Summer 2012 Boston Symphony Orchestra

boston symphony orchestra summer 2012

Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate

131st season, 2011–2012

Trustees of the Boston Symphony Orchestra, Inc.

Edmund Kelly, Chairman • Paul Buttenwieser, Vice-Chairman • Diddy Cullinane, Vice-Chairman • Stephen B. Kay, Vice-Chairman • Robert P. O’Block, Vice-Chairman • Roger T. Servison, Vice-Chairman • Stephen R. Weber, Vice-Chairman • Vincent M. O’Reilly, Treasurer

William F. Achtmeyer • George D. Behrakis • Alan Bressler • Jan Brett • Susan Bredhoff Cohen, ex-officio • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Carmine A. Martignetti • Robert J. Mayer, M.D. • Aaron J. Nurick, ex-officio • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Edward I. Rudman • Arthur I. Segel • Thomas G. Stemberg • Theresa M. Stone • Caroline Taylor • Stephen R. Weiner • Robert C. Winters

Life Trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • James F. Cleary† • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • William J. Poorvu • Irving W. Rabb† • Peter C. Read • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas

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.

Susan Bredhoff Cohen, Co-Chairman • Peter Palandjian, Co-Chairman • Noubar Afeyan • David Altshuler • Diane M. Austin • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne Burke • Ronald G. Casty • Richard E. Cavanagh • Carol Feinberg Cohen • Richard F. Connolly, Jr. • Charles L. Cooney • Ranny Cooper • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Thomas E. Faust, Jr. • Peter Fiedler • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Robert P. Gittens • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • Robert Kleinberg • John L. Klinck, Jr. • Farla H. Krentzman • Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Nancy K. Lubin • Jay Marks • Jeffrey E. Marshall • Linda A. Mason • Robert D. Matthews, Jr. • C. Ann Merrifield • Dr. Martin C. Mihm, Jr. • Maureen Miskovic •

Programs copyright ©2012 Boston Symphony Orchestra Cover photo by Stu Rosner Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Vincent Panetta, Jr. • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Joyce L. Plotkin • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • John Reed • Dr. Carmichael Roberts • Susan Rothenberg • Alan Rottenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug

Overseers Emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Mrs. James C. Collias • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Betsy P. Demirjian • JoAnne Walton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • Pamela D. Everhart • J. Richard Fennell • Lawrence K. Fish • Myrna H. Freedman • Mrs. Thomas Galligan, Jr. • Mrs. James Garivaltis • Dr. Arthur Gelb • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Marilyn Brachman Hoffman • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon • Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K. Kraft • Benjamin H. Lacy • Mrs. William D. Larkin • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Patrick J. Purcell • Robert E. Remis • John Ex Rodgers • Roger A. Saunders • Lynda Anne Schubert • Mrs. Carl Shapiro • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Paul M. Verrochi • Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased Tanglewood The Tanglewood Festival

On August 13, 15, and 16, 1936, the Boston Symphony Orchestra gave its first concerts in the Berkshire Hills of western Massachusetts; music director Serge Koussevitzky conducted. But those outdoor concerts, attended by a total of 15,000 people, did not take place at Tanglewood: the orchestra performed nearby under a large tent at Holmwood, a former Vanderbilt estate that later became The Center at Foxhollow. In fact, the first Berkshire Symphonic Festival had taken place two summers earlier, at Interlaken, when, organized by a group of music-loving Berkshire summer residents, three outdoor concerts were given by members of the New York Philharmonic, under the direction of composer/conductor Henry Hadley. But after a second concert series in 1935, plans for 1936 proved difficult, for reasons including Hadley’s health and aspects of the musical programming; so the organizing committee instead approached Koussevitzky and the BSO’s Trustees, whose enthusiastic response led to the BSO’s first concerts in the Berkshires. In the winter of 1936, following the BSO’s concerts that summer, Mrs. Gorham Brooks and Miss Mary Aspinwall Tappan offered Tanglewood, the Tappan family estate, with its buildings and 210 acres of lawns and meadows, as a gift to Koussevitzky and the orchestra. The offer was gratefully accepted, a two-weekend festival was planned for 1937, and on August 5 that year, the festival’s largest crowd to date assembled under a tent for the first Tanglewood concert, an all-Beethoven program. At the all-Wagner concert that opened the 1937 festival’s second weekend, rain and thunder twice interrupted the Rienzi Overture and necessitated the omission altogether of the Siegfried Idyll, music too gentle to be heard through the downpour. At the intermission, Miss Gertrude Robinson Smith, one of the festival’s founders, made an appeal to raise funds for the building of a permanent structure. The appeal was broadened by means of a printed circular handed out at the two remaining concerts, and within a short time enough money was raised to begin active planning for a “music pavilion.” Eliel Saarinen, the eminent architect selected by Koussevitzky, proposed an elaborate design that went far beyond the festival’s immediate needs, and also well beyond the $100,000 budget. When his second, simplified plans were again deemed too expensive,

