to the philanthropic leadership of our Higginson Sponsor members and those who have donated at the Sponsor level and above. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by December 31, 2014. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor. founders $100,000+ Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly virtuoso $50,000 to $99,999 Alli and Bill Achtmeyer • Mr. and Mrs. George D. Behrakis • 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

weeks 13 maestro circle 59 60 encore $25,000 to $49,999 Jim and Virginia Aisner • 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 • William and Deborah Elfers • Thomas and Winifred Faust • Mr. and Mrs. Steven S. Fischman • Joy S. Gilbert • Mr. and Mrs. Brent L. Henry • Josh and Jessica Lutzker • Henrietta N. Meyer ‡ • Sandra Moose and Eric Birch • Louise C. Riemer • 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 • Mr. and Mrs. Peter Andersen • Lois and Harlan Anderson • Dorothy and David Arnold • Lloyd Axelrod, M.D. • Judith and Harry Barr • Lucille Batal • Roz and Wally Bernheimer • Roberta and George ‡ Berry • Ann Bitetti and Doug Lober • Mrs. Linda Cabot Black • 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 • James Catterton ‡ and Lois Wasoff • Katherine Chapman and Thomas Stemberg • Ernest Cravalho and Ruth Tuomala • 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 • Deborah and Philip Edmundson • Roger and Judith Feingold • Laurel E. Friedman • Mr. David Fromm • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Jody and Tom Gill • Barbara and Robert Glauber • Thelma and Ray Goldberg • The Grossman Family Charitable Foundation • Mrs. Francis W. Hatch • Richard and Nancy Heath • Mr. and Mrs. Ulf B. Heide • Carol and Robert Henderson • Mr. and Mrs. Richard D. Hill • Dr. Susan Hockﬁeld and Dr. Thomas Byrne • Ms. Emily C. Hood • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Rita J. and Stanley H. Kaplan Family Foundation, Inc./Susan B. Kaplan and Nancy and Mark Belsky • Stephen B. Kay and Lisbeth L. Tarlow • Paul L. King • Mr. John L. Klinck, Jr. • Dr. Nancy Koehn • Mr. Robert K. Kraft • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Anne R. Lovett and Stephen G. Woodsum • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Mr. ‡ and Mrs. Robert D. Matthews, Jr. • Jane and Robert J. Mayer, M.D. • Dr. Martin C. Mihm, Jr. • Ann Merriﬁeld and Wayne Davis • Mr. and Mrs. Jack R. Meyer • Kyra and Jean Montagu • 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 • Peter Palandjian • Jane and Neil Pappalardo • Polly and Dan ‡ Pierce • Mr. and Mrs. Randy Pierce • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • William and Helen Pounds • James and Melinda Rabb • Linda H. Reineman • Mr. Graham Robinson and Dr. Jeanne Yu • Dr. Michael and Patricia Rosenblatt • Debora and Alan Rottenberg • Cynthia and Grant Schaumburg • Benjamin Schore • Arthur and Linda Schwartz • Ron and Diana Scott • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Dr. and Mrs. Phillip Sharp • Christopher and Cary Smallhorn • Maria and Ray Stata • Blair Trippe • Eric and Sarah Ward • Harvey and Joëlle Wartosky • Drs. Christoph and Sylvia Westphal • Elizabeth and James Westra • Joan D. Wheeler • Marillyn Zacharis • Rhonda ‡ and Michael J. Zinner, M.D. • Anonymous (5)

