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Trustees of the Boston Symphony Orchestra, Inc. Edward H. Linde. Chairman

John F. Cogan, Jr., Vice-Chairman Robert P. O'Block, Vice-Chairman Diddv Cullinane, Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly. Vice-Chairman Vincent M. O'Reilly, Treasurer

Harlan E. Anderson Eric D. Collins Shari Loessberg, Edward I. Rudman George D. Behrakis Cynthia Curme ex-officio Hannah H. Schneider

Gabriella Beranek William R. Elfers Robert J. Mayer, M.D. Arthur I. Segel

Mark G. Borden Nancy J. Fitzpatrick Nathan R. Miller Thomas G. Sternberg Jan Brett Charles K. Gifford Richard P. Morse Stephen R. Weber Samuel B. Bruskin Thelma E. Goldberg Ann M. Philbin, Stephen R. Weiner Paul Buttenwieser George Krupp ex-officio Robert C. Winters James F. Cleary

Life Trustees

Vernon R. Alden Julian Cohen Edna S. Kalman Peter C. Read David B. Arnold, Jr. Abram T. Collier George H. Kidder Richard A. Smith J.P. Barger Mrs. Edith L. Dabney Harvey Chet Krentzman| Ray Stata

Leo L. Beranek Nelson J. Darling, Jr. R. Willis Leith, Jr. John Hoyt Stookey Deborah Davis Berman Nina L. Doggett Mrs. August R. Meyer John L. Thorndike Jane C. Bradley Mrs. John H. Fitzpatrick Mrs. Robert B. Newman Dr. Nicholas T. Zervas

Peter A. Brooke Dean W. Freed William J. Poorvu Helene R. Cahners Avram J. Goldberg Irving W Rabb tDeceased Other Officers of the Corporation

Mark Volpe, Managing Director Thomas D. May, Chief Financial Officer Suzanne Page, Clerk of the Board

Board of Overseers of the Boston Symphony Orchestra, Inc. Shari Loessberg, Chair

William F. Achtmeyer John P. Eustis II Renee Landers John Reed

Joel B. Alvord Pamela D. Everhart Robert J. Lepofsky Carol Reich

Marjorie Arons-Barron Judith Moss Feingold Christopher J. Lindop Donna M. Riccardi Diane M. Austin Steven S. Fischman John M. Loder Susan Rothenberg Lucille M. Batal John F. Fish Edwin N. London Alan Rottenberg Maureen Scannell Lawrence K. Fish Jay Marks Joseph D. Roxe Bateman Myrna H. Freedman Jeffrey E. Marshall Kenan Sahin George W Berry Carol Fulp Carmine Martignetti Ross E. Sherbrooke James L. Bildner Dr. Arthur Gelb Joseph B. Martin, M.D. Gilda Slifka Bradley Bloom Stephanie Gertz Thomas McCann Christopher Smallhorn Alan Bressler Robert P. Gittens Joseph C. McNay Charles A. Stakely Michelle Courton Paula Groves Albert Merck Jacquelynne M. Stepanian

Brown Michael Halperson Dr. Martin C. Mihm, Jr. Patricia L. Tambone Gregory E. Bulger Virginia S. Harris Robert Mnookin Wilmer Thomas William Burgin Carol Henderson Paul M. Montrone Samuel Thorne

Rena V. Clark Roger Hunt Robert J. Morrissey Diana Osgood Tottenham Carol Feinberg Cohen William W Hunt Robert T. O'Connell Joseph M. Tucci Mrs. James C. Collias Ernest Jacquet Norio Ohga Paul M. Verrochi Charles L. Cooney Everett L. Jassy Joseph Patton Matthew Walker

Ranny Cooper Charles H. Jenkins, Jr. Ann M. Philbin Larry Weber James C. Curvey Paul L. Joskow May H. Pierce Robert S. Weil Tamara P. Davis Stephen K. Karp Claudio Pincus David C. Weinstein Mrs. Miguel de Stephen Kay Joyce L. Plotkin James Westra

Braganca Brian Keane Dr. John Thomas Mrs. Joan I). Wheeler Disque Deane Cleve L. killings worth Potts. Jr. Richard Wurtman, M.D. Paul F. Deninger Douglas A. Kingsley Dr. Tina Young Pouseainl Dr. Michael /inner Alan Dynner Robert Kleinberg James I). Price I). Brooks Zng

Ursula Ehret-Dirhter IVlcr F. Laeaillade Patrick J. Purcell

1 Overseers Emeriti

Helaine B. Allen Mrs. Thomas Mrs. Gordon F. Kingsley John Ex Rodgers Caroline Dwight Bain Galligan, Jr. David I. Kosowsky Mrs. Jerome Rosenfeld Sandra Bakalar Mrs. James Garivaltis Robert K. Kraft Roger A. Saunders Mrs. Levin H. Jordan Golding Benjamin H. Lacy Lynda Anne Schubert Campbell Mark R. Goldweitz Mrs. William D. Larkin Mrs. Carl Shapiro Earle M. Chiles Mrs. Haskell R. Gordon Hart D. Leavitt L. Scott Singleton Joan P. Curhan John Hamill Frederick H. Mrs. Micho Spring

Phyllis Curtin Deborah M. Hauser Lovejoy, Jr. Mrs. Arthur I. Strang Betsy P. Demirjian Mrs. Richard D. Hill Diane H. Lupean Robert A. Wells JoAnne Walton Dickinson Marilyn Brachman Mrs. Charles P. Lyman Mrs. Thomas H.P. Phyllis Dohanian Hoffman Mrs. Harry L. Marks Whitney Goetz B. Eaton Lola Jaffe Barbara Maze Margaret Williams- Harriett Eckstein Michael Joyce John A. Perkins DeCelles George Elvin Martin S. Kaplan Daphne Brooks Prout Mrs. Donald B. Wilson

J. Richard Fennell Mrs. S. Charles Kasdon Robert E. Remis Mrs. John J. Wilson Peter H.B. Richard L. Kaye Mrs. Peter van S. Rice Frelinghuysen

Officers of the Boston Symphony Association of Volunteers

Ann M. Philbin, President William S. Ballen, Executive Olga Eldek Turcotte, Executive Vice-President/Tanglewood Vice-President/Administration Sybil Williams, Secretary Linda M. Sperandio, Executive William A. Along, Treasurer Vice-President/Fundraising Judy Barr, Nominating Chair

Audley H. Fuller, Membership Lillian Katz, Hall Services Rosemary Noren, Symphony Shop Pattie Geier, Education and Lisa A. Mafrici, Public Relations Staffing Outreach Joseph Russo, Special Projects

Table of Contents

BSO News 5 On Display in Symphony Hall 6 A Brief History of the Boston Symphony Orchestra 10 A Brief History of Symphony Hall 15 BSO Music Director James Levine 18 The Boston Symphony Orchestra 20 This Week's Boston Symphony Orchestra Program 22 From the Music Director 24 Notes on the Program 25 Future Programs 60 Symphony Hall Exit Plan 62 Symphony Hall Information 63

This week's Pre-Concert Talks are given by Marc Mandel, BSO Director of Program Publications.

Program copyright ©2006 Boston Symphony Orchestra, Inc. Cover design by Sametz Blackstone Associates, Boston Cover photograph by Michael Lutch/Orchestra image (inset) a collage of the BSO in 1882 under Georg Henschel Administration Mark Volpe, Managing Director Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity

Tony Beadle, Manager, Boston Pops Thomas D. May, Chief Financial Officer Anthony Fogg, Artistic Administrator Peter Minichiello, Director of Development Marion Gardner-Saxe, Director of Human Resources Kim Noltemy, Director of Sales and Marketing Ellen Highstein, Director of Tanglewood Music Center Caroline Taylor, Senior Advisor to the Position endowed in honor of Edward H. Linde Managing Director by Alan S. Bressler and Edward I. Rudman Ray F. Wellbaum, Orchestra Manager Bernadette M. Horgan, Director of Media Relations ADMINISTRATIVE STAFF/ARTISTIC

Bridget P. Carr, Archivist—Position endowed by Caroline Dwight Bain • Karen Leopardi, Artist Assistant • Vincenzo Natale, Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration • Benjamin Schwartz, Assistant to the Artistic Administrator

ADMINISTRATIVE STAFF/ PRODUCTION Christopher W. Ruigomez, Operations Manager Meryl Atlas, Assistant Chorus Manager • Amy Boyd, Orchestra Personnel Administrator • Felicia A. Burrey, Chorus Manager • H.R. Costa, Technical Supervisor • Keith Elder, Production Coordinator • Jake Moerschel, Stage Technician • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Leslie D. Scott, Assistant to the Orchestra Manager BOSTON POPS Dennis Alves, Director ofArtistic Programming Jana Gimenez, Operations Manager • Sheri Goldstein, Personal Assistant to the Conductor • Margo Saulnier, Artistic Coordinator • Jeff Swallom, Administrative Coordinator

BUSINESS OFFICE

Sarah J. Harrington, Director of Planning and Budgeting Pam Wells, Controller

Yaneris Briggs, Accounts Payable Supervisor • Theresa Colvin, StaffAccountant • Wendy Gragg, Budget Assistant • Michelle Green, Executive Assistant to the Chief Financial Officer • Minnie Kwon, Payroll Assistant • John O'Callaghan, Payroll Supervisor • Mary Park, Budget Analyst • Harriet Prout, Accounting Manager • Teresa Wang, StaffAccountant • Audrey Wood, Senior Investment Accountant DEVELOPMENT Nancy Baker, Director of Major and Planned Giving Sally Dale, Director of Stewardship Alexandra Fuchs, Director ofAnnual Funds Nina Jung, Director ofDevelopment Special Events Jo Frances Kaplan, Director of Institutional Giving Bart Reidy, Director of Development Communications Mia Schultz, Director of Development Operations

Maureen Barry, Executive Assistant to the Director ofDevelopment • Martha Bednarz, Corporate Programs Manager • Claire Carr, Corporate Programs Coordinator • Diane Cataudella, Associate Director of Steward- ship • Sarah Fitzgerald, Manager of Gift Processing and Donor Records • Kara Gavagan, Development Special Events Coordinator • Barbara Hanson, Manager, Koussevitzky Society • Emily Horsford, Friends Membership Coordinator • Allison Howe, Gift Processing and Donor Records Coordinator • Amy Hsu, Man- ager of Friends Membership • Justin Kelly, Associate Manager of Development Operations • Brian Kern, Senior Major Gifts Officer • Katherine M. Krupanski, Assistant Manager, Higginson and Fiedler Societies • Nicole Leonard, Assistant Manager of Planned Giving • Ryan Losey, Manager of Foundation Giving • Pamela McCarthy, Manager of Prospect Research • Susan Olson, Stewardship Coordinator • Cristina Perdoni, Gift Processing and Donor Records Coordinator • Jennifer Raymond, Associate Director, Friends Membership • Mary E. Thomson, Program Manager, Corporate Programs • Hadley Wright, Foundation and Government Grants Coordinator EDUCATION AND COMMUNITY PROGRAMS Myran Parker-Brass, Director of Education and Community Programs Gabriel Cobas, Manager of Education Programs • Leslie Wu Foley, Associate Director of Education and Community Programs * Darlene White, Manager, Berkshire Education and Community Programs • Leah Wilson-Velasco, Coordinator, Education and Community Programs mm

EVENT SERVICES Cheryl Silvia Lopes, Director of Event Services Lesley Ann Cefalo, Special Events Manager • Emma-Kate Kallevik, Tanglewood Events Coordinator • Sean Lewis, Assistant to the Director of Event Services • Cesar Lima, Steward • Kyle Ronayne, Food and Beverage Manager • James Sorrentino, Bar Manager

FACILITIES Robert L. Barnes, Director of Facilities Symphony Hall Michael Finlan, Switchboard Supervisor • Wilmoth A. Griffiths, Supervisor of Facilities Support Services • Susan Johnson, Facilities Coordinator • Shawn Wilder, Mailroom Clerk House Crew Charles Bent, Jr. • Charles F. Cassell, Jr. • Francis Castillo • Eric Corbett • Thomas Davenport • Michael Frazier • Juan Jimenez • Peter O'Keefe Security Matthew Connolly • Cleveland Olivera • Tyrone Tyrell, Security Supervisor Cleaning Crew Desmond Boland • Clifford Collins • Angelo Flores • Rudolph Lewis • Lindel Milton, Lead Cleaner • Gabo Boniface Wahi

Tanglewood David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to the Berkshires HUMAN RESOURCES Dorothy DeYourg, Benefits Manager Mary Pitino, Human Resources Manager INFORMATION TECHNOLOGY David W. Woodall, Director of Information Technology Guy W. Brandenstein, Tanglewood User Support Specialist • Andrew Cordero, Manager of User Support • Timothy James, Applications Support Specialist • John Lindberg, Senior Systems and Network Administrator • Brian Van Sickle, User Support Administrator

PUBLIC RELATIONS

Joseph Heitz, Media Relations Associate • Kelly Davis Isenor, Media Relations Associate • Sean J. Kerrigan, Associate Director of Media Relations • Stephani Ritenour, Media Relations Coordinator PUBLICATIONS Marc Mandel, Director of Program Publications Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/Boston Pops Program Editor

SALES, SUBSCRIPTION, AND MARKETING Amy Aldrich, Manager, Subscription Office Leslie Bissaillon, Manager, Glass Houses Helen N.H. Brady, Director of Group Sales Alyson Bristol, Director of Corporate Sponsorships Sid Guidicianne, Front of House Manager James Jackson, Call Center Manager Roberta Kennedy, Manager, Symphony Shop Sarah L. Manoog, Director of Marketing Programs Michael Miller, SymphonyCharge Manager Kenneth Agabian, Marketing Coordinator, Print Production • Rich Bradway, Manager of Internet Marketing • Lenore Camassar, SymphonyCharge Assistant Manager • Ricardo DeLima, Senior Web Developer • John Dorgan, Group Sales Coordinator • Paul Ginocchio, Assistant Manager, Symphony Shop • Peter Grimm, Tanglewood Special Projects Manager • Melinda Hallisey, Manager of New Business Development, Corporate Sponsorships • Kerry Ann Hawkins, Graphic Designer • Susan Elisabeth Hopkins, Graphic Designer • Elizabeth Levesque, Marketing Projects Coordinator • Michele Lubowsky, Assistant Subscription Manager • Jason Lyon, Group Sales Manager • Dominic Margaglione, Subscription Representative • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge Representative • Michael Moore, Web Content Editor • MarcyKate Perkins, SymphonyCharge Representative • Kristen Powich, Sponsor Relations Coordinator • Doreen Reis, Marketing Coordinatorfor Advertising • Caroline Rizzo, Sym- phonyCharge Representative • Elizabeth Schneiter, SymphonyCharge Representative • Megan E. Sullivan, Access Services Coordinator

Box Office Russell M. Hodsdon, Manager • David Winn, Assistant Manager

Box Office Representatives Mary J. Broussard • Cary Eyges • Lawrence Fraher • Mark Linehan • Arthur Ryan

TANGLEWOOD MUSIC CENTER Patricia Brown, Associate Director • Michael Nock, Manager of Student Services Kristen Reinhardt, Administrator • Gary Wallen, Scheduler

VOLUNTEER OFFICE Patricia Krol, Director of Volunteer Services Sabine Chouljian, Project Coordinator

4 m BSO I J Want to Hear More?

