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Home , Chamber Symphony (Adams), Chamber Symphony (Popov), Charles Martin Loeffler, Doriot Anthony Dwyer, Gunther Schuller, Jordan Hall

Boston Chamber Players 50th anniversary season 2013-2014

jordan hall at the new england conservatory october 13 „ january 12 „ february 9 „ april 6 SYMPHONY CHAMBER PLAYERS Sunday, February 9, 2014, at Jordan Hall at New England Conservatory

TABLE OF CONTENTS 3 Welcome 4 From the Players 8 Today’s Program Notes on the Program 10 Charles Martin Loeffler 12 Kati Agócs 13 14 Hannah Lash 15 17 Amy Beach Artists 18 Boston Symphony Chamber Players 19 Randall Hodgkinson 19 Andris Poga 20 The Boston Symphony Chamber Players: Concert Repertoire, 1964 to Date

COVER PHOTO (top) Founding members of the Boston Symphony Chamber Players, 1964: (seated, left to right) Joseph Silverstein, ; Burton Fine, ; Jules Eskin, ; Doriot Anthony Dwyer, ; Ralph Gomberg, ; Gino Cioffi, ; Sherman Walt, ; (standing, left to right) Georges Moleux, ; Everett Firth, timpani; Roger Voisin, ; William Gibson, tombone; James Stagliano, horn (BSO Archives) COVER PHOTO (bottom) The Boston Symphony Chamber Players in 2012 at Jordan Hall: (seated in front, from left): Malcolm Lowe, violin; Haldan Martinson, violin; Jules Eskin, cello; Steven Ansell, viola; (rear, from left) Elizabeth Rowe, flute; John Ferrillo, oboe; William R. Hudgins, clarinet; Richard Svoboda, bassoon; James Sommerville, horn; Edwin Barker, bass (photo by Stu Rosner) ADDITIONAL PHOTO CREDITS Individual Chamber Players portraits pages 4, 5, 6, and 7 by Tom Kates, except Elizabeth Rowe (page 6) and Richard Svoboda (page 7) by Michael J. Lutch. Boston Symphony Chamber Players photos on page 8 by Stu Rosner and on page 18 by Michael J. Lutch. Photos of Kati Agócs (page 12) by Samantha West; Gunther Schuller (page 13) by Michael J. Lutch; Hannah Lash (page 14) by Yvette D’Elia, and Yehudi Wyner (page 15) by Michael Lovett. Randall Hodgkinson photo on page 19 by Susan Wilson. Andris Poga photo on page 19 by Martins Silis.

Program copyright ©2014 Boston Symphony Orchestra, Inc.

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

2 Welcome It is with great pride and excitement that the Boston Symphony Chamber Players welcome you to Jordan Hall as we continue our 50th Anniversary Season. Our concerts this season are designed to reflect the extraordinary diversity of programming and col- laborations that have marked the Chamber Players’ offerings for the past half-century. Today we could not be more pleased to present the world premieres of four works newly commissioned by the Boston Symphony Orchestra to celebrate our half-century of music-making. In April, for our final Jordan Hall program of 2013-14, we will play music of Milhaud and Schubert, and, as the centerpiece of that concert, the Boston premiere of Parallel Worlds, for flute and , co-commissioned by the BSO from the Grawemeyer Award-winning American composer Sebastian Currier. Throughout the season, the program books for our concerts continue to look closely at the extraordinary history of the Boston Symphony Chamber Players, providing detailed information about repertoire, tours, and recordings, and drawing upon the vast variety of photographs, posters, past programs, and press clippings preserved in the Boston Symphony Orchestra Archives. Today’s program includes a list of all the repertoire pro- grammed in concerts of the Boston Symphony Chamber Players since the ensemble’s inaugural concert of November 8, 1964. It gives us enormous pleasure and satisfaction to share our music-making with such a devoted audience. We thank you for your continuing support of the Boston Symphony Chamber Players, and we invite you to join us not only for the remainder of this special season, but also in the years ahead.

3 From the Players...

Malcolm Lowe Concertmaster Charles Munch chair, endowed in perpetuity Playing the violin in an ensemble is a very special and intimate aspect of music-making to me because of my family. My father was a violinist and my first teacher, and my mother is a singer, pianist, and violinist/violist who played the for hours with me when I was growing up. We would spend many winter nights on our farm in Manitoba reading music together with my uncles and cousins. Those nights were magical and are some of my best memories. They enriched my musical understanding of ensemble texture and voicing. When I joined the Boston Symphony Orchestra and became a member of the Boston Symphony Chamber Players, I was excited to have the opportunity to play the great literature with these great musicians. The varied instrumen- tal makeup of the Chamber Players allows us to easily program chamber music beyond small ensembles, trios, and quartets, and to play great and significant chamber works— such as the Beethoven , Schubert , and Stravinsky’s L’Histoire du soldat—that are frequently challenging to program because of the number of players and instrumentation involved. An added benefit of the permanent ensemble is that it allows us to perform these works many times, including on tours, with the same group, and develop a deeper relation- ship with each piece over many years. From my position as concertmaster, this chamber music playing, which includes all of the principal players, fosters a closer working relation- ship for ensemble playing within the orchestra. The existence of the Boston Symphony Chamber Players enriches a very difficult and demanding orchestral schedule. It helps maintain an individual musical perspective that impacts one’s spirit and inspiration. To be able to leave the controlled environment of con- ducted music-making allows every player to voice their ideas in the chamber rehearsal, making the time very provocative, confrontational, and focused in a way that develops and builds to a stimulating experience and better performances. Conversely, playing in a great orchestra and being influenced by many of the great musicians of the world—conductors and soloists—leads to a wealth of interpretive and practical experience that everyone brings to our chamber music. I gain much from listening to the ideas and thoughts of my colleagues. I experience moments of the humorously ridiculous and irresistible beauty in rehearsals and

4 performances. As with all worthwhile pursuits, the path is arduous, and my hope is that our audiences are inspired and spiritually uplifted at our performances. Chamber music is a great to immerse oneself in and enjoy.

Haldan Martinson Principal Second Violin Carl Schoenhof Family chair, endowed in perpetuity Performing with the Boston Symphony Chamber Players over the years has been a source of great pleasure as it has afforded me the special opportunity to play chamber music with my principal-player colleagues. Our concerts at Jordan Hall give us the chance to collabo- rate with each other on chamber repertoire involving a fascinating variety of small ensembles. Working “one-on-one” in this way with the BSO’s principal players, out- side the context of the orchestra, has served to further deepen my appreciation of their unsurpassed musicianship. I look forward to many more years of wonderful concerts!

Steven Ansell Principal Viola Charles S. Dana chair, endowed in perpetuity The Chamber Players are not just a chamber music group and an adjunct of the BSO, they are a part of the organization that creates camaraderie both social and musical among the principals. In turn, this leads to a greater respect and mutual understanding that helps the communication and tenor of the orchestra, which inevitably has a positive effect on performance. In addition, by being able to explore many out-of-the-way places in the repertoire because of more extensive and flexible instrumentation, the Chamber Players contribute to the uncovering of little-known gems of the repertoire and also excel in commissioning new major works, a fine contribution indeed to musical life.

Jules Eskin Principal Cello Philip R. Allen chair, endowed in perpetuity It’s amazing to me that I’ve been performing with the Boston Symphony Chamber Players for fifty years—and that I’m the only original member of the Chamber Players still playing in the BSO! There are so many memories it’s impossible to know where to start—the very first performances, private ones, before our official inaugural concert; the record- ings we’ve made, so many more than people realize; the incredible tours to the Soviet Union (five-and-a-half weeks in 1967), Japan, Europe, South America, and across the ; our pianist colleagues Claude Frank, Richard Goode, and Gilbert Kalish, who traveled with us for so many performances throughout the country. And of course my BSO colleagues themselves—among them Sherman Walt, Ralph Gomberg, Gino Cioffi, James Stagliano, Harold Wright—colleagues not only in concert, but in traveling together, sometimes for weeks at a time, sharing meals, jokes, and so many unique and unforgettable experiences. I can’t begin to say how meaningful and gratifying it’s been to be part of all this for so long, and as it continues today.