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives)

he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to further sim- plify Saarinen’s plans, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expansion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the

Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the season closes with a weekend-long Jazz Festival. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

The Tanglewood Music Center Since its start as the Berkshire Music Center in 1940, the Tanglewood Music Center has become one of the world’s most influential centers for advanced musical study. Serge Koussevitzky, the BSO’s music director from 1924 to 1949, founded the Center with the intention of creating a first-class music academy where, with the resources of a great symphony orchestra at their disposal, young instrumentalists, vocalists, conductors, and composers would sharpen their skills under the tutelage of Boston Symphony musicians and other specially invited artists. The Music Center opened formally on July 8, 1940, with speeches and music. “If ever there was a time to speak of music, it is now in the New World,” said Koussevitzky, alluding to the war then raging in Europe. “So long as art and culture exist there is hope for humanity.” Randall Thompson’s Alleluia for unaccompanied chorus, Then BSO music director Seiji Ozawa, with bass drum, lead- specially written for the ceremony, ing a group of Music Center percussionists during a rehearsal arrived less than an hour before the for Tanglewood on Parade in 1976 (BSO Archives/photo by event began; but it made such an Heinz Weissenstein, Whitestone Photo) impression that it continues to be performed at each summer’s opening ceremonies. The TMC was Koussevitzky’s pride and joy for the rest of his life. He assembled an extraordinary faculty in composition, operatic and choral activities, and instrumental performance; he himself taught the most gifted conductors. Koussevitzky continued to develop the Tanglewood Music Center until 1950, a year after his retirement as BSO music director. Charles Munch, his successor, ran the Tanglewood Music Center from 1951 through 1962, working with Leonard Bernstein and Aaron Copland to shape the school’s programs. In 1963, new BSO music director Erich Leinsdorf took over the school’s reins, returning to Koussevitzky’s hands-on leadership approach while restoring a renewed emphasis on contemporary music. In 1970, three years before his appointment as BSO music director, Seiji Ozawa became head of the BSO’s programs at Tanglewood, with Gunther Schuller leading the TMC and Leonard Bernstein as general advisor. Leon Fleisher was the TMC’s artistic director from 1985 to 1997. In 1994, with the opening of Seiji Ozawa Hall, the TMC cen- tralized its activities on the Leonard Bernstein Campus, which also includes the Aaron Copland Library, chamber music studios, administrative offices, and the Leonard Bernstein Performers Pavilion adjacent to Ozawa Hall. Ellen Highstein became Direc- tor of the Tanglewood Music Center in 1997. The 150 young performers and composers in the TMC’s Fellowship Program— advanced musicians who generally have completed all or most of their formal training—participate in an intensive program encompassing chamber and orchestral music, opera, and art song, with a strong emphasis on music of the 20th and 21st cen- turies. All participants receive full fellowships that underwrite tuition, room, and board. It would be impossible to list all of the distinguished musicians who have studied at the Tanglewood Music Center. According to recent estimates, 20% of the members of American symphony orchestras, and 30% of all first-chair players, studied at the TMC. Prominent alumni of the Tanglewood Music Center include Claudio Abbado, Luciano Berio, Leonard Bernstein, Stephanie Blythe, William Bolcom, Phyllis Curtin, David Del Tredici, Christoph von Dohnányi, Jacob Druckman, Lukas Foss, Michael Gandolfi, John Harbison, Gilbert Kalish, Oliver Knussen, Lorin Maazel, Wynton Marsalis, Zubin Mehta, Sherrill Milnes, Osvaldo Golijov, Seiji Ozawa, Leontyne Price, Ned Rorem, Sanford Sylvan, Cheryl Studer, Michael Tilson Thomas, Dawn Upshaw, Shirley Verrett, and David Zinman. Today, alumni of the Tanglewood Music Center play a vital role in the musical life of the nation. Tanglewood and the Tanglewood Music Center, projects with which Serge Koussevitzky was involved until his death, have become a fitting shrine to his memory, a living embodiment of the vital, humanistic tradition that was his legacy. At the same time, the Tanglewood Music Center maintains its commitment to the future. Koussevit- zky conceived of the TMC as a laboratory in which the future of the musical arts would be discovered and explored, and the institution remains one of the world’s most important training grounds for the composers, conductors, instrumentalists, and vocalists of tomorrow.

