Week 10 2016–17 Season Vivaldi Krommer Jolivet Rota Schumann

2016–17 season andris nelsons music director

week 10 vivaldi krommer jolivet rota schumann

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner The most famous 19th-century American painter you’ve never heard of

Through January 16, 2017

mfa.org/chase

“William Merritt Chase” was organized by the Museum of Fine Arts, Boston; The Phillips Collection, Presented with generous support from The Mr. and Mrs. Raymond J. Horowitz Foundation Washington, DC; the Fondazione Musei Civici di Venezia; and the Terra Foundation for American Art. for the Arts, Inc., and the Deedee and Barrie A. Wigmore Fund in honor of Malcolm Rogers. Additional support from the Betty L. Heath Paintings Fund for the Art of the Americas, and the The exhibition and its publication were made possible with the Eugenie Prendergast Memorial Fund, made possible by a grant from Jan and Warren Adelson. generous support of the Terra Foundation for American Art.

William Merritt Chase, The Young Orphan (An Idle Moment) (detail), 1884. Oil on canvas. NA diploma presentation, November 24, 1890. National Academy Museum, New York (221-P). Table of Contents | Week 10

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 21 a case for quality by gerald elias 2 8 this week’s program

Notes on the Program

30 The Program in Brief… 31 Antonio Vivaldi 37 Franz Krommer 43 André Jolivet 49 Nino Rota 53 Robert Schumann 59 To Read and Hear More…

Artists

63 Ken-David Masur 68 Toby Oft 65 Cynthia Meyers 69 James Sommerville 65 William R. Hudgins 71 Michael Winter 67 Michael Wayne 71 Rachel Childers 67 Thomas Rolfs 71 Jason Snider

72 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

the friday preview on january 6 is given by bso director of program publications marc mandel.

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 thomas adès, deborah and philip edmundson artistic partner 136th season, 2016–2017

trustees of the boston symphony orchestra, inc.

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

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

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

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

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke † • Gregory E. Bulger • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • William Curry, M.D. • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Alexandra J. Fuchs • Robert Gallery • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy •

week 10 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael J. Lutch

Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • Steve Kidder • John L. Klinck, Jr. • Tom Kuo • Sandra O. Moose • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Sarah Rainwater Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Jeffrey E. Marshall • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • 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 10 trustees and overseers 5 OYSTER PERPETUAL DATEJUST 36

rolex oyster perpetual and datejust are ® trademarks. BSO News

Two 2017 Grammy Nominations for Andris Nelsons and the Boston Symphony Orchestra Last summer’s release in the BSO’s continuing Shostakovich series “Shostakovich Under Stalin’s Shadow,” on Deutsche Grammophon—a two-disc set with Andris Nelsons leading the BSO in live Symphony Hall performances of Shostakovich’s symphonies 5, 8, and 9 plus selections from his incidental music to Hamlet—has received two Grammy nominations, in the categories of Best Orchestral Performance and Best Engineered Album, Clas- sical. The 2017 Grammy Awards ceremony is scheduled for February 12 in Los Angeles. Coming up next in the series “Shostakovich Under Stalin’s Shadow” and due for release this summer is a two-disc set of the symphonies 6 and 7 (Leningrad) plus selections from the composer’s incidental music to King Lear, all to be taken from the current season’s upcoming BSO performances of those works.

Charles Munch’s Complete BSO Recordings For RCA Reissued in 86-CD Box Set Recently issued on the RCA Red Seal label by Sony Classical, “Charles Munch/Boston Symphony Orchestra/The Complete RCA Album Collection” brings together on 86 CDs every recording made by Charles Munch with the BSO during his tenure as the BSO’s music director from 1949 to 1962, as well as a number of recordings Munch made for Columbia with the New York Philharmonic between 1947 and 1949 and with the Phila- delphia Orchestra in 1963—all encompassing music by more than forty composers spanning two centuries. The lavishly illustrated booklet includes notes by D. Kern Holoman, author of the biography Charles Munch (Oxford University Press, 2012); recording and release dates for all of the musical selections, as well as the original catalog numbers; and reproductions of the original LP album covers, which also appear on the individual CD envelopes. “Charles Munch/The Boston Symphony Orchestra/The Complete RCA Album Collection” is available at the Symphony Shop and online at bso.org.

“Onstage at Symphony” The 2016-17 season sees the return of the BSO’s “Onstage at Symphony,” a program convening amateur musicians of all backgrounds from across Massachusetts for a set of rehearsals 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 have pursued alternate career paths, this program gives 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 January 11-14, 2017; the group’s final performance on Jan- uary 14 at 1:30 p.m. will be free and open to the public. For more information, please visit bso.org/onstageatsymphony.

week 10 bso news 7 We are honored to support the Boston Symphony Orchestra

as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . Boston Symphony Chamber Players, Sunday, January 22, at 3 p.m. at Jordan Hall The second concert of the Boston Symphony Chamber Players’ 2016-17 four-concert series at Jordan Hall at New England Conservatory takes place on Sunday, January 22, at 3 p.m. Guest pianist Randall Hodgkinson joins the Chamber Players for this program, which includes Taffanel’s Wind Quintet in G minor; Saint-Saëns’s Septet in E-flat for piano, trumpet, and strings, Opus 65; Eric Tanguy’s Afterwards, for flute and piano, and Françaix’s Octet for winds and strings. For single tickets at $38, $29, and $22, visit the Symphony Hall box office or bso.org, or call SymphonyCharge at (617) 266-1200. Please note that on the day of the concert, tickets can only be purchased at the Jordan Hall box office.

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, Associate Director of Program Publi- cations 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 6 is given by Marc Mandel. Speakers for upcoming weeks include Robert Kirzinger on January 13 and January 27, and Harlow Robinson of Northeastern University on January 20. individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Edmundson Family Concert in Honor of BSO Assistant Conductors, tees for a number of years. Phil and Debbie served on the Symphony Gala Committee in Thursday, January 5, 2017 fiscal years 2014, 2015, and 2017. The performance on Thursday evening is Phil has more than thirty years of experience supported by a generous gift from Great in the insurance industry. He is area chair- Benefactors Philip and Deborah Edmund- man of Arthur J. Gallagher & Co., a publicly son in honor of BSO Assistant Conductors traded global insurance broker, and was Moritz Gnann and Ken-David Masur. The previously chairman, chief executive officer, Edmundsons began attending performances and co-founder of William Gallagher Associ- at Symphony Hall in 1986 and have been ates, a provider of insurance brokerage, risk BSO subscribers for seventeen years. The management, and employee benefit services couple also regularly attends Pops and Tan- acquired by Arthur J. Gallagher & Co. in glewood performances. August 2015. Phil serves on the board of the A BSO Overseer since 2010, Phil was elected Alliance for Business Leadership; as a trustee Chair of the Board of Overseers in 2015. He of Beth Israel Deaconess Medical Center; as serves as co-chair of the Governance Lead- a director of the Massachusetts Budget and ership Development Ad-Hoc Committee and Policy Center and the Cornell Laboratory of a member of the Buildings and Grounds and Ornithology; and an advisory board mem- Overseers Nominating committees, among ber of the Trustees of Reservations. He is a others. He previously served on the Annual co-owner of Château Edmus, a vineyard in Funds and BSO Business Partners commit- the Bordeaux region of France. Phil earned

week 10 bso news 9 his B.S. from Amherst College, his MBA from rently on the board of the Land and Garden Babson College, and his master of public Preserve and a committee member of the policy degree from the Harvard Kennedy Asticou Azalea Garden in Mount Desert, School. A graduate of Mount Holyoke Col- Maine. Dan was the retired chairman of lege, Debbie is an administrative assistant at Scudder, Stevens & Clark. He began his Hingham Nursery School, a former director career at the investment firm after earning of Wellspring Inc., and a member of the Pres- his A.B. from Harvard University. Also an idential Advisory Council at Berklee College alumnus of Milton Academy, he served on of Music. She and Phil are also overseers of the boards of Milton Academy, Brigham and the South Shore Conservatory. Debbie is a Women’s Hospital, Fiduciary Trust Compa- musician, as are the couple’s three children, ny, New England Aquarium, College of the Caroline, Lauren, and Will. Atlantic, WGBH, and The Trustees of Reser- vations, among others. Married for close to sixty years, Polly and Dan have four children, The Polly and Dan Pierce Guest Sara, Daniel, Jr., Matthew, and Samuel. Artists, Friday, January 6, 2017 The appearance of the BSO soloists on Fri- The Marie L. Audet and day afternoon is supported by a generous gift from BSO Overseer Emerita Polly Pierce Fernand Gillet Concerts, and her late husband, Dan, who passed away January 6 and 7, 2017 on July 4, 2014. As Great Benefactors, Polly In recognition of a bequest from Marie L. and Dan have generously supported many Audet Gillet, the first pair of Friday-afternoon initiatives at the BSO, including the Artistic and Saturday-evening Boston Symphony Initiative and the Symphony and Tanglewood concerts of the new year is dedicated to the Annual Funds. They established the Polly mem ory of Mrs. Gillet and her husband, the and Dan Pierce Guest Artist Fund within the late Fernand Gillet, who was the BSO’s prin- BSO’s endowment to support a guest soloist cipal oboe from 1925 to 1946. Mrs. Gillet’s engagement with the BSO each season, with bequest endows in perpetuity two subscrip- special preference for concerts featuring tion concerts each year, in mem ory of her BSO musicians as soloists. and her husband. The first such concerts Polly and Dan have been BSO subscribers were given in January 1990. and donors for more than four decades. Throughout her eighty-nine years, Marie Polly began attending concerts at Symphony Gillet was surrounded by glorious music that and Tanglewood with her mother, the late brought her much joy and pleasure. Married Caroline Read Harding, when she was a to Fern and Gillet for almost fifty years, she child. In the 1990s, Polly named two seats in devoted much of her life to teaching piano Symphony Hall in honor of her mother and privately and at the New England Conser- father, Francis Appleton Harding. Polly is a vatory of Music, and attending Boston Sym- member of both the Higginson and Kousse- phony concerts in Symphony Hall and at vitzky societies at the Patron level. She was Tanglewood. She maintained a very special elected an Overseer in 1999 and was elevat- relationship with several of her “pupils” until ed to Overseer Emerita in 2011. her death in October 1988. Mrs. Gillet’s love An alumna of Milton Academy, Polly attend- for and devotion to the Boston Sym phony ed Smith College and the Longy School of Orchestra span ned more than sixty years. Music. In addition to her service to the BSO, A faithful subscriber to the Friday-afternoon she previously served as chairman of the concerts through the 1987 season, she New England Wild Flower Society, chairman was a member of the Higginson Society of the board of the Center for Plant Conser- from its inception and regularly attended vation, secretary of the Dedham Land Trust, special events, including the luncheon in and as an advisory committee member of the spring of 1987 for those who had been Coastal Maine Botanical Garden. She is cur- at tend ing BSO concerts for fifty years or