5 Edwin Barker Principal Bass Harold D. Hodgkinson chair, endowed in perpetuity The musical and artistic resources of the Boston Symphony are significant, and the Boston Symphony Chamber Players have acted over this last half-century as an important musical force for projecting the musical riches of the BSO on a more intimate level to audi- ences in Boston, North America, and internationally. The repertoire of the group is stimulating and varied. We perform pieces that highlight us as individual performing artists, but also show us in slightly larger ensemble settings that provide listeners with a more full-bodied “orchestral” palette of colors, while continuing to reflect a cham- ber-music sensibility.

Elizabeth Rowe Principal Flute chair, endowed in perpetuity As the newest member of the Boston Symphony Chamber Players, and having spent time in several other professional orchestras before joining the BSO, I have a great appreciation for how truly unusual the Boston Symphony Chamber Players are. Often, orchestral flutists find themselves limited in their opportunities for formal chamber music performances; as a member of the Chamber Players, however, I perform not just the standard cham- ber music for winds, or the occasional flute-and-strings piece, but am able to explore the entire range of chamber repertoire for all combinations of instruments, and to do this with an established group with an ongoing rapport. This is a singular and truly wonderful experience. The sky is the limit for us in terms of repertoire and creativity; we accept and welcome new and exciting challenges, but at the same time can rely on our history of shared performances to give us a core of artistic stability that grounds all of our explorations into repertoire both new and familiar. This balance of far-reaching reper- toire, steeped in the grand and deep traditions of both the BSO and the Boston Symphony Chamber Players, is the ultimate approach to music-making and something that I value tremendously.

John Ferrillo Principal Oboe Mildred B. Remis chair, endowed in perpetuity I did not realize, to be honest, the role that the Chamber Players would play in my BSO experience when I came here from the Metropolitan twelve years ago. As a teacher (and, of course, former student) I had been trained to think of shared chamber experi- ences as a core to understanding a wind section in the context of the symphony. The long-term effect of the Chamber Players experience has really transformed the way we relate to each other on the stage of Symphony Hall. The pride we have taken in a unified approach to pitch, sound, phrasing, and ensemble was totally born of our expe- riences playing the great wind chamber repertoire on the stages of Jordan Hall and Ozawa Hall. It has also been just plain fun—there is no wind section in the world that does a better job of playing “floboonette”!

6 William R. Hudgins Principal Clarinet Ann S.M. Banks chair, endowed in perpetuity Beyond the continuing opportunity, as a member of the Boston Symphony Chamber Players, to play some of the great clarinet chamber music repertoire, there is also a very real pleasure in the camaraderie of conjointly preparing chamber music with my colleagues. And hearing each other intimately, in chamber music, in a way not always possible in a larger and much louder orchestral setting, is actually a real help in the transition back to the orchestral repertoire. One of my favorite humorous stories comes from a Chamber Players concert we per- formed in Ozawa Hall at . On that occasion, BSO percussionist Will Hudgins had joined us for some programming that required percussion. Shortly before the concert began, my mother and father, who were in the audience, overheard a cou- ple’s conversation nearby. The lady was saying to the gentleman next to her how it appeared that there was both a William Hudgins playing the clarinet and a William Hudgins playing percussion in this concert—to which the gentleman replied with great assurance, “No, that is just the same player who switches back and forth.”

Richard Svoboda Principal Bassoon Edward A. Taft chair, endowed in perpetuity My position as principal bassoonist of the Boston Symphony Orchestra is perhaps the best bassoon job in the world for three reasons: the BSO is one of the greatest orchestras in the world; we play in a couple of the world’s best concert venues, Symphony Hall and Tanglewood; and, in the Boston Symphony Chamber Players, I get to play chamber music on a regular basis with some of the finest players on the planet. I really see the Chamber Players as just a more intimate version of what we do on a daily basis in the orchestra, but with the added bonus that we, the musicians, are responsible for creat- ing the broader musical interpretation. It is an absolute joy for me, and I wouldn’t give it up for anything.

James Sommerville Principal Horn Helen Sagoff Slosberg/Edna S. Kalman chair, endowed in perpetuity Having been a member of a number of orchestras before coming to the BSO as principal horn, one of the perks that galvanized me to apply for the position was the existence of the Boston Symphony Chamber Players. Many ensembles have informal chamber ensem- bles assembled from amongst their membership, and many run chamber series under their corporate umbrella. But no orchestra in the world has nurtured a group with the history, the prestige, and of the caliber of the Boston Symphony Chamber Players. And I have to say, with no hyperbole, that my greatest hopes for what the ensemble could mean to me have been exceeded. The opportunities to perform, record, and tour with my principal colleagues, to interact with them musically on such an intimate level, has been incredibly fruitful to my own musical development; and many of the concerts we have played over the past fifteen years live in my memory as among the best in my life. I feel extremely lucky to be able to walk on stage with them, several times a year, and spend a few hours with great masterpieces performed by such great musicians.

7 BOSTON SYMPHONY CHAMBER PLAYERS Sunday, February 9, 2014, at 3 p.m. at Jordan Hall

BOSTON SYMPHONY CHAMBER PLAYERS MALCOLM LOWE, violin JOHN FERRILLO, oboe HALDAN MARTINSON, violin WILLIAM R. HUDGINS, clarinet STEVEN ANSELL, viola RICHARD SVOBODA, bassoon EDWIN BARKER, double bass JAMES SOMMERVILLE, horn ELIZABETH ROWE, flute

with RANDALL HODGKINSON, piano ANDRIS POGA, BSO assistant conductor SATO KNUDSEN, BSO cellist JESSICA ZHOU, BSO harpist

LOEFFLER Two Rhapsodies for piano, oboe, and viola “L’Étang” (“The Pond”) “La Cornemuse” (“The Bagpipe”) Messrs. HODGKINSON, FERRILLO, and ANSELL

AGÓCS “Devotion,” for horn, harp, and string quintet (world premiere; Boston Symphony Chamber Players 50th Anniversary Commission) Mr. SOMMERVILLE, Ms. ZHOU; Messrs. LOWE, MARTINSON, ANSELL, KNUDSEN, and BARKER ANDRIS POGA, conductor

Composers Kati Agócs, Hannah Lash, Gunther Schuller, and Yehudi Wyner participate from 2:15-2:45 p.m. in an onstage discussion moderated by Robert Kirzinger.

The Boston Symphony Chamber Players performing ’s Sinfonietta at Jordan Hall on April 22, 2012 8 SCHULLER “Games,” for wind quintet and string quintet (world premiere; Boston Symphony Chamber Players 50th Anniversary Commission) Ms. ROWE; Messrs. FERRILLO, HUDGINS, SVOBODA, and SOMMERVILLE; Messrs. LOWE, MARTINSON, ANSELL, KNUDSEN, and BARKER ANDRIS POGA, conductor

{Intermission}

LASH “Three Shades Without Angles,” for flute, viola, and harp (world premiere; Boston Symphony Chamber Players 50th Anniversary Commission) Ms. ROWE, Mr. ANSELL, and Ms. ZHOU

WYNER “Into the evening air,” for wind quintet (world premiere; Boston Symphony Chamber Players 50th Anniversary Commission) Ms. ROWE; Messrs. FERRILLO, HUDGINS, SVOBODA, and SOMMERVILLE

BEACH Quintet in F-sharp minor for piano and strings, Opus 67 Adagio—Allegro moderato Adagio espressivo Allegro agitato Messrs. HODGKINSON, LOWE, MARTINSON, ANSELL, and KNUDSEN

The programs and initiatives commemorating the 50th anniversary of the Boston Symphony Chamber Players during the 2013-2014 season, including the commissioned works being premiered in today’s concert, are supported by a generous gift from the Ulf B. Heide and Elizabeth C. Heide Foundation.

BSO Classics, Nonesuch, Deutsche Grammophon, Philips, RCA, New World, Arabesque, and Sony recordings

In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please note that the taking of pictures—whether photographs or videos—is prohibited during the performance.