In keeping with BSO Music Director James Levine's oft-stated belief that the only way really to further one's understanding and enjoyment of new and unfamiliar music is through repeat hearings, the BSO is pleased to offer attendees of his concerts an oppor- tunity to return for a second hearing at half-price. Those attending this week's program

who would like to hear it again need only head to the box office with their ticket stub and, subject to ticket availability, exchange the ticket stub for a half-price ticket to any of the remaining performances of this week's program.

Beethoven, Schoenberg, and the BSO's Online Conservatory

In conjunction with the Boston Symphony Orchestra's 2005-06 Beethoven/Schoenberg programs (which begin January 19-21 with Beethoven's Missa Solemnis and conclude March 1-4 with Schoenberg's Chamber Symphony No. 1 and Beethoven's Symphony

No. 9), a new Online Conservatory at www.bso.org explores all of the works to be per- formed by James Levine and the BSO in this series, including the Boston Symphony Chamber Players program of Sunday, January 22. Developed in partnership with North- eastern University, the BSO's Online Conservatory offers music lovers an opportunity to explore fascinating dimensions of the orchestra's performances through the power of the internet. There are biographies of both composers as well as other historical and cultural material, all in a multimedia setting featuring spoken narratives, photographs, music, and interactive modules. Beethoven's Missa Solemnis, Symphony No. 2, and Symphony No. 9, as well as Schoenberg's Gurrelieder, Pierrot Lunaire, Opus 11 Pieces, Five Pieces for Orchestra, Variations for Orchestra, and Pelleas und Melisande, are among the works examined in depth, with both on-screen and audio musical examples augmenting and enhancing the descriptive background information. The interactive modules include a timeline of artwork by Schoenberg, who was a noted painter and whose friends included many of the most important German artists of the early twentieth century, as well as an interactive examination of the basic premises of Schoenberg's twelve-tone system. To access the Online Conservatory, go to www.bso.org/conservatory. The BSO's web- site, www.bso.org, is powered by EMC Corporation.

"Schoenberg on Display" in the Cabot-Cahners Room of Symphony Hall

A traveling exhibition from the Center curated by the composer's son and daughter, Lawrence A. Schoenberg and Nuria Schoenberg Nono, will be dis- played in the Cabot-Cahners Room on the first-balcony level of Symphony Hall from Monday, January 9, through Saturday, March 4. Utilizing a 78-minute audio CD and multiple "Small Theaters," the exhibition offers a many-faceted picture of the life and works of Arnold Schoenberg, including text, music, and documentary reproductions with recorded narration. The "Small Theaters," each a set of three panels, are a visual

Individual tickets are on sale for all concerts in the BSO's 2005-2006 season. For specific information on purchasing tickets by phone, online, by mail, or in person at the Symphony Hall box office, please see page 63 of this program book. —

component to complement the audio selections on the accompanying CD. Each visitor is provided a CD-player with a CD in the language of his or her choice; these will be available at the coat-check desk, first-balcony left, outside the Cabot-Cahners Room. The recording includes narration, musical examples, and historical voice recordings. Also part of the exhibit are musical scores, books, photograph albums, recordings by and about Schoenberg, and several of Schoenberg's self-portraits (with the latter on display in the first balcony corridor, audience-left, on the orchestra level of Symphony Hall).

Focus on Schoenberg at the Goethe-Institut Boston, February 1-22

Also as part of its ongoing Beethoven/Schoenberg project, the Boston Symphony Orches- tra, in conjunction with the Goethe-Institut Boston, is presenting a series of four lectures on different aspects of Arnold Schoenberg's richly diverse creative life. The lectures all free and open to the public—are scheduled for Wednesday nights in February, all at 6:30 p.m. at the Goethe Institute, 170 Beacon Street, in Boston. On February 1, the week of Bernard Haitink's BSO performances of Mahler's Sixth Symphony, Columbia University Professor and eminent Second Viennese School scholar Walter Frisch will speak on Schoenberg and Mahler. On February 8, Arnold Schoenberg's former student and personal assistant Richard Hoffman will speak on Schoenberg as teacher. On Feb- ruary 15, the German Schoenberg scholar and Arizona State University Professor Sabine Feisst will speak on Schoenberg in America. The series will culminate on February 22 with a discussion featuring Arnold Schoenberg's children, Lawrence A. Schoenberg and Nuria Schoenberg Nono, moderated by Christian Meyer, Director of the Schoenberg Center in Vienna, Austria. In addition to the lecture, each evening will feature per- formances of Schoenberg's innovative solo piano music as performed by piano students from the New England Conservatory of Music—to encompass the entirety of Schoen-

On Display in Symphony Hall This season's BSO Archives exhibit marks the 125th anniversary of the Boston Symphony Orchestra. In addition to the many important photographs, letters, and scores from the BSO Archives that fill the exhibit cases throughout Symphony Hall to document the BSO's founding in 1881 and its 125-year history, the BSO has received on loan from the Library of Congress's Music Division the origi- nal manuscript scores for two pieces closely associated with the BSO—Bela Bartok's , com- missioned by the Koussevitzky Music Foundation and given its world premiere by and the BSO on December 1, 1944; and Henri Dutilleux's Symphony No. 2, commissioned jointly by the BSO and the Koussevitzky Music Foundation and given its world premiere by the BSO under Charles Munch on December 11, 1959. Also among the impor- tant artifacts on display throughout the season are the original manuscript of Igor Stravinsky's Symphony of Psalms (a BSO 50th-anniversary commission) and the score of Beethoven's Missa Solemnis, just recently returned to the BSO, that was used for Symphony Hall's inaugural concert on October 15, 1900. Shown here is a plaster relief of a Bacchic procession mounted originally in Symphony Hall in the early 1900s, then taken down in the early 1980s and left to languish in Symphony Hall's basement for more than twenty years. The restoration of the plaster relief by Carol Snow and Nina Vinogradskaya and its reinstallation by Mystic Scenic Studios were made possible through a gift from Deborah M. Hauser. berg's solo piano music over the course of the four evenings. For further information, please call the Goethe Institute at (617) 262-6050.

Tanglewood 2006

The Boston Symphony Orchestra has announced details of its 2006 Tanglewood season, which will mark James Levine's second summer as BSO music director. Highlights of Mr. Levine's 2006 Tanglewood season will include Beethoven's Ninth Symphony (part of the BSO's Tanglewood opener on July 7), Schoenberg's Gurrelieder (July 14), concert performances of Mozart's Don Giovanni (July 22, part of a BSO all-Mozart weekend marking the 250th anniversary of the composer's birth) and Strauss's Elektra (the latter with the Tanglewood Music Center Orchestra, on July 15), and the American stage pre- miere (also with TMC forces) of 's opera What Next? (July 27 and 28). Also this summer, BSO Music Director Laureate Seiji Ozawa returns to the BSO podium for the first time since stepping down as music director following his farewell concerts with the BSO at Tanglewood in 2002. Mr. Ozawa will conduct (on August 5) Mahler's Symphony No. 2, Resurrection, a work with which he enjoyed major success both at home and on tour during his 29-year tenure as BSO music director. In addition, Bernard Haitink will lead the BSO in two programs (July 8 and 9), marking his first Tanglewood appearance since 2001, as well as the first time the BSO's Music Director, Music Director Laureate, and Conductor Emeritus will appear together in the same season with their current BSO titles. Other highlights of the 2006 Tanglewood season will include the complete cycle of Beethoven piano sonatas performed in eight concerts by acclaimed American pianist Garrick Ohlsson; the five Beethoven piano concertos with five different pianists (Emanuel Ax, Yefim Bronfman, Imogen Cooper, Andre Watts, and Christian Zacharias); the com- plete Mozart concertos with Gidon Kremer and his Kremerata Baltica, and con- certo performances featuring Joshua Bell, Hilary Hahn, Yo-Yo Ma, Midori, Gil Shaham, and Jean-Yves Thibaudet with the BSO, as well as three Boston Pops concerts (including the annual Film Night), Tanglewood on Parade (with James Levine joining Keith Lock- hart and John Williams on the podium), the annual Festival of Contemporary Music, Tanglewood's Labor Day Weekend Jazz Festival, and a full schedule of concerts by the young musicians of the Tanglewood Music Center. Tickets for the 2006 Tanglewood season will go on sale to the public on Sunday, February 12, at which time season brochures will be available, and by which time the complete Tanglewood 2006 schedule will have been posted on the BSO's website, www.bso.org.

The Marie L. Audet Gillet and brought her much joy and pleasure. Married Fernand Gillet Concerts to Fernand Gillet for almost fifty years, she January 13 and 14, 2006 devoted much of her life to teaching piano In recognition of a bequest from Marie L. privately and at the New England Conserva- Audet Gillet, the first pair of Friday-after- tory of Music, and attending Boston Sym- noon and Saturday-evening Boston Symphony phony concerts in Symphony Hall and at concerts of the new year is dedicated to the Tanglewood. She maintained a very special memory of Mrs. Gillet and her husband, the relationship with several of her "pupils" late Fernand Gillet, who was the BSO's prin- until her death in October 1988. Mrs. Gillet's cipal from 1925 to 1946. Mrs. Gillet's love for and devotion to the Boston Sym- bequest endows in perpetuity two subscrip- phony Orchestra spanned more than sixty tion concerts each year, in memory of her and years. A faithful subscriber to the Friday- her husband. The first such concerts were afternoon conceits through the 1987 season, given in January 1990. she was a member of the lligginson Society Throughout her eighty-nine years, Marie from its inception and regularly attended (billet was surrounded by glorious music thai special events, including the luncheon in the J.S. Bach's Passion According to St. John

Featuring the Choirs of Trinity Church with soloists and orchestra. Suggested donation: $10

Good Friday, April 14, 5:30 pm

African-American Fridays at Trinity

Music &c Spirituality This organ concert series features organists from around the world. Presented by Dr. Horace C. Boyer, Suggested donation: $5 gospel music scholar, conductor, and

performing artist with "The Boyer Fridays, 12:15-12:45 pm Brothers." Free; offering accepted. Trinity Church in the City of Boston Friday, March 24, 6 pm Copley Square • 61 7-536-0944 Saturday, March 25, 9 am www.trinitychurchboston.org

8 spring of 1987 for those who held been attend- concerts, one hour before the start of morn- ing BSO concerts for fifty years or more. The ing and evening Open Rehearsals, and at Tanglewood Music Center was very important 1:45 p.m. prior to Sunday-afternoon concerts. to her; in 1983 she endowed two Guarantor Given by a variety of distinguished speakers Fellowships—the Fernand Gillet Fellowship from Boston's musical community, these for an oboe student and the Marie L. Audet informative half-hour talks include recorded Gillet Fellowship for a piano student. examples from the music being performed. Born in , oboist Fernand Gillet This week, BSO Director of Program Publica- (1882-1980) performed with the Lamoureux tions Marc Mandel discusses Schumann, Orchestra and the Paris Grand Opera before Berlioz, and the new BSO 125th Anniversary Serge Koussevitzky invited him to join the Commission by Jonathan Dawe. In the weeks Boston Symphony Orchestra in 1925 as prin- ahead, Jan Swafford of Tufts University dis- cipal oboe, a position he held for twenty-one cusses Beethoven's Missa Solemnis (January years. During the course of his seventy-five- 19-21), Reinhold Brinkmann of Harvard year teaching career he served on the facul- University discusses the Boston Symphony ties of the Tanglewood Music Center, the Chamber Players' Beethoven/Schoenberg New England Conservatory, and Boston Uni- program featuring James Levine with guest versity; the New England Conservatory and soloists Anja Silja and Matthew Polenzani the Eastman School of Music presented him (Sunday afternoon, January 22, at Symphony with honorary Doctor of Music degrees; and Hall), and Elizabeth Seitz of The Boston Con- he published several technical methods for servatory discusses Ravel, Mozart, Debussy, oboe in his native France. Mr. Gillet was and Roussel (January 25-31). awarded the Croix de Guerre for his ser- vice in the French Flying Corps during Ticket Resale World War I. Please remember that subscribers unable to attend a particular BSO concert in their Elliott Carter's "" series call 638-9426 to Newly Available on CD may (617) up one hour before the concert to make their tickets A recording of Elliott Carter's BSO-commis- available for resale. This not only helps sioned Boston Concerto (2002), which James bring needed revenue to the orchestra, it Levine led here in December on his program also makes your seat available to someone of four works written for the BSO, was issued who might otherwise be unable to attend the last month on a Bridge compact disc (Bridge concert. You will receive a mailed receipt CD 9184) with Oliver Knussen acknowledging your tax-deductible contri- the BBC Symphony Orchestra. Also on the bution within three weeks of your call. disc are Carter's (2003), with Knus- sen leading the London Sinfonietta and In Case of Snow... pianist Nicolas Hodges; Carter's Con- certo, with Knussen, the BBC Symphony To find out the status of a Boston Symphony Orchestra, and cellist Fred Sherry, and Car- concert and options available to you in case ter's (2000) for chamber of a snow emergency, BSO subscribers and ensemble, with Knussen conducting the patrons may call a special Symphony Hall Asko Ensemble. The recordings date from number. Just dial (617) 638-9495 at any January 2004 {Dialogues), April 2004 (the time for a recorded message regarding the Boston Concerto and ), and current status of a concert. Please note, too, April 2000 (the ASKO Concerto, the latter that ticket refunds will only be offered for recorded live at the Concertgeboirw in concerts that are cancelled. ). With Thanks Pre-Concert Talks IISO subscription concerts are supported