weeks 13 the higginson society 61 sponsor $5,000 to $9,999 Noubar and Anna Afeyan • 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 • Brad and Terrie Bloom • Mark G. and Linda Borden • Mr. and Mrs. Stephen P. Bradley • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • Jane Carr and Andy Hertig • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner • Jill K. Conway • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Prudence and William Crozier • Dr. Ronald A. and Dr. Betty Neal Crutcher • Joan P. and Ronald C. Curhan • Sally Currier and Saul Pannell • 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 • Dr. Ronald F. Dixon and Mrs. Elizabeth Ohashi • Phyllis Dohanian • Happy and Bob Doran • Julie and Ronald M. Druker • Mrs. Richard S. Emmet • Pamela Everhart and Karl Coiscou • Shirley and Richard Fennell • Beth and Richard Fentin • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • Barbie and Reg Foster • Beth and John Gamel • Dr. and Mrs. Levi A. Garraway • Jim Garrett • Mr. and Mrs. Paul B. Gilbert • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Jack Gorman • Raymond and Joan Green • John and Ellen Harris • William Hawes and Mieko Komagata ‡ • Mrs. Nancy R. Herndon • Drs. James and Eleanor Herzog • Mr. James G. Hinkle and Mr. Roy Hammer • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Anne and Blake Ireland • Mimi and George Jigarjian • Holly and Bruce Johnstone • Barbara and Leo Karas • Joan Bennett Kennedy • Mrs. Thomas P. King • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • The Krapels Family • Barbara N. Kravitz • Pamela S. Kunkemueller • Mr. and Mrs. David S. Lee • Dr. and Mrs. Jeffrey M. Leiden • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Betty Morningstar and Jeanette Kruger • Mr. and Mrs. Joseph M. Paresky • Mr. and Mrs. Michael Payne • Donald and Laurie Peck • Drs. James and Ellen Perrin • Slocumb H. and E. Lee Perry • Ann M. Philbin • Jonathan and Amy Poorvu • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mr. Lawrence A. Rand and Ms. Tiina Smith • Peter and Suzanne Read • Rita and Norton Reamer • Robert and Ruth Remis • Dr. and Mrs. George B. Reservitz • Dr. Robin S. Richman and Dr. Bruce Auerbach • Allan Rodgers • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Mr. and Mrs. Thomas A. Rosse • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Mr. Darin S. Samaraweera • Norma and Roger A. Saunders • Lynda Anne Schubert • Robert and Rosmarie Scully • Marshall Sirvetz • Gilda and Alfred ‡ Slifka • Ms. Susan Sloan and Mr. Arthur Clarke • Ms. Nancy F. Smith • John and Katherine Stookey • Patricia L. Tambone • Jean C. Tempel • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • Diana O. Tottenham • John Travis • Marc and Nadia Ullman • Robert A. Vogt • Mr. and Mrs. Mark Volpe • Gail and Ernst von Metzsch • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • 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)

weeks 13 the higginson society 63

Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2013-14 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above EMC Corporation, William J. Teuber, Jr. • Fidelity Investments

$250,000 - $499,999 Bank of America, Anne M. Finucane, Robert E. Gallery • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts, Paul Tormey, Jane Mackie • Massachusetts Office of Travel & Tourism

$100,000 - $249,999 American Airlines, Jim Carter • Arbella Insurance Foundation, John F. Donohue • Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter • Massachusetts Cultural Council • National Endowment for the Arts • Miriam Shaw Fund • State Street Corporation, Joseph L. Hooley, John L. Klinck, Jr. • Visit Sarasota County Florida

$50,000 - $99,999 Citizens Bank • Dick and Ann Marie Connolly • Fromm Music Foundation • The Geoffrey C. Hughes Foundation • Google Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • Liberty Mutual Insurance, David H. Long • Parthenon/EY, William F. Achtmeyer • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds

$25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Adage Capital Management, Michelle and Bob Atchinson • Josh and Anita Bekenstein • Connell Limited Partnership, Frank Doyle, Margot C. Connell • Eaton Vance Corp., Thomas E. Faust, Jr. • Elizabeth Taylor Fessenden Foundation •

week 13 corporate, foundation, and government contributors 65

The Ann and Gordon Getty Foundation • Goodwin Procter LLP, Regina M. Pisa • Greater Media, Inc., Peter H. Smyth • Grew Family Charitable Foundation • J. Calnan & Associates, Inc., Jay Calnan • John Hancock, Craig Bromley • Kingsbury Road Charitable Foundation • The Lowell Institute • The Lynch Foundation • The McGrath Family/The Highland Street Foundation • Natixis Global Asset Management, John T. Hailer • Northeast Utilities, Thomas J. May • Suffolk Construction’s Red & Blue Foundation, John F. Fish • Waters Corporation, Douglas A. Berthiaume • Edwin S. Webster Foundation • Wynn Resorts, Steve Wynn • Yawkey Foundation II