10 more. The Tanglewood Music Cen ter was pianist Jean-Frédéric Neuburger (January 28; very important to her; in 1983 she endowed encore February 6). two Guarantor Fellowships—the Fernand Gillet Fellowship for an oboe student and the Marie L. Audet Gillet Fellow ship for a piano Friday-afternoon Bus Service student. to Symphony Hall Born in Paris, oboist Fernand Gillet (1882- If you’re tired of fighting traffic and search- 1980) performed with the Lamoureux Or- ing for a parking space when you come to chestra and the Paris Grand Opera before Friday-afternoon Boston Symphony concerts, Serge Koussevitzky invited him to join the why not consider taking the bus from your Boston Symphony Orchestra in 1925 as prin- community directly to Symphony Hall? The cipal oboe, a position he held for twenty- BSO is pleased to continue offering round- one years. During the course of his seventy- trip bus service on Friday afternoons at cost five- year teaching career he served on the from the following communities: Beverly, faculties of the Tanglewood Music Center, Canton, Cape Cod, Concord, Framingham, the New England Conservatory, and Boston the South Shore, Swampscott, Wellesley, University; the New England Conservatory Weston, and Worcester in Massachusetts; and the Eastman School of Music presented Nashua, New Hampshire; and Rhode Island. him with honorary Doctor of Music degrees; In addition, we offer bus service for selected and he published several technical methods concerts from the Holyoke/Amherst area. for oboe in his native France. Mr. Gillet was Taking advantage of your area’s bus service awarded the Croix de Guerre for his service not only helps keep this convenient service in the French Flying Corps during World War I. operating, but also provides opportunities to spend time with your Symphony friends, meet new people, and conserve energy. For BSO Broadcasts on WCRB further information about bus transportation BSO concerts are heard on the radio at to Friday-afternoon Boston Symphony con- 99.5 WCRB. Saturday-night concerts are certs, please call the Subscription Office at broadcast live at 8 p.m. with host Ron Della (617) 266-7575. Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, Go Behind the Scenes: interviews with guest conductors, soloists, The Irving W. and Charlotte F. Rabb and BSO musicians are available online, Symphony Hall Tours along with a one-year archive of concert broadcasts. Listeners can also hear the The Irving W. and Charlotte F. Rabb Sympho- BSO Concert Channel, an online radio ny Hall Tours, named in honor of the Rabbs’ station consisting of BSO concert perform- devotion to Symphony Hall through a gift ances from the previous twelve months. from their children James and Melinda Rabb Visit classicalwcrb.org/bso. Current and and Betty (Rabb) and Jack Schafer, provide upcoming broadcasts include this week’s a rare opportunity to go behind the scenes concerto program with BSO soloists under at Symphony Hall. In these free, guided the direction of Ken-David Masur (January tours, experienced members of the Boston 7; encore January 16); music of Barber, Symphony Association of Volunteers unfold Terry Riley, and Elgar with conductor Bram- the history and traditions of the Boston Sym- well Tovey and organist Cameron Carpenter phony Orchestra—its musicians, conductors, (January 14; encore January 23); music of and supporters—as well as offer in-depth Prokofiev, Weinberg, and Tchaikovsky with information about the Hall itself. Tours are conductor Juanjo Mena and violinist Gidon offered on selected weekdays at 4 p.m. and Kremer (January 21; encore January 30), some Saturdays during the BSO season. and music of Julian Anderson (a BSO co- Please visit bso.org/tours for more informa- commission), Schumann, and Schubert with tion and to register. conductor Christoph von Dohnányi and

week 10 bso news 11 ©2016 Bose Corporation. CC018258 P We invite you to experience what our passion brings to t to brings passion our what experience to you invite We what inspires all we do at Bose. Bose. at do we all inspires what To learn more or to order: to or Tomore learn ht rae mc o wa w lv aot ui. n it’s And music. about love we what of much creates that Each musician reads from the same score, but each brings brings each but score, same the from reads musician Each including how you can hear Bose hear can youhow including performance of our products. Visit our website to learn mor learn to website our Visit products. our of performance his or her own artistry to the performance. It’s their passion passion their It’s performance. the to artistry own her or his assion Bose.com It’s at the heart heart the at hearttheat It’s

performanc ® sound for yourself. of their their of And our And s. e— he he e . The Information Stand: Find Out $30 (discounts for seniors and students), What’s Happening at the BSO available at the door. Are you interested in upcoming BSO concert The Concord Chamber Music Society, information? Special events at Symphony founded by BSO violinist Wendy Putnam, Hall? BSO youth activities? Stop by the infor- performs music of Beethoven, Yehudi mation stand in the Brooke Corridor on the Wyner, Zemlinsky, and Schoenfeld on Massachusetts Avenue side of Symphony Sunday, January 29, at 3 p.m. (pre-concert Hall (orchestra level), and in the Cohen Wing lecture at 2 p.m.) at the Concord Academy during Pops concerts. There you will find the Performing Arts Center, 166 Main Street, latest information on performances, mem- Concord, MA. Tickets are $42 and $33 bership, and Symphony Hall, all provided (discounts for seniors and students). For by knowledgeable members of the Boston more information, call (978) 371-9667 or Symphony Association of Volunteers. The visit www.concordchambermusic.org. BSO Information Stand is staffed before each concert and during intermission. Those Electronic Devices… As the presence of smartphones, tablets, BSO Members in Concert and other electronic devices used for com- Founded by former BSO cellist Jonathan munication, note-taking, and photography Miller, the Boston Artists Ensemble per- has increased, there have also been continu- forms a program entitled “Court to Coun- ing expressions of concern from concertgoers tryside” on Friday, January 6, at 8 p.m. at and musicians who find themselves distracted Hamilton Hall in Salem and on Sunday, not only by the illuminated screens on these January 8, at 3 p.m. at St. Paul’s Episcopal devices, but also by the physical movements Church, 15 St. Paul Street, Brookline. Joining that accompany their use. For this reason, Mr. Miller for this program of string quar- and as a courtesy both to those on stage and tets by Mozart, Beethoven, and Bartók are those around you, we respectfully request violinists Bayla Keyes and Daniel Chong that all such electronic devices be completely and violist Jessica Bodner. Tickets are $30 turned off and kept from view while BSO per- (discounts for seniors and students), avail- formances are in progress. In addition, please able at the door. For more information, visit also keep in mind that taking pictures of the bostonartistsensemble.org or call (617) orchestra—whether photographs or videos— 964-6553. is prohibited during concerts. Thank you very much for your cooperation. Collage New Music, founded by former BSO percussionist Frank Epstein and whose membership includes BSO violinist Cath- Comings and Goings... erine French and former BSO cellist Joel Please note that latecomers will be seated Moerschel, continues its season with a by the patron service staff during the first concert on Sunday, January 15, at 8 p.m. convenient pause in the program. In addition, at Edward M. Pickman Concert Hall at the please also note that patrons who leave the Longy School of Music of Bard College, 27 auditorium during the performance will not Garden Street, Cambridge. Soprano Janet be allowed to reenter until the next conve- Brown is soloist in a program led by Col- nientpause in the program, so as not to dis- lage’s music director, David Hoose, of works turb the performers or other audience mem- by Daniel Strong Godfrey, Marjorie Merry- bers while the music is in progress. We thank man, Gordon Beeferman, Seymour Shifrin, you for your cooperation in this matter. and Carl Schimmel. General admission is

week 10 bso news 13 MASTERCARD® IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA

EXPLORE PRICELESS® BOSTON EXPERIENCES AT PRICELESS.COM

Certain terms and restrictions apply. Quantities are limited. For MasterCard® cardholders only. MasterCard, World MasterCard, Priceless and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. © 2016 MasterCard. on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

CABOT-CAHNERS ROOM EXHIBIT—THE HEINZ W. WEISSENSTEIN/WHITESTONE PHOTOGRAPH COLLECTION: 45 YEARS AT TANGLEWOOD An exhibit highlighting the acquisition by the BSO Archives of the Whitestone Photo- graph Collection, a collection of more than 90,000 negatives and prints documenting the rich musical life at Tanglewood, the BSO’s summer home

TOP OF PAGE, LEFT TO RIGHT: Photograph of a 19th-century serpent from the Casadesus Collection of Ancient Instruments, acquired by the BSO in 1926 (photographer unknown) Souvenir program for the U.S. and Canadian tour of the Orchestre National de France led by Charles Munch in 1948—the year before he became the BSO’s music director Photographer Heinz Weissenstein flanked by Leonard Bernstein, Gunther Schuller, and Seiji Ozawa at Tangle- wood, 1970 (photo by then BSO Assistant Manager Mary H. Smith, using Weissenstein’s Rolleiflex camera)

week 10 on display 15 Marco Borggreve

Andris Nelsons

In 2016-17, his third season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in fourteen wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in late February/early March, followed by two concerts in Montreal and Toronto. In the summer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. In addition, in 2017 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, Maestro Nelsons and the BSO under- took a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany (including the BSO’s first performance in Leipzig’s famed Gewandhaus), ustria,A and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’sTannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in collaboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including

16 symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. More recently, this past August, their disc of Shostakovich’s Symphony No. 10 won Gramo- phone Magazine’s Orchestral Award.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertge- bouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philhar- monia Orchestra. A regular guest at the Royal Opera House, Vienna State Opera, and Metropolitan Opera, he returned to the Bayreuth Festival in summer 2014 to conduct Wagner’s Lohengrin, in a production directed by Hans Neuenfels, which he premiered at Bayreuth in 2010. Under a new, exclusive contract with Deutsche Grammophon, Mr. Nelsons will record the complete Beethoven symphonies with the Vienna Philharmonic and Bruckner symphonies with the Gewandhausorchester Leipzig.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 10 andris nelsons 17 Boston Symphony Orchestra 2016–2017

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

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

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

week 10 boston symphony orchestra 19 UnCommon consistency Commonwealth Worldwide has been the premier chauffeured transportation choice of discerning clientele - in Boston and beyond - for over 30 years; specializing in corporate executive travel, financial roadshows, private aviation, entertainment productions, five-star luxury hotels and meetings/special events in all 50 states and 79 countries worldwide. We’re proud to be the official provider of the Boston Symphony Orchestra and Boston Pops for yet another glorious year!

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A Case for Quality by Gerald Elias

Prompted by his experience on the BSO’s eight-city European tour last spring, former Boston Symphony violinist Gerald Elias reflects on the enduring strengths of symphony concerts.

Last April I had the opportunity to perform Mahler’s Ninth Symphony with the BSO at Symphony Hall and on its spring European tour. The ninety-minute symphony is a challenge both for the musicians and audience. Its relentless intensity and extended tonality keep it always outside the edge of our aural comfort zone, especially compared to the facile lyricism of a Tchaikovsky or Dvoˇrák. When the Symphony Hall performance ended and the musicians stood up to take our bows, I looked out into the audience. There usually is enough light in the hall to see the faces of concertgoers applauding, at least near the stage. Their expressions are a good gauge of how much they enjoyed the concert.

What I saw was more than gratifying. Not only was it clear the performance had been deeply appreciated, I was pleasantly surprised to see a fairly evenly balanced demo- graphic division of people in their twenties and thirties, forties and fifties, and sixties and seventies. And it wasn’t just a fluke. It turned out to be the case time and time again—in Vienna, in Leipzig, in Dresden, in Luxembourg—as well as at Symphony Hall. I suppose I was surprised because there has been a drumbeat of naysayers who prophesy the doom of symphony orchestras, telling us in somber tones that only rich, old folks go to concerts these days. I’m sorry, but that’s not how I’ve seen things. Is

Andris Nelsons and the BSO at the Musikverein in Vienna, May 9, 2016

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Andris Nelsons and the BSO performing Mahler's Symphony No. 9 at the Gewandhaus in Leipzig, May 5, 2016

there a greater preponderance of older people attending symphony concerts than rock concerts? No doubt. But no one seems to worry about Justin Bieber’s future simply because his audience is severely limited to teeny-boppers. And to the notion that symphonies have priced themselves out of the entertainment market: going to a symphony concert is no more expensive than the average ticket for a Red Sox game, and a lot less than a box seat. So if you can afford to sit in the bleachers and polish off a Fenway frank and a Samuel Adams, you can afford the Boston Symphony.

A prevailing narrative, promulgated, amazingly enough, by some symphony orchestras’ own administrations (though fortunately not the BSO’s), runs like this: (A) Symphony orchestras are in dire trouble. (B) The traditional symphonic format—the repertoire, the two-hour concert, the white-tie-and-tails, the formidable concert hall—is no longer relevant to contemporary society. (C) For the concert experience to be meaningful, and therefore in order for orchestras to survive, it has to connect with a more diverse local community and compete more actively in the entertainment arena. The proposed solu- tion: Orchestras need to jettison the “standard” repertoire and create new formats in less formal, more personalized settings that will attract a more contemporary crowd. In other words, symphony orchestras should cool it with the symphonies. Otherwise, we might as well pack our bags and go home.

I admit I’m exaggerating the argument, but not by much. Nevertheless, I find this narrative not only to be frightening, considering that the source of it is often the organization itself, but also flawed. First, I don’t see that orchestras are on the verge of extinction. On the contrary. People who make this argument are myopically fixated on only the top iert of professional symphony orchestras, and even in this regard it’s somewhat of a fiction. There is no doubt that, as is the case with most nonprofits, raising money is a nonstop challenge. When economic times are tough, orchestras struggle. (Yes, there are some orchestras that continue to struggle regardless of the economy, and some have tragically

week 10 a case for quality 23 Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of the world’s greatest orchestras, the Boston Symphony and the Boston Pops.