9 NOTES ON THE PROGRAM

Charles Martin Loeffler (1861-1935) Two Rhapsodies for piano, oboe, and viola A member of an overlooked generation of American composers—the school active in and around Boston at the turn of the century—Charles Martin Loeffler was a fascinating, gifted, sometimes contradictory musician. Born in in 1861, he spent formative years in Russia (where he began violin studies), , and , then undertook advanced work with the violinist , becoming one of his favorite pupils and chamber music partners. Later, in order to learn a different school of violin tech- nique, he went to Paris, where he studied violin with Massart and composition with . He spent a time as a member of the private orchestra of an immensely rich Russian, Baron Paul von Derwies, who spent his winters in Nice and summers at Lake Lugano, complete with his private orchestra and opera company. In 1881, at just twenty, Loeffler went to New York. The following year he joined the Boston Symphony, then beginning its second season, as assistant concertmaster to Franz Kneisel. Loeffler and Kneisel shared the first desk of the BSO’s first for twenty years, when both resigned, Loeffler to devote himself full-time to composition, Kneisel to concentrate on his string quartet, which had become the most distinguished chamber ensemble in America. Meanwhile, Loeffler had become an established composer and a very popular soloist with the BSO. Most of his orchestral works received their world premieres with the BSO, and much of his chamber music was written for BSO musicians. From 1910 until his death in 1935, he lived the life of a gentleman farmer in Medfield, com- posing actively, pursuing such seemingly contradictory musical passions as Gregorian chant and . (He was a close friend of ’s, and the two used to visit hot jazz spots together whenever Gershwin was in Boston for the tryout of a new show.) Loeffler’s music is distinctly French in its orientation, which made him unique among Boston composers of the day, most of whom had taken all their training in . In fact, Loeffler played a major role in introducing recent French music to Boston in the early years of the 20th century, thus preparing the ground for the change of taste that would occur so dramati- cally right after World War I. It is too simplistic, though, just to call him an American impressionist. He was an avid reader of classical literature and of modern French poetry, and absorbed cosmopolitan elements from a wide range of sources—French, Russian, medieval European, Irish, Spanish, jazz, and so on. Many of his works have evocative titles or even programs, though these are never intended to be purely descriptive. Rather, they suggest images or a frame of mind in which to listen without being in any sense prescriptive. This is true of his best-known chamber work, the Rhapsodies for oboe, viola, and piano. Published in 1905, the Rhapsodies bear a literary motto drawn from poems of Maurice Rollinat (published in Les Névroses, 1883). The first piece was dedicated to the memory of Leon Pourteau, the second to Georges Longy, then the celebrated principal oboist of the Boston Symphony. We now know that these Rhapsodies are instrumental reworkings of two songs from a set of three that Loeffler composed for bass voice, clarinet, and piano; the manuscripts of the songs were in the personal collection of Loeffler’s good friend, Isabella Stewart Gardner, remaining unpublished until 1988. Like Liszt, who converted some of his Petrarch settings into solo piano pieces, Loeffler has taken the musical ideas generated in the songs and reworked them for a unique ensemble. Though the mood of the poems is thus clearly reflected in the Rhapsodies—one being a fantastic description of a stagnant pond, the other speaking of a ghostly bagpipe—in neither case is the imagery more than mere sug- gestion; the three instruments are blended, opposed, and varied in wondrously imaginative ways. The listener may well hear the strains of the Dies irae melody in L’Étang, conjuring up the mysterious quality of the fetid pool, but it also reflects Loeffler’s love of Gregorian chant.

10 (Like Rachmaninoff, Loeffler had a predilection for slipping the Dies irae into his works.) Rollinat’s poems were translated by longtime BSO program annotator Philip Hale, whose renditions have become almost a part of the work, and are printed below. STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

“L’ÉTANG” (“THE POND”) Full of old fish, blind-stricken long ago, the pool, under a near sky rumbling dull thunder, bares between centuries-old rushes the splashing horror of its gloom. Over yonder, goblins light up more than one marsh that is black, sinister, unbearable; but the pool is revealed in this lonely place only by the croakings of consumptive frogs. Now the moon, piercing at this very moment, seems to look here at herself fantastical- ly; as though, one might say, to see her spectral face, her flat nose, the strange vacuity of teeth—a death’s head lighted from within, about to peer into a dull mirror.

“LA CORNEMUSE” (“THE BAGPIPE”) His bagpipe groaned in the woods as the wind that belleth; and never has stag at bay, nor willow, nor oar, wept as that voice wept. Those sounds of flute and hautboy seemed like the death-rattle of a woman. Oh! his bagpipe, near the crossroads of the crucifix! He is dead. But under cold skies, as soon as night weaves her mesh, down deep in my soul, there is the nook of old fears, I always hear his bagpipe groaning as of yore.

Kati Agócs – “Devotion,” for horn, harp, and string quintet (2013) Gunther Schuller – “Games,” for wind quintet and string quintet (2013) Hannah Lash – “Three Shades Without Angles,” for flute, viola, and harp (2013) Yehudi Wyner – “Into the evening air,” for wind quintet (2013)

The four new works being premiered on this afternoon’s concert were commissioned by the Boston Symphony Orchastra to celebrate the Boston Symphony Chamber Players’ 50th anniversary. In keeping with this Boston-centric program as a whole, all four composers have Boston connections and strong ties to the BSO: Gunther Schuller and Yehudi Wyner have been based in the area for decades; Kati Agócs arrived a few years ago to join the composi- tion faculty of the New England Conservatory, and Hannah Lash was a graduate student in music at Harvard. Both Gunther Schuller and Yehudi Wyner were longtime faculty members of the ; Agócs and Lash were both Composition Fellows of the TMC within the past few years. Similarities and connections aside, these four pieces and composers more readily illustrate difference. There are four distinct styles represented, suggesting the even greater range of compositional languages to be found in modern music at large; and there are also the four different ensemble types, which demonstrate the flexibility of configuration possible with the Boston Symphony Chamber Players. The ensemble’s repertoire encompasses everything from solo pieces to works for chamber orchestra, covering a swath of music history spanning four hundred years. The new works on today’s program include a trio, a quintet, a septet, and a dectet, and two of the pieces feature the harp.

11 Kati Agócs (b.1975), a resident of the Boston area since 2008, was trained as a composer at the , where her primary teacher was Milton Babbitt. She has also participated in such music festivals as Dartington, Aspen, and Tanglewood. Born to Hungarian and American parents, and raised in Windsor, Ontario, across the river from Detroit, she maintains strong ties to Canada and has also been deeply influenced by her father’s Hungarian heritage. She spent a year in Budapest on a Fulbright Fellowship and organized a continuing exchange program between the Liszt Academy and the Juilliard School. Agócs has been recognized with a 2013 Guggenheim Fellowship, a Brother Thomas Fellowship from the Boston Foundation, a Charles Ives Fellowship, and numerous other awards. As a composer Agócs has focused extensively on orchestral music, fulfilling commis- sions for the Canadian Broadcasting Company Radio Orchestra, the National Arts Centre, the Canadian National Youth Symphony Orchestra, and the Hamilton (Ontario) Philharmonic Orchestra, of which BSO principal horn James Sommerville is music director. In the U.S. she has written for the American Composers Orchestra, St. Luke’s Chamber Ensemble, Albany Symphony, eighth blackbird, and Metropolis Ensemble, among others. Recently her Crystallography was premiered by the Standing Wave Ensemble in Vancouver; the Boston-based gave the U.S premiere of that work last month. Kati Agócs has written a number of well-received pieces for solo harp, including À la Claire Fontaine, Every Lover Is a Warrior, and John Riley, which help explain the deft incorporation of that instrument in the unusual ensemble of horn, harp, and string quintet. Its unifying presence takes the place—uniquely, and with different effect—of the more standard piano, and blends more readily with the strings. A fundamentally lyrical composer who gravitates toward works for voice (she has also performed as a singer in her own right), Agócs never strays far from the sense of line within the shifting, imaginative colors of the ensemble. The composer writes: “Devotion” means a state of being ardently, affectionately dedicated and loyal to a per- son or idea; the word, usually in plural, also connotes a private religious observance or prayer. My septet grew out of a desire to bring together these two impulses. I used very limited material, maintaining its essence through changes. In a spirit of luminosity and

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12 transparency the horn is the leading melodic voice, while the harp part is steadfast and brilliant, and integral partner in the colloquy. The string parts articulate the melodic material in different ways as they follow through its natural outgrowths, but they also play together with the unified disposition of a chorale (or anthem).—KA