$15,000 - $24,999 Accenture, William D. Green, Richard P. Clark • The Harold Alfond Foundation • Arthur J. Hurley Company, Inc., Arthur J. Hurley III • Associated Grant Makers of Massachusetts • Bicon, LLC, Vincent J. Morgan, D.M.D. • Bingham McCutchen LLP, Catherine Curtin • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • Boston Private Bank & Trust Company, Mark Thompson • Boston Properties, Inc., Douglas Linde • The Cleary Family • Cognizant • Eileen and Jack Connors, Jr. • The Fallon Company, Joseph F. Fallon • Farley White Interests, Roger W. Altreuter, John F. Power • Harvard Pilgrim Health Care, Eric H. Schultz • Hemenway & Barnes, Stephen W. Kidder • Herald Media, Inc., Patrick Purcell • J.P. Marvel Investment Advisors, Inc., Joseph F. Patton, Jr. • Roger and Myrna Landay Charitable Foundation • Macy’s Foundation • Medical Information Technology, Inc., Howard Messing • MetLife Foundation • New Balance Foundation, Anne and Jim Davis • OvaScience, Michelle Dipp • The Alice Ward Fund of The Rhode Island Foundation • Saracen Properties LLC, Kurt W. Saraceno • Sentient Jet, Andrew Collins • Sandra A. Urie and Frank F. Herron • Verastem, Inc., Robert Forrester • Wilmington Trust, N.A., William Parizeau • Anonymous

$10,000 - $14,999 Advent International Corporation, Peter A. Brooke • Analog Devices, Inc., Ray Stata • Adelaide Breed Bayrd Foundation • BNY Mellon, Lawrence Hughes • The Boston Globe • Boston Seed Capital, LLC, Nicole M. Stata • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • CBS Boston’s WBZ-TV and myTV38 (WSBK-TV), Mark Lund • Charles River Laboratories, Inc., James C. Foster • Cumberland Gulf Group of Companies, Lily H. Bentas • The Drew Company, Inc., John E. Drew • EY, George R. Neble • FTI Consulting, Stephen J. Burlone • Gilbane Building Company, William Gilbane, Jr., Ryan E. Hutchins • H. Carr & Sons, Inc., James L. Carr, Jr. • Hill Holliday, Karen Kaplan • Ironshore, Kevin H. Kelley • John Moriarty & Associates, Inc., John Moriarty, David Leathers • Gerald R. Jordan Foundation, Darlene L. Jordan • Esther B. Kahn Charitable Foundation • Kaufman & Company, LLC, Sumner Kaufman • The Kraft Group, Robert Kraft and Family • Loomis, Sayles & Company, Kevin Charleston • Marcum LLP, Patrick Riley • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. •

week 13 corporate, foundation, and government contributors 67 68 Navigator Management, Thomas M. O’Neill • New England Development, Stephen R. Karp • The New England Foundation, Joseph C. McNay • The Red Sox Foundation, David Ginsberg • Reinhart FoodService/AGAR, John Nolan, Karen S. Bressler • Billy Rose Foundation • Santander, Roman Blanco • Saquish Foundation • William E. and Bertha E. Schrafft Charitable Trust • Silicon Valley Bank, Pamela Aldsworth • Staples, Inc., Ronald L. Sargent • TA Associates Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The TJX Companies, Inc., Carol Meyrowitz • Transwestern | RBJ, Steven Purpura • Tufts Health Plan, James Roosevelt, Jr. • United Airlines • The Verrochi Family • Wayne J. Griffin Electric, Inc., Wayne J. Griffin • William Gallagher Associates, Philip J. Edmundson • Woburn Foreign Motors, George T. Albrecht

$5,000 - $9,999 A & A Window Products, Inc. • Atlantic Trust Private Wealth Management • AVFX, Inc. • Barclays • Berkshire Partners LLC • BJ’s Wholesale Club, Inc. • Blake & Blake Genealogists • Boston Capital Corporation • CA Technologies • Callahan, Inc. • The Cambridge Homes • Chadwick Martin Bailey • Cisco Systems, Inc. • Clough Capital Partners, LP • Colliers International • Consigli Construction Co., Inc. • John and Diddy Cullinane • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Dellbrook Construction • Deluxe Corporation Foundation • Alice Willard Dorr Foundation • Gaston Dufresne Foundation • Eastern Bank • Elite Equine Imports • General Catalyst Partners • Greater Boston Chamber of Commerce • High Output, Inc. • IBM • Income Research + Management • Jack Madden Ford • Jofran, Inc. • Jones Day • Lucia B. Morrill Charitable Foundation • National Trust Insurance Services, LLC • Nutter McClennen & Fish LLP • O’Neill and Associates • Partners HealthCare • H.O. Peet Foundation • People’s United Bank • PwC • Raytheon Company • Related Beal • Repsol Energy North America • Thomas A. and Georgina T. Russo Family Fund • Signature Printing & Consulting, Woburn, MA • Sprint • Abbot and Dorothy H. Stevens Foundation • The Studley Press, Inc. • Edward A. Taft Trust • Towers Watson • TriMark • Ty-Wood Corporation • United Liquors Ltd. • The George R. Wallace Foundation • Walsh Brothers • Wells Fargo Advisors, LLC • Willis of Massachusetts, Inc. • Wilmer Cutler Pickering Hale and Dorr LLP • Wolf & Company, P.C. • Wolf, Greenfield & Sacks, P.C. • Anonymous