Pre-Concert Talks available free <>f charge in part l)\ a grant from the Boston Cultural to BSO ticket holders precede all Boston Council, which is funded 1>\ the Massachu- Symphony conceits and Open Rehearsals, setts Cultural Council and administered by starting at 6:4.") p.m. prior to evening con- the Mayor's Office <>l Arts. Tourism, and certs. 12:1.") p.m. prior to Friday-afternoon Special Events. A Brief History of the Boston Symphony Orchestra

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

addition, it reaches audiences numbering in the millions through its performances on radio, television, and recordings. It plays an active role in commissioning new works from to- day's most important composers; its summer season at Tangle- wood is regarded as one of the world's most important music

festivals; it helps develop the audience of the future through BSO Youth Concerts and through a variety of outreach pro- grams involving the entire Boston community; and, during the

Tanglewood season, it sponsors the Tanglewood Music Center, one of the world's most important training grounds for young composers, conductors, instrumentalists, and vocalists. The orchestra's virtuosity is reflected in the concert and recording Major Henry Lee Higgin- activities of the Boston Symphony Chamber Players, one of son, founder of the Boston the world's most distinguished chamber ensembles made up Symphony Orchestra of a major symphony orchestra's principal players, and the activities of the Boston Pops Orchestra have established an international standard for the performance of lighter kinds of music. Overall, the mission of the Boston Symphony Orchestra is to foster and maintain an organization dedicated to the making of music consonant with the highest aspirations of musical art, creating performances and provid- ing educational and training programs at the highest level of excellence. This is accom- plished with the continued support of its audiences, governmental assistance on both the federal and local levels, and through the generosity of many foundations, businesses, and individuals. Henry Lee Higginson dreamed of founding a great and permanent orchestra in his home town of Boston for many years before that vision approached reality in the spring of 1881. The following October the first Boston Symphony Orchestra concert was given under the direction of conductor Georg Henschel, who would remain as music director until 1884. For nearly twenty years Boston Symphony concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world's most highly regarded concert halls, was opened on October 15, 1900. The BSO's 2000-01 season celebrated the cen-

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

10 tennial of Symphony Hall, and the rich history of music performed and introduced to the world at Symphony Hall since it opened over a century ago. Georg Henschel was succeeded by a series of German-born and -trained conductors —Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler—culminating in the appointment of the legendary Karl Muck, who served two tenures as music director, 1906- 08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony had given their first "Promenade" concert, offering both music and refreshments, and fulfill- ing Major Higginson's wish to give "concerts of a lighter kind of music." These concerts, soon to be given in the springtime and re- named first "Popular" and then "Pops," fast became a tradition. In 1915 the orchestra made its first trans- continental trip, playing thirteen concerts at the Panama-Pacific Exposition in San Fran- cisco. Recording, begun with the Victor Talk- ing Machine Company (the predecessor to RCA Victor) in 1917, continued with increas- ing frequency. In 1918 Henri Rabaud was engaged as conductor. He was succeeded Rush ticket line at Symphony Hall, the following year by Pierre Monteux. These probably in the 1930s appointments marked the beginning of a French-oriented tradition which would be maintained, even during the Russian-born Serge Koussevitzky's time, with the employment of many French-trained musicians. The Koussevitzky era began in 1924. His extraordinary musicianship and electric personality proved so enduring that he served an unprecedented term of twenty-five years. The BSO's first live concert broadcasts, privately funded, ran from January 1926 through the 1927-28 season. Broadcasts continued sporadically in the early 1930s, reg- ular live Boston Symphony broadcasts being initiated in October 1935. In 1936 Kousse- vitzky led the orchestra's first concerts in the Berkshires; a year later he and the players took up annual summer residence at Tanglewood. Koussevitzky passionately shared Major Higginson's dream of "a good honest school for musicians," and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). In 1929 the free Esplanade concerts on the Charles River in Boston were inaugurated by Arthur Fiedler, who had been a member of the orchestra since 1915 and who in 1930 became the eighteenth conductor of the Boston Pops, a post he would hold for half a F.L.PUTNAM INVESTMENT MANAGEMENT COMPANY

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12 century, to be succeeded by John Williams in 1980. The Boston Pops Orchestra cele- brated its hundredth birthday in 1985 under Mr. Williams's baton. Keith Lockhart be- gan his tenure as twentieth conductor of the Boston Pops in May 1995, succeeding Mr. Williams. Charles Munch followed Koussevitzky as music director of the Boston Symphony Or- chestra in 1949. Munch continued Koussevitzky's practice of supporting contemporary composers and introduced much music from the French repertory to this country. Dur- ing his tenure the orchestra toured abroad for the first time and its continuing series of Youth Concerts was initiated under the leadership of Harry Ellis Dickson. Erich Leinsdorf began his y\ seven-year term as music director in 1962. Leinsdorf presented numerous premieres, restored many forgotten and neglected works to the repertory, and, like his two predecessors, made many recordings for RCA; in addi- tion, many concerts were televised under his direction. Leinsdorf was also an energetic director of the Tanglewood Music Center; under his Symphony Hall in the early 1940s, with the main leadership a full-tuition fellowship entrance still on Huntington Avenue, before the program was established. Also during intersection of Massachusetts and Huntington these vears in 1964 the Boston Svm- avenues was reconstructed so the Green Line could run underground phony Chamber Players were found- ed. William Steinberg succeeded Leinsdorf in 1969. He conducted a number of American and world premieres, made recordings for Deutsche Grammophon and RCA, appeared regularly on television, led the 1971 European tour, and directed concerts on the east coast, in the south, and in the midwest. Seiji Ozawa became the BSO's thirteenth music director in the fall of 1973, following a year as music adviser and three years as an artistic director at Tanglewood. His his- toric twenty-nine-year tenure, from 1973 to 2002, exceeded that of any previous BSO conductor; in the summer of 2002, at the completion of his tenure, he was named Music Director Laureate. Besides maintaining the orchestra's reputation worldwide, Ozawa reaffirmed the BSO's commitment to new music through the commissioning of many new works (including commissions marking the BSO's centennial in 1981 and the TMC's fiftieth anniversary in 1990), played an active role at the Tanglewood Music Center, and further expanded the BSO's recording activities. In 1995 he and the BSO welcomed Bernard Haitink as Principal Guest Conductor. Named Conductor Emeritus in 2004, Mr. Haitink has led the BSO in Boston, New York, at Tanglewood, and on tour in Europe, and has also recorded with the orchestra. In the fall of 2001, James Levine was named to succeed Seiji Ozawa as music director. Maestro Levine began his tenure as the BSO's fourteenth music director—and the first American-born conductor to hold that position—in the fall of 2004. His wide-ranging programs balance great orchestral, operatic, and choral classics with equally signifi- cant music of the; 20th and 21st centuries, including newly commissioned works from such important American composers as Milton Babbitt, Elliott Carter, John Harbison, Peter Lieberson, and Charles Wuorinen. He also appears as pianist with the Boston Symphony Chamber Players, conducts the Tanglewood Music Center Orchestra, and works with the TMC Fellows in classes devoted to orchestral repertoire, Lieder, and opera. Today the Boston Symphom Orchestra, Inc., presents more than 250 concerts annually.

It i^ an ensemble thai lias richrj fulfilled Henry Lee Higginson's vision of a great and permanent orchestra in Boston.

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14 —

A Brief History of Symphony Hall

The first home of the Boston Symphony Orchestra was the old Boston Music Hall, which stood downtown where the now stands, held about 2,400 seats, and was threatened in 1893 by the city's road-building/rapid transit project. That summer, the BSO's founder, Major Henry Lee Higginson, organized a corporation to finance a new and permanent home for the orchestra. On October 15, 1900—some seven years and $750,000 later—the new hall was opened. The inaugural gala concluded with a performance of Beethoven's Missa Solemnis under the direction of then music director Wilhelm Gericke. At Higginson's insistence, the architects—McKim, Mead & White of New York engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical consultant, and Symphony Hall became the first auditorium designed in

accordance with scientifically-derived acoustical principles. It is now ranked as one of the three best concert halls in the world, along with Amster- dam's Concertgebouw and Vienna's Musikverein. Bruno Walter

called it "the most noble of American concert halls," and Her-

bert von Karajan, comparing it to the Musikverein, noted that

"for much music, it is even better. . .because of the slightly lower reverberation time." Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long from the lower back wall to the front of the stage. The walls of the stage slope inward to help focus the sound. The side bal- conies are shallow so as not to trap any of the sound, and though the rear balconies are deeper, sound is properly reflected from the back walls. The recesses of the coffered ceiling help distrib- ute the sound throughout the hall, as do the statue-filled niches BSO conductor along the three sides. The auditorium itself is centered within Wilhelm. Gericke, the building, with corridors and offices insulating it from noise who led the Sym- outside. The leather seats are the ones installed for the hall's phony Hall inau- opening in 1900. With the exception of the wood floors, the hall gural concert is built of brick, steel, and plaster, with only a moderate amount of decoration, the original, more ornate plans for the building's exterior having been much simplified as a cost-reducing measure. But as architecture critic Robert Campbell has observed, upon penetrating the "outer carton" one discovers "the gift within—the lovely ornamented interior, with its delicate play of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter of instruments on stage." Symphony Hall was designed so that the rows of seats could be replaced by tables for Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity is 2,371, including 241 small tables on the main floor. To accommodate this flexible system—an innovation in 1900—an elevator, still in use, was built into the Symphony Hall floor. Once a year the five Symphony Hall chandeliers are lowered to the floor and all 394 light- bulbs are changed. The sixteen replicas of Greek and Roman statues—ten of mythical subjects, six of actual histori- cal figures—are related to music, art, and literature. The statues were donated by a committee of 200 Symphony-goers Architect's and cast by P.P. Caproni and Brother, watercolor rendering of Symphony l,a '""" t0 iu co™truction Boston, makers of plaster reproductions " for public buildings and art schools. They were not ready for the opening concert, but appeared one by one during tlio first two seasons. The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and

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installed in 1949, is considered one of the finest concert hall organs in the world. The console was autographed by Albert Schweitzer, who expressed his best wishes for the organ's tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than six inches and located behind the organ pipe facade visible to the audience. The organ was commissioned to honor two milestones in 1950: the fiftieth anniversary of the hall's opening, and the 200th anniversary of the death of Johann Sebastian Bach. The 2004- 2005 season brought the return to use of the Symphony Hall organ following a two-year renovation process by the firm of Foley-Baker, Inc., based in Tolland, CT Two radio booths used for the taping and broadcasting of concerts overlook the stage at audience-left. For recording sessions, equipment is in- AVTOMOBILE. and stalled in an area of the basement. The hall was completely POWER BOAT SHOW. air-conditioned during the summer of 1973, and in 1975 a six-passenger elevator was installed in the Massachusetts Avenue stairwell. Symphony Hall has been the scene of more than 250 world premieres, including major works by Samuel Barber, Bela Bartok, Elliott Carter, Aaron Copland, Henri Dutilleux, George Gershwin, Sofia Gubaidulina, John Harbison, Walter Piston, Sergei Prokofiev, , Igor Stravinsky, Michael Tippett, John Williams, and Ellen Taaffe Zwilich.

For many years the biggest civic building in Boston, it has also been used for many purposes other than concerts, among them the First Annual Automobile Show of the Boston Automobile Dealers' Association (1903), the Boston From 1906 premiere of Cecil B. De Mille's film version of Carmen starring Geraldine Farrar (1915), the Boston Shoe Style Show (1919), a debate on American participation in the League of Nations (1919), a lecture/demonstration by Harry Houdini debunking spiritualism (1925), a spelling bee sponsored by the Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh-sponsored fashion shows "dedicated to the working woman" (1940s), and all the inaugurations of former longtime Boston mayor James Michael Curley. A couple of interesting points for observant concertgoers: The plaques on the prosce- nium arch were meant to be inscribed with the names of great composers, but the hall's original directors were able to agree unanimously only on Beethoven, so his remains the only name above the stage. The ornamental initials "BMH" in the staircase railings on the Huntington Avenue side (originally the main entrance) reflect the original idea to name the building Boston Music Hall, but the old Boston Music Hall, where the BSO had performed since its founding in 1881, was not demolished as planned, and a deci- sion on a substitute name was not reached until Symphony Hall's opening. In 1999, Symphony Hall was designated and registered by the United States Depart- ment of the Interior as a National Historic Landmark, a distinction marked in a special ceremony at the start of the 2000-01 season. In the 2000-01 season, the Boston Sym- phony Orchestra marked the centennial of its home, renewing Symphony Hall's role as a crucible for new music activity, as a civic resource, and as a public gathering place. The programming and celebratory events included world premieres of works commis- sioned by the BSO, the first steps of a new master plan that will strengthen Symphony Hall's public presence, and the launching of an initiative that will ultimately extend the sights and sounds of Symphony Hall via the internet. The Symphony Hall Centennial Season brought not only a commemoration, but a second inauguration. Symphony Hall was built for the purpose of expanding the presence of orchestral music here and now a mission the BSO continues to carry forward into today's world and the world of tomorrow.