Gunther Schuller’s jawdropping musical biography includes stints—while still in his teens— as principal horn of the Cincinnati Symphony and the Orchestra, ses- sion work with and Gil Evans, the coining of the now-famous term “” for a hybrid of modern with jazz, tenures as president of the New England Conservatory and director of the Tanglewood Music Center, music publisher, record label founder, and conductor. He is the author of numerous books including a celebrated history of jazz; his most recent is the first volume of his memoirs. Schuller was the first to introduce a jazz curriculum to the classical conser- vatory and is credited with helping jump-start the revival of the early 1970s. And, most importantly, he’s a prolific composer whose seventy-year career has earned numerous accolades, including the Pulitzer Prize for his orchestral work Reminiscences and Reflections. Schuller (b.1925) has written a number of works for the Boston Symphony Orchestra and for Tanglewood, most recently Dreamscape for orchestra, commissioned for the Tangle- wood Music Center Orchestra and premiered in 2012. His symphony-sized Where the Word Ends was commissioned by the BSO for its 125th anniversary, and was premiered by the orchestra under James Levine’s direction in February 2009. His Museum Piece (in 1970) and Deaï (in Japan in 1979) were also premiered by the BSO. Schuller’s new work for the Boston Symphony Chamber Players is for wind quintet—flute, oboe, clarinet, bassoon, and horn—plus two violins, viola, cello, and bass. Cast in a single movement in a few short sections, Games moves very quickly from one idea to the next, making the most of the various possible combinations of instrumental colors and characters in a virtuosic display of ensemble writing. The composer gives some details in his own description of the piece: I gave this work, commissioned by the Boston Symphony for the fiftieth anniversary of the Boston Symphony Chamber Players, the name Games, because it occurred to me that play/playing and games are easily relatable, with many potential commonalities. And indeed, as it turned out, I did play a lot of musical games, even some jokes—not of the guffaw kind, but rather more subtle, and perhaps more specifically discernible to musicians than the average audience listener. Many of these games have to do with playing multiple different rhythms simultaneously, often with considerable vertical complexity, i.e., four or five different rhythmic ideas bumping into each other or bat- tling it out in some way amongst themselves. (The first composer to write five different rhythms simultaneously in a single beat was , in his 1913 Jeux, a ballet about the game of tennis.) I also played the game of shifting a particular theme or motif into unexpected places in the overall metric framework. (Brahms did this a great deal, almost obsessively at times—a very, very radical idea in his time.) That often led in my Games to what I call a “polyphony of musical layers,” sometimes as many as four or five layers heard simultaneously, both horizontally and vertically. (Bach vigorously pioneered such an idea in his St. Matthew Passion, there with eight highly varied contrapuntal lines. Of course, Bach’s music is tonal, while my polyphonic layerings occur in a highly chromatic language/style.) In the second section of the work, the music becomes much calmer (an Adagio), offer-

13 ing mostly melodic lines, as solos for the players of the ensemble—double bass, clarinet, etc. This is followed by a scherzando burlesco section, in which I had even more fun and games, sometimes purposely silly (for example having the horn play only one note, a middle F-sharp, for half a minute or so, or semi-quoting and distorting one of the horn’s most popular musical “licks”). Other little, somewhat hidden/disguised quotations from the orchestral/operatic repertory abound. Near the very end of Games the viola tries desperately to be heard against an onslaught of boisterous rhythmic inundation. At the very end I steal the last few bars of Mozart’s hilarious Musical Joke. Needless to say I had a lot of fun writing this piece, for which I gratefully thank my friend, the Boston Symphony Orchestra.—GS

A harpist as well as a composer, Hannah Lash (b.1981) studied at the Cleveland Institute of Music and , earned her bachelor’s degree in composition from the Eastman School of Music, and received her Ph.D. in composition from . She is now a member of the composition faculty at Yale. She is the recipient of awards from the American Academy of Arts and Letters, ASCAP, and the Fromm Founda- tion, among many others, and her music has been performed by the American Composers Orchestra, eighth blackbird, the Minnesota Orchestra, Da Capo Chamber Players, and the . Her opera Blood Rose was presented by Opera’s VOX in 2011. Later this season, new works will be pre- miered by the Los Angeles Chamber Orchestra and the Alabama Symphony Orchestra. Lash’s music is characterized by intricate and brilliant instrumental combinations, light, often very high, evoking flashes of light and color. Debussy comes to mind— the transparent and acerbic Jeux—but Lash’s music encompasses a wide range of other possi- bilities, too, hinting at the rigorous contrapuntal interplay of Renaissance polyphony as readily as Indonesian gamelan. Debussy’s for flute, viola, and harp—which as a harpist Lash has performed, and knows well—provided the ensemble model for her Three Shades Without Angles; but her predecessor’s piece didn’t serve as a particular compositional template. Rather, her piece is a single flowing movement relying on energetic rhythmic and motivic patterns, partly inspired by Debussy’s compatriot, the sculptor Auguste Rodin. The composer writes: Three Shades Without Angles plays with the idea of transformation of musical shapes. All material in the piece is derived from a single idea or motive whose shape changes as the piece unfolds. This motive is tightly coiled in the beginning, disposed in closely related and concentrated iterations in the three instruments. At the midpoint of the piece, the material relaxes and is disposed melodically in the flute and viola, while the harp lays a harmonic groundwork that has also been informed by the intervallic shapes of the horizontal motive pervading the entire piece. Although the texture that began the piece returns, the unfurling that happened at the center never retracts, but rather we hear spaciousness, melodiousness within a busy musical texture. The harp’s figuration slows at the end, and the harp and viola sustain their final pitches, an A-flat and a G. When writing this piece, I was inspired by Rodin’s sculpture The Three Shades, a detail sitting atop the sculptor’s work The Gates of Hell, depicting a scene from Dante’s The Inferno. Although my music is not representative or depictive of Dante or an image of hell, I was deeply drawn to the sinewy character of Rodin’s work, its intensity, muscu- larity, consistency, and the way in which movement and energy is represented in his shapes.—HL

14 Yehudi Wyner (b.1929), like Agócs, was born in Canada—Calgary, Alberta—but grew up in New York City, where his father, Lazar Weiner, was the leading composer of Yiddish art song and the music director of New York’s Central Synagogue. Yehudi began playing piano as a child, an activity that he has maintained throughout his professional life. After studying piano at Juilliard, Wyner turned to formal composition lessons with Hindemith at Yale and Piston and Randall Thomson at Harvard. He was awarded the prestigious Rome Prize from the American Academy in Rome in 1953, leading to a three-year stay in Italy, which was of immeasurable significance in his development. While in Italy he also met , whose music had a strong influence on the younger composer. After his return to the U.S., Wyner’s work with the Turnau Opera Company and the Bach Aria Group provided further practical and artistic direction. He also taught extensively, at SUNY/Purchase and, from 1989 until his retirement as a teacher, at . From 1975 until 1997 he was a member of the faculty of the Tanglewood Music Center. As a performer, Wyner developed a strong reputation as an accompanist for voice; he per- formed extensively with his wife, the soprano Susan Davenny Wyner, for whom he wrote several pieces including the song cycle On this Most Voluptuous Night (1982). In 1990 the Boston Symphony Orchestra commissioned a new work for the Boston Symphony Chamber Players, resulting in Trapunto Junction for brass and percussion. His , , commissioned and premiered by the BSO and written for Wyner’s longtime friend Robert Levin, received the 2006 Pulitzer Prize in Music. Recent works include West of the moon for guitar, mandolin, flute, oboe, violin, and cello for the Cygnus Ensemble; Concordance for violin, viola, cello, and piano; Refrain for solo piano; Give thanks for all things for orches- tra and chorus for Boston’s Singers; and TRIO 2009, for clarinet, cello, and piano, commissioned by Chamber Music San Francisco for Lynn Harrell, Robert Levin, and Richard Stoltzman. Of his new wind quintet, the composer writes: The title—Into the evening air—was evoked by an elegiac late poem by Wallace Stevens, an expression of tentative directness and elusive simplicity. Yet despite the elements of abstraction that infiltrate the poem, the overall atmosphere is loving and profoundly consoling. The final lines project a feeling of fulfilled resolution, a sense of ultimate tranquility. I wrote this little wind quintet with no knowledge of the poem. I labored to find an apt title. All manner of references to “5” were explored and rejected. And then for reasons unknown, my wife Susan Davenny Wyner suggested this poem of Wallace Stevens, fashioned in the twilight of his life. Something essential in the progression of the poem resonated with the trajectory of the quintet, especially as it seeks a conclusion of quiet affirmation rather than a resigned sense of loss. The poem, entitled Final Soliloquy of the Interior Paramour, begins with the phrase, “Light the first light of evening…” and ends with these words: Out of this same light, out of the central mind, We make a dwelling in the evening air, In which being there together is enough. Yehudi Wyner, January 28, 2014 The quintet is a marvel of texture and blending for the five instruments, a notoriously tricky combination. The music is atmospheric and pastoral: it wafts, ebbing and flowing in textures that rarely bring any one instrument to the foreground. Only toward the middle of the piece do we encounter music of a sharper edge and more insistent intensity; but this soon subsides to the fluttering “Tranquillo” of its final impression. ROBERT KIRZINGER Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