Tanglewood Visitor Center The Tanglewood Visitor Center is located on the first floor of the Manor House at the rear of the lawn across from the Koussevitzky Music Shed. The Visitor Center provides information on all aspects of Tanglewood, as well as information about other Berkshire attractions. The Visitor Center also includes an historical exhibit on Tanglewood and the Tangle- wood Music Center, as well as the early history of the estate. You are cordially invited to visit the Tanglewood Visitor Center on the first floor of the Manor House, open this summer from June 21 through August 26. Hours are from 10 a.m. to 5 p.m. Monday through Friday, from 9 a.m. through intermission of the evening concert on Saturday, and from noon until 5 p.m. on Sunday. There is no admission charge. This Summer’s Archival Exhibits at the Tanglewood Visitor Center Celebrating the 75th Anniversary of the BSO at Tanglewood

To mark the 75th anniversary of the Boston Symphony Orchestra’s first concerts at Tanglewood, the historical displays located in the Tanglewood Visitor Center have been completely refurbished. The historical displays in the Visitor Center are located on the first floor of the Tappan House, the manor house built on the Tanglewood estate by William Aspinwall Tappan and his wife Caroline Sturgis Tappan in the 1860s. The exhibit contains information and artifacts docu- menting the history of Tangle- wood the place as well as the origins and early years of the Tanglewood Music Festival, with special emphasis on how Tanglewood became the BSO’s summer home in 1937.

Serge Koussevitzky with Mrs. Gorham This year, visitors will also be able Brooks and her daughter Daphne to experience aspects of Brooks (later Daphne Brooks Prout), Tanglewood’s history with a new who donated the Tanglewood estate to the BSO (BSO Archives/courtesy Interactive Media Exhibit. Daphne Brooks Prout) Located in what was originally the Tappan House library, the Interactive Media Exhibit allows visitors to watch historical footage and other films about the history of Program book for the BSO's first Tanglewood, travel the Tanglewood Time Line, and learn Tanglewood concerts in August 1937 about the 75 archival audio (BSO Archives) downloads being made available this summer as part of the 75th-anniversary celebrations.

Leonard Bernstein, Aaron Copland, and Serge Koussevitzky at Tangle- wood in the late 1940s (BSO Erich Leinsdorf conducting the Berkshire Music Center Archives/photo by Ruth Orkin) Orchestra (now called the Tanglewood Music Center Orchestra) in the Theatre-Concert Hall, c.1967 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo)

In Consideration of Our Performing Artists and Patrons

Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. Thank you for your cooperation.