17 JAMES LEVINE

The 2005-06 season is James Levine's second as Music Director of the Boston Symphony Orchestra. Named Music Director Designate in October 2001, he is the orchestra's fourteenth music director since the BSO's founding in 1881, and the first American- born conductor to hold that position. Highlights of his twelve BSO programs for 2005-06 (three of which

j also go to Carnegie Hall in New York) include a sea- son-opening all-French program (works by Berlioz, Debussy, Milhaud, and Saint-Saens) celebrating the ^ BSO's longstanding tradition of performing the French * orchestral repertoire; historic works by Bartok, jM Debussy, Dutilleux. and Stravinsky given their world jM IL^ or American premieres by the BSO in the course of the past century; newly commissioned works from Elliott Carter, Jonathan Dawe, and Peter Lieberson; and five of eleven programs (to be divided between the BSO's 2005-06 and 2006-07 seasons) juxtaposing works by Beethoven and Schoenberg. Also in 2005-06, Mr. Levine will appear as both pianist and conductor in a Beetho- ven/Schoenberg program (featuring soprano Anja Silja and tenor Matthew Polenzani) with the Boston Symphony Chamber Players, and he will lead the BSO on tour in Chicago, Newark (at the New Jersey Performing Arts Center), Philadelphia, and Washington, D.C. This past summer at Tanglewood, Mr. Levine led concerts with the Boston Symphony Orchestra and the Tanglewood Music Center Orchestra, and worked with the TMC's Conducting and Vocal Fellows in classes devoted to orchestral reper- toire, Lieder, and opera. Maestro Levine made his BSO debut in April 1972; he has since led the orchestra in repertoire ranging from Haydn, Mozart, Schumann, Brahms, Dvorak, Verdi, Mahler, and Debussy to music of Babbitt, Cage, Carter, Harbison, Ligeti, Sessions, and Wuorinen.

James Levine is also Music Director of the Metropolitan Opera, where, in the thirty- four years since his debut there, he has developed a relationship with that company unparalleled in its history and unique in the musical world today. All told at the Met he has led more than 2,000 performances of 80 different operas. His 2005-06 Met season includes a special Opening Night Gala, a new production of Donizetti's Don Pasquale, revivals of Cost fan tutte, Falstaff, Fidelio, Lohengrin, Parsifal, and Wozzeck, and, to close the season, a gala concert honoring departing general manager Joseph Volpe, as well as three concerts each at Carnegie with the MET Orchestra (including a world premiere in May by Charles Wuorinen) and MET Chamber Ensemble (includ- ing a New York premiere in October by Elliott Carter). Also this season at Carnegie, he celebrates Milton Babbitt's ninetieth birthday in May with a program made entirely of that composer's music. Mr. Levine inaugurated the "Metropolitan Opera Presents" television series for PBS in 1977, founded its Young Artist Development Program in 1980, returned Wagner's complete Der Ring des Nibelungen to the repertoire in 1989 (in the Met's first integral cycles in 50 years), and reinstated recitals and concerts with Met artists at the opera house—a former Metropolitan tradition. Expanding on that tradition, he and the MET Orchestra began touring in concert in 1991, and have since performed around the world.

Outside the United States, Mr. Levine's activities are characterized by his intensive and enduring relationships with Europe's most distinguished musical organizations, especially the Berlin Philharmonic, the Vienna Philharmonic, and the summer festi- vals in Salzburg (1975-1993) and Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its founding in 2000 and, before coming to

18

I ES

4

Boston, was chief conductor of the Munich Philharmonic from 1999 to 2004. In the United States he led the Chicago Symphony Orchestra for twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was music director of the Cincinnati May Festival (1973-1978). Besides his many recordings with the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London Symphony, Philharmonia Orchestra, Munich Philharmonic, Staatskapelle, , and Vienna Philharmonic. Over the last thirty years he has made more than 200 recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist, performing chamber music and in collaboration with many of the worlds great singers.

Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and made his debut with the Cincinnati Symphony at ten, as soloist in Mendels- sohn's D minor . He was a participant at the Marlboro Festival in 1956 (including piano study with Rudolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen). In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Baltimore Symphony Orchestra and Alfred Wallenstein, Max Rudolf, and Fausto Cleva. As a direct result of his work there, he was invited by George Szell, who was on the jury, to become an assistant conductor (1964-1970) at the Cleveland Orchestra—at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute of Music (1966-72).

James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and in 1986 was presented with the Smetana Medal by the Czechoslovak government, following per- formances of the composer's Md Vlast in Vienna. He was the subject of a Time cover story in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured in a docu- mentary in PBS's "American Masters" series. He holds numerous honorary doctor- ates and other international awards. In recent years Mr. Levine has received the Award for Distinguished Achievement in the Arts from New York's Third Street Music School Settlement; the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from Baden-Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal Award from the World Economic Forum in Davos, Switzerland; America's National Medal of Arts and Kennedy Center Honors, and the 2005 Award for Distinguished Service to the Arts from the American Academy of Arts and Letters.

19 * Jennie Shamest Michael Zaretsky Theodore W. and Evelyn Marc Jeanneret Berenson Family chair *Mark Ludwig *Valeria Vilker Kuchment * Rachel Stephanie Morris Marryott and Fagerburg Franklin J. Marryott chair *Kazuko Matsusaka *Tatiana Dimitriades *Rebecca Gitter Catherine and Paul Buttenwieser * Marvin Moon ^^^ chair *Si-Jing Huang BOSTON SYMPHONY Mary B. Saltonstall chair, Jules Eskin fully funded in perpetuity ORCHESTRA Principal 2005-2006 *Nicole Monahan Philip R. Allen chair, endowed Kristin and Roger Servison chair in perpetuity in 1969 James Levine * Wendy Putnam Martha Babcock Music Director Donald C. and Ruth Brooks Assistant Principal Ray and Maria Stata Heath chair, fully funded in per- Vernon and Marion Alden chair, Music Directorship, petuity endowed in perpetuity fully funded in perpetuity *Xin Ding in 1977 Sato Knudsen Bernard Haitink Second Mischa Nieland chair, Conductor Emeritus fully funded in perpetuity LaCroix Family Fund, Haldan Martinson Principal Mihail Jojatu fully funded in perpetuity Carl Schoenhof Family chair, Sandra and David Bakalar chair Seiji Ozawa fully funded in perpetuity Luis Leguia Music Director Laureate Vyacheslav Uritsky Robert Bradford Newman chair, Assistant Principal fully funded in perpetuity First Violins Charlotte and Irving W. Rabb *Jerome Patterson Malcolm Lowe chair, endowed in perpetuity Lillian and Nathan R. Miller Concertmaster in 1977 chair Charles Munch chair, Ronald Knudsen *Jonathan Miller fully funded in perpetuity Edgar and Shirley Grossman Charles and JoAnne Dickinson Tamara Smirnova chair chair Associate Concertmaster Joseph McGauley *0wen Young Helen Horner Mclntyre chair, Shirley and J. Richard Fennell John F Cogan, Jr., and Mary L. endowed in perpetuity in 1976 chair, fully funded in perpetuity Cornille chair, fully funded in Alexander Velinzon Ronan Lefkowitz perpetuity Assistant Concertmaster David H and Edith C. Howie * Andrew Pearce Robert L. Beal, Enid L., and chair, fullyfunded in perpetuity Stephen and Dorothy Weber chair Bruce A. Beal chair, endowed in * Nancy Bracken *Mickey Katz perpetuity in 1980 *Aza Raykhtsaum Richard C. and Ellen E. Paine Elita Kang * Bonnie Bewick chair, fully funded in perpetuity Assistant Concertmaster *James Cooke Edward and Bertha C. Rose Gordon and Mary Ford Kingsley chair *Victor Romanul Family chair Bo Youp Hwang Bessie Pappas chair John and Dorothy Wilson chair, * Catherine French Basses fully funded in perpetuity *Kelly Barr Edwin Barker Lucia Lin *Polina Sedukh Principal Forrest Foster Collier chair *Glen Cherry Harold D. Hodgkinson chair, Ikuko Mizuno endowed in perpetuity in 1974 Dorothy Q. and David B. Arnold, Lawrence Wolfe Jr., chair, fully funded in Assistant Principal Steven Ansell perpetuity Maria Nistazos Stata chair, Principal Amnon Levy fullyfunded in perpetuity Charles S. Dana chair, Muriel C. Kasdon and Hearne endowed in perpetuity in 1970 Joseph Marjorie C. Paley chair Leith Family chair, Cathy Basrak *Sheila Fiekowsky fullyfunded in perpetuity Assistant Principal Ruth and Carl Shapiro chair, Dennis J. Anne Stoneman chair, Roy fully funded in perpetuity Joseph and Brett Hearne fully funded in perpetuity Jan chair Edward Gazouleas Salkowski Lois and Harlan Anderson chair, John * Participating in a system Erich and Edith Heymans chair fully funded in perpetuity rotated of seating *James Orleans t On sabbatical leave Robert Barnes % Substitute player Ronald Wilkison

20 *Todd Seeber Bass Eleanor L. and Levin H. Richard Svoboda Douglas Yeo Campbell chair, fully funded Principal John Moors Cabot chair, perpetuity in Edward A. Toft chair, endowed fully funded in perpetuity *John Stovall in perpetuity in 1974 * Benjamin Levy Suzanne Nelsen John D. and Vera M. Mike Roylance Flutes MacDonald chair Margaret and William C. Elizabeth Rowe Richard Ranti Rousseau chair, fully funded Principal Associate Principal in perpetuity Walter Piston chair, endowed Diana Osgood Tottenham/ in perpetuity in 1970 Hamilton Osgood chair, Timpani Fenwick Smith fully funded in perpetuity Timothy Genis Myra and Robert Kraft chair, Sylvia Shippen Wells chair, endowed in perpetuity in 1981 Contrabassoon endowed in perpetuity in 1974 Elizabeth Ostling Gregg Henegar Associate Principal Helen Rand Thayer chair Percussion Marian Gray Lewis chair, Frank Epstein fully funded in perpetuity Horns Peter and Anne Brooke chair, James Sommerville fully funded in perpetuity Piccolo Principal J. William Hudgins Helen Sagoff Slosberg/Edna Peter Andrew Lurie chair, Evelyn and C. Charles Marran S. Kalman chair, endowed fully funded in perpetuity chair, endowed in perpetuity in in perpetuity in 1974 1979 Richard Sebring Barbara Lee chair §Linda Toote Associate Principal Margaret Andersen Congleton Assistant Timpanist chair, perpetuity fully funded in Mr. and Mrs. Edward H. Linde John Ferrillo Daniel Katzen chair Principal Elizabeth B. Storer chair, §Richard Flanagan Mildred B. Remis chair, endowed fully funded in perpetuity in perpetuity in 1975 Jay Wadenpfuhl Harp Mark McEwen John P. H and Nancy S. Eustis Ann Hobson Pilot James and Tina Collias chair chair, fully funded in perpetuity Principal Keisuke Wakao Assistant Principal Jonathan Menkist Voice and Chorus Elaine and Jerome Rosenfeld Jean-Noel and Mona N. John Oliver chair Tariot chair Tanglewood Festival Chorus §Hazel Davis English Horn Conductor § Kevin Owen Alan J. and Suzanne W. Dworsky Robert Sheena chair, fully funded in perpetuity Beranek chair, fully funded in perpetuity Charles Schlueter Librarians Marshall Burlingame Principal Roger Louis Voisin chair, Principal William R. Hudgins endowed in perpetuity in 1977 Lia and William Poorvu chair, Principal Peter Chapman fully funded in perpetuity Ann S.M. Banks chair, endowed Ford H. Cooper chair, endowed William Shisler in perpetuity in 1977 in perpetuity in 1984 John Perkel Scott Andrews Thomas Rolfs Thomas Sternberg chair Associate Principal Assistant Conductors Thomas Martin Nina L. and Eugene B. Doggett Jens Georg Bachmann Associate Principal & chair Anna E. Finnerty chair, E-flat Benjamin Wright Stanton W. and Elisabeth K. fully funded in perpetuity Rosemary and Donald Hudson Davis chair, fully funded in Ludovic Morlot chair perpetuity Personnel Managers Bass Clarinet Lynn G. Larsen Ronald Barron Craig Nordstrom Principal Bruce M. Creditor Farla and Harvey Chet J. P. and Mary B. Barger chair, Krentzman chair, fully funded fully funded in perpetuity Stage Manager in perpetuity Norman Bolter John Demick Arthur and Linda Cell) chair

21 BOSTON SYMPHONY ORCHESTRA

James Levine, Music Director Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate 125th Season, 2005-2006

Thursday, January 12, at 8

Friday, January 13, at 1:30 THE MARIE L. AUDET GILLET CONCERT

Saturday, January 14, at 8 THE FERNAND GILLET CONCERT Tuesday, January 17, at 8 SPONSORED BY DELTA AIR LINES

JAMES LEVINE conducting

DAWE The Flowering Arts (2005) (BSO 125th Anniversary Commission/world premiere; commissioned by the Boston Symphony Orchestra, James Levine, Music Director, through the generous support of The New Works Fund established by the Massachusetts Cultural Council, a state agency)

SCHUMANN Symphony No. 4 in D minor, Opus 120

Ziemlich langsam [Rather slow] — Lebhaft [Lively] Romanze. Ziemlich langsam Scherzo. Lebhaft; Trio Langsam — Lebhaft — Schneller [Faster] — Presto

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numbers, and information on auditions and job openings. Since the BSO web site is updat- ed on a regular basis, we invite you to check in frequendy.