For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston Sebastien Grebille

Performing Mahler's Ninth at the Philharmonie Luxembourg, May 12, 2016

shut their doors, but in general when times get better, orchestras rebound.) In other words, they’re like any other business. We don’t write off the retail industry when Sears hits the skids. Why would we do that with orchestras? And don’t forget that during the supposed “golden age” of American symphony orchestras in the 1930s and ’40s, when radio stations like NBC supported their own magnificent in-house orchestras and even movie theaters had their own live musicians, there were comparatively few orchestras that provided anything close to a year-round concert schedule and full-time employment for the musicians, let alone health care and retirement benefits.

Going beyond fully professional orchestras, when you look how deeply embedded the culture of symphonic music is in American society, including hundreds of semi- professional, community, youth, college, festival, and school orchestras, a strong case can be made that symphony orchestras have never been healthier. The same week that I played the Mahler with the Boston Symphony at Symphony Hall, I performed as a soloist with the Long Island Youth Orchestra, which was celebrating its fiftieth anniversary! The same week I played the Mahler at Tanglewood, I coached the string section of the all-amateur Stockbridge Sinfonia for their well-attended annual concert. Going beyond our own shores, the explosion of symphonic music in Asia and South America over the past half-century has been nothing short of mind-boggling. Even if classical music in the U.S. and Europe were suddenly to cease tomorrow, the future of orchestral Mahler’s No. 4 or Mozart’s No. 40? music would still shine brightly around the world.

At Fairmont Copley Plaza, we appreciate And you know what music everyone’s playing? Mozart and Beethoven, Mahler and all our guests’ preferences. Strauss, Tchaikovsky and Rimsky-Korsakov, Debussy and Ravel. You know why? It’s simple. They composed great music. Musicians love to play it and audiences love to hear it. So far, no one has tired of gawking at the Mona Lisa or the statue of David. Why its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of should listening to Beethoven’s Fifth be any different? Should symphony orchestras www.fairmont.com/copley-plaza-boston week 10 a case for quality 25 program more music of contemporary, ethnically diverse composers? Absolutely! If it’s worthy music, by all means. But it’s ass backwards if the motivation is out of fear that otherwise symphony orchestras will die.

But what about the format? The presentation? What about those stuffy concert halls where you have to sit quietly for two hours and not use your cell phones? Isn’t there a better way to connect with the community? Outreach and education activities are great, especially considering the dwindling funding of public school music education. The more the better. But how can such activities “save the symphony” if at the same time the raison d’être—playing symphonies—is devalued by the very organizations trying to “save” it? What would the purpose be of such efforts? If a group of symphony musicians playing Piazzolla tangos in a pub floats their boat, that’s great. That would be a lot of fun. Go for it! Getting to know the musicians up close and personal is a wonderful way for the public to connect. And maybe it would eventually attract some people to go to a real symphony concert. (Personally, when I’m at a pub, I’d rather watch a ball game while I’m drinking my Rolling Rock than listen to string quartets. But, hey, that’s just me.)

But here’s the problem. Outreach has its limits. It’s a challenge to play Tchaikovsky's Fifth Symphony in a bar. I’m not sure how you’d squeeze all those brass players in there. Maybe behind the pool tables. At some point it comes back to concert halls. Sympho- ny orchestras have no choice but to play symphonies in concert halls. And you know what? Some people think it’s very special to go to a concert hall. In fact, a lot of people feel that way. It gives them a sense of being part of something very unique and special. Maybe that’s why they’ve kept coming for three hundred years. We are fortunate that the Boston Symphony was founded upon that principle and has steadfastly maintained it to this day.

In this day and age when we’re surrounded by external stimuli 24/7, when our world view is reduced to a two-by-four-inch cell phone screen, when our computerized exis- tence frames us into thinking and feeling and responding in nanoseconds, the appeal of two hours in the comfort of an impressively expansive and comfortable concert hall, listening to an engaging Rossini overture, a sublime Mozart piano concerto, and a heartwarming Brahms symphony may actually be something that people are more inclined to enjoy more now than ever before. To paraphrase Mark Twain, the reports of the death of the symphony orchestra have been greatly exaggerated. gerald elias, formerly a BSO violinist and associate concertmaster of the Utah Symphony, continues to perform with the BSO at Tanglewood and on tour. Currently music director of Vivaldi by Candlelight in Salt Lake City, he is also author of the award-winning Daniel Jacobus mystery series set in the dark corners of the classical music world. For more information, please visit geraldeliasmanofmystery.wordpress.com.

week 10 a case for quality 27 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 136th season, 2016–2017

Thursday, January 5, 8pm | the edmundson family concert in honor of bso assistant conductors Friday, January 6, 1:30pm | the marie l. audet gillet concert Saturday, January 7, 8pm | the fernand gillet concert

ken-david masur conducting

vivaldi piccolo concerto in c, rv 443 Allegro Largo Allegro molto cynthia meyers, piccolo

krommer concerto no. 2 in e-flat for two clarinets and orchestra, opus 91 Allegro Adagio Alla Polacca william r. hudgins and michael wayne, clarinets

jolivet concertino for trumpet, string orchestra, and piano thomas rolfs, trumpet vytas baksys, piano

{intermission}

28 rota concerto in c for trombone and orchestra Allegro giusto Lento, ben ritmato Allegro moderato toby oft, trombone schumann “conzertstück” (“concert piece”) in f for four horns and orchestra, opus 86 Lebhaft [Lively] Romanze Sehr lebhaft [Very lively] james sommerville, michael winter, rachel childers, and jason snider, horns

the appearances of the bso soloists on friday afternoon are supported by a gift from polly and dan pierce. bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

The evening concerts will end about 10:05, the Friday concert about 3:35. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, 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 equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 10 program 29 The Program in Brief...

Ranging from the early 18th to the mid-20th century, this program of concertante works showcases the individual artistry that abounds among members of the BSO. Vivaldi’s Piccolo Concerto is the best-known of these pieces, but like many Baroque works it was only rarely performed until a resurgence of interest in early music around the middle of the 20th century. (The BSO first performed it in 1967.) One of some 500 concertos by the composer, it was designated for “flautino,” probably meaning the sopranino recorder; the piccolo flute wasn’t yet a common instrument in Vivaldi’s lifetime. Piccolo players in the modern era have embraced the concerto wholeheartedly. Its first and last movements demonstrate the sparkling brilliance of the instrument, and the slow middle movement reminds us that the piccolo has a lyrical side as well.

The accomplished Moravian-born composer Franz Krommer was three years younger than Mozart but outlived both Beethoven and Schubert. He spent much of his career in Vienna as a less progressive but still celebrated colleague of Mozart, Haydn, and, later, Beethoven. Concertos, including nine for violin, dominate his orchestral output; the present work is the later of his two for two clarinets and orchestra. Composed about 1815, it is entertaining and bright but with an emotionally substantial core. The third movement “Alla Polacca,” with its pizzicato string opening, is especially charming.

The native-Parisian André Jolivet was an important composer of Olivier Messiaen’s generation; they were both associated with the “La jeune France” (“Young France”) group in the 1930s. Although his first love was music for the stage, he wrote a number of concertos for a wide variety of instruments (including ondes Martenot, an early electronic instrument). His Concertino for trumpet, strings, and piano, written in 1948, is a ten-minute theme-and-variations wide-ranging in character but prevailingly energetic.

Nino Rota’s most famous work is his music for Francis Ford Coppola’s Godfather movies; in all he wrote some 170 cinematic scores, including those for most of Federico Fellini’s films. A child prodigy, he was marvelously prolific, producing a large catalogf o concert and stage works (including eleven operas). Composed in 1966 for Bruno Ferrari, principal trombone of the La Scala opera orchestra, Rota’s Trombone Concerto has a Stravinskyesque effervescence in its fast outer movements and a poignant solemnity in its slow middle movement.

Robert Schumann wrote his unusual Conzertstück for four horns (premiered in Leipzig in 1850, and performed on just two previous occasions by the BSO) in an astonishingly short time in February and March 1849, part of a flood of compositional activity that had begun two years earlier with his opera Genoveva. Although the individual parts require both control and virtuosity, the four horns are a collective solo group, rather than four completely independent voices. Schumann himself called the Conzertstück “one of [his] best pieces.”

Robert Kirzinger

30 Antonio Vivaldi Piccolo Concerto in C, RV 443

ANTONIO VIVALDI was born in Venice on March 4, 1678, and died in Vienna in July 1741 (he was buried on July 28). The C major piccolo concerto, RV 443, dates from 1728-29, though details of the first performance are unknown.

IN ADDITION TO THE SOLOIST, the score calls for an orchestra of strings and continuo. The continuo harpsichordist at these performances is John Finney.

Antonio Vivaldi’s flamboyant personality and blithe prolificacy earned him a legendary place in the annals of music history. Known as “Il prete rosso”—“the red priest”—for the hair color that apparently ran in his family, he once boasted to his friend and patron Charles de Brosses that he could compose a complete concerto faster than it could be copied. Although he didn’t die particularly young, Vivaldi lived fast and racked up admirers and detractors almost as quickly as new opus numbers. Despite plenty of gossip (about his personal life) and derision (of his composing methods), his popularity grew steadily over the course of his career until a latter-day waning, when, in a too common occurrence, fashions overtook him and he died alone and impoverished.

It was perhaps Vivaldi’s visceral love of virtuosity that prompted his towering contribution to the genre of the concerto. No matter what they thought of his compositional skill, Vivaldi’s contemporaries agreed that his talent on the violin was breathtaking. Even those distaining virtuoso showmanship had grudgingly to acknowledge that he pushed the instrument to new heights (and higher pitches). One audience member at an opera performance, the German traveler Johann Friedrich Armand von Uffenbach, described how Vivaldi performed an instrumental conclusion to an aria consisting of “a fantasy [cadenza] which really terrified me, for such has not been nor can ever be played; he came with his fingers within a mere grass-stalk’s breadth of the bridge, so that the bow had no room—and this on all four strings with imitations and at incredible speed.” In the Baroque period, this sort of exploration of the stratospheric reaches of

week 10 program notes 31 Program page for the first Boston Symphony performance of Vivaldi’s C major piccolo concerto on July 14, 1967, with then BSO piccolo player Lois Schaefer under the direction of Antonio Janigro (BSO Archives)

32 the violin was not yet normalized—the nature of the instrument of the day, with its lack of stabilizing chinrest and significantly shorter fingerboard, made high-register playing a daredevil business indeed.

Vivaldi’s critics found plenty to revile in the flashy concertos that he dashed off with speed and self-importance; they mocked the simplicity of his harmonic structure, the fact that he composed functional bass lines without tying them thematically to the melody, his fondness for writing the bass line in a high register and giving it to the violins, and above all the volatility of character that shone through in the feverish solo parts. (This last criticism, though perhaps theoretically valid, is undoubtedly largely responsible for the enduring appeal of Vivaldi’s work.) Vivaldi was largely forgotten with the dawn of the Classical period, and only in the early 20th century did his contribution to the evolution of the concerto become a focus of musicological insight.

Vivaldi’s C major concerto, RV 443, was composed in 1728-29 originally for “flautino”—a designation indicating the highest member of a flute family and likely applied in the composer’s score to the sopranino recorder. (The flauto dolce, or recorder, shared popularity and repertoire in Vivaldi’s day with the flauto traverso, the side-blown version that evolved into the modern symphonic instrument.) Vivaldi traveled widely from 1720 onward, returning briefly from 1726 to 1728 to his old post at the Pio Ospedale della Pietà, the Venetian orphans’ home famous for its orchestra of young female virtuosi. But

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week 10 program notes 33 even when he was not in town to direct the Pietà’s orchestra, the institution’s governors valued Vivaldi’s work highly enough to agree on a regular commission of two concertos a month, supplied by post if necessary.

The concerto shows just how much critical assessments of his composing style affect- ed Vivaldi—which is to say, not at all. It is sprightly and full of fiendish tongue-twisters, with the plucky soloist as ringleader of a sassy, conspiratorial orchestra. The tiny solo instrument shines in a jubilant, catch-me-if-you-can whirlwind, thumbing its nose at the cumbersome bulk of normal-sized instruments. In the first movement, Vivaldi effects a corresponding miniaturization of the orchestra in solo passages—sometimes the bass group alone accompanies, while at other times the bass instruments drop out in favor of a delicate upper-string texture, with the bass line in the viola (the “bassetto” technique his detractors scorned). The second movement is a contemplative Largo in E minor, a meditation by the soloist within a halo of suspended string harmonies. The orchestra jumps back into action in the final Allegro, an orgy of trills, hocketing figures, and swooping scales. Pure glee and demonic speed carry the day, proving that sometimes the thrill of virtuosity is indeed its own reward.