15

Amy (Mrs. H.H.A.) Beach (1867-1944) Piano Quintet in F-sharp minor, Opus 67 Although Amy Beach far eclipsed her physician husband, Henry Harris Aubrey Beach, in professional accolades and popular fame, she forged her first-rate artistic identity under the proper wifely moniker of Mrs. H.H.A. Beach. She embodied, perhaps, a conservative bent natural to those who receive honors plentifully and young—acknowledged as “one of the boys” of the Second New England School by compatriot George Chadwick, she shared their old-world, Romantic stylistic traits, valuing tradition, craft, and emotion over innovation. The daughter of a prominent New England family, Beach was encouraged in her musical precocity from an early age: she composed her first pieces in her head at four, and gave her first public piano recital—the program of which included her own compositions—at seven. Her parents and a circle of distinguished artists provided her with the best possible education; she debuted as a concert pianist in Boston and with the BSO while in her teens. She married Dr. Beach in the same year as her BSO debut, ceding her performing activities, at her husband’s wish, to intensive compositional study and the inauguration of a serious career as a composer. A paragon of social integrity and meticulous skill with an iron work ethic, Beach quickly became a popular member of New England’s elite musical community. Her works were pre- miered by leading ensembles and renowned performers; she received numerous commissions and commercial success with her songs in particular. Upon the death of her husband in 1910 and that of her mother the following year, Beach set out to promote herself in Europe, this time performing her own works without restraint. The onset of war propelled her back to the states with more acclaim under her belt and many recital engagements ahead. Beach’s travels before her resettlement in New Hampshire brought her through San Francisco, where one concert, an offering of the San Francisco Quintet Club in the distinguished St. Francis Hotel to begin their 1915-16 season, featured the pianist in her own enduringly suc- cessful Piano Quintet of 1907. The program notes, suggesting at once the piece’s organized yet mercurial nature, began thusly: “A slow introduction, of long-sustained string octaves interrupted by loud arpeggios on the piano, suggesting lightening flashes across a dull gray sky, gives the first intimation of the main theme of the first movement, Allegro moderato.” The entire piece, in three movements, progresses in like manner: what could have possibly gone the route of comfortably familiar neo-Romanticism (Brahms, whose work this style of Beach’s often seems to suggest, enjoyed his heyday a full half-century earlier) is elevated by Beach’s taste and imagination—just enough breathless suspension, or fervent boiling-over, or unexpected harmonic turns to maintain a path as unique as those of Beach’s native New Hampshire woods. After the aforementioned opening, full of slowly descending suspensions and muted rumbles, the piano takes off in earnest in an impressionistic surge of roiling movement. The strings establish a gentler second theme in warm harmony, a sensuous breath to fill the momentary lapse of thundering octaves. The first movement continues in a mélange of tempers and textures that, while sometimes abrupt and rarely predictable, showcases the mode of heightened contrasts inherent to passionate Romanticism. The Adagio espressivo opens with the string quartet in a lush, drawn-out phrase. The thread of this luxuriant melody survives among shifting layers of restive accompaniment, rhapsodic flourishes, and pounding rhythms, all undergoing harmonic transfigurations of Wagnerian rigor. The elaborate finale, marked Allegro agitato, begins as a diabolical , with the piano undertaking the flashy filigree work and the strings the cavalier melody. There are many detours, however, before the piece’s closing throes: a dark and plaintive viola solo, a whispered fugal buildup to the return of the long-ago but instantly recognizable opening Adagio, which lingers before giving way to the inevitable fire and brimstone of the coda. ZOE KEMMERLING Zoe Kemmerling is a Boston-based violist, Baroque violinist, and writer who was the 2012 Publications Fellow at the Tanglewood Music Center.

17 ARTISTS

Boston Symphony Chamber Players One of the world’s most distinguished chamber music ensembles sponsored by a major sym- phony orchestra and made up of principal players from that orchestra, the Boston Symphony Chamber Players include first-chair string and wind players from the Boston Symphony Orchestra. Found- ed in 1964 during ’s tenure as BSO music director, the Chamber Players can perform vir- tually any work within the vast chamber music litera- ture, expanding their range of repertoire by calling upon other BSO members or enlisting the services of such distinguished artists as pianists Leif Ove Andsnes, Emanuel Ax, and André Previn. The Chamber Players’ activities include an annual four-concert series in Boston’s Jordan Hall at the New England Conservatory, regular appearances at Tanglewood, and a busy touring schedule. In addition to their appearances throughout the United States, they have performed in Europe, Japan, South America, and the Soviet Union. In September 2008, sponsored by Cunard® Line, the Boston Symphony Chamber Players performed on the Queen Mary 2’s transatlantic crossing from New York to Southampton, England. Among their many recordings are the Brahms string quintets and works by John Harbison, Aaron , and , all on Nonesuch; and the quintets for clarinet and strings by Mozart and Brahms with former BSO principal clarinet, the late Harold Wright, on Philips. Their most recent recordings, on BSO Classics, include an album of Mozart chamber music for winds and strings (the Clarinet Quintet in A, the Horn Quintet in

18 E-flat, the F major , and the Flute Quartet in A, K.298); an album of chamber music by American composers (Serenata Notturna), (For Aaron), Michael Gandolfi (Plain Song, Fantastic Dances), and Osvaldo Golijov (Lullaby and Doina); and “Profanes et Sacrées,” a disc of 20th-century French chamber music by Ravel, Debussy, Tomasi, Françaix, and Dutilleux recently nominated for a Grammy Award in the category “Best Chamber Music/Small Ensemble Performance.”

Randall Hodgkinson Randall Hodgkinson achieved recognition as a winner of the International American Music Competition for pianists sponsored by the Rockefeller Foundation. He has appeared frequently as recitalist and as soloist with major orchestras, including those of Philadelphia, Boston, Atlanta, Buffalo, the American Symphony Orchestra, and the Orchestra of Illinois. In recent seasons he has appeared as soloist with the New England Philhar- monic, the Boston Symphony Orchestra, and the Newton Symphony. Mr. Hodgkinson studied at the Curtis Institute and the New England Conservatory. Since 1983 he has been a member of the Boston Chamber Music Society. While a member of , he performed throughout the U.S. and Europe, and recorded for None- such records. His solo CD “Petrouschka and Other Prophesies” received a double five-star rating from BBC Magazine. Other recordings include a live performance of the world premiere of Gardner Read’s Piano Concerto with the Eastman Philharmonic Orchestra, and ’s Piano Concerto with the Albany Symphony. Recently he recorded the complete works for cello and piano of Leo Ornstein with cellist Joshua Gordon for New World Records. Mr. Hodgkinson also performs four-hand and two-piano literature in duo-recitals with his wife Leslie Amper. He is a member of the piano faculties of the New England Conservatory of Music and .