22 BERLIOZ Symphonie fantastique, Episode from the life of an artist, Opus 14

Reveries, passions. Largo — Allegro agitato e appassionato assai — Religiosamente A ball. Valse: Allegro non troppo Scene in the country. Adagio

March to the scaffold. Allegretto non troppo Dream of a witches' sabbath. Larghetto — Allegro

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23 From the Music Director

I'm always talking with composers, especially those who teach, as to where they've had exceptionally bright, talented students. And as much as I prefer playing multiple works by the great "elder statesmen" of our time in order to develop a relationship between their music and the audience, I don't want to neglect younger composers whose music is already interesting and also growing. Thus the pres- ence on this program of Jonathan Dawe, a composer just over forty who writes music that is noteworthy for its originality. His new piece, The Flowering Arts, which we commissioned for the BSO's 125th anniversary, is inspired by some older music—in this case some very old music indeed. Of course this isn't in itself a new procedure, but his contemporary take on that older music is extraordinary. I've heard several other works of his, including a chamber opera that's been recently premiered. The combination of elements in his music is unique, and doesn't belong to any standard "school." Even with the juxtaposition of old ele- ments in The Flowering Arts, the language is entirely Jon's own. And it's a piece that will be fun for the audience.

This is followed by Schumann's Fourth Symphony. I'm a major Schumann fan: I do lots of his songs, most of his orchestral pieces, and some of his chamber pieces.

But the work we know as his Fourth Symphony (though it was actually the second of his four in order of composition) is remarkable in its sharing of certain materials as it proceeds from one movement to the next, and also in playing the traditional four movements nearly without pause, thus creating a very different sort of tension and establishing an overall rhythmic energy that is one of the work's most strik- ing features. The mood is extraordinarily serious and vibrant, particularly in the many ways Schumann contrasts use of the full orchestra with smaller instrumental groupings. All of Schumann's symphonies have their own particular mood and feel- ing. The Fourth is no exception. And the Berlioz Fantastique? This is a piece all of us—orchestra, conductor, and audience—know so well. It's been a signature work of the Boston Symphony Orchestra for decades—under Monteux, Koussevitzky, Munch, and Ozawa—and it's also one of the symphonies I play most often. Certainly Berlioz had some spectacu- larly subtle achievements in his later pieces. But even when compared to the operas Les Troyens and Benvenuto Cellini, or to Les Nuits d'ete and La Mort de Cleopdtre, this attempt to contain his imagination in a "normal" symphonic struc- ture (allowing for the presence of an extra movement, something we find also in Schumann's Third Symphony and in Mahler) remains consistently compelling and exciting. It's a work we need to keep in the forefront of the BSO's repertoire, even as we look forward to doing so much more of Berlioz's music in future seasons.

1>Z-

24 Jonathan Dawe The Flowering Arts (2005)

Jonathan Dawe was born on February 17, 1965, in Boston, Massachusetts, and lives in New York City. The Flowering Arts was commissioned in 2004 by the Boston Symphony Orchestra for the orchestras 125th anniver- sary at the request of BSO Music Director James Levine. Dawe began working on the score in March 2005 and

completed it in mid-July. These are the world premiere performances of The Flowering Arts, and this is the first music by Jonathan Dawe to be performed by the

Boston Symphony Orchestra. The Flowering Arts is

dedicated "to James Levine" and is scored for piccolo (also doubling third flute), two flutes, two oboes, English horn, E-flat clarinet, two B-flat clarinets, two bassoons, contrabassoon, four horns, high (piccolo B-flat), two C trumpets, two trombones, bass trombone, tuba, percussion (three players—/: glocken- spiel; high, medium, and low anvils, small cymbal; II: vibraphone; high, medium, and low tom-toms, medium cymbal; III: marimba, bass drum, tubular bells, large cymbal, lions roar), timpani, harp, piano, and strings. The piece is about fifteen minutes long.

Jonathan Dawe was born in Boston but grew up in Katonah, New York, between Albany and New York City. Although primarily interested as a child in the visual arts, when he was in his early teens he heard Bach's second Brandenburg Concerto and decided quickly and definitively that he would become a composer. His practical music experience had included somewhat casual piano lessons, but he began to take the instrument more seriously at this time, and he also played trumpet. He attended high school at the North Carolina School of the Arts in Winston-Salem, and spent the summer of 1982 at Tangle- wood in the Tanglewood Institute's Young Artist Program. He went on to Oberlin College in Ohio.

At Oberlin, Dawe studied composition with Richard Hoffmann, a pupil of Schoenberg, and was exposed to the music of the Darmstadt-era serialists, including Boulez and Milton Babbitt. At the same time he continued to develop his longstanding interest in music of the Baroque and earlier eras. (He even played krumhorn in an early-music ensemble.) After receiving his undergraduate degree from Oberlin, Dawe waited a couple

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25 of years before undertaking graduate work at the Juilliard School, where he studied with Milton Babbitt. He received his doctorate in 1995, and joined the Juilliard gradu- ate faculty teaching analysis and other courses. He has also taught composition privately.

Dawe became well versed in the methods, techniques, and styles of modernist com- position during his years at Oberlin and Juilliard, studying with two noted experts in twelve-tone serialist procedures. He arrived at what would become the key concepts of his own unique style while working with Milton Babbitt. Although he'd never been par- ticularly drawn to math, he nevertheless became fascinated by fractal geometry and began modeling some of his compositional tactics on some of its premises. At the same time, he started explicitly using figures and gestures borrowed from early music, espe- cially the Baroque, as a basis for his own compositions. All of Dawe's works have since incorporated both of these strategies, and as a result his music has a distinctive sound, one in which echoes of the past-familiar are transmuted in the language of the present. In this he follows in the tradition of contemporary transformation of pre-existing musi- cal materials by any number of composers, including Bach, Beethoven, Ives, Stravinsky, or Berio. Analogies in other media might be found in the painter Francis Bacon's 20th- century reimagining of Velazquez's 17th-century "Portrait of Pope Innocent X" or in Ezra Pound's translations of Homer.

Dawe employs fractal models in transforming the appropriated musical figures in sev-

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eral dimensions; some of the results are readily audible. These might include augmen- tation or diminution, in which a recognizable figure is either slowed down or speeded up; or transposition, which can result in sequences (that is, the same motif at a higher or lower pitch) or what sounds like a change of mode, say from major to minor (although in this context this isn't really what happens). Some transformations take place on a deeper or more far-reaching level, and may determine large-scale structure for the piece. These workings are likely less apparent in the hearing, just as Bach's or Schubert's numerological architectures are subsumed into the art of the music. Of course, just as in music of the past, the point is not to hear the mechanics involved but to hear the music itself.

Much of Jonathan Dawe's experience of hearing his music performed came during his years in school, and he has had success in competitions and with grants. He won several awards for young composers, including two BMI composer's awards, two ASCAP prizes, and the Beams Prize, and has received grants from the Koussevitzky Music Foundation, the New York State Council for the Arts, and the Fromm Foundation. Since receiving his doctorate, he has connected through various means with performers and ensembles, mostly in New York City. Through Milton Babbitt he became acquainted with the pianist Robert Taub, at the time artist-in-residence at the Institute for Advanced Study at Princeton. Taub was interested in Dawe's compositional methods and asked him to lec- ture at Princeton. Following that, Taub arranged for the commission of two works Passacaille for solo piano (2001; to be premiered next season) and the Concerto for Piano and Orchestra (premiered by Taub at the Wharton Center for Performing Arts in East Lansing, Michigan, in 2003).

Jonathan Dawe's recent and upcoming projects include a fully staged chamber opera, Prometheus, featuring countertenor Derek Lee Ragin, the Cygnus Ensemble, and the

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04 NOV 05 Opening event featuring the North American premiere of LOUIS ANDRIESSEN's Trilogy of the Last Day with guest artist

Tomoko Mukaiyama; plus works by Julia Wolfe and Evan Ziporyn

21 JAN 06 8th annual BOSTON CONNECTION concert featuring Lee Hyla's Lives of the Saints with Mary Nessinger, mezzo-soprano; also t J -_- featuring works by Jonathan Sokol and Krysztof Penderecki

10 MAR 06 CONCERTOS FOR INDIGENOUS INSTRUMENTS, featuring concertos for Persian ney, Indian flutes, tabla, sarangi, and

sitar, percussion, koto, including the K V Korean and Japanese world premieres of new works by Reza Vali, Jin Hi Kim, and Shirish Korde

26 MAY 06 Music for the modern BIG BAND, featuring a new work by William Thomas McKinley for Richard Stoltzman, clarinet, and the original jazz band version of George Gershwin's

Rhapsody in Blue with Stephen Drury, piano; plus works by Leonard Bernstein and Milton Babbitt

All of the above take place at Jordan Hall at New England Conservatory at 8:oo. Program Notes with the evening's composers begin at 7:00.

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28 New York Baroque Dance Company (premiered at the Guggenheim Museum in February 2005); a new string quartet for the Mir6 Quartet commissioned by the Wharton Center for the Arts (to be premiered in fall 2006), and a miniature opera, Orlando Furioso, based on fragments by Vivaldi, for New York's Second Instrumental Unit (to be pre- miered in London, with additional performances scheduled for Boston, New York, and Los Angeles).

BSO Music Director James Levine became aware of Dawe's music through Milton Babbitt and Robert Taub. As a member of the Juilliard composition faculty, Babbitt is one of Levine's many sources of information about new and emerging composers. Taub and Levine collaborated recently in performances of Roger Sessions's Piano Concerto both in Boston (in January 2003) and with the Munich Philharmonic. While in Boston, Taub had brought along the score to Dawe's Piano Concerto to practice in his "down time." Levine noticed the score on his piano and had a chance to look at it. When con- sidering composers to commission for the BSO's 125th anniversary, Levine wanted to infuse the repertoire with works by younger musicians, as well as music from estab- lished composers and those with a history with the orchestra. Hence Jonathan Dawe, the youngest of the composers commissioned to help celebrate the BSO's 125th anniver- sary.

As the composer mentions in his own program note (see below), his new orchestral work The Flowering Arts was initiated by an encounter with the opera Les Arts florissants by the French Baroque composer Marc-Antoine Charpentier (c. 1645-1704). Dawe was initially intrigued by the opera because of its title, which for him had multiple reso- nances. In addition to the obvious meaning of a vibrant interaction of arts and society, the title's reference to "flowering" ties in with Dawe's fractal preoccupations, since the development of plant life such as flowers can be described using fractal geometry. Char- pentier's compositional skill also impressed Dawe, especially in his use of melodic fig-

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30 ures that can also serve as accompanying counterpoint.

As Dawe explains below, The Flowering Arts is based on the allegorical characters found in Chapentier's opera. Dawes orchestration is colorful, quite varied, and generally transparent. Featured instruments help to delineate the different sections. For example, clarinets, flutes, and violins predominate in the exposition of "La Musique"; the "Choeur ,, des GueITiers that follows has the whole and the oboes in militant rhythms. "La Poesie," the next entrant, has in the foreground piccolo and C trumpets, oboe, bas- soon, and flute. "La Peinture" features brass and strings in amorphous harmonies. "UArchitecture" is characterized by sharp rhythms and the metallic sounds of piano, vibraphone, and marimba. "Discord" arrives with a full wind section with percussion, followed by a trio of bassoons and contrabassoon; "The Furies" are illustrated by aggres- sive sixteenth-notes in the strings, colored by the flutes. "Peace," the final character introduced, is high harmonic canons in the strings with glockenspiel and vibraphone, succeeded by a trio of flutes. These introductions are preceded by an "overture" and followed by a significant chaconne (a musical form with a repeating bass line and har- monic structure, as in the Bach D minor solo violin sonata or the last movement of Brahms's Symphony No. 4) that develops the materials of each of the characters.

Although its materials are based on gestures of earlier music, The Flowering Arts is necessarily a cohesive musical statement in itself. In fact, Jonathan Dawe's ideal listener would be unfamiliar with Charpentier's piece. The combination of ancient and modern musical elements has the effect of creating a strong resonance between the seventeenth century and the twenty-first, finding echoes along the way through many eras of music history. —Robert Kirzinger

The composer has provided the following note for his new piece:

The Flowering Arts, a single-movement work, presents an allegory in which the cultivated arts, "Music," "Poetry," "Painting," and "Architecture," are under siege by the powers of "Discord."

Drawing initial inspiration from the opera/ballet Les Arts florissants (1685) by the French Baroque composer Marc-Antoine Charpentier, The Flowering Arts recasts ener- gies of into a decisively modern language. Whereas the 17th-century model depicts each of the Arts with different vocal characters, in this work each of the Arts is connected distinctly to one of several compositional strategies, based upon fractal geometry, that I have been developing over the years. Rotational arrays, Stravin- sky verticals, spectral trees, and cellular automata make up the discrete language of each of the players in this drama. Building upon fragments of early music as primary panels, the outgrowth of new musical ideas reveals heightened levels of Baroque imagery yet also resonates clearly as expressions of today.

An opening overture leads directly into the presentation of each of the Arts (music, poetry, painting, architecture), interrupted by several assaults led by Discord. "Peace" descends (featuring canons in high string harmonics and a trio of flutes), and, after a final rally, casts out Discord. An extended Chaconne unfolds in which the Arts celebrate each other, systematically merging and morphing their materials together, creating— in a manner—fractals of fractals.