Zoe Kemmerling zoe kemmerling is a Boston-based violist, Baroque violinist, and writer who was the 2012 Publications Fellow at the Tanglewood Music Center.

THE FIRST BSO PERFORMANCE OF VIVALDI’S C MAJOR PICCOLO CONCERTO took place at Tanglewood on July 14, 1967, featuring BSO soloist Lois Schaefer with Antonio Janigro conducting. Under Seiji Ozawa, Schaefer was again the soloist for subscription performances in April 1977, followed by a Tanglewood performance on August 13 that same year. The only BSO performances since then featured former BSO principal Geralyn Coticone in April 1994, again with Ozawa conducting.

BoBo onon EarlyEarly MusicMusic FeFe ivalival ss London Haydn Quartetss Eric Hoeprich, clarinet

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45 School Street, Old City Hall, Boston, MA 02108 T: 617.557.9800 | www.welchforbes.com Franz Krommer Concerto No. 2 in E-flat for two clarinets and orchestra, Opus 91

FRANZ KROMMER was born in Kamenice u Tˇrebíce,ˇ in Moravia, now part of the Czech Republic, on November 27, 1759, and died in Vienna on January 8, 1831. He composed his E-flat concerto for two clarinets around 1815.

IN ADDITION TO THE TWO CLARINET SOLOISTS, the score of this concerto calls for an orchestra of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings. The present performances are the first by the BSO of any music by Franz Krommer.

Franz Krommer enjoyed one of the most memorable social and artistic milieux in history: the cultural swirl and innovation hub of Vienna at the turn of the 19th century. There he rubbed elbows with Haydn, Mozart, and Beethoven; jockeyed for steady gigs in the music-loving spheres of church and court, and sent his printed compositions out to the far reaches of a European continent more sophisticated and connected than ever. Born in the small town of Kamenice, Krommer was one of a number of Czech composers who built successful careers in Vienna. He followed the trend of assimilation, Ger- manizing his name from the original František Kramáˇr and studying the style of elder statesman Haydn—so well, in fact, that his compositions in Haydn’s signature genre, the string quartet, attained enough popular and critical regard that some spoke of him as a rival to Beethoven.

Krommer’s career was long and fruitful, even if he attained neither the instant popularity nor the adulatory legacy of Beethoven. Trained on the violin and organ and self-taught in theory, he held a number of regional posts throughout Hungary and the present-day Czech Republic before landing in Vienna for good in 1795. He held a couple more Kapellmeister posts before attracting the attention of Emperor Franz I, whose employ he entered in 1815. Krommer worked for the emperor for the rest of his life, becoming the last official court composer and chamber music director of the Hapsburg imperial court. When he began publishing, reprints and arrangements made their way rapidly across Europe and across the Atlantic to America.

week 10 program notes 37

Krommer lived to the ripe old age of seventy-one, and thus was able to witness the fashionable galant style of the brief German Rococo period, the glorious high noon of Classicism, and the first stirrings of the Romantic era. He was adaptable and engaged with current trends, and his work demonstrates an evolving awareness of all these styles. In the end, though, it was not the compositions for his native territory of the violin or string quartet that proved most lasting—these were perhaps too readily eclipsed by the showiness of composer-virtuosi like Pierre Rode and that lofty Viennese trio of famous string quartet auteurs. Rather, it is Krommer’s contribution to the solo wind repertoire that has aged most stylishly. His respectable collection of wind concerti is complemented by partitas, marches, and other chamber-sized compositions for wind band, and for this we have to thank another invention of the Classical period relegated to the shadow of the string quartet: Harmoniemusik.

Harmoniemusik was a genre cultivated by nobles, and referred to a small-to-medium ensemble usually made up of pairs of wind players. It had the advantage of economy (compared to a full orchestra), flexibility (one could draw on the principal players of the opera or orchestra in different combinations), and outdoor audibility (perfect for garden or hunting parties). It could be loud, boisterous, and fun. The typical pairing of the winds provided an element of homogeneity to balance the varying timbres of oboes, clarinets, horns, and bassoons. Krommer wrote a number of entries in the genre; so did Mozart, most famously his wind serenades in B-flat (K.361) and C minor (K.388). Krommer’s Opus 91 concerto for two clarinets and orchestra is written on a grander

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40 scale than Harmoniemusik; still, the escapades of the clarinet duo channel some of the party character of the more informal genre.

Krommer’s Double Clarinet Concerto No. 2, written around 1815, contains plenty of acrobatic froth, suave runs, and cheeky trills, but it is also stormy, willful, and operatic in nature. The encroaching Romantic penchant for unchecked emotion found a sym- pathetic format in the concerto genre, with its brave soloists offset by an orchestra equally capable of celebration and ferocity. These jostling forces—party music and drama—shape the opening Allegro. The opening passages raise the curtain, introducing the merry protagonists in between regal fanfares from the orchestra. This segues into the traditional orchestral exposition—except it’s really an overture, with lots of rumbling and exclamatory remarks and little thematic material. When the clarinets reenter with the main theme, the plot really begins; Krommer shows off his solo instruments’ prodi- gious ability for clarity and precision with parallel passagework, crisscrossing lines, and witty imitation. When the pace slows enough to linger on dissonances and suspensions, the clarinets’ pure, bell-like tones are most striking. After a standard sonata-form’s worth of drama, with some unexpected twists along the way, a timpani roll concludes the movement in style.

The Adagio continues the thread of drama with a weighty, march-like introduction. Pulsing strings underpin the somber, chromatically accented lyricism of the clarinets, joined by brief melodic snippets from the tutti winds. The shifting harmonies, alternately sunny and anguished, create a sense of pathos and resilience. The finale si an energetic Polonaise (marked “Alla Polacca”) that follows the fashion of concertizing traditional “rustic” dance forms. Naturally for the Classical period, it’s also a rondo whose recur- ring theme is a delightfully insouciant tune over pizzicato strings followed by a rousing outburst from the orchestra.

Zoe Kemmerling

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ANDRÉ JOLIVET was born in Paris, France, on August 8, 1905, and died there on December 20, 1974. The Concertino for Trumpet, String Orchestra, and Piano dates from 1948. The first performance took place on June 10, 1950, at Royaumont Abbey, France, with the composer conducting, trumpet soloist Arthur Haneuse, and the Orchestre du Club d’Essai de la Radio-Diffusion-Française.

IN ADDITION TO THE SOLO TRUMPET, the score calls for string orchestra and piano (as the title of the piece tells us).

André Jolivet had a fondness for the fantastical and mystical. He was also an artistic patriot, and spent his career engaging with an evolving debate on the intersection of modernism, aesthetics, and French culture. He was a loyalist but not a traditionalist, continually attuned to new inspirations; he maintained an abiding interest in African and East Asian music as well as keeping abreast of the European avant-garde.

Jolivet’s earliest influences were, naturally, Debussy and Ravel, along with Paul Dukas and Erik Satie. In the late 1920s, a performance of Schoenberg’s Pierrot Lunaire gave Jolivet his first taste of atonalism, but Edgard Varèse’sAmériques had an even bigger impact on the young composer. Jolivet obtained an introduction; Varèse had recently taken American citizenship but agreed to teach Jolivet for the duration of his Paris sojourn, which lasted until 1933. It was during this time that Jolivet honed his orchestration skills and developed an abiding interest in acoustics. He explored the overtone series as one of many ways of imposing order in the absence of tonality, but remained skeptical of serialism. When Varèse left Paris, he bequeathed Jolivet six objects, including a Balinese princess statue and several animal sculptures by Alexander Calder. Jolivet composed the piano piece Mana, comprising six movements, each a portrait of one of the objects elevated to fetish status; this kicked off what became known as his “magic” period. Jolivet sought to explore the ritual and spiritual origins of music in his work, as well as tap into its visceral power for emotional communication.

week 10 program notes 43

He shared a common outlook with Olivier Messiaen, who advocated for Jolivet’s music at the Société Nationale. They partnered in leading a succession of societies and clubs focused on spiritual and humanist aspects in new French music. Jolivet’s aesthetic worldview soundly rejected all things mechanical, including Stravinsky’s neoclassicism. In 1945 he published an article entitled “Assez Stravinsky” (“Enough Stravinsky”; Francis Poulenc responded with his own article, “Vive Stravinsky!”) and the following year wrote of his desire to rediscover music’s “original ancient meaning.” As part of his search for natural, organic structure he developed a system of “double basses,” in which he chose harmonies from the overtone series of two bass pitches.

The Concertino for Trumpet, String Orchestra, and Piano, written in 1948, is scarcely the oddest instrumental combination in his oeuvre. He had a predilection for unusual instrumentation, with an equal interest in ancient instruments and modern ones. During

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BOSTON, MA • 617-350-6070 ZAREHBOSTON.COM New England’s Largest Oxxford Dealer Serving the Financial District since 1933 World War II he composed his Messe pour le jour de la paix for voice, organ, and tam- bourine. In 1947 he composed a concerto for ondes Martenot, the pioneering electronic instrument most closely associated with Messiaen. Neither did Jolivet confine himself to absolute music; from 1945 to 1959, when he was music director of the Comédie- Française, he composed many suites of incidental music for plays by Molière, Racine, Shakespeare, Sophocles, and others. He also wrote several ballets during the Comédie- Française years—indeed, the movements and patterns of dance, its ceremonial and kinetic aspects, seem a natural fit for his philosophy. The same sense of pulse and motion often shows up in other genres as well; he even referred to the Concertino, and his Trumpet Concerto of 1954, as his “ballets for trumpet.”

The Concertino unfolds in a single movement, with the trumpet taking the lead solo part. The string orchestra provides an energetic accompaniment, with the piano sometimes joining the strings and sometimes departing on its own solo jags or sparring with the trumpet. Strings and piano launch the work in an effusive frenzy, but the trumpet soon takes over with a wandering cadenza full of flourishes. The trumpet’s rhapsodic tendency and its launch of a bouncy theme counter the intensely rhythmic, often dis- sonant strings and piano. After a chaotic build to a cheerful cadence, the piano restarts the momentum with rapid-fire scales in a new section that quickly evolves into scherzo- like interplay of a rapid-patter figure. A slow interlude arrives, with the trumpet playing a jazz-inflected chanson while echoes of Debussy drift through the strings. The piano only enters to precipitate the wind-up to the final fast section, introducing a new theme: a circus-like march. Now the strings are agents of discord, rabble-rousers who rise in a dense whirlwind to goad the trumpet and piano on to greater feats of virtuosity. Rhythms pile on top of each other, the piano sweeps the breadth of the keyboard with uninhibited swathes of notes, and the trumpet rises to the top of its register as the Concertino drives to a wild, celebratory close.

Zoe Kemmerling

PRIOR TO THESE PERFORMANCES OF JOLIVET’S CONCERTINO, the only music by Jolivet to have been played by the BSO was his Concerto for ondes Martenot and Orchestra, given its first American performances here by Charles Munch with soloist Ginette Martenot on November 4 and 5, 1949, then repeated the following week in New Haven and New York (the work’s first New York performance). Thomas Rolfs, this week’s soloist in Jolivet’s Concertino for Trumpet, String Orchestra, and Piano, previously performed that work here (with this week's pianist, Vytas Baksys) on May 26 and 27, 2004, with Keith Lockhart and the Boston Pops Orchestra.

week 10 program notes 47

Nino Rota Concerto in C for Trombone and Orchestra

NINO ROTA was born in Milan, Italy, on December 3, 1911, and died in Rome on April 10, 1979. He composed the Concerto for Trombone and Orchestra in 1966. The score is dedicated to Bruno Ferrari, who was principal trombone of the La Scala opera house orchestra and played the premiere on May 6, 1969, at the Giuseppe Verdi Conservatory in Milan with Franco Caraccioli conducting the Orchestra dei Pomeriggi Musicali di Milano. The present performances are the first by the Boston Symphony Orchestra of any of Nino Rota’s music.

IN ADDITION TO THE SOLO TROMBONE, the score calls for an orchestra of flute, oboe, two clarinets, two bassoons, two horns, timpani, and strings.