$2,500 - $4,999 Allied Printing Services, Inc. • Alvarez & Marsal • The Amphion Foundation, Inc. • The Arts Federation • Biogen Idec Foundation • Brookline Youth Concerts Fund • Cambridge Community Foundation • Cambridge Trust Company • Carson Limited Partnership • Century Bank • Chubb Group of Insurance Companies • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • James W. Flett Co., Inc. • The Fuller Foundation • Gibson Sotheby’s International Realty • Jackson and Irene Golden 1989 Charitable Trust • Elizabeth Grant Fund • Gryphon International Investment Corp. • Longfellow Benefits • NorBella • Oxford Fund • P.J. Spillane Company • Abraham Perlman Foundation • Sametz Blackstone Associates • Jean C. Tempel • Anonymous

week 13 corporate, foundation, and government contributors 69 BSO Season Sponsors 2014–15 Season

Bank of America’s support of the arts reﬂects our belief that the arts are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. As an American company, our program has supported the arts sector in our nation while acting as a cultural diplomat through global programs such as international tours of the Chicago Symphony Orchestra and the Alvin Ailey American Dance Theater, support of museums, theater, Bob Gallery and dance worldwide, and our ﬂagship Art Conservation Project, which Massachusetts President, conserves the art of many nations and cultures. Bank of America

EMC is pleased to continue our longstanding partnership with the Boston Symphony Orchestra. EMC is a global leader in enabling businesses and service providers to transform their operations and deliver information technology as a service (ITaaS). Fundamental to this transformation is cloud computing. Through innovative products and services, EMC acceler- ates the journey to cloud computing, helping IT departments to store, manage, protect, and analyze their most valuable asset—information—in Joe Tucci a more agile, trusted, and cost-efﬁcient way. Chairman, President, and CEO “As a Great Benefactor, EMC is proud to help preserve the wonderful musical heritage of the BSO, so that it may continue to enrich the lives of listeners and create a new generation of music lovers,” said Joe Tucci, Chairman and CEO, EMC Corporation.

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reﬂect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the companies listed above and gratefully acknowledges their partnership. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

70 BSO Season Supporting Sponsors

The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to support the Boston Symphony Orchestra through sponsorship John Donohue of the BSO’s Youth & Family Concerts and College Card program. These Chairman, President outreach programs give both area students and students from around and CEO the globe the opportunity to experience great classical music performed by one of the world’s leading orchestras in one of the world’s greatest concert halls. Through the Foundation, Arbella helps support organizations like the Boston Symphony Orchestra that work so hard to positively impact the lives of those around them. We’re proud to be local, and our passion for everything that is New England helps us better meet all the unique insurance needs of our neighbors.

The Fairmont Copley Plaza Boston together with Fairmont Hotels & Resorts is proud to be the ofﬁcial hotel of the BSO. We look forward to Paul Tormey many years of supporting this wonderful organization. For more than Regional Vice President a century Fairmont Hotels & Resorts and the BSO have graced their and General Manager communities with timeless elegance and enriching experiences. The BSO is a New England tradition and like The Fairmont Copley Plaza, a symbol of Boston’s rich tradition and heritage.

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

weeks 13 bso season sponsors and season supporting sponsors 71

Administration

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

Bridget P. Carr, Senior Archivist • Anna Le Tiec, Assistant to the Artistic Administrator • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services administrative staff/production Christopher W. Ruigomez, Director of Concert Operations

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Sarah Radcliffe-Marrs, Concert Operations Administrator • Mark C. Rawson, Stage Technician 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 • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 13 administration 73 74 development

Joseph Chart, Director of Major Gifts • 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 Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Lucy Bergin, Annual Funds Coordinator • Nadine Biss, Assistant Manager of Development Communications • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Assistant Manager, Donor Relations • Emily Diaz, Assistant Manager of Gift Processing • Emily Fritz-Endres, Executive Assistant to the Director of Development • Christine Glowacki, Assistant Manager, Friends Program • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer/Print Production Manager • Andrew Leeson, Manager of Direct Fundraising and Friends Program • Thomas Linehan, Beranek Room Host • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Carly Reed, Donor Acknowledgment and Research Coordinator • Emily Reeves, Assistant Director of Development Information Systems • Amanda Roosevelt, Assistant Manager of Planned Giving • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director of 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 • Anne Gregory, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, 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, Tanglewood Facilities Manager