Tanglewood Information

PROGRAM INFORMATION for Tanglewood events is available at the Main Gate, Bernstein Gate, Highwood Gate, and Lion Gate, or by calling (413) 637-5180. For weekly pre-recorded program information, please call the Tanglewood Concert Line at (413) 637-1666. BOX OFFICE HOURS are from 10 a.m. until 6 p.m. Monday through Friday (extended through intermission on concert evenings); Saturday from 9 a.m. until intermission; and Sunday from 10 a.m. until intermission. Payment may be made by cash, personal check, or major credit card. To charge tickets by phone using a major credit card, please call SYMPHONYCHARGE at 1-888-266-1200, or in Boston at (617) 266-1200. Tickets can also be ordered online at tanglewood.org. Please note that there is a service charge for all tickets purchased by phone or on the web. TANGLEWOOD’s WEB SITE at tanglewood.org provides information on all Boston Symphony Orchestra activities at Symphony Hall and at Tanglewood, and is updated regularly. FOR PATRONS WITH DISABILITIES, parking facilities are located at the Main Gate and at Ozawa Hall. Wheelchair service is available at the Main Gate and at the reserved-parking lots. Accessible restrooms, pay phones, and water fountains are located throughout the Tanglewood grounds. Assistive listening devices are available in both the Koussevitzky Music Shed and Seiji Ozawa Hall; please speak to an usher. For more information, call VOICE (413) 637-5165. To purchase tickets, call VOICE 1-888-266-1200 or TDD/TTY (617) 638-9289. For information about disability services, please call (617) 638-9431. FOOD AND BEVERAGES can be obtained at the Tanglewood Café, the Tanglewood Grille, and at other locations as noted on the map. The Tanglewood Café is open Monday through Friday from noon to 2:30 p.m., on Saturdays from 9 a.m. to 2:30 p.m., and at concert times from 5:30 p.m. through intermission on Fridays and Saturdays, and from noon through intermission on Sundays. The Tanglewood Grille is open from 5:30 p.m. through intermission on Fridays and Saturdays and from noon through intermission on Sundays. Visitors are invited to picnic before concerts. Meals to go may be ordered online in advance at tanglewood.org/dining or by phone at (413) 637-5152. LAWN TICKETS: Undated lawn tickets for both regular Tanglewood concerts and specially priced events may be purchased in advance at the Tanglewood box office. Regular lawn tickets for the Music Shed and Ozawa Hall are not valid for specially priced events. Lawn Pass Books, available at the Main Gate box office, offer eleven tickets for the price of ten. LAWN TICKETS FOR ALL BSO AND POPS CONCERTS IN THE SHED MAY BE UPGRADED AT THE BOX OFFICE, subject to availability, for the difference in the price paid for the original lawn ticket and the price of the seat inside the Shed. FREE LAWN TICKETS FOR YOUNG PEOPLE: On the day of the concert, children age seven- teen and younger will be given special lawn tickets to attend Tanglewood concerts FREE OF CHARGE. Up to four free children’s lawn tickets are offered per parent or guardian for each concert, but please note that children under five must be seated on the rear half of the lawn. Please note, too, that children under five are not permitted in the Koussevitzky Music Shed or in Seiji Ozawa Hall during concerts or Open Rehearsals, and that this policy does not apply to organized children’s groups (15 or more), which should contact Group Sales at Symphony Hall in Boston, (617) 638-9345, for special rates. KIDS’ CORNER, where children accompanied by adults may take part in musical and arts and crafts activities supervised by BSO staff, is available during the Saturday-morning Open Rehearsals, and also beginning at 12 noon before Sunday-afternoon concerts. Further information about Kids’ Corner is available at the Visitor Center. OPEN REHEARSALS by the Boston Symphony Orchestra take place each Saturday morning at 10:30, for the benefit of the orchestra's Pension Fund. Seating in the Koussevitzky Music Shed is reserved and ticketed at $30 and $20 per ticket. General admission to the lawn is $10. Tickets are available at the Tanglewood box office. A half-hour pre-rehearsal talk is offered free of charge to all ticket holders, beginning at 9:30 a.m. in the Shed. FOR THE SAFETY AND CONVENIENCE OF OUR PATRONS, PEDESTRIAN WALKWAYS are located in the area of the Main Gate and many of the parking areas. LOST AND FOUND is in the Visitor Center in the Tanglewood Manor House. Visitors who find stray property may hand it to any Tanglewood official. FIRST AID STATIONS are located near the Main Gate and the Bernstein Campus Gate. PHYSICIANS EXPECTING CALLS are asked to leave their names and seat numbers with the guide at the Main Gate (Bernstein Gate for Ozawa Hall events). THE TANGLEWOOD TENT near the Koussevitzky Music Shed offers bar service and picnic space to Tent Members on concert days. Tent Membership is a benefit available to donors through the Tanglewood Friends Office. THE GLASS HOUSE GIFT SHOPS adjacent to the Main Gate and the Highwood Gate sell adult and children’s leisure clothing, accessories, posters, stationery, and gifts. Please note that the Glass House is open during performances. Proceeds help sustain the Boston Symphony concerts at Tanglewood as well as the Tanglewood Music Center.