Italian composer Nino Rota is one of a number of 20th-century luminaries whose prodi- gious skills reached a large and adoring public via the silver screen. Rota’s training was a well-rounded mix of elite and populist. Considered a child prodigy, he was eleven when his oratorio L’infanzia di San Giovanni Battista was premiered to acclaim in Milan and Paris; he entered the Milan Conservatory the same year. He moved on to Rome, then, at the suggestion of Toscanini, applied for and won a scholarship to the Curtis Institute. Already a fan of Italian popular song and operetta, he expanded his tastes to include current American tunes, cinema, and the music of Gershwin. He also, unusually for an Italian at that time, absorbed the Eastern European symphonic tradition passed down through Tchaikovsky and Dvoˇrák (and from Dvoˇrák to America’s shores).

Still young enough to be considered a prodigy, Rota made a splash upon his return to Italy with a prolific string of chamber and orchestral works, all showing a thoughtful synthesis of historical influences. His star continued to rise throughout the 1930s, but times changed and musical society post-World War II, focused on the rigors of innovation, became less receptive to Rota’s empathy for the kaleidoscope of past and present. His devotion to past masters, often surfacing in his own compositions in the form of pastiche or homage, earned him the scorn of his colleagues, as did his growing success

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50 as a film scorer. In the citadel of culture, commercial and popular success were read as tawdriness—a likely contributing factor to the forgotten status of most of Rota’s prolific output of operas, ballets, symphonies, concertos, and chamber music.

Yet, like his contemporary Erich Wolfgang Korngold, who had fled Vienna forHollywood with the rise of Nazism, Rota helped shape an ascendant art form of great power. Unde- terred by critical opinion, he declared his belief that music written for the concert hall and screen could be equally worthy of artistic merit. He began writing for the Lux Film company in 1942, and worked with a number of directors including Renato Castellani, Mario Soldati, Alberto Lattuada, and Eduardo De Filippo on approximately sixty films over the ensuing ten years. In 1952 he began collaborating with Federico Fellini, a sto- ried professional relationship that lasted until Rota’s death. He also worked with Franco Zeffirelli and Francis Ford Coppola, among many other directors, and received an Acad- emy Award in 1974 for his score to The Godfather Part II

Rota thrived on the challenge of using music to shape and respond to narrative, imag- ery, and psychology. His powers of observation and assimilation led to an eclectic musical style, but it was eclecticism stemming from an understanding of the fundamental connections between disparate ingredients. Over the course of a career that encom- passed more than 150 films, Rota spun a web of musical meaning and connection that included not only quotation, parody, and echoes from his knowledge of music history, but reference to his own past work and its extramusical visual or thematic associations.

The drama, excitement, and expert pacing of the Trombone Concerto, written in 1966, do not disappoint. The trombone makes an appealing protagonist, both swashbuckling and soulful. The opening Allegro giusto is fast-paced, with spiky arpeggiated motives, tightly synchronized interlocking patterns between soloist and orchestra, and forceful bass lines. Twists and turns of character and mood are skillfully effected with sweeping orchestral colors and expressive melodies. The second movement, Lento ben ritmato, is based on a dotted rhythmic figure recognizable from the first movement’s opening solo. It builds slowly, climbing to a bittersweet apotheosis that contains both triumph and angst; the last echoes of the theme are flavored with nostalgia. The finale, Allegro moderato, is propelled by evolving perpetual-motion figures in the strings—a flexible vantage point from which to tour a shifting emotional landscape. An interlude brings a breath of romance and a rousing launch for the final gallop to the end.

Korngold spoke of orchestral film scores as essentially tone poems, and called Tosca the best film score ever written. Rota, too, reached the conclusion that music is one language with infinite variety, a wellspring of meaning with a plethora of interpretations both deliberate and subconscious.

Zoe Kemmerling

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ROBERT SCHUMANN was born in Zwickau, Saxony, on June 8, 1810, and died in Endenich, near Bonn, on July 29, 1856. He composed his “Conzertstück” for four horns in Dresden, sketch- ing the work between February 18 and 20, 1849, and completing the orchestration by March 11. It was first performed on February 25, 1850, in Leipzig.

IN ADDITION TO THE FOUR HORN SOLOISTS, the score of the “Conzertstück” calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, two orns,h two trumpets, three trombones, timpani, and strings.

The German word “Konzert” means both “concert” and “concerto”; the derivative “Konzertstück” has no direct English parallel, though the translation “concert-piece” is occasionally encountered. The term suggests a work “something like a concerto” but unusual enough that the composer hesitated to apply the standard name. It is also sometimes applied to a concerted composition—one featuring the opposition between one or more soloists and the full orchestra—to suggest that it is diminutive, too small a piece to be considered a full-scale concerto.

In any event, Schumann’s Conzertstück (as he chose to spell it) is a full-fledged concerto in every sense of the word. The reason he likely chose to use the less familiar term is that the three movements are linked and follow directly from one another—in which respect it is rather like Carl Maria von Weber’s F minor Konzertstück for piano and orchestra, probably the composition that did most to popularize the term. But the scope of the three movements (particularly the richness of the developments in the two sonata- form movements), the lavish melodic invention, and the harmonic color all combine to make this work one of the strongest and most rewarding large-scale compositions Schumann ever wrote. It is a mystery that the piece is not much better known.

Schumann conceived and completed the score in an astonishingly short time that was also filled with many other projects, in a burst of creative energy that was doubly elw -

week 10 program notes 53 Program page for the BSO’s first performance of Schumann’s “Conzertstück” for four horns, which took place at C.W. Post College in Nassau County, New York, on January 28, 1983, with soloists Charles Kavalovski, Richard Sebring, Daniel Katzen, and Richard Mackey under the direction of Seiji Ozawa (BSO Archives) 54 come because during the mid-1840s he had suffered poor mental health for a time and found composing difficult in the extreme. But by 1847 he had turned with great enthu- siasm to the composition of his sole opera, Genoveva. After that, with the musical juices still flowing freely, he turned at once to writing some incidental music for Byron’s Manfred (including the well-known overture), completing the entire score on November 23, 1848. From that point he seemed hardly able to sign a completed manuscript of one work before starting on the next, as the record of his output indicates: on November 25 he began his choral Adventlied and a piano duet, Bilder aus Osten (Pictures from the East), the latter completed the day after Christmas. By mid-February he had produced Waldscenen (Forest Scenes) for piano; touched up details of Genoveva; and composed the Phantasiestücke (Fantasy Pieces) for clarinet and piano and the Adagio and Allegro for horn and piano. He then turned immediately to the Conzertstück for four horns, sketch- ing the whole in just three days (February 18-20) and then, by March 11, in less than three weeks, completing the orchestration.

And the outpouring continued, resulting in choral romances and ballads; the Spanisches Liederspiel, a cycle of vocal solos, duets, and quartets; the revision of his first two piano trios for publication; the fiveStücke im Volkston (Pieces in Folk Style) for cello and piano; and the Liederalbum für die Jugend (Song Album for the Young), completed on May 13 after the outbreak of revolution in Dresden on May 3 put a temporary halt to his creative outburst. Small wonder that he would later call this period “my most fruitful year.”

Schumann probably intended to have the Conzertstück performed in Dresden, where he was living at the time: the splendid Dresden orchestra had assuredly been a prime

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56 inspiration for the richness of this particular score. But when his activities in Dresden were cut short by revolution, he had to wait a year before hearing a performance in Leipzig. Yet he was already confident of the quality of the work; even before the premiere he wrote to Ferdinand Hiller that “It seems to me to be one of my best pieces.”

After two attention-getting chords from the orchestra, the four horns lead off with a noble fanfare, the germ of all to follow. We’ll hear much of that triplet-figure pickup in the movement to come. The orchestra expands the fanfare into a full-scale lyric treatment, whereupon the soloists begin to vie with one another—and with the other instruments—in a colorful variety of combinations, ranging in style from the lyric to the virtuosic, in music that has both melodic and contrapuntal interest. The skillful interweaving of singing phrases creates a wonderfully rich texture.

The slow movement, a lyric outpouring called a “Romance” by Schumann, is character- istically songlike. After stating the first phrase of the theme, the first two horns proceed in a canon, possibly a reflection of Schumann’s recent study of Bach. The middle section builds to an impressive climax in a broad melody first heard in the orchestra, then carried on by the soloists. (It will return transformed in the finale.) The movement closes with a greatly abridged restatement of the opening section.

A few measures of continuation from the cadence of the Romance link the slow movement to the finale, a lively sonata-form movement filled with wit and color growing out of the fanciful interplay of soloists and orchestra. A crisp anapestic rhythmic figure in the orchestra urges the soloists along in their swelling fanfares. The development section is particularly adventurous in its wide-ranging harmonies, and Schumann appropri- ately tells the soloists to play their cadential flourish “with bravura.”

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

THE BOSTON SYMPHONY ORCHESTRA has performed Schumann’s “Conzertstück” for four horns on just two previous occasions, both times with Seiji Ozawa conducting: in January/February 1983 (single performances in New York at C.W. Post College/Long Island University and in Worcester, followed by a single subscription performance that February 1) with BSO horn players Charles Kavalovski, Richard Sebring, Daniel Katzen, and Richard Mackey (this same quartet having performed the piece with John Williams and the Boston Pops Orchestra on June 26, 1982); and a pair of subscription performances on April 15 and 16, 1994, with Charles Kavalovski, Daniel Katzen, Jay Wadenpfuhl, and Richard Mackey. More recently, Keith Lockhart led the Boston Pops Orchestra in Symphony Hall performances of just the first movement on May 27 and June 4, 2014, with “The Boston Pops Horn Quartet” consisting of Richard Sebring, Rachel Childers, Michael Winter, and Jason Snider.

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Relatively recent general life-and-works books about Vivaldi include H.C. Robbins Landon’s Vivaldi: Voice of the Baroque (University of Chicago paperback) and Karl Heller’s Vivaldi: The Red Priest of Venice (Amadeus Press paperback). Marc Pincherle’s excel- lent older biography Vivaldi remains in print (Norton paperback); Walter Kolneder’s Antonio Vivaldi His Life and Work can be found readily in a used book search (University of California). Michael Talbot wrote the Vivaldi installment in the “Master Musicians” series (Oxford University paperback). Talbot also wrote the article on Vivaldi for the most recent edition of The New Grove Dictionary of Music and Musicians.

Most of the earliest recordings of Vivaldi’s Piccolo Concerto were performed on piccolo, but the original version for “flautino” (sopranino recorder) has outstripped the piccolo version in recent years. Recordings for modern piccolo include Jean-Pierre Rampal’s with I Solisti Veneti led by Claudio Scimone (Erato), William Heim’s with the New York Philharmonic and Leonard Bernstein (Sony), William Bennett’s with the Academy of St. Martin in the Fields and Neville Marriner (Decca), Eckart Haupt’s with the Dresden Baroque Soloists and Peter Schreier (Berlin Classics), and Gudrun Hinze’s with a chamber ensemble of members of the Leipzig Gewandhaus Orchestra (Berlin Classics). Recorder performances include two by Michael Copley—with Christopher Hogwood and the Academy of Ancient Music (Oiseau Lyre) and with Camerata Bern (Deutsche Grammophon); Erik Bosgraaf’s with Cordevento (Brilliant Classics), Dan Laurin’s with the Bach Collegium Japan (BIS), Lucie Horsch’s with the Amsterdam Vivaldi Players (Decca), and Maurice Steger’s with I Barocchisti led by Diego Fasolis (Harmonia Mundi)— though the last two transpose the concerto to G major to accommodate a larger recorder.

The Krommer bibliography is scant, in spite of his having been a major figure in Beetho- ven’s Vienna; there is no book-length biography available. The New Grove article on the composer is by Othmar Wessely. Krommer has fared much better in recordings: among dozens of available chamber and orchestral works are performances of the Concerto No. 2 for two clarinets and orchestra featuring Sabine Meyer and Wolfgang Meyer with the Württemberg Chamber Orchestra Heilbronn led by Jörg Faerber (Warner Classics); Sabine Meyer and Julian Bliss with the Academy of St. Martin in the Fields and Kenneth Sillito (EMI); Tomoko Takashima and Kálmán Berkes (who also conducts) with the Nico- laus Esterházy Sinfonia (Naxos), and Vlastimil Mareš and Jiˇrí Hlaváˇc with the Prague Chamber Orchestra and Libor Pešek (Supraphon).

week 10 read and hear more 59 Most of the Jolivet literature is in French, but a useful place to start in English is the website of the Friends of André Jolivet (“Les amis d’André Jolivet”) at www.jolivet.asso. fr/en/home-page. This includes a lengthy biography divided into significant periods in the composer’s life, plus photos, a work-list, a bibliography, and the like. The New Grove article on the composer is by Barbara Kelly. Among recordings of the Concer- tino are Wynton Marsalis’s with Esa-Pekka Salonen and the Philharmonia Orchestra (Sony), Reinhold Friedrich’s with the Deutsches Symphonie-Orchester Berlin under Lutz Kohler (Capriccio), Eric Aubier’s with the Orchestre du Théâtre National de l’Opéra of Paris and Marius Constant (Indesens), Philippe Schartz’s with the Luxembourg Solistes Europeens and Christoph König (Chandos), and Ole Edvard Antonsen’s with the São Paulo Symphony Orchestra and Lan Shui (BIS).