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 13 administration 75 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]

76 information technology Timothy James, Director of Information Technology

Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • 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, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

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

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Karen Cubides, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Megan E. Sullivan, Associate Subscriptions Manager • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box ofﬁce Jason Lyon, Manager • Nicholas Vincent, Assistant Manager box ofﬁce representatives Jane Esterquest • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Events 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 13 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Gerald Dreher Vice-Chair, Tanglewood/Chair-Elect, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2014-15

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

week 13 administration 79 Next Program…

Thursday, January 22, 8pm Friday, January 23, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, January 24, 8pm

tugan sokhiev conducting

berlioz “le corsair” overture, opus 21

saint-saëns cello concerto no. 1 in a minor, opus 33 Allegro non troppo—Allegretto con moto—Come prima johannes moser

{intermission}

rimsky-korsakov “scheherazade,” symphonic suite, opus 35 Largo e maestoso—Allegro non troppo Lento—Andantino—Allegro molto— Vivace scherzando—Allegro molto ed animato Andantino quasi allegretto Allegro molto e frenetico—Vivo— Spiritoso—Allegro non troppo Maestoso malcolm lowe, solo violin

Born in the Ossetian region of the Caucasus and making his BSO debut in these concerts, Tugan Sokhiev is music director of the Deutsches Symphonie-Orchester Berlin and Orchestre National du Capitole de Toulouse. He is joined by the German-Canadian cellist Johannes Moser, also making his BSO debut, for Saint-Saëns’s Cello Concerto No. 1, a single-movement, fantasia-like work by turns fiery and charming. Opening the program is Hector Berlioz’s Le Corsaire Overture, whose title suggests the composer’s strong literary leanings, here referencing Byron’s Corsair and James Fenimore Cooper’s The Red Rover (“Le Corsaire rouge” in French). Rimsky-Korsakov’s orchestral masterpiece, the “symphonic suite” Scheherazade, spins out its Arabian Nights-inspired tableaux via transformations of an immediately recognizable musical motif.

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 $6.25 handling fee for each ticket ordered by phone or online.

80 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 ‘D’ January 22, 8-9:45 Thursday, February 19, 10:30am (Open Rehearsal) Friday ‘B’ January 23, 1:30-3:15 Thursday ‘D’ February 19, 8-9:55 Saturday ‘B’ January 24, 8-9:45 Friday ‘A’ February 20, 1:30-3:25 TUGANSOKHIEV, conductor Saturday ‘A’ February 21, 8-9:55 JOHANNESMOSER, cello STÉPHANEDENÈVE, conductor BERLIOZ Le Corsaire Overture JAMESEHNES, violin SAINT-SAËNS Cello Concerto No. 1 STRAVINSKY Suite from Pulcinella RIMSKY- Scheherazade PROKOFIEV Violin Concerto No. 1 KORSAKOV MILHAUD La Création du monde POULENC Suite from Les Biches

Thursday ‘C’ January 29, 8-9:50 Friday ‘B’ January 30, 1:30-3:20 Thursday ‘A’ February 26, 8-10 Saturday ‘B’ January 31, 8-9:50 Friday ‘B’ February 27, 1:30-3:30 ASHERFISCH, conductor Saturday ‘B’ February 28, 8-10 JULIANRACHLIN, violin Tuesday ‘C’ March 3, 8-10 DORMAN Astrolatry CHARLESDUTOIT, conductor PROKOFIEV Violin Concerto No. 2 JULIAFISCHER, violin SCHUMANN Symphony No. 1, Spring STRAVINSKY Concerto in E-ﬂat, Dumbarton Oaks DEBUSSY Images, for orchestra Thursday ‘B’ February 12, 8-10:10 BRAHMS Violin Concerto UnderScore Friday February 13, 8-10:20 (includes comments from the stage) Saturday ‘A’ February 14, 8-10:10 VLADIMIRJUROWSKI, conductor PIERRE-LAURENTAIMARD, piano DEBUSSY Prelude to The Afternoon of a Faun BIRTWISTLE Responses: Sweet disorder and the carefully careless, for piano and orchestra (American premiere; BSO co-commission) LIADOV From the Apocalypse STRAVINSKY Suite from The Firebird

Programs and artists subject to change.

week 13 coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 Symphony Hall InformationInformationSymphony

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. 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 $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building.

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 13 symphony hall information 83 Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons. 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, Thursday, and Friday 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, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open 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.