Severe Weather Action Plan

LIGHTNING AND SEVERE WEATHER ARE NOT FULLY PREDICTABLE. Patrons, visitors, and staff are responsible for observing weather conditions, heeding storm warnings, and taking refuge. Storm shelters are identified on campus maps posted at main gates, in the Tanglewood program book, and on building signage. Please take note of the designated storm shelter nearest you and await notification of safe conditions. Please note that tent structures are not lightning-protected shelters in severe storm conditions. Readmission passes will be provided if you choose to take refuge in your vehi- cle during the storm.

PLEASE NOTE THAT A PERFORMANCE MAY BE DELAYED OR SUSPENDED during storm conditions and will be resumed when it is safe to do so.

Boston Symphony Orchestra Tanglewood 2012

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

BERNARDHAITINK SEIJI OZAWA MUSICDIRECTOR THOMASWILKINS LaCroix Family Fund Music Director Laureate Ray and Maria Stata Germeshausen Youth and Conductor Emeritus Music Director Family Concerts Conductor endowed in perpetuity endowed in perpetuity endowed in perpetuity Flutes Bass Clarinet Benjamin Wright Harp Arthur and Linda Gelb Elizabeth Rowe Craig Nordstrom chair Jessica Zhou Principal Nicholas and Thalia Zervas Walter Piston chair, Thomas Siders chair, endowed in perpetuity endowed in perpetuity Bassoons Assistant Principal by Sophia and Bernard Richard Svoboda Kathryn H. and Edward Gordon Clint Foreman M. Lupean chair Myra and Robert Kraft Principal chair, endowed in perpetuity Edward A. Taft chair, Michael Martin Voice and Chorus endowed in perpetuity Ford H. Cooper chair, Elizabeth Ostling endowed in perpetuity John Oliver Associate Principal Suzanne Nelsen Tanglewood Festival Marian Gray Lewis chair, John D. and Vera M. Chorus Conductor endowed in perpetuity MacDonald chair Trombones Alan J. and Suzanne W. Richard Ranti Toby Oft Dworsky chair, endowed in perpetuity Piccolo Associate Principal Principal Diana Osgood Tottenham/ J.P. and Mary B. Barger Cynthia Meyers Hamilton Osgood chair, chair, endowed in perpetuity Librarians Evelyn and C. Charles endowed in perpetuity Marran chair, endowed Stephen Lange Marshall Burlingame in perpetuity Contrabassoon Principal Bass Trombone Lia and William Poorvu Oboes Gregg Henegar chair, endowed in perpetuity James Markey Helen Rand Thayer chair William Shisler John Ferrillo John Moors Cabot chair, Principal endowed in perpetuity John Perkel Horns Mildred B. Remis chair, Douglas Yeo endowed in perpetuity ° James Sommerville Assistant Mark McEwen Principal Conductors James and Tina Collias Helen Sagoff Slosberg/Edna Tuba chair S. Kalman chair, endowed Mike Roylance Marcelo Lehninger in perpetuity Principal Anna E. Finnerty chair, Keisuke Wakao endowed in perpetuity Assistant Principal Richard Sebring Margaret and William C. Farla and Harvey Chet Associate Principal Rousseau chair, endowed Sean Newhouse Krentzman chair, endowed Margaret Andersen in perpetuity in perpetuity Congleton chair, endowed in perpetuity Personnel Timpani Managers English Horn Rachel Childers John P. II and Nancy S. Timothy Genis Lynn G. Larsen Robert Sheena Eustis chair, endowed Sylvia Shippen Wells chair, Beranek chair, endowed in perpetuity endowed in perpetuity Bruce M. Creditor in perpetuity Assistant Personnel (position vacant) Manager Elizabeth B. Storer chair, Percussion Clarinets endowed in perpetuity J. William Hudgins Stage Manager William R. Hudgins Jason Snider Peter and Anne Brooke chair, endowed in perpetuity John Demick Principal Jonathan Menkis Ann S.M. Banks chair, Jean-Noël and Mona N. Daniel Bauch endowed in perpetuity Tariot chair Assistant Timpanist Michael Wayne Mr. and Mrs. Edward H. Linde chair * participating in a system Thomas Martin Trumpets of rotated seating Associate Principal & (position vacant) E-flat clarinet Thomas Rolfs Peter Andrew Lurie chair, § on sabbatical leave Principal endowed in perpetuity Stanton W. and Elisabeth ° on leave K. Davis chair, endowed Roger Louis Voisin chair, endowed in perpetuity (position vacant) in perpetuity Barbara Lee chair A Brief History of the Boston Symphony Orchestra