Giordano Montecchi wrote the Nino Rota article for The New Grove Dictionary of Music and Musicians. Predictably, most books and articles about the composer focus on his film music. Apart from those in Italian, the most comprehensive of these seems to be Nino Rota: Music, Film and Feeling (BFI Publishing) by the English academic Richard Dyer (not to be confused with the American music critic of the same name). Nino Rota’s Trombone Concerto has been recorded a number of times. Currently available are Alain Trudel’s performance with Yannick Nézet-Séguin and the Orchestre Metropolitain du Grand Montréal (ATMA), Andrea Conti’s with I Virtuosi Italiani led by Marzio Conti (Chandos), Christian Lindberg’s with the Tapiola Sinfonietta and Osmo Vänskä (BIS),

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60 Frederic Belli’s with the Southwest German Radio Symphony Orchestra under Pablo Heras-Casado (Genuin), and Branimier Slokar’s with the Berlin Symphony Orchestra and Lior Shambadal (Claves).

Robert Kirzinger

John Daverio’s Robert Schumann: Herald of a “New Poetic Age” provides thoroughly informed consideration of the composer’s life and music (Oxford paperback). Eric Frederick Jensen’s Schumann is a good biography in the “Master Musicians” series (Oxford). Schumann: A Chorus of Voices, by John C. Tibbetts, offers varied perspectives on the composer and his work from a wide assortment of performers, scholars, biogra- phers, critics, and commentators (Amadeus Press). John Worthen’s Robert Schumann: The Life and Death of a Musician is a detailed treatment of the composer’s life based on a wealth of contemporary documentation (Yale University Press). Peter Ostwald’s Schumann: The Inner Voices of a Musical Genius is a study of the composer’s medical and psychological history, likewise based on surviving documentation (Northeastern Uni- versity Press). Michael Steinberg’s note on the Conzertstück for four horns is included in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback).

Noteworthy recordings of the Conzertstück include Daniel Barenboim’s with the Chicago Symphony Orchestra (Deutsche Grammophon), John Eliot Gardiner’s with the Orches- tre Révolutionnaire et Romantique (DG Arkiv), Christian Thielemann’s with the Phil- harmonia Orchestra (Deutsche Grammophon), and Klaus Tennstedt’s with the Berlin Philharmonic (originally Angel/EMI, now Warner Classics).

Marc Mandel

week 10 read and hear more 61 familymatters

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Ken-David Masur Ken-David Masur, who began his appointment as assistant conductor of the Boston Sym- phony Orchestra in September 2014 and occupies the BSO’s Anna E. Finnerty Chair, twice stepped in during the 2016 Tanglewood season for an indisposed Christoph von Dohnányi, leading a BSO program of Ives, Strauss (the Four Last Songs with Renée Fleming), and Tchaikovsky, and a Tanglewood Music Center Orchestra performance of Beethoven’s Eroica Symphony. Also at Tanglewood he participated in the annual Tanglewood on Parade concert and led a gala concert celebrating the 50th anniversary of the Boston University Tanglewood Institute. He ended the summer making his Los Angeles Philharmonic debut, leading Korngold’s Violin Concerto with Gil Shaham and Beethoven’s Symphony No. 5 at the Hollywood Bowl. Besides continuing in his post as BSO assistant conductor and leading this week’s subscription concerts, Mr. Masur conducts in France, Germany, Korea, and Russia in the 2016-17 season, and extends his reach into the Boston musical community, leading the New England Conservatory Orchestra at Jordan Hall and the Boston University Symphony Orchestra at Symphony Hall. He makes his Chicago debut with the Civic Orchestra in a program of Brahms and Mendelssohn in the spring. In 2015-16, as principal guest conductor of the Munich Symphony, he led concerts in Munich and on tour in Italy, also conducting the National Philharmonic of Russia and the Yomiuri Nippon Symphony Orchestra in Tokyo, concerts with orchestras in Madrid and Hong Kong, and a subscription week and Tangle- wood concerts with the Boston Symphony. Previous appointments include posts as associate conductor of the San Diego Symphony, assistant conductor of the Orchestre National de France in Paris from 2004 to 2006, and as resident conductor of the San Antonio Symphony in 2007. Recent engagements have also included the Dresden, Israel, and Japan philharmonics, Orchestre National de Toulouse, and the Hiroshima, Omaha, and Memphis symphonies. In 2011 Mr. Masur was the recipient of the Seiji Ozawa Conduct- ing Fellowship at Tanglewood, where he returned by invitation as a Conducting Fellow in 2012. Ken-David Masur received his B.A. from Columbia University and from 1999 to 2002 served as the first music director of the Bach Society Orchestra and Chorus there, also touring Germany and releasing a critically acclaimed album of symphonies and cantatas by W.F. Bach, C.P.E. Bach, and J.S. Bach. He received further musical training at the Leipzig Conservatory, the Detmold Academy, the Manhattan School of Music, and the Hanns Eisler Conservatory in Berlin, where he was a five-year master student of bass-baritone Thomas Quasthoff. Mr. Masur studied conducting primarily with his father Kurt Masur. Together with his wife, pianist Melinda Lee Masur, he serves as artistic director of the Chelsea Music Festival, an annual multi-media/multi-sensorial summer music festival in New York City. He received a Grammy nomination from the Latin Recording Academy in the category Best Classical Album of the Year for his work as a producer of the album “Salon Buenos Aires.”

week 10 artists 63 BOSTON PHILHARMONIC BOSTON PHILHARMONIC ORCHESTRA YOUTH ORCHESTRA

The Boston Trio with The young virtuosos of the its brilliant new cellist BPYO will dazzle you in a Jonah Ellsworth in the concert featuring the winners of beloved Beethoven this year’s concerto competition. Triple Concerto. And Michael Gandolfi has composed Bruckner’s profound final a new piece especially for the symphony—a specialty of occasion, and Hindemith’s Zander and the BPO. Not Symphonic Metamorphosis fits to be missed! right in.

BEETHOVEN BENJAMIN MICHAEL BENJAMIN Triple Concerto ZANDER GANDOLFI ZANDER for violin, cello, conductor Ballet Ruse conductor and piano BOSTON TRIO (World Premiere) Irina Muresanu, violin CONCERTO BRUCKNER Jonah Ellsworth, cello COMPETITION Symphony No. 9 Heng-Jin Park, piano WINNERS HINDEMITH Symphonic Metamorphosis

THURSDAY, FEBRUARY 23 / 7:30PM SUNDAY, FEBRUARY 12 / 3:00PM SANDERS THEATRE / DISCOVERY SANDERS THEATRE SATURDAY, FEBRUARY 25 / 8:00PM NEC’S JORDAN HALL SUNDAY, FEBRUARY 26 / 3:00PM SANDERS THEATRE

TICKETS FROM $15 / STUDENTS $10 / CALL 617.236.0999 BUY TICKETS AT BOSTONPHIL.ORG Cynthia Meyers Cynthia Meyers joined the Boston Symphony Orchestra as its piccolo player in the autumn of 2006, occupying the Evelyn and C. Charles Marran Chair. Before coming to Boston she served as principal piccolo of the Houston Symphony for nine years under the direction of Christoph Eschenbach and Hans Graf. She is the former principal flutist of the Omaha Symphony, a post she held for nine seasons, during which time she was a featured soloist with the orchestra on numerous occasions. A native of Somerset, Pennsylvania, Ms. Meyers began playing the piano at age three. Currently a faculty member at the New England Conservatory of Music, she earned her bachelor of fine arts degree at Carnegie Mellon University and completed her master of music degree at the Cleveland Institute of Music as a student of Jeffrey Khaner, principal flutist of the Philadelphia Orchestra. She took an interest in playing the piccolo while in Cleveland and continued study specifically on that instrument with William Hebert of the Cleveland Orchestra. Besides playing with the BSO, Ms. Meyers has performed with the Minnesota Orchestra and the Chicago Symphony Orchestra, and at the Grand Teton Music Festival. This week’s performances of Vivaldi’s Piccolo Concerto in C mark her first appearances with the BSO as a concerto soloist.

William R. Hudgins William R. Hudgins was appointed principal clarinetist of the Boston Symphony Orchestra by Seiji Ozawa in 1994, occupying the Ann S.M. Banks chair, having joined the orchestra two years earlier. He has been heard as a soloist with the BSO on numerous occasions, including performances of Mozart’s Clarinet Concerto, Copland’s Clarinet Concerto, Bruch’s Double Concerto for Clarinet and Viola, Frank Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra, and, for the opening of the BSO’s 2014-15 season, Mozart’s Sinfonia concertante in E-flat, K.297b. As a member of the Boston Symphony Chamber Players, he can be heard on their BSO Classics CDs of Brahms and Dvoˇrák serenades (the ensemble’s most recent release); the Grammy-nominated “Profanes et Sacrées: 20th-Century French Chamber Music”; “Plain Song, Fantastic Dances” (in music of Gandolfi, Foss, and Golijov), and the Grammy-nominated “Mozart Chamber Music for Strings and Winds” (in Mozart’s Quintet for Clarinet and Strings, K.581), as well as a Grammy-nominated Arabesque recording of Hindemith’s Quartet for Clarinet, Violin, Cello, and Piano. Recent appearances outside of the Boston Symphony Orchestra include orchestral performances and recordings with the Saito Kinen Orchestra in Matsumoto, Japan, and the Mito Chamber Orchestra in Mito, Japan, both under the direction of Seiji Ozawa; chamber music at the Rockport Chamber Music Festival, and recitals and master classes at various universities and around the United States. Before joining the BSO, Mr. Hudgins served as principal clarinetist and soloist with the Orquesta Sinfonica Municipal in Caracas, Venezuela, and the Charleston Symphony Orchestra in South Carolina. He was heard for six seasons as a member of both the Spoleto Festival Orchestra in Charleston, South Carolina, and Il Festival dei Due Mondi in Spoleto, Italy. He also participated as a Fellow of the Tanglewood Music Center, where he won the C.D. Jackson Award for outstanding performance. Mr. Hudgins received his bachelor’s degree from the Boston University School for the Arts, studying with former BSO principal clarinetist Harold Wright.

week 10 artists 65 SEMI-STAGED PERFORMANCE

Sunday, January 29, 2017 at 3pm Sanders Theatre at Harvard University

BOSTON YOUTH SYMPHONY Tickets $30-50 Federico Cortese, Conductor Call Sanders at 617-496-2222 Edward Berkeley, Stage Director www.BYSOweb.org

Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!

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66 Michael Wayne Clarinetist Michael Wayne joined the Boston Symphony Orchestra’s clarinet section in Sep- tember 2008. Prior to joining the BSO, Mr. Wayne was principal clarinet of the Kansas City Symphony and a member of the Grand Teton Festival Orchestra. He is on the faculty of the New England Conservatory of Music and Tanglewood Music Center, and has been a visiting professor at the Oberlin Conservatory of Music. He has given master classes across the country, including the New World Symphony, Manhattan School of Music, University of Michigan, and University of Southern California. Mr. Wayne made his Carnegie Hall solo debut with the world premiere of Michael Daugherty’s clarinet concerto Brooklyn Bridge and subsequently recorded it for Equilibrium Records. Festival performances include Verbier, Music Academy of the West, NOI (National Orchestral Institute), and Hot Springs. Mr. Wayne has been the recipient of the Paul Boylan Award (University of Michigan), Whitaker Advanced Study Grant (Music Academy of the West), Earl V. Moore Award (University of Michigan), and a Fine Arts Award (Inter- lochen). He holds degrees from the Interlochen Arts Academy and the University of Mich- igan, where his principal teachers were Richard Hawkins and Fred Ormand. This week’s concerts mark Michael Wayne’s first appearances with the BSO as a concerto soloist.