Despite this work's clear programmatic elements, 1 also view this piece as possessing some small commentary beyond its own story: that in worlds in which discord abounds, peace only truh triumphs with the support of creativity and imagination, with a flower- ing of the art- —Jonathan Dawe

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E

Robert Schumann Symphony No. 4 in D minor. Opus 120

Robert Schumann was born in Zwickau, Saxony, on June 8, 1810, and died in Endenich, near Bonn, on July 29, 1856. He composed the D minor symphony originally in late 1841, not long after completing his First Symphony (the D minor was thus second in order of composition), but an unsuccessful performance dis-

couraged him from publishing it. Not until 1851 did he

return to the work, revise it considerably in orchestra-

lion and a few structural details, and publish it as his Fourth Symphony. The first performance of this final version took place under his own direction in Diisseldorf on December 30, 1852. The American premiere took place on March 30, 1856, in New York, at a so-called ""Sacred Concert" led by Carl Bergmdnn. Boston first

heard it the following year, when Carl Zerrahn led the Philharmonic Society in a perform-

ance at the Melodeon on February 7, 1857. Georg Henschel led the first Boston Symphony performances of Schumann s Fourth Symphony in its 1851 revision in November 1882, subsequent performances being given by Wilhelm Gericke, Arthur Nikisch, Franz Kneisel, Emil Paur, Max Fiedler, Otto Urack, Ernst Schmidt, Henri Rabaud, Pierre Monteux, Serge Koussevitzky, Charles Munch, Leonard Bernstein, Guido Cantelli, Erich Leinsdorf Stanislaw Skrowaczewski, Claudio Abbado, Neville Marriner, Seiji Ozawa, Hans Vonk, Charles Dutoit, , Thomas Dausgaard (the most recent Tanglewood per- formance of the 1851 version, on July 16, 1995, though Ilan Volkov led the original 1841 version there more recently, on August 14, 1999), Roberto Abbado, and Christoph von Dohndnyi (the most recent subscription performances, in November 2002). Prior to Volkov s aforementioned 1999 performance, the 1841 version had been played by the BSO on only three occasions: first under Arthur Nikisch in March 1892 (following performances of the 1851 revision the previous week), under Emil Paur in Philadelphia in January 1898, and under Jesus iJypez-Cobos at Tanglewood in 1988. The symphony is scored for two each offlutes, oboes, clarinets, and bassoons, four horns, two trumpets, three trombones, timpani, and strings.

Late in May 1841, Clara Schumann noted in the diary that she kept jointly with her

husband Robert: "Sometimes I hear D minor strains resounding wildly in the distance." Those strains were emanating from Schumann's study, where he was hard at work at the keyboard on a symphony in D minor that would keep him occupied until October of the same year. Well before he undertook this effort, Clara would have had ample opportunity to eavesdrop on his labors. (Actually, Schumann's working habits posed something of a problem for her; while composing, he preferred that Clara refrain from practicing the piano.) During the early months of 1841, Schumann had been incredibly productive. In a mere four days toward the end of January he completed the sketches for his First Sym- phony in B-flat (Opus 38), which received its warmly applauded premiere with the Leip- zig Gewandhaus in March. In the following months, he drafted the Ourcrlurc, Scherzo und Finale (Opus 52), a light-hearted companion piece to its more ambitious predecessor.

Among the least well-known of Schumann's compositions for orchestra, it was first aired publicly on a December concert at the Gewandhaus, tin- same program on which the D minor symphony was also premiered. While orchestrating the last movement of the Ouverture, Scherzo und Finale in May, Schumann simultaneous began to sketch out a Phantasie in A minor for piano and orchestra, B work better-known in its later and some- what revised incarnation as the first movement of the \ minor piano concerto (Opus 54).

The sustained productivity of Schumann's aptl\ named "symphonic year* was a long

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34 time in the making. His earliest effort along these lines dates back to the late 1820s, a time when he was ostensibly pursuing a degree in law at the University of Leipzig, but was in fact far more interested in honing his burgeoning musical skills. One of his first serious attempts at composition from that period was a piano quartet in C minor that

he left in a partially finished state, intending eventually to "cobble it into a symphony."

This plan failed to materialize, its only tangible traces being a number of orchestra- tional cues that Schumann entered into his manuscript copy of the quartet. During the early 1830s Schumann's thoughts turned to a concert overture—or perhaps even an opera—based on Shakespeare's Hamlet. Although this project never came to fruition, Schumann recycled some of his sketch materials in a G minor symphony for which he drafted only an opening pair of movements. Premiered in Zwickau, his hometown, in 1832, the first movement of the never-completed symphony offers a foretaste of things to come.

If these many false starts indicate that symphonies did not flow as easily from Schu- mann's pen as did songs and piano pieces, he could take some comfort in the fact that the symphony posed a major challenge to nearly all of the composers of his generation. As a critic, Schumann addressed the problem on numerous occasions in the pages of the Neue Zeitschrift fiir Musik, the journal that he and a group of like-minded thinkers had founded in 1834. Writing in 1839, he claimed that most of the symphonic works of his contemporaries amounted to little more than "pale imitations" of Beethoven. Only rarely did he detect signs of "a genuine preservation or mastery of the grand form, where ideas alternate in rapid succession and yet are linked by an inner spiritual bond." In other words, a major source of the aspiring composer's inspiration—the symphonies of Beethoven—proved to be an obstacle to the originality of expression that was a sine qua non for artistic success.

At about the same time, however, Schumann discovered that it was possible to write meaningful symphonies in the wake of Beethoven. During a long visit to Vienna be- tween October 1838 and April 1839, he was introduced to Schubert's Great C major symphony by the composer's brother Ferdinand. Before long, he arranged for a perform- ance of the virtually unknown masterpiece by the Gewandhaus Orchestra under Men- delssohn's direction. On December 11, 1839, a day after hearing a run-through of the work, he reported enthusiastically to Clara that Schubert's symphony was "beyond description." Schubert, he went on to say, had the uncanny ability "to make the instru- ments sound like human voices... and this length, this heavenly length like a novel in

four volumes. . . I was totally happy, and wished only that you were my wife and that I too could write such symphonies." Before long, both wishes came true. After more than

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36 —

a year of legal wrangling with Clara's father Friedrich, Schumann and his beloved were wed on September 12, 1840; and within about a year he would have an impressive series of symphonic works to his credit.

In some ways the D minor symphony is the most radical achievement of Schumann's symphonic year. Although its compact, many-movements-in-one form was not without precedent (Schubert had adopted a similar strategy in his Wanderer Fantasy for piano), never before had this scheme been pursued so rigorously in a symphony. The extreme concision of Schumann's musical language was probably a source of bewilderment for much of the audience who first heard the D minor symphony in December 1841. Strictly speaking, the concert on which it appeared was less a vehicle for Schumann than for Clara, whose rendition of the Hexameron duo with Liszt at the end of the program ap- parently stole the show. The critical reactions to Schumann's symphony, however, were decidedly mixed. According to a brief notice in the Leipziger allgemeine Zeitung, the new work was "full of clever ideas" and displayed a genuine "power of invention," but the critic for the journal of record, the Allgemeine musikalische Zeitung, found it defi- cient in both "content and form." Another factor mitigated against the unqualified suc- cess Schumann had hoped for. The symphony was conducted by the concertmaster of the Gewandhaus Orchestra, Ferdinand David, who, though a fine musician, was unable to elicit the polished results for which Mendelssohn's performances with the group were renowned. Both Schumann's inability to find a publisher for the symphony and the less than wholehearted enthusiasm of the critics probably influenced his decision to set the work aside—at least for the time being.

When Schumann revisited the D minor symphony after a decade-long hiatus in De- cember 1851, he had already been serving for a year as Municipal Music Director in Diisseldorf. Though responsible for the supervision of musical activities at the city's two large Catholic churches, he was principally charged with the direction of the subscrip- tion concerts of the Allgemeiner Musikverein, a group consisting largely of amateurs

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38 with a few strategically placed professionals—who came together to form an orchestra and chorus. The thoroughly revised version of the D minor symphony was premiered by the Diisseldorf orchestra in a concert of March 3, 1853, which also featured Beethoven's Fourth Piano Concerto and Schumann's recently completed ballade for vocal forces and orchestra, Vom Pagen unci der Konigstochter.

Some of the changes in the 1851 revision of the symphony—such as Schumann's substitution of German for the original Italian tempo indications—are more or less cos- metic. Others, however, are consider- ably more substantive. The newly com- posed transitions into the second and final sections, for instance, like the motivic additions in the concluding Lebhafi, go a long way toward making the musical argument even tighter than it was in the 1841 version. But by far the most controversial of Schumann's alterations involves his treatment of orchestral sonority. The thicker scoring of the 1851 version has been the object of harsh criticism. When Vincent d'lndy claimed in his Cours de Composition that "no useful lessons can be learned about orchestration from the study of Schumann's scores," he was alluding primarily to the D minor sym- phony. Moreover, the more somber hues of the later version have often been interpreted as signs of Schumann's deteriorating mental state and of the Robert and Clara Schumann depression that finally engulfed him.

These opinions do not hold up well. First, there is no indication that Schumann's audiences were in the least disturbed by the later orchestration of the D minor sym- phony. In fact, a reviewer of a May 1853 performance praised it for its "simplicity, clarity, and freshness." Second, the admittedly dark coloring of many passages was meant to make an effect of solemn grandeur that Schumann often invoked when writing in the key of D minor, and hardly represents a general tendency in his later music. Third, not every passage is uniformly scored. On the contrary, the lighter textures of the mid- dle sections—the Romanze and the Trio of the scherzo, in particular—provide a foil to the full scoring of the opening and close. Finally, Schumann himself viewed the second incarnation of the symphony as the definitive one, invariably referring to the 1841 ver- sion in his later correspondence as a "sketch." (Brahms's publication of the original version in 1891 nearly cost him his lifelong friendship with Clara Schumann, who con- sidered his editorial effort to be a betrayal of her husband's intentions.)

The manuscript sources for the D minor symphony indicate that it took Schumann several attempts to arrive at a suitable name for the revised work. According to the autograph title page, he planned on calling it a "Symphonistische Phantasie fttr grofies Orchester'' ("Symphonic Fantasy for large orchestra"). The opening page of the score originally bore the similar title "Phantasie Jiir Orchester" though Schumann subse- quently scratched out ''Phantasie" and replaced it with "Symphonie" By the time thai h« Breitkopf and llartel published I score in 1853, three ol Schumann's symphonies were already in print, hence the designation as Symphony No. 1 (Opus 120). The first edition also includes a rather unwieldy subtitle; alter listing each of the symphony's main sections, the publisher—or Schumann himself—added the phrase "in cincm Satze"

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40 ("in one movement"). If nothing else, the final title and the false starts leading up to it tell us that Schumann's Fourth is no ordinary symphony. And indeed, the freedom of its overall conception is more suggestive of a "symphonic fantasy" than of a symphony in the classical mold.

Schumann once wrote that compositions in the larger forms should possess a "histori- cal dimension." That is, whether a piece consists of one movement or several, it should unfold a coherent narrative from within, alternately pausing to reflect on its own past and driving forward to a fixed goal. By this standard, the Fourth is the most "historical" of all of Schumann's orchestral works. Each of its principal sections (or movements) dovetails neatly one into the next, and the resultant continuity is further enhanced by a fine web of motivic relationships. Much of the symphony's melodic substance derives from two ideas, both in the minor mode: a languid, sinuous line first stated in the slow introduction by middle-register strings and bassoons, and the propulsive theme of the ensuing Lebhaft. A third idea also plays an important role in the symphony's unfolding plot: a fanfare for winds and brass introduced at the central climax of the first Lebhaft. The Romanze opens with a melancholy tune for solo oboe and cello accompanied by pizzicato strings (Schumann even toyed with the idea of adding a guitar to the texture), but then we hear an extended reminiscence of the languid music of the slow introduc- tion. Transformed from minor into major, this idea in turn becomes the subject of florid arabesques in the violin solo that follows. Schumann probably derived the main theme of the scherzo from the First Symphony of J.W. Kalliwoda, a now all-but-forgotten com- poser who was quite respected in his day. Here too we sense Schumann's desire to knit together the strands of the musical narrative, for the scherzo alternates with a Trio based on the florid violin solo of the Romanze. Gradually intensifying allusions to the theme of the first Lebhaft usher in the finale, which Schumann frames with statements of the earlier fanfare theme. Turning emphatically to the major mode, the music thus traces a great arc from brooding melancholy to ultimate triumph, a process confirmed by the jubilant coda. Although the principal ideas of the symphony alternate in rapid succes- sion, they clearly embody the "inner spiritual bond" that Schumann sought in vain in so many of his contemporaries' symphonic works. —John Daverio

A distinguished musicologist, educator, and violinist, the late Boston University professor John Daverio was a frequent guest speaker and annotator for the Boston Symphony Orchestra. His books include Robert Schumann: Herald of a "New Poetic Age"; Nineteenth-Century Music and the German Romantic Ideology; and Crossing Paths: Perspectives on the Music of Schubert, Schumann, and Brahms.

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Hector Berlioz Symphonie fantastique, Episode from the life of an artist, Opus 14

Louis- was born at La Cote- Saint-Andre', Department of here, France, on December 11, 1803, and died in Paris on March 8, 1869. He composed his

Symphonie fantastique his first major work—in 1830, though a few of the musical ideas derive from some of his earlier compositions (see below). Francois-Antoine

Habeneck led the first performance on December 5, 1830, in Paris. Habeneck led the premiere of the revised ver- sion on December 9, 1832, also in Paris, on which oc- casion Berlioz was one of the drummers. Carl Bergmann led the first American performance on January 27, 1856, with the New York Philharmonic. The first Boston per- formance was given in a Harvard Musical Association concert under Carl Zerrahn on February 12, 1880. Georg Henschel conducted the waltz at Boston Symphony concerts in December 1883, as did Wilhelm Gericke in October/November 1884, subsequent performances of the waltz alone, or the paired slow movement and waltz (in that order), being given by Gericke and Emil Paur between 1888 and 1905. The first complete Boston Symphony performance of the Symphonie fantastique was given by Wilhelm Gericke in December 1885, since which time the BSO has also played it under Arthur Nikisch, Emil Paur, Gericke again (in Feb- ruary 1901, during the BSO s first Symphony Hall season), Max Fiedler, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, , Charles Munch (many times at home and on tour between November 1950 and February 1964), Jean Martinon, Seiji Ozawa (frequently at home and on tour since his initial Tanglewood performances of the work in 1967 and 1970, and his first subscription performances of it in November 1970), Georges Pretre, Joseph Silverstein, Edo de Waart, Colin Davis, Hiroshi Wakasugi, Charles Dutoit, and Emmanuel Krivine (the most recent subscription performances, in October/November 2003). All of the BSO's performances from 1991 to 2002 were led by Seiji Ozawa, including the most recent Tanglewood performance, on July 14, 2002, which was part of his final program as the BSO's music director. The Symphonie fantastique is scored for two flutes, piccolo, two oboes, English horn, two clarinets, E-flat clarinet, four bassoons, four horns, two cornets, two trumpets, three trombones, two (originally ophicleides), timpani, bass drum, snare drum, cymbals, bells, two harps, and strings.