Andris Poga In November 2013, Andris Poga was named music director of the Latvian National Symphony Orchestra for a three-year term, having been a regular conductor of that orchestra since 2007. Appointed an assistant conductor of the Boston Symphony Orchestra beginning with the 2012-13 season, Mr. Poga graduated from the Jazeps Vitols Latvian Academy of Music in 2004 with a degree in conducting. He also studied philosophy at the Uni- versity of Latvia, and from 2004 to 2005 studied conducting with Uroš Lajovic at the University of Music and Performing Arts. While still a student, he participated in master classes of conductors including Mariss Jansons, , and Leif Segerstam. From 2007 to 2010 he was music director and chief conductor of the Riga Professional Symphonic Band. Mr. Poga founded the Konsonanse Chamber Orchestra and has conducted concert tours in Latvia, Germany, Finland, and Spain. Winner of the Latvia Great Music Award in 2007, he was also awarded first prize in the 2010 Evgeny Svetlanov International Conducting Competition in Montpellier. He served as assistant to Myung-Whun Chung for a concert of the Orchestre Philharmonique de Radio France in October 2010 and in 2011 became assistant conductor to Paavo Järvi at the Orchestre de Paris, with which in the fall of 2013 he twice substituted for ailing conductors. Andris Poga conducted his first full subscription program with the Boston Symphony Orchestra last month, having previously led BSO performances of Britten’s Young Person’s Guide to the Orchestra in March 2013, and having made his Tanglewood debut with the orchestra in August 2013. Recent and upcoming engagements include the NHK Symphony Orchestra, New Japan Philharmonic, Israel Symphony Orchestra, Moscow City Symphony–Russian Philharmonic, Orchestre de Paris, St. Petersburg Philharmonic Orchestra, Lausanne Chamber Orchestra, and the Hiroshima Symphony Orchestra.

19 BOSTON SYMPHONY CHAMBER PLAYERS Repertoire performed in Boston Symphony Chamber Players programs since the ensemble’s inaugural concert of November 8, 1964, including works scheduled through the 2013-14 50th Anniversary Season, and performances by guest artists

[Anonymous] She’s Gone Thomas Adès Court Studies, from The Tempest Piano Quartet Sonata da caccia Kati Agócs Devotion, for horn, harp, and string quintet (world premiere; 50th Anniversary Commission) Jurriaan Andriessen Trio No. 4 for winds George Antheil Symphony for Five Instruments C.P.E. Bach Quartet in A minor for piano, flute, viola, and cello J.S. Bach Brandenburg Concerto No. 3 Brandenburg Concerto No. 6 Cantata No. 82, Ich habe genug Cantata No. 187, Es wartet ales auf dich “Stumme Seufzer” from Cantata No. 199, Mein Herze schwimmt im Blut Cantata No. 202, Weichet nur, betrübte Schatten Cantata No. 209, Non sa che sia dolore Musical Offering, No. 8, Trio Sonata Preludes and for string trio, K.404a (arr. Mozart) Mily Balakirev Octet, Opus 3 Dover Beach, Opus 3 Interlude No. 1, for piano Mélodies passagères, Opus 27 Nocturne (Homage to John Field) for piano Piano Sonata in E-flat, Opus 26 Summer Music for wind quintet Béla Bartók Contrasts Piano Quintet String Quartet No. 3 Violin Sonata No. 2 Sonata for violin solo Amy Beach Piano Quintet in F-sharp minor, Opus 67 An die ferne Geliebte Duo in C for clarinet and bassoon, WoO 27 Grosse Fuge, Opus 133 March in B-flat, WoO 29 Octet in E-flat for Winds, Opus 103 Piano Trio in B-flat, Opus 97, Archduke Piano Trio in C minor, Opus 1, No. 3 Piano Trio in D, Opus 70, No. 1, Ghost Piano Trio in E-flat, Opus 70, No. 2 Quartet for piano and strings (arr. Beethoven from Quintet for piano and winds, Opus 16) Quintet in E-flat for piano and winds, Opus 16

20 String Quintet in C, Opus 29 Rondino in E-flat for winds, WoO 25 Septet in E-flat, Opus 20 in D for flute, violin, and viola, Opus 8 Serenade in D for violin, viola, and cello, Opus 8 Sextet in E-flat for string quartet and two horns, Opus 81b Sextet in E-flat for winds, Opus 71 (arr. Andraud for wind quintet) Cello Sonata No. 4 in C, Opus 102, No. 1 Horn Sonata in F, Opus 17 String Trio in E-flat, Opus 3 String Trio in G, Opus 9, No. 1 String Trio in C minor, Opus 9, No. 3 Symphony No. 7 in A Opus 92 (arr. Anon., for winds) Trio in B-flat for clarinet, cello, and piano, Opus 11 Trio in G for flute, bassoon, and piano, WoO 37 Variations in C on “La cì darem la mano” from Mozart’s Don Giovanni, for wind trio, WoO 28 (arr. Anon.) Variations in G on Ich bin der Schneider Kakadu, for piano trio, Opus 121a Duo in E-flat for viola and cello, With Two Eyeglasses Obbligato Alban Berg Adagio for clarinet, violin, and piano, from Chamber Concerto Four Pieces for clarinet and piano, Opus 5 Christopher Berg Prelude and Song Arthur Berger Wind Quartet in C Luciano Berio Folk Songs, for soprano and seven instruments “To What You Said,” from Songfest Franz Berwald Septet in B-flat for winds and strings Boris Blacher Trio for trumpet, , and piano, Opus 31 Oboe Quintet in D, Opus 45, No. 3 William Bolcom Let Evening Come, Cantata for lyric soprano, viola, and piano Serenata notturna, for oboe and strings Giovanni Battista Borghi Sonata No. 1 in C for viola d’amore and contrabass Dérive I Roger Bourland Personae for cello and bass Paul Bowles Sugar in the Cane Martin Boykan Concerto for 13 players Cello Sonata No. 1 in E minor, Opus 38 Clarinet Quintet in B minor, Opus 115 Clarinet Sonata in E-flat, Opus 120, No. 2 Clarinet Trio in A minor, Opus 114 “Cradle Song of the Virgin” Horn Trio, Opus 40 Hungarian Dances, (arr. Amlin for winds and strings) “Longing at Rest” Piano Quartet No. 1 in G minor, Opus 25 Piano Quartet No. 2 in A, Opus 26 Piano Quartet No. 3 in C minor, Opus 60 Piano Quintet in F minor, Opus 34a

21 Piano Trio No. 1 in B, Opus 8 Piano Trio No. 2 in C, Opus 87 Serenade No. 1 in D, Opus 11 (arr. Boustead) Serenade No. 1 in D, Opus 11 (arr. Rotter) String Quintet No. 1 in F, Opus 88 String Quintet No. 2 in G, Opus 111 String Sextet No. 1 in B-flat, Opus 18 String Sextet No. 2 in G, Opus 36 Frank Bridge Divertimenti for wind quartet Benjamin Britten Phantasy Quartet, Opus 2 Sinfonietta, Opus 1 Cello Sonata in C, Opus 65 Max Bruch Selections from Eight Pieces, Opus 83 Kol nidrei, Opus 47, for double bass and piano Harold Budd New work No. 1 Berceuse élégiaque (arr. Stein) Charles Cadman From the Land of the Sky-Blue Water Elliott Carter Eight etudes and a fantasy Figment III Night Fantasies, for piano Sonata for flute, oboe, cello, and harpsichord Wind Quintet George Chadwick Where Stars Are in the Quiet Skies Chanson perpetuelle, Opus 37 Concert in D for piano, violin, and string quartet, Opus 21 Logs for double bass and tape concertante Wilson Coker Concertino for bassoon and strings Variations for Four Drums and Viola “Alone” As It Fell Upon a Day, for soprano, flute, and clarinet Duo for flute and piano Elegies for violin and viola Four Piano Blues “Into the Streets May First” Nonet for strings Piano Variations Piano Quartet Quiet City Sextet for clarinet, piano, and string quartet (arr. Copland from Short Symphony) “Song of the Guerrillas,” from North Star Suite from Threnodies I and II, for flute and string trio Vitebsk, Study on a Jewish Theme Vocalise “Younger Generation,” from North Star