Thomas Rolfs Thomas Rolfs is principal trumpet of the Boston Symphony Orchestra, occupying the Roger Louis Voisin Chair; he is also principal trumpet of the Boston Pops Orchestra, occupying the Roberta and Stephen R. Weiner Chair. Mr. Rolfs began his career with the BSO in 1991, serving first as fourth trumpet and later as associate principal trumpet. Initially hired by Seiji Ozawa, he was promoted to associate principal trumpet by Ozawa and to principal trumpet by James Levine. As a student, Mr. Rolfs was a Tanglewood Music Center Fellow in 1978, earned his bachelor of music degree from the Uni- versity of Minnesota, and received his master of music degree from Northwestern University. He then returned to Minnesota for a five-year tenure with the Saint Paul Chamber Orchestra. As a soloist, Thomas Rolfs has performed with the Boston Symphony Orchestra, Boston Pops Orchestra, and Saint Paul Chamber Orchestra, and performed the posthorn solo of Mahler’s Symphony No. 3 with the Dallas Symphony. At the request of John Williams, he was featured on the Grammy-nominated soundtrack of the Academy Award-winning filmSaving Private Ryan. He was also soloist in Williams’s Sum- mon the Heroes for the nationally televised Boston Pops concert on the Esplanade on July 4, 2001, under Keith Lockhart’s direction. His varied performance background also includes appearances with the National Brass Ensemble, Minnesota Orchestra, Vienna Philharmonic, Empire Brass, Saint Petersburg Philharmonic, Chicago Symphony, Lyric Opera of Chicago, and American Ballet Orchestra. Mr. Rolfs is a founding member of the Boston Symphony Orchestra Brass Quintet, which remains in residence at Boston University. As an educator, he has presented master classes throughout the world, including North America, South America, Asia, and Europe. He has served on the faculty of the Tanglewood Music Center since 1998, regularly coaches the New World Symphony, and teaches at both the New England Conservatory and Boston University. He has previously been soloist with the BSO in Frank Martin’s Concerto for Seven Winds, Timpani, Percussion, and String Orchestra (under

week 10 artists 67 Seiji Ozawa in October 2001 and Charles Dutoit in October 2012), Bach’s Brandenburg Con- certo No. 2 (at Tanglewood with Pinchas Zukerman in July 2013), and Copland’s Quiet City (at Tanglewood under Shi-Yeon Sung in August 2010 and Andris Nelsons in August 2016).

Toby Oft Toby Oft is the twelfth principal trombone in the history of the Boston Symphony Orchestra; occupying the J.P. and Mary B. Barger Chair, he was appointed in 2008 by then music director James Levine. Currently in his ninth season with the BSO, he has performed both as a soloist with the orchestra and as a chamber musician with the Boston Symphony Chamber Players. Mr. Oft previously held principal trombone positions with the San Diego Symphony, Buffalo Philharmonic, and Sarasota Orchestra. International career highlights as a concerto soloist have included acclaimed performances of such works as Launy Grøndahl’s Concerto for Trombone and Ferdinand David’s Concertino for Trombone with a diverse variety of ensembles on several continents. Domestic solo performances range from Gunther Schuller’s virtuosic Eine Kleine Posaunenmusik with “Pershing’s Own” U.S. Army Band in Washington, D.C., to Leopold Mozart’s rarely performed Serenade in D for trumpet, alto trombone, and orchestra with the Boston Classical Orchestra. Deeply committed to education, Mr. Oft has presented master classes and recitals around the world. Here at home, he is on the faculty at the New England Con- servatory and Boston University. During the summer, he coaches at the Tanglewood Music Center and is a frequent guest teacher and performer at the Boston University Tanglewood

68 Institute. In addition to prominent military band and teaching positions, Mr. Oft’s students have won tenured positions in top orchestras such as Detroit, Jacksonville, Toronto, and Puerto Rico. Recent students have also been accepted to such distinguished festivals as the Verbier Festival and Tanglewood Music Center. As an Edwards Instruments performing artist, Mr. Oft helped design the new T350-HB tenor trombone model and has his own exclusive line of tenor and alto trombone mouthpieces with Griego Mouthpieces. In spring 2014, Toby Oft released his debut album, “First Look.” As part of the lineage of the great Joannes Rochut, a former principal trombone of the BSO, he is currently recording all the Rochut Etudes in HD video for YouTube students worldwide. For links to these videos and more, please visit TobyOft.com.

James Sommerville James Sommerville became principal horn of the Boston Symphony Orchestra in 1998, occupying the Helen Sagoff Slosberg/Edna S. Kalman Chair. As principal horn, he is also a member of the Boston Symphony Chamber Players. Mr. Sommerville is also music director of the Hamilton Philharmonic Orchestra. Winner of the highest prizes at the Munich, Toulon, and CBC competitions, he has pursued a solo career spanning thirty years and has made critically acclaimed appearances with major orchestras throughout North America and Europe. His disc of the Mozart horn concertos with the CBC Vancouver Orchestra won the JUNO Award for Best Classical Recording in Canada. Other award-winning CBC recordings include Britten’s Serenade for Tenor, Horn, and Strings and Britten’s Canticle. He has recorded chamber music for Deutsche Grammophon, Telarc, CBC, Summit, Marquis, and BSO Classics. Mr. Sommerville has been a member of the Toronto Symphony Orchestra, the Montreal Symphony Orchestra, the Canadian Opera Company Orchestra, and Symphony Nova Scotia, and was acting solo horn of the Chamber Orchestra of Europe. He has toured and recorded extensively as an orchestral player, is heard regularly on the CBC network, and has recorded all of the standard solo horn repertoire for broadcast. As a guest artist and faculty member, he has performed at chamber music festivals worldwide. Solo performances have included the world premiere of Christos Hatzis’s Winter Solstice; the North American premiere of Ligeti’s Hamburg Concerto with the BSO; John Williams’s Horn Concerto; the world premiere of Elliott Carter’s Horn Concerto, commissioned for him by the BSO; and the world premiere of Osvaldo Golijov’s Sign of the Leviathan, a TMC 75th-anniversary commission, with the Tanglewood Music Center Orchestra. Mr. Sommerville has himself commissioned and premiered a great deal of music by young composers, including works ranging from solo horn to full orchestra. Other solo appearances with the BSO have included Richard Strauss’s Horn Concerto No. 1, Britten’s Serenade for Tenor, Horn, and Strings, Frank Martin’s Con- certo for Seven Wind Instruments, Timpani, Percussion, and String Orchestra, Mozart’s Horn Concertos 1 and 2 (the latter on forty-eight hours’ notice with Bernard Haitink conducting), Bach’s Brandenburg Concerto No. 1, and Mozart’s Sinfonia concertante in E-flat for winds, K.297b. As a conductor, Mr. Sommerville has appeared with many professional orchestras and ensembles throughout Canada and the U.S.

week 10 artists 69 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. Michael Winter Michael Winter joined the Boston Symphony Orchestra as third horn in September 2012, occupying the Elizabeth B. Storer Chair. Prior to his appointment with the BSO, he was acting principal horn of the Buffalo Philharmonic and principal horn of the Syracuse Symphony Orchestra for several seasons. He has also performed as guest principal horn with the Saint Paul Chamber Orchestra and Los Angeles Philharmonic. Mr. Winter was born in Southern California and raised there by a musical family. He began his horn studies with his grandfather, the respected horn teacher Dr. James Winter, and later studied with Jim Thatcher and John Mason. He then moved to Boston to pursue a degree at the New England Conservatory of Music, where he worked with BSO members Richard Mackey and Richard Sebring. He is currently on the faculty of the New England Conservatory of Music.

Rachel Childers Rachel Childers joined the Boston Symphony Orchestra as second horn at the start of the 2011-12 season, becoming the first female member of the BSO brass section in its history; she occupies the John P. II and Nancy S. Eustis Chair in the BSO’s horn section. Ms. Childers received both her bachelor’s and master’s degrees in music from the University of Michigan, followed by an Artist Diploma from the Colburn School in Los Angeles. She is on the faculty at the New England Conservatory of Music.

Jason Snider Jason Snider joined the Boston Symphony Orchestra and Boston Pops as fourth horn in 2007. Prior to that he held positions as second horn with Lyric Opera of Chicago and associate principal horn of the San Antonio Symphony. A native of Arkansas, Mr. Snider attended Northwestern University and performed with the Civic Orchestra of Chicago for two seasons. After graduating with honors, he earned his graduate degree at Rice University. Mr. Snider has performed with the Chicago and Houston symphony orchestras, Houston Grand Opera, the Chicago Chamber Musicians, the Boston Chamber Music Society, and Collage New Music. He has also played with such varied music festivals as Sun Valley, Grant Park, the Grand Tetons, the National Repertory Orchestra, the Pacific Music Festival in Japan, the Jerusalem International Symphony, and the Orquesta Sinfónica de Mineria in Mexico City. Currently on faculty at the New England Conservatory and Boston University, Mr. Snider teaches and performs regularly in recitals and master classes.

week 10 artists 71 The Great Benefactors

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

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

seven and one half million Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

five million Alli and Bill Achtmeyer • Bank of America • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • 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 • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ •

Fairmont Copley Plaza • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

72 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane •

Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ •

Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • 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 ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. ‡ Kaye •

Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ •

Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • 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 (11)

‡ Deceased

week 10 the great benefactors 73

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 2015-16 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above Fidelity Investments

$250,000 - $499,999 Arbella Insurance Foundation and Arbella Insurance Group, John F. Donohue • Bank of America, Anne M. Finucane, Miceal Chamberlain • EMC Corporation, William J. Teuber, Jr. • Fairmont Copley Plaza, George Terpilowski • Massachusetts Cultural Council and MassDevelopment

$100,000 - $249,999 American Airlines, Jim Carter • Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter • Delta Air Lines, Charlie Schewe • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts

$50,000 - $99,999 Citizens Bank, Stephen T. Gannon • Dick and Ann Marie Connolly • Fromm Music Foundation • The Geoffrey C. Hughes Foundation • The Ann and Gordon Getty Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • Mastercard • Miriam Shaw Fund • National Endowment for the Humanities • National Historical Publications and Records Commission • Parthenon-EY, Alli and Bill Achtmeyer • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Stoneman Family Foundation • Suffolk Cares, John F. Fish

week 10 corporate, foundation, and government contributors 75

$25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Adage Capital Management, Michelle and Bob Atchinson • Anbaric Holding LLC, Edward N. Krapels • Josh and Anita Bekenstein • Connell Limited Partnership, Frank Doyle, Margot C. Connell • Eileen and Jack Connors, Jr. • Eaton Vance Corp., Thomas E. Faust, Jr. • Elizabeth Taylor Fessenden Foundation • Eversource Energy, Jim Judge • Gerondelis Foundation • Goodwin, Regina M. Pisa • Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Highland Capital Partners & Highland Consumer Partners • Hill Holliday, Karen Kaplan • Houghton Mifflin Harcourt, William Bayers • John Hancock Financial, Craig Bromley • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • The Lynch Foundation • The McGrath Family/The Highland Street Foundation/Holly and David Bruce • Natixis Global Asset Management, John T. Hailer • The New England Foundation, Joseph C. McNay • Staples, Inc., Shira Goodman • Vertex Pharmaceuticals, Inc., Jeffrey Leiden • Waters Corporation, Chris O’Connell • Edwin S. Webster Foundation • Wilmington Trust, N.A., Christopher T. Casey • Wynn Boston Harbor, Bob DeSalvio