On December 9, 1832, in true storybook fashion—and as vividly recounted in his own Memoirs—Hector Berlioz won the heart of his beloved Harriet Smithson, whom he had never met, with a concert including the Symphonie fantastique, for which she had unknowingly served as inspiration when the composer fell hopelessly in love with her some years before. The two met the next day and were married on the following Octo- ber 4. The unfortunate but true conclusion to this seemingly happy tale is that Berlioz and his "Henriette," as he called her, were formally separated in 1844.*

Berlioz saw the Irish actress Harriet Smithson for the first time on September 11, 1827. when she played Ophelia in Hamlet with a troupe of English actors visiting Paris. By the time of her departure from Paris in 1829, Berlioz had made himself known to her through letters but they did not meet. By February 6, 1830, he had hoped to begin his "Episode from the life of an artist." a symphony reflecting the ardor of his "infernal passion." but his creative capabilities remained paralyzed until that April, when gossip

*As Michael Steinberg has mitten, ""Her French was roughly on the Level of his English. The 1 whole business was a disaster.* By the time the) separated, "Smithson had lost her looks, and an accident had put an end to her career Six- dud in L854, an alcoholic and paralyzed.*1

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44 (later discredited) linking Harriet with her manager provided the impetus for him to conceive a program that ended with the transformation of her previously unsullied image into a participant in the infernal witches' sabbath whose depiction makes up the last movement of the Symphonie fantastique . The work had its first performance on Decem- ber 5, 1830, paired on a concert with Berlioz's Prix de Rome-winning cantata La Mort de Sardanapale, which represented his fourth attempt at that prize.

Before Berlioz returned to Paris from Rome (where he was required to live and study while supported by his Prix de Rome stipend) in November 1832, he had subjected the second and third movements of his symphony to considerable revision. At the fateful concert of December 9, 1832, the Fantastique was paired with its sequel, the now virtu- ally unknown L^lio, or The Return to Life, the "return" representing the artist's awaken- ing to his senses from the opium dream depicted in the Symphonie fantastique 's pro- gram. Berlioz, overwhelmed by the coincidence of Harriet's being back in Paris at the same time, successfully conspired to provide her with a ticket to the concert; and so it was, when the speaker in Le'lio declaimed the line "Oh, if only I could find her, the ," Juliet, the Ophelia, for whom my heart cries out. . that Harriet found herself as taken . with Berlioz as he with her.

And what of the music itself? Though he ultimately came to feel that the titles of the individual movements spoke well enough for themselves, the composer originally speci-

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PROGRAM of the Symphony

A young musician of morbidly sensible temperament and fiery imagination poi-

sons himself with opium in a fit of lovesick despair. The dose of the narcotic, too weak to kill him, plunges him into a deep slumber accompanied by the strangest visions, during which his sensations, his emotions, his memories are transformed in his sick mind into musical thoughts and images. The loved one herself has

become a melody to him, an id4e fixe as it were, that he encounters and hears everywhere.

PART I—REVERIES, PASSIONS He recalls first that soul-sickness, that vague des passions, those depressions, those groundless joys, that he experienced before he first saw his loved one; then the volcanic love that she suddenly inspired in him, his frenzied suffering, his jealous rages, his returns to tenderness, his religious consolations.

PART II—A BALL He encounters the loved one at a dance in the midst of the tumult of a brilliant party.

PART III—SCENE IN THE COUNTRY One summer evening in the country, he hears two shepherds piping a ranz des vaches* in dialogue; this pastoral duet, the scenery, the quiet rustling of the trees gently brushed by the wind, the hopes he has recently found some reason to en- tertain—all concur in affording his heart an unaccustomed calm, and in giving a more cheerful color to his ideas. But she appears again, he feels a tightening in his heart, painful presentiments disturb him—what if she were deceiving him? One of the shepherds takes up his simple tune again, the other no longer answers. The sun sets—distant sound of thunder—loneliness—silence. PART IV—MARCH TO THE SCAFFOLD

He dreams that he has killed his beloved, that he is condemned to death and led to the scaffold. The procession moves forward to the sounds of a march that is now somber and fierce, now brilliant and solemn, in which the muffled sound of heavy steps gives way without transition to the noisiest clamor. At the end, the idee fixe returns for a moment, like a last thought of love interrupted by the fatal blow.

PART V—DREAM OF A WITCHES' SABBATH He sees himself at the sabbath, in the midst of a frightful troop of ghosts, sorcer- ers, monsters of every kind, come together for his funeral. Strange noises, groans, bursts of laughter, distant cries which other cries seem to answer. The beloved's

melody appears again, but it has lost its character of nobility and shyness; it is

no more than a dance tune, mean, trivial, and grotesque: it is she, coming to join the sabbath.—A roar of joy at her arrival.—She takes part in the devilish orgy. Funeral knell, burlesque parody of the Dies irae, sabbath round-dance. The sab- bath round and the Dies irae combined.

*A ranz des vaches is defined in The New Grove as "a Swiss mountain melody sung or played on an alphorn by herdsmen in the Alps to summon their cows." Other famous examples figure in the last movement of Beethoven's Pastoral Symphony, the overture to Rossini's William Tell, and the third act of Wagner's Tristan und Isolde.—M.M.

46 — —

fied that his own detailed program—a version of which appears on the opposite page be distributed to the audience at the first performance. For present purposes, it is worth quoting from that program's opening paragraph, with its reference to the symphony's principal musical theme:

A young musician of morbidly sensitive temperament and fiery imagination poisons

himself with opium in a fit of lovesick despair. The dose of the narcotic, too weak to kill him, plunges him into a deep slumber accompanied by the strangest visions, during which his sensations, his emotions, his memories are transformed in his sick mind into musical thoughts and images. The loved one herself has become a

melody to him, an ide*e fixe as it were, that he encounters and hears everywhere.

The ide^efixe, as much a psychological fixation as a musical one, is introduced in the violins and flute at the start of the first movement's Allegro section, the melody in fact having been lifted by the composer from his own 1828 cantata Herminie, which took second prize in his second attempt at the Prix de Rome.* In his score, Berlioz calls for a repeat of this section, presumably to ensure that the idee fixe be properly implanted in the ear, and mind, of his listeners. Its appearance "everywhere" in the course of the symphony includes a ball in the midst of a brilliant party (for sheer atmosphere, one of the most extraordinarily beautiful movements in Berlioz's orchestral output); during a quiet summer evening in the country (where it appears against a background texture of agi- tated strings, leading to a dramatic outburst before the restoration of calm); in the artist's last thoughts before he is executed, in a dream, for the murder of his beloved (at the end of the March to the Scaffold, whose char- acterization by Berlioz as "now somber and ferocious, now brilliant and solemn" suggests a more generally grim treatment than this music, played to death as an orchestral show- piece, usually receives); and during his post- humous participation in a wild witches' sab- bath, following his execution, at which the melody representing his beloved appears, Harriet Smithson grotesquely transformed, to join a "devilish orgy" whose diabolically frenzied climax combines the Dies irae from the Mass for the Dead with the witches' round dance.

Today, nearly 175 years since the premiere, it is easy to forget that when the Syrn-

*Berlioz had originally used the violin melody heard at the very start of the first movement's introductory Largo for a song written years before, while under the influence of another, much earlier infatuation; the composer characterized this melody as "exactly right for expressing the

overpowering sadness of a young heart first caught in the toils of a hopeless love.*' The March to the Scaffold is another instance in the Symphoniefantastique of Berlioz's

drawing upon preexisting music: this was composed originally lor his unfinished opera I as Francs-juges of L826. To Buit his purpose in the Fantastique, the composer simply added a

statement of the id£e fixe to the end of the march truncating it abruptly as tin- executioner's hand brings a conclusive hall In the protagonist's thoughts. Finally, thanks to the L991 rediscovery in manuscript of Berlioz's early, unpublished Messe solennelle, we also know that music from the Cratias of dial work was reshaped for use in the Faniastique'e Scene in the Country, just as other ideas from tin- \fesse solennelle would find their way into Berlioz's , Benvenuto Cellini, and 7e l)<-um.

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phonie fantastique was new, Beethoven's symphonies had just recently reached France, Beethoven himself having died only in 1827, just half a year before the twenty-three- year-old Berlioz first saw Harriet Smithson. And Berlioz's five-movement symphony,

with its much more specific programmatic intent, is already a far cry even from Beetho- ven's own Pastoral Symphony of 1808. David Cairns, whose translation of Berlioz's Memoirs is the one to read, has written that "Berlioz in the 'Fantastic' symphony was

speaking a new language: not only a new language of orchestral sound. . . but also a new

language of feeling, . . . the outward and visible sign of which was the unheard of fastidi- ousness with which nuances of expression were marked in the score."

Countless aspects of this score are representative of Berlioz's individual musical style. Among them are his rhythmically flexible, characteristically long-spun melodies, of which the idee fixe is a prime example; the quick (and equally characteristic) juxtaposi- tion of contrasting harmonies, as in the rapid-fire chords near the end of the March; the telling and often novel use of particular instruments, whether the harps at the Ball, the unaccompanied English horn in dialogue with the offstage oboe at the start of the Scene in the Country, the drums, used to create distant thunder (with four players specified) at the end of that same Scene, and then immediately called upon to chillingly different effect at the start of the March, or the quick tapping of bows on strings to suggest the dancing skeletons of the Witches' Sabbath; and his precise concern with dynamic mark- ings (e.g., a clarinet solo in the Scene in the Country begins at a pppp dynamic, the sort of marking we normally associate with such much later composers as Tchaikovsky or Mahler). And all of this becomes even more striking when one considers that the Sym- phonie fantastique is the composer's earliest big orchestral work, composed when he was not yet thirty, and that the great, mature works Romeo et Juliette, The Damnation of Faust, the operas Les Troyens and Beatrice et Benedict among them—would follow only years and decades later. —Marc Mandel

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Apart from various reviews and the like, some of which one can find in an internet search, there is little in print about Jonathan Dawe yet; his music is self-published. Some infor- mation on his career may be found on his brand-new website, www.jonathandawe.com. Dawe's Under the Tafelmusik was recorded by guitarist William Anderson and others for Anderson's disc entitled "Hausmusik" on the Furious Artisans label. A recently com- pleted all-Dawe CD including his Horn Trio, The Siren, Fractal Farm for woodwind quintet, and Toward Trumpets for guitar is due out this coming March, also on Furious Artisans. —Robert Kirzinger

The first full-scale biographical study of Schumann in English was the late Boston University professor John Daverio's Robert Schumann: Herald of a "New Poetic Age" (Oxford paperback). Daverio also provided the Schumann entry for the recently revised (2001) New Grove Dictionary of Music and Musicians. Daverio's last book, Crossing Paths: Perspectives on the Music of Schubert, Schumann, and Brahms, intriguingly examines aspects of Schumann's life and music in relation to the other two composers mentioned in its title (Oxford University Press). Gerald Abraham's older article on Schu- mann from the 1980 edition of The New Grove was reprinted in The New Grove Early Romantic Masters 1—Chopin, Schumann, Liszt (Norton paperback). Eric Frederick Jensen's Schumann is a fairly recent addition (2001) to the Master Musicians Series (Oxford). Michael Steinberg's program notes on the four Schumann symphonies are in his The Symphony—A Listeners Guide (Oxford paperback). Donald Francis Tovey included only the First, Third, and Fourth Schumann symphonies among his Essays in Musical Analysis (also Oxford). Hans Gal's Schumann Orchestral Music in the series of BBC Music Guides is a useful small volume (University of Washington paperback). Robert Schumann: The Man and his Music, edited by Alan Walker, includes a chapter by Brian Schlotel on "The Orchestral Music," though, as in most of the older literature, the reader can expect to encounter the oft-repeated charge—now deemed at least arguable, if not fallacious—that Schumann could not write properly for the orchestra (Barrie and Jenkins). Peter Ostwald's Schumann: The Inner Voices of a Musical Genius is a study of the composer's medical and psychological history based on surviving documentation (Northeastern University Press).

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monic (for Deutsche Grammophon). Both sets tend to be more frequently available in Europe than in the United States, given the vagaries of domestic marketing. Among other recorded cycles, Roy Goodman's set with the period-instrument Hanover Band (including the original rather than the revised version of Symphony No. 4) not only offers fine performances but is a real ear-opener with regard to the instrumentation, which comes across with a clarity often lacking in performances using "standard" instruments (RCA, if you can find that). Important Schumann symphony cycles with standard orches- tral forces include Rafael Kubelik's with either the Berlin Philharmonic (Deutsche Grammophon) or the Bavarian Radio Symphony Orchestra (Sony Classical; this has the first and second violins seated antiphonally), George Szell's with the Cleveland Orchestra (also Sony, but note that even in this terrific, historically important set, Szell makes some alterations to Schumann's original instrumentation); Leonard Bernstein's with the Vienna Philharmonic (Deutsche Grammophon), Paul Paray's with the Detroit Symphony Orchestra (Mercury "Living Presence"), and Wolfgang Sawallisch's with the Bavarian Radio Symphony Orchestra (EMI "Great Recordings of the Century"). If pre-stereo sound isn't an issue for you, Wilhelm Furtwangler's powerful 1953 recording of Schumann's Fourth with the Berlin Phlharmonic is unquestionably the way to go (Deutsche Gram- mophon).