22 Apparition, elegiac songs and vocalises for soprano and amplified piano Eleven Echoes of Autumn Richard Cumming Five Silhouettes Sebastian Currier Parallel Worlds, for flute and string quartet (Boston premiere; 50th Anniversary Commission) Allegro and Arioso Duettino Concertante, for flute and percussion Luigi Dallapiccola in quattro esercizi Franz Danzi Bassoon Quartet in B-flat, Opus 40 Wind Quintet in G minor, Opus 56, No. 2 Mario Davidovsky Synchronisms No. 6 for piano and electronic sounds (1970) Jon Deak The Ugly Duckling (Part I), for soprano and double bass Claude Debussy Ariettes oubliées Prelude to The Afternoon of a Faun (arr. Benno Sachs) Cello Sonata No. 1 in Violin Sonata in G minor Sonata for flute, viola, and harp Maurice Delage Four Hindu Poems Francois Devienne Bassoon Quartet in C, Opus 73, No. 1 David Diamond Partita for oboe, bassoon, and piano Edward Diemente Quartet for flute, clarinet, vibraphone, and double bass Ern˝oDohnányi Piano Quintet in E-flat, Opus 26 Serenade in C, Opus 10, for violin, viola, and cello John Dowland Lachrimae and other dances (transcr. Peter Warlock) Henri Dutilleux Les Citations, Diptych for oboe, harpsichord, double bass, and percussion Antonín Dvoˇrák Bagatelles, for two violins, cello, and , Opus 47 Piano Quartet No. 1 in D, Opus 23 Piano Quartet No. 2 in E-flat, Opus 87 Piano Quintet in A, Opus 81 Serenade in D minor, Opus 44 String Quintet in G, Opus 77 String Sextet in A, Opus 48 Terzetto in C, Opus 74 Piano Trio in F minor, Opus 65 Piano Trio in E minor, Opus 90, Dumky Serenade in E minor Diversion for Two Alvin Etler Wind Quintet No. 2 Concerto for harpsichord, flute, oboe, clarinet, violin, and cello El corregidor y la molinara Psyche, for voice, flute, harp, violin, viola, and cello Gabriel Fauré Piano Quartet No. 1 in C minor, Opus 15 Piano Quartet No. 2 in G minor, Opus 45 Irving Fine Fantasia for String Trio Partita for Wind Quintet

23 William Flanagan Plants Cannot Travel Lukas Foss For Aaron, for chamber ensemble Jean Françaix Dectet, for winds and strings Wind Quintet Gabriela Lena Frank Sueños de Chambi for flute and piano Michael Gandolfi Design School Plain Song, Fantastic Dances (world premiere commission) Alexander Goehr Lyric Pieces, Opus 36 Osvaldo Golijov Ayre Lullaby and Doina (world premiere; BSO commission) Zhuang Zhou’s Dream Jack Gottlieb “Far Away” Charles Gounod Petite symphonie for winds Charles Tomlinson Griffes “Evening Song” Three Tone-Pictures, Opus 5 Sofia Gubaidulina Hommage à T.S. Eliot Daron Hagen Concerto for Brass Alexei Haieff Three Bagatelles for oboe and bassoon Oboe Concerto No. 3 in G minor Nine German Arias (selection) Passacaglia from Harpsichord Suite in G minor (arr. Halvorsen for violin and viola) Trio Sonata in G, Opus 5, No. 4 Trio Sonata in F Violin Sonata in E John Harbison November 19, 1828 Piano Quintet Serenade for six players Six American Painters Wind Quintet Words from Paterson Franz Cantata, Arianna a Naxos No. 1 in C Divertimento a tre in E-flat for horn, violin, and cello Divertimento in G for flute, violin, and cello, Opus 100, No. 2 Divertimento in G for flute, violin, and cello, Opus 100, No. 4 String Quartet in C, Opus 20, No. 2 Flute Quartet in G Sonata in C for violin and viola Trio in C for flute, violin, and cello, Opus 100, No. 3 Piano Trio in A Piano Trio in B-flat Piano Trio in C Piano Trio in E Piano Trio in G String Trio in D, Opus 53, No. 3 Trio in G for flute, cello, and piano Variations in F minor for piano

24 Michael Haydn Divertimento in B-flat Divertimento in D for horn, viola, and violone (or double bass) Hans Werner Henze Wind Quintet Kammermusik, Opus 24, No. 1, for Twelve Solo Instruments Kleine Kammermusik for wind quintet, Opus 24, No. 2 Morgenmusik for brass, from Plöner Musiktag Octet for clarinet, bassoon, horn, violin, two , cello, and double bass Quartet for clarinet, violin, cello, and piano Oboe Sonata Three Pieces for Five Instruments Robin Holloway Fantasy-Pieces, Opus 16, on the Heine Liederkreis of Schumann Gustav Holst Terzetto for flute, oboe, and viola Jacques Ibert Trois pièces brèves for wind quintet Charles Ives “1, 2, 3” “At the River” “Down East” From “Paracelsus” “He Is There” Largo for violin, clarinet, and piano “Like a Sick Eagle” “Remembrance” “Sunrise” “The Side Show” “The Swimmers” “There is a Lane” “Thoreau” “Walking” Gordon Jacob Sextet in B-flat for piano and winds Leos Janáˇcek Mládi, for wind sextet Tom Johnson Failing: A Very Difficult Piece for String Bass Betsy Jolas Episode for flute Fusain for flute O Wall, a puppet opera for wind quintet Roger Kellaway Esque, for trombone and double bass Earl Kim Earthlight, for violin, high soprano, piano, and lights Exercises en Route Leon Kirchner Concerto for Violin, Cello, Ten Winds, and Percussion Music for Twelve (world premiere; BSO centennial commission) Sonata Concertante Piano Trio No. 2 Piano Trio “The Twilight Stood” August Klughardt Schilflieder, Five Fantasy Pieces for piano, oboe, and viola, Opus 28 Alleluya Nativitas (Perotin) Four Late Poems and an Epigram of Rainer Maria Rilke, Opus 23 Ophelia Dances, Book 1, Opus 13 Songs without Voices, Opus 26 Turba, for contrabass solo

25 Karl Koper Kammermusik for oboe, bassoon, percussion, and piano Leo Kraft Line drawings, for flute and percussion Friedrich Kuhlau Flute Quintet in E, Opus 51, No. 2 György Kurtág Bagatelles for flute, double bass, and piano, Opus 14d Hommage à R. Sch, Opus 15d Hannah Lash Three Shades Without Angles, for flute, viola, and harp (world premiere; 50th Anniversary Commission) John Anthony Lennon Far From These Things (world premiere; BSO commission) Fred Lerdahl Aftermath Wake, for soprano and chamber ensemble Waltzes, for violin, viola, cello, and bass Anatol Liadov Eight Russian Folk Songs Lowell Liebermann Fantasy on a by J.S. Bach, Opus 27 Flute Sonata Accordance György Ligeti Six Bagatelles for Wind Quintet Charles Martin Loeffler Two Rhapsodies for piano, oboe, and viola Jean Louel Trio for trumpet, horn, and trombone

26 Witold Lutosławski Chain 1 Dance Preludes Steve Mackey Never Sing Before Breakfast Gustav Mahler Kindertotenlieder (arr. Hampson) Songs of a Wayfarer (arr. Schoenberg) Bohuslav Martin˚u Four Madrigals for oboe, clarinet, and bassoon La Revue de cuisine Nonet for winds and strings Sextet for piano and winds David Maslanka Wind Quintet No. 3 Jules Mazellier Fugues Nos. 4 and 5, from Ten Fugues for wind quartet Konzertstuck No. 1 in F for clarinet, basset horn, and piano, Opus 113 Konzertstuck No. 2 in d for clarinet, basset horn, and piano, Opus 114 Octet in E-flat for strings, Opus 20 Sonata No. 2 in D for cello and piano, Opus 58 Trio No. 1 in D minor for piano, violin, and cello, Opus 49 Le Merle noir, for flute and piano Quartet for the End of Time Visions de l’Amen, for two La Cheminée du Roi René Suite d’apr`es Corrette, for oboe, clarinet, and bassoon Krodo Mori Premier Beau Matin de Mai (world premiere commission) Wolfgang Amadè Mozart Adagio and for glass armonica, flute, oboe, viola, and cello, K.617 Adagio from Divertimento in E-flat for violin, viola, and cello, K.563 Bassoon Concerto in B-flat, K.186e(191) Clarinet Quintet in A, K.581 Divertimento in B-flat, K.439b, No. 2 Divertimento in D, K.205(167A) Divertimento in E-flat for string trio, K.563 Divertimento in E-flat for winds, K.289 Divertimento No. 12 in E-flat for winds, K.252 Divertimento No. 14 in B-flat for winds, K.270 Duo in B-flat for violin and viola, K.424 Flute Quartet in D, K.285 Flute Quartet in C,K.285b Horn Quintet in E-flat, K.407 Oboe Quartet in F, K.370(368b) Piano Quartet in G minor, K.478 Piano Quartet in E-flat, K.493 Piano Trio in B-flat, K.502 Piano Trio in E, K.542 Quintet in E-flat for piano and winds, K.452 Serenade No. 11 in E-flat for winds, K.375 Serenade No. 12 in C minor for winds, K.388(384a), Nacht Musique Serenade No. 13 in G, K.525, Eine kleine Nachtmusik Piano Sonata No. 10 in C,K.330(300h) Sonata in B-flat for bassoon and cello,K.292(196c) Sonata in D for two pianos, K.375a