$15,000 - $24,999 The Harold Alfond Foundation • Alfred P. Sloan Foundation • Analog Devices, Inc., Ray Stata • Arthur J. Hurley Company, Inc., Arthur J. Hurley III • Associated Grant Makers of Massachusetts • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • The Boston Consulting Group, Kermit King • Boston Private, Clayton G. Deutsch • Boston Seed Capital, LLC, Nicole Maria Stata • The Carl & Ruth Shapiro Family Foundation • Charles Schwab & Co., Inc. • Clough Capital Partners, LP, Charles I. Clough, Jr. • RoAnn Costin • John and Diddy Cullinane • Debevoise & Plimpton LLP, Gregory J. Lyons • Farley White Interests, Roger W. Altreuter, John F. Power • Flex Pharma, Christoph Westphal • Goldman, Sachs & Co. • Greater Media, Inc., Peter H. Smyth • J.P. Marvel Investment Advisors, Inc., Joseph F. Patton, Jr. • John Moriarty & Associates, Inc., John Moriarty, David Leathers • The Gerald R. Jordan Foundation, Darlene L. Jordan • The Lowell Institute • Macy’s • John and Rose Mahoney • Martignetti Companies • Medical Information Technology, Inc., Howard Messing • MetLife Foundation • MullenLowe U.S. / Interpublic Group, Michael I. Roth • New Balance Foundation, Anne and Jim Davis • New England Development, Stephen R. Karp • OvaScience • The Alice Ward Fund of The Rhode Island Foundation • Saquish Foundation • The TJX Companies, Inc. • Tufts Health Plan, Thomas A. Croswell • Sandra Urie and Frank Herron • Ernst von Siemens Music Foundation • VPNE Parking Solutions, Kevin W. Leary • WBZ-TV/CBS Boston, Mark Lund • Anonymous

$10,000 - $14,999 Advent International Corporation, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht • Arthur J. Gallagher & Co., Patrick Veale • Billy Rose Foundation • Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Charles River Laboratories, Inc., James C. Foster • Chubb, John Swords • Colliers International, Kevin C. Phelan • Deutsch Family Wine & Spirits • DJ Dream Fund, Inc. • EY, George R. Neble • Fiduciary Trust, Todd Eckler • FTI Consulting, Stephen J. Burlone • Steve and Betty Gannon • H. Carr & Sons, Inc., James L. Carr, Jr. • Herald Media, Inc., Patrick J. Purcell •

week 10 corporate, foundation, and government contributors 77 78 Ironshore, Kevin H. Kelley • JPMorgan Chase & Co., Stephen W. Burbage • Kaufman & Company, LLC, Sumner Kaufman • Roger and Myrna Landay Charitable Foundation • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. • Morgan, Lewis & Bockius LLP, Catherine Curtin • Navigator Management, Thomas M. O’Neill • New England Patriots Charitable Foundation • Steve and Judy Pagliuca • Raytheon Company • Jack and Alissa Sebastian • TA Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The Verrochi Family • Wayne J. Griffin Electric, Inc., Wayne J. Griffin

$5,000 - $9,999 Abbot and Dorothy H. Stevens Foundation • Accenture • Adelaide Breed Bayrd Foundation • Adler Pollock & Sheehan P.C. • Allied Universal Security Services • The Amphion Foundation, Inc. • Amuleto Mexican Table • Atlantic Trust Private Wealth Management • Berkshire Bank • Berkshire Partners LLC • Blake & Blake Genealogists • The Boston Globe • The Cambridge Homes • Century-TyWood Manufacturing Inc. • Chadwick Martin Bailey • The Clayton F. and Ruth L. Hawkridge Foundation • The Cleary Family • Michael Cronin • Cushman & Wakefield • Cutler Associates, Inc. • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Davis Polk & Wardwell LLP • DeMoulas Supermarkets, Inc. • Gaston Dufresne Foundation • E2 Showjumpers • The E. Nakamichi Foundation • Edward A. Taft Trust • Epsilon • Feeney Brothers Excavation • The French American Fund for Contemporary Music • General Catalyst Partners • Greater Boston Chamber of Commerce • High Output, Inc. • IBM • International Paper • Jack Madden Ford • Locke Lord LLP • Lucia B. Morrill Charitable Foundation • McCarter & English, LLP • McKinsey & Company • The Norio Ohga Foundation • Nutter McClennen & Fish LLP • Joe and Kathy O’Donnell • Pamplona Capital Management • People’s United Bank • Abraham Perlman Foundation • Proskauer Rose LLP • PwC • Quanta Services, Inc. • Riemer & Braunstein LLP • Thomas A. and Georgina T. Russo Family Fund • William E. and Bertha E. Schrafft Charitable Trust • Shawmut Design and Construction • Signature Printing & Consulting, Woburn, MA • Stetson Whitcher Fund • The Studley Press, Inc. • Sullivan & Cromwell LLP • TigerRisk Partners • W.B. Mason Co., Inc. • Walsh Brothers, Inc. • Willis Towers Watson • WilmerHale LLP • Wolf, Greenfield & Sacks, P.C. • Anonymous (2)

$2,500 - $4,999 Alice Willard Dorr Foundation • Allied Printing Services, Inc. • Boston Magazine • Brookline Youth Concerts Fund • Cambridge Community Foundation • Cambridge Trust Company • Carson Limited Partnership • Complete Staffing Solutions, Inc. • Congress Wealth Management • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • Elizabeth Grant Fund • Deborah and Vernon Ellinger and Colin and Erika Angle • Fire Equipment, Inc. • Fowler Printing & Graphics • The Fuller Foundation • Jackson and Irene Golden 1989 Charitable Trust • Greenberg Traurig LLP • Hoche-Scofield Foundation • Morrison & Foerster LLP • NorBella • Oxford Fund • Republic Services • Ruberto, Israel & Weiner • Sametz Blackstone Associates • Mr. and Mrs. Ronald Sargent • P.J. Spillane Company • Vedder Price • Verrill Dana • Anonymous

week 10 corporate, foundation, and government contributors 79

Administration

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

Bridget P. Carr, Director of Archives and Digital Collections • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Chorus and Orchestra Management Assistant • Jennifer Dilzell, Chorus Manager • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director 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 James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Finance and Marketing Administrator • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 10 administration 81 EXPERIENCE THE 2016–2017 SEASON

BACH MAGNIFICAT BACH CHRISTMAS McGEGAN Sept 23 + 25, 2016 Dec 15 + 18, 2016 AND MOZART Symphony Hall NEC’s Jordan Hall Mar 3 + 5, 2017 Symphony Hall BEETHOVEN EROICA MOZART Oct 28 + 30, 2016 AND HAYDN MONTEVERDI Symphony Hall Jan 27 + 29, 2017 VESPERS Symphony Hall Apr 7, 2017 HANDEL MESSIAH NEC’s Jordan Hall Nov 25-27, 2016 GLORIES OF THE Apr 9, 2017 Symphony Hall ITALIAN BAROQUE Sanders Theatre Feb 10 + 12, 2017 NEC’s Jordan Hall HANDEL SEMELE May 5 + 7, 2017 Symphony Hall

HANDELANDHAYDN.ORG 617.266.3605

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82 development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Allison Kunze, Major Gifts Coordinator • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, 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 10 administration 83 information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist public relations

Samuel Brewer, Senior Publicist • Alyssa Kim, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate 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 • Dan Kaplan, Director of Boston Pops Business Development • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Ellery Weiss, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center

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

week 10 administration 85 join our community of music lovers

The Boston Symphony is a world-renowned orchestra right in your community. But every $1 the BSO receives through ticket sales must be matched by an additional $1 of contributed support to cover annual expenses. The generosity of the Friends of the BSO is the financial foundation of all the Orchestra achieves. Friends ensure a legacy of spectacular performances and the BSO’s connection to its community through education and engagement. friends-only privileges include: • Access to BSO or Boston Pops Working Rehearsals • Advance ticket ordering • Exclusive experiences at historic Symphony Hall • 10% discount at the Symphony Shop

To learn more, or to join, visit the information stand in the lobby, call 617-638-9276, or find us online at bso.org/contribute. Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Mary Gregorio • Trish Lavoie • George Mellman Co-Chairs, Tanglewood Bob Braun • David Galpern • Gabriel Kosakoff Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2016-17

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support,Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, Steve Butera • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

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

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

week 10 administration 87 Next Program…

Thursday, January 12, 10:30am (Open Rehearsal; Pre-Rehearsal Talk from 9:30-10am in Symphony Hall) Thursday, January 12, 8pm Friday, January 13, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, January 14, 8pm

bramwell tovey conducting

barber “toccata festiva” for organ and orchestra, opus 36 cameron carpenter, organ

Terry riley “at the royal majestic,” concerto for organ and orchestra I. Negro Hall II. Lizard Tower Gang III. Circling Kailash cameron carpenter

{intermission}

elgar variations on an original theme, opus 36, “enigma” Theme (Andante) 8. W.N. (Allegretto) 1. C.A.E. (L’istesso tempo) 9. Nimrod (Adagio) 2. H.D.S.-P. (Allegro) 10. Intermezzo (Dorabella) 3. R.B.T. (Allegretto) (Allegretto) 4. W.M.B. (Allegro di molto) 11. G.R.S. (Allegro di molto) 5. R.P.A. (Moderato) 12. B.G.N. (Andante) 6. Ysobel (Andantino) 13. ***Romanza (Moderato) 7. Troyte (Presto) 14. Finale. E.D.U. (Allegro)

English conductor Bramwell Tovey is joined by virtuoso American organist Cameron Carpenter, who makes his BSO subscription series debut in a work written for him, At the Royal Majestic, by the innovative American composer Terry Riley, a founding father of musical minimalism. Himself an organist, Riley created this eclectic large-scale concerto “shifting, as its title suggests, from sounds reminiscent of the Mighty Wurlitzer housed in the grand movie palaces, to fragments of Calliope, Baroque Chorales, occasional craggy dissonance of clashing pipes, and boogie.” To open the concert, Carpenter is soloist in Samuel Barber’s 1960 organ-and-orchestra work Toccata Festiva, by turns exuberant and lyrical. The English composer Edward Elgar’s tour- de-force of orchestral and expressive imagination, the Enigma Variations, is a series of widely varied portraits of his friends via transformations of a common musical theme.

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

Thursday, January 12, 10:30am (Open Rehearsal) Thursday ‘C’ January 26, 8-10:10 Thursday ‘D’ January 12, 8-10 Friday ‘A’ January 27, 1:30-3:40 Friday ‘A’ January 13, 1:30-3:30 Saturday ‘A’ January 28, 8-10:10 Saturday ‘B’ January 14, 8-10 CHRISTOPH VON DOHNÁNYI, conductor BRAMWELL TOVEY, conductor JEAN-FRÉDÉRIC NEUBURGER, piano CAMERON CARPENTER , organ ANDERSON Incantesimi (American BARBER Toccata Festiva premiere; BSO co-commission) RILEY At the Royal Majestic, for SCHUMANN Piano Concerto organ and orchestra SCHUBERT Symphony in C, The Great ELGAR Enigma Variations

Thursday ‘A’ February 2, 8-10:20 Sunday, January 22, 3pm Friday Evening February 3, 8-10:20 Jordan Hall, New England Conservatory Saturday ‘B February 4, 8-10:20

BOSTON SYMPHONY CHAMBER PLAYERS Tuesday ‘B’ February 7, 8-10:20 with RANDALL HODGKINSON, pianist ANDRIS NELSONS, conductor MALIN CHRISTENSSON TAFFANEL Wind Quintet in G minor , soprano CHRISTINE RICE SAINT-SAËNS Septet in E-flat for piano, , mezzo-soprano trumpet, and strings, Op. 65 BENJAMIN BRUNS, tenor ERIC TANGUY Afterwards, for flute and piano HANNO MÜLLER-BRACHMANN, bass-baritone FRANÇAIX Octet for winds and strings TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, guest chorus conductor J.S. BACH Mass in B minor Thursday ‘B’ January 19, 8-10:05 Friday ‘B’ January 20, 1:30-3:35 Saturday ‘B’ January 21, 8-10:05 Tuesday ‘B’ January 24, 8-10:05 JUANJO MENA, conductor Programs and artists subject to change. GIDON KREMER, violin

PROKOFIEV Classical Symphony The BSO’s 2016-17 season is supported WEINBERG Violin Concerto in part by the Massachusetts Cultural Council, which receives support from TCHAIKOVSKY Symphony No. 4 the State of Massachusetts and the National Endowment for the Arts.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; 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. (Saturdays from 4-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 10 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For 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, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. 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 5 p.m. Monday through Friday (4 p.m. to 8:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are 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. 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.

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 10 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening 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 $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further 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 Thurs day 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.

Bank of America applauds the Boston Symphony Orchestra for bringing the arts to all When members of the community support the arts, they help inspire and enrich everyone. Artistic diversity can be a powerful force for unity, creating shared experiences and a desire for excellence.

Bank of America recognizes the Boston Symphony Orchestra for its success in bringing the arts to performers and audiences throughout our community. Visit us at bankofamerica.com/massachusetts Life’s better when we’re connected®