A comprehensive modern Berlioz biography in two volumes Berlioz, Volume I: The Making of an Artist, 1803-1832 and Berlioz, Volume II: Servitude and Greatness—by Berlioz authority David Cairns appeared in 1999 (University of California). Another important modern biography, from 1989, is D. Kern Holoman's Berlioz, subtitled "A musical biography of the creative genius of the Romantic era" (Harvard University Press). Berlioz, by Hugh Macdonald, general editor of the Berlioz critical edition, offers a compact introduction to the composer's life as part of the Master Musicians series (Oxford paperback). Another compact account is Peter Bloom's The life of Berlioz in the series "Musical lives" (Cambridge University paperback). Bloom also served as editor OPERA MESMERIZE YOUR DE MONTREAL BERNARD LABADIE directeur artistique EARS AND EYES DAVID MOSS DIRECTEUR GENERAL www.operademontreal.com

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54 of The Cambridge Companion to Berlioz (Cambridge University paperback) and of the recent Berlioz: Past, Present, Future, published in October 2003 to mark the bicenten- nial of the composer's birth. This latter book is a compendium of articles by various musical and cultural historians who examine, among other things, Berlioz's own responses to music of his past, his interactions with musical contemporaries, and views proffered about him in subsequent generations (Eastman Studies in Music/University of Rochester Press). Julian Rushton's recent (2001) The Music of Berlioz provides detailed considera- tion of the composer's musical style and works (Oxford paperback). Hugh Macdonald's Berlioz article from The New Grove Dictionary of Music and Musicians (1980) was reprinted in The New Grove Early Romantic Masters 2 (Norton paperback, also includ- ing the 1980 Grove articles on Weber and Mendelssohn). That article was retained, with revisions to the discussion of Berlioz's musical style, in the 2001 edition of Grove. In addition, Macdonald served as editor for Selected Letters of Berlioz, a fascinating volume of the composer's letters as translated by Roger Nichols (Norton). The best English translation of Berlioz's Memoirs is David Cairns's (Everyman's Library; also once avail- able as a Norton paperback). Still also available is the much older translation by Ernest Newman (Dover paperback). Jacques Barzun's two-volume Berlioz and the Romantic Century, first published in 1950, is a distinguished and still very important older study (Columbia University Press); Barzun's own single-volume abridgment, Berlioz and his Century, is available as a University of Chicago paperback. Brian Primmer's The Berlioz Style offers a good discussion of the composer's music (Oxford).

James Levine recorded the Symphonie fantastique with the Berlin Philharmonic in 1990 (Deutsche Grammophon). The Boston Symphony Orchestra has made four record- ings of the Symphonie fantastique: two under Charles Munch, in 1954 and 1962 (both for RCA), then under Georges Pretre in 1969 (RCA) and Seiji Ozawa in 1973 (Deutsche Grammophon). Longtime Berlioz advocate (and former BSO principal guest conductor) Colin Davis has recorded the Symphonie fantastique four times, most recently with the London Symphony Orchestra (LSO Live, taken from concerts given in September 2000), and before that with the Vienna Philharmonic in 1990, the Concertgebouw Orchestra of Amsterdam in 1974, and the London Symphony in 1966 (all for Philips). Recordings of the Fantastique using period instruments include John Eliot Gardiner's with the Orchestre Revolutionnaire et Romantique (Philips) and Roger Norrington's with the London Classical Players (EMI). Historic accounts include Sir Thomas Beecham's from 1955 with the ORTF National Orchestra (EMI "Great Recordings of the Century") and Pierre Monteux's from 1930 with the Paris Symphony Orchestra (Music & Arts; Monteux recorded the work again in 1959 with the Vienna Philharmonic, for RCA). —Marc Mandel

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56 BOSTON SYMPHONY ORCHESTRA 2005-2006 SEASON

Foundation Grantors

nindation grants make possible a variety of Boston Symphony Orchestra activi- ties. In particular, foundation support is vital to sustaining the BSO's educational mission, from youth education and community outreach initiatives throughout the Greater Boston area to professional training for promising young musicians at the Tanglewood Music Center. Gifts from foundations nationwide help bridge the gap between ticket revenue and the cost of presenting a full BSO season and also fund special projects, concert programs, new music for the Boston Pops, and the BSO archives. In addition, endowment and capital gifts from foundations help ensure the future of all these activities, as well as supporting the maintenance of the orchestra's concert facilities. The Boston Symphony Orchestra gratefully acknowl- edges those foundations that have helped it to achieve its multifaceted mission.

The following foundations made grants of $500 or more to the BSO between

September 1, 2004, and August 31, 2005.

For more information, contact Ryan Losey, Manager of Foundation Support, at (617) 638-9462.

Anonymous (6) Daymarc Foundation The Aaron Foundation Demoulas Foundation Ethel and Philip Adelman Foundation Alice Willard Dorr Foundation The Lassor & Fanny Agoos The Eastman Charitable Foundation Charity Fund The Fassino Foundation Alfred E. Chase Charity Fund Orville W. Forte Charitable Foundation Apple Lane Foundation The Frelinghuysen Foundation Argosy Foundation Fromm Music Foundation The ASCAP Foundation Germeshausen Foundation Associated Grantmakers of Jackson and Irene Golden 1989 Massachusetts Charitable Trust The Paul and Edith Babson Foundation Ann and Gordon Getty Foundation L.G. Balfour Foundation The Florence Gould Foundation Frank M. Barnard Foundation Elizabeth Grant Fund The Barrington Foundation Elizabeth Grant Trust Adelaide Breed Bayrd Foundation Helen G. Hauben Foundation

Brookline Youth Concerts Fund The Clayton F. and Ruth L. Hawkridge Cambridge Community Foundation Foundation Chiles Foundation Henry Hornblower Fund Citizens Bank Foundation The Roy A. Hunt Foundation Clipper Ship Foundation, Inc. Johnson Family Foundation The Aaron Copland Fund for Music, Inc. Kingsbury Koad Charitable Foundation Irene E. & George A. Davis Foundation Kn>ko Charitable Family Trust

Continued on page 59 57 Welch & Forbes llc

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59 NEXT PROGRAM...

Thursday, January 19, at 8 Pre-Concert Talks Friday, January 20, at 8 by Jan Swafford, Tufts University Saturday, January 21, at 8

JAMES LEVINE conducting

BEETHOVEN Missa Solemnis in D, Opus 123

KYRIE: Assai sostenuto (Mit Andacht) -

Andante assai ben marcato — Tempo I GLORIA: Allegro vivace — Larghetto — Allegro maestoso — Allegro ma non troppo e ben marcato — Poco piu allegro — Presto CREDO: Allegro ma non troppo — Adagio — Andante — Adagio espressivo — Allegro — Allegro molto — Allegro ma non troppo — Allegretto ma non troppo — Allegro con moto — Grave SANCTUS: Adagio (Mit Andacht) - Allegro pesante — Presto — Praeludium: Sostenuto ma non troppo — Andante molto cantabile e non troppo mosso AGNUS DEI: Adagio - Allegretto vivace - Allegro assai — Presto — Tempo I

DEBORAH VOIGT, soprano JILL GROVE, mezzo-soprano BEN HEPPNER, tenor RENE PAPE, bass TANGLEWOOD FESTIVAL CHORUS, JOHN OLIVER, conductor MALCOLM LOWE, solo violin

With these performances of Beethoven's great Missa Solemnis, James Levine and the BSO initiate their wide-ranging survey—eleven programs in all, divided between the 2005-06 and 2006-07 seasons—of great works by Beethoven and Schoenberg, each of whom, in strikingly similar ways, opened new vistas in musical language and thought. Beethoven was one of Schoenberg's biggest influences; and Schoenberg's music and methods are continuations of ideas implicit in Beethoven's work. Beethoven's Missa Solemnis—the work that inaugurated Symphony Hall in 1900—is one of the most significant works by one of the most significant composers. This monolithic late score stands with the Ninth Symphony, the late string quartets, and the late piano sonatas as the culmination of Beethoven's transformation of music. Beethoven intended the Missa Solemnis to celebrate the election of his patron Arch- duke Rudolph as Archbishop of Olmutz in 1820, but didn't complete the work until 1822. Though originally conceived for a specific occasion, this great, solemn, cele- bratory piece far transcends both time and place.

60 —

COMING CONCERTS . . .

PRE-CONCERT TALKS: The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO subscription concerts and Open Rehearsals. Free to all ticket holders, these half-hour talks begin at 6:45 p.m. prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, and one hour before the start of each Open Rehearsal.

Thursday 'A—January 19, 8-9:40 Thursday, February 2, at 10:30 a.m. Friday Evening—January 20, 8-9:40 (Open Rehearsal) Saturday 'B—January 21, 8-9:40 Thursday 'D'—February 2, 8-9:35 Friday Evening February 8-9:35 JAMES LEVINE conducting — 3, 8-9:35 DEBORAH VOIGT, soprano Saturday 'A'—February 4, JILL GROVE, mezzo-soprano BERNARD HAITINK conducting BEN HEPPNER, tenor MAHLER Symphony No. 6 RENfi PAPE, bass

TANGLEWOOD FESTIVAL CHORUS, Thursday 'C—February 9, 8-10:25 conductor JOHN OLIVER, Friday 'A'—February 10, 1:30-3:55 BEETHOVEN Missa Solemnis Saturday 'B'—February 11, 8-10:25

James Levine Series Sunday, James Levine Series February 12, 3-5:25

Sunday, January 22, 3-5:15 p.m. Tuesday 'B'—February 14, 8-10:25 in Symphony Hall JAMES LEVINE conducting (Pre-Concert Talk at 1:45 p.m.) JONATHAN BISS, piano BOSTON SYMPHONY CHAMBER MIRIAM FRIED, violin PLAYERS RALPH KIRSHBAUM, cello LEVINE, pianist and conductor JAMES ALL- Symphony No. 2 ANJA SILJA, soprano BEETHOVEN Triple Concerto for piano, BEN HEPPNER, tenor PROGRAM violin, and cello BEETHOVEN An die ferne Geliebte, Symphony No. 7 for tenor and piano BEETHOVEN Quintet in E-flat for Thursday, February 16, at 10:30 a.m. piano and winds, Op. 16 (Open Rehearsal) SCHOENBERG Piano Pieces, Op. 19 Thursday 'C—February 16, 8-10:10 SCHOENBERG Pierrot Lunaire, for Friday 'B'—February 17, 1:30-3:40 soprano and chamber Saturday 'A'—February 18, 8-10:10 ensemble Tuesday 'C—February 21, 8-10:10 JAMES LEVINE conducting Wednesday, January 25, at 7:30 p.m. (Open Rehearsal) ALL- Five Pieces for Orchestra Thursday 'B'—January 26, 8-9:55 SCHOENBERG Variations for Orchestra Friday 'B'—January 27, 1:30-3:25 PROGRAM Pelleas und Melisande Saturday 'A'—January 28, 8-9:55 Tuesday 'B'—January 31, 8-9:55 Programs and artists subject to change. BERNARD HAITINK conducting RICHARD GOODE, piano

RAVEL Alborada del gracioso MOZART Piano Concerto No. 23 massculturalcouncil.org in A, K.488 DEBUSSY Prelude a PAprds-midi d'un faune ROUSSEL Symphony No. 3

61 SYMPHONY HALL EXIT PLAN

MASSACHUSETTS AVENUE

MASSACHUSETTS AVENUE

IN CASE OF AN EMERGENCY Follow any lighted exit sign to street.

Do not use elevators.

Walk don't run.

62 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 performs ten months a year, in Symphony Hall and at Tangle- wood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115.

THE BSO'S WEB SITE (www.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 announce- ment 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) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115.

THE BOX OFFICE is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are avail- able at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge.

TO PURCHASE BSO TICKETS: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "Symphony- Charge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (until 4 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 $5 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.

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.

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.

IN CONSIDERATION OF OUR PATRONS AND ARTISTS, children four years old or young- er will not be admitted to Boston Symphony Orchestra concerts.

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 at- tend 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 scats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $8 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and

Tuesdays and Thursday as <>f 5 p.m. Please note that there are no Mush Tickets available lor Friday or Saturday evenings.

63 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 Hunting- ton Avenue.

PARKING: The Prudential Center Garage offers discounted parking to any BSO patron with a ticket stub for evening performances. There are also two paid parking garages on Westland Avenue near Symphony Hall. Limited street parking is available. As a special benefit, guaran- teed 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 Hatch 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 Hatch 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 Hatch and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not re- sponsible for personal apparel or other property of patrons.

LOUNGES AND BAR SERVICE: There are two lounges in Symphony Hall. The Hatch 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.

BOSTON SYMPHONY BROADCASTS: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening con- certs are broadcast live by WCRB 102.5 FM.

BSO FRIENDS: The Friends are donors to the Boston Symphony Orchestra Annual Fund. Friends receive BSO, the orchestra's newsletter, as well as priority ticket information and other benefits depending on their level of giving. For information, please call the Develop- ment Office at Symphony Hall weekdays between 9 a.m. and 5 p.m., (617) 638-9276. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. In- cluding your patron number will assure a quick and accurate change of address in our files.

BUSINESS FOR BSO: The BSO's Business Leadership Association program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra through a variety of original and exciting programs, among them "Presidents at Pops," "A Company Christmas at Pops," and special-event underwriting. Benefits include corporate recognition in the BSO pro- gram book, access to the Beranek Room reception lounge, and priority ticket service. For fur- ther information, please call the Corporate Programs Office at (617) 638-9466.

THE SYMPHONY SHOP is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon until 6 p.m.; and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, 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 www.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.

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