27 String Quartet in G, K.387 String Quintet in C, K.515 String Quintet in D, K.593 String Quintet in G minor, K.516 Trio in E-flat for clarinet, viola, and piano, K.498, Kegelstatt Thea Musgrave Chamber Concerto No. 1 Modest Mussorgsky Pictures at an Exhibition Marc Neikrug Concertino for 7 instruments Carl Nielsen Wind Quintet in A, Opus 43 Carl Orff Kleines Konzert on 16th-century lute themes George Perle Monody I, for flute Monody II, for double bass Serenade No. 3 for piano and chamber orchestra Sextet for piano and winds Vincent Persichetti Pastorale, for wind quintet Daniel Pinkham Brass Trio Walter Piston Divertimento for Nine Instruments Piano Quintet Wind Quintet Three Pieces for wind trio Le Bal masqué Sextet for piano and winds Sonata for trumpet, horn, and trombone Trio for oboe, bassoon, and piano Trio for trumpet, horn, and trombone Mel Powell Divertimento for five winds André Previn Four Songs to Texts of Toni Morrison, for soprano, cello, and piano Octet for Eleven (world premiere; BSO commission) Trio for oboe, bassoon, and piano Quintet in G minor, Opus 39 Flute Sonata in D, Opus 94 Two Fantasias Franz Querfurth Concerto in E-flat for piccolo trumpet, harpsichord, and bassoon Marcel Quinet Sonate a trois for trumpet, trombone, and horn Wilhelm Ramsoe Brass Quartet No. 4 Bernard Rands Concertino for Oboe and Ensemble Chansons madécasses Introduction and Allegro for harp, accompanied by string quartet, flute, and clarinet Piano Trio in A minor String Quartet in F Sonata for Violin and Cello Three Poems of Stéphane Mallarmé Anton Reicha Wind Quintet in E-flat, Opus 88, No. 2 Carl Reinecke Trio in A minor for piano, oboe, and horn, Opus 188

28 Wallingford Riegger Concerto for piano and wind quintet, Opus 53 Michael Riesman Chamber Concerto Duo for oboe and bassoon Ned Rorem Ariel for soprano, clarinet, and piano Gioachino Rossini Sonata a quattro No. 2 in A Sonata a quattro No. 3 in F (arr. Berr, for wind quartet) Sonata a quattro No. 4 in B-flat Albert Roussel Serenade for flute, harp, violin, viola, and cello, Opus 30 Trio for flute, viola, and cello, Opus 40 Camille Saint-Saëns Caprice on Danish and Russian Airs, Opus 79 Fantaisie for violin and harp, Opus 124 Oboe Sonata in D, Opus 166 Bassoon Sonata in G, Opus 168 Chamber Symphony No. 1 in E, Opus 9 (arr. Webern) Phantasy for violin and piano, Opus 47 Pierrot Lunaire, Opus 21 Six Little Piano Pieces, Opus 19 Suite, Opus 29 String Trio, Opus 45 Verklärte Nacht, Opus 4 Adagio in E-flat for piano trio, D.897 “An die Nachtigall,” D.497 “An Sylvia,” D.891 “Auf dem Strom,” D.943 “Auf dem Wasser zu singen,” D.774 “Blondel zu Marien,” D.626 “Das Mädchen,” D.652 “Der Hirt auf dem Felsen,” D.965 “Der Schmetterling,” D.633 “Die Forelle,” D.550 (arr. Britten) “Die gefangenen Sänger,” D.712 “Die junge Nonne,” D.828 “Du bist die Ruh,” D.776 “Gretchen am Spinnrade,” D.118 “Im Frühling,” D.882 “Liebhaber in allen Gestalten,” D.558 Piano Trio in E-flat, D.897, Notturno Piano Trio No. 1 in B-flat, D.898 Piano Trio No. 2 in E-flat, D.929 Octet in F for winds and strings, D.803 Selections from Schwanengesang, D.957 “Seligkeit,” D.433 Sonata in A minor, D.821, Arpeggione String Quintet in C, D.956 String Trio (Allegro) in B-flat, D.471 String Trio in B-flat, D.581 Piano Quintet in A, D.667, Trout “Versunken,” D.715

29 Ervín Schulhoff Concertino for flute, viola, and double bass Sextet for two violins, two violas, and two (1924) Gunther Schuller Games, for wind quintet and string quintet (world premiere; 50th Anniversary Commission) Little Brass Music Symbiosis, for violin, piano, and percussion Wind Quintet Clara Schumann Three Romances for violin and piano, Opus 22 Robert Schumann Andante and Variations in B-flat, Opus 46 Dichterliebe, Opus 48 Märchenbilder, Opus 113 Märchenerzahlungen, Opus 132 Piano Quartet in E-flat, Opus 47 Piano Quintet in E-flat, Opus 44 Piano Trio No. 1 in D minor, Opus 63 Piano Trio No. 2 in F, Opus 80 “Die Fluchtlinge,” Opus 122, No. 2 “Schön Hedwig,” Opus 106 Three Romances for oboe and piano, Opus 94 Ruth Crawford Seeger Suite for piano and woodwind quintet From My Diary Pieces for Piano Sonata for Violin Harold Shapero Serenade in D for string quintet Three Chinese Love Songs Seymour Shifrin In Eius Memoriam Serenade Piano Quintet in G minor, Opus 57 Seven Romances on Words of Blok, Opus 127 Bedˇrich Smetana Piano Trio in G minor, Opus 15 Harvey Sollberger Sunflowers, for flute and vibraphone Ludwig Spohr Nonet in F, Opus 31 Robert Starer Concerto a tre Karlheinz Stockhausen Kontakte, for piano, percussion, and tape Johann Strauss, Jr. Emperor-Waltzes, Opus 437 (arr. Schoenberg) Till Eulenspiegel einmal anders! (arr. Hasenöhrl) Concertino for Twelve Instruments Concerto in E-flat, Dumbarton Oaks L’Histoire du soldat (complete) L’Histoire du soldat (concert suite) Octet Pastorale Ragtime for 11 Instruments Septet Three Japanese Lyrics Two Poems of Konstantine Balmont

30 String Trio Williams Sydeman Duo for trumpet and percussion Paul Taffanel Wind Quintet in G minor Toru Takemitsu And then I knew ’twas Wind Quatrain Rain Coming Rain Spell Deems Taylor A Song for Lovers Serenade in C for strings, Opus 48 Piano Trio in A minor, Opus 50 Cantata, Ein jeder lauft, der in den Schranken lauft Cantata, Jauchzt, ihr Christen seid vernugt Quartet in G Ludwig Thuille Sextet in B-flat for piano and wind quintet, Opus 6 Henri Tomasi Cinq Danses profanes et sacrées, for wind quintet Edgard Varèse Octandre Poème électronique, for 3-track tape Heitor Villa-Lobos Bachianas brasileiras No. 6, for flute and bassoon Wind Quartet Quinteto em forme de chôros for wind quintet Suite for voice and violin Wind Trio Concerto in G minor for flute, oboe, violin, bassoon, and continuo Bassoon Concerto in E minor, RV 484 Siegfried Idyll William Walton Façade, An Entertainment with Poems by Edith Sitwell Trio in G minor, Opus 63 Anton von Webern Concerto for nine instruments, Opus 24 Four Pieces for violin and piano, Opus 7 String Trio, Opus 20 Kurt Weill Frauentanz, Seven Medieval Poems Variations for bassoon with harp and percussion Yehudi Wyner Horntrio Into the evening air, for wind quintet (world premiere; 50th Anniversary Commission) Serenade Trapunto Junction (world premiere; BSO commission) Friedrich Wilhelm Zachau Trio for oboe, bassoon, and piano Alexander Zemlinsky Clarinet Trio in D minor, Opus 3 Concerto for trumpet and five players

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