Now in its 131st season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown. Today the BSO reaches millions through radio, television, the internet, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the Boston community; and, during the Tanglewood season, it sponsors the Tanglewood Music Center, one of the most important training grounds for young professional- caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, is known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music. The BSO gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, Boston Symphony Orchestra concerts were held in the Old Boston Music Hall; Symphony Hall, one of the world’s most revered concert halls, opened on October 15, 1900. Henschel was Major Henry Lee Higginson, succeeded by the German-born and -trained conductors Wilhelm founder of the Boston Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating Symphony Orchestra in the appointment of the legendary Karl Muck, who served two (BSO Archives) tenures, 1906-08 and 1912-18. Meanwhile, in July 1885, the musicians of the Boston Symphony Orchestra had given their first “Promenade” concert, offering both music and refreshments, and fulfilling Major Higginson’s wish to give “concerts of a lighter kind of music.” These concerts, soon to be given in the spring- time and renamed first “Popular” and then “Pops,” fast became a tradition. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama-Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the

The first photograph, actually an 1882 collage, of the Boston Symphony Orchestra under Georg Henschel (BSO Archives) Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians. In 1929 free Esplanade concerts were inaugurated by Arthur Fiedler, a member of the orchestra since 1915 and who in 1930 became eighteenth conductor of the Boston Pops. Fiedler was Pops conductor for half a century, being followed by John Williams in 1980 and Keith Lockhart in 1995. It was in 1936 that Koussevitzky led the orchestra’s first concerts in the Berkshires; he and the players took up annual summer residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center). Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting contemporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named Music Director Laureate. Bernard Haitink, named principal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO Serge Koussevitzky arriving at in Boston, New York, at Tanglewood, and on tour in Tanglewood prior to a concert (BSO Archives) Europe, as well as recording with the orchestra. The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that included works newly commissioned for the orchestra’s 125th anniversary, partic- ularly from significant American composers; issued a number of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tanglewood Music Center, and in summer 2007 led the BSO in an acclaimed tour of European music festivals. Through its worldwide activities and more than 250 concerts annually, the Boston Symphony Orchestra continues to fulfill and expand upon the vision of its founder Henry Lee Higginson.

On the lawn at Tanglewood in 1941, with a sign promoting a gala benefit concert for the United Service Organizations and British War Relief (BSO Archives/courtesy The Berkshire Eagle)

Table of Contents

3 WELCOME TO TANGLEWOOD

Friday, August 10, 6pm (Prelude Concert) 4 HAWTHORNE STRING QUARTET; THOMAS MARTIN, clarinet; VYTAS BAKSYS, piano Music of Previn and Harbison

Friday, August 10, 8:30pm 10 BOSTON SYMPHONY ORCHESTRA PINCHAS ZUKERMAN, conductor and violin; ELIZABETH ROWE, flute; JOHN FERRILLO, oboe; MALCOLM LOWE, violin; JOHN GIBBONS, harpsichord Music of J.S. Bach

Saturday, August 11, 8:30pm 21 BOSTON SYMPHONY ORCHESTRA STÉPHANE DENÈVE, conductor; YO-YO MA, cello Music of Previn, Elgar, and Shostakovich

Sunday, August 12, 2:30pm 33 BOSTON SYMPHONY ORCHESTRA CHRISTOPH VON DOHNÁNYI, conductor; PAUL LEWIS, piano Music of Beethoven, Mozart, and Strauss

“This Week at Tanglewood” Once again this summer, Tanglewood patrons are invited to join us in the Koussevit- zky Music Shed on Friday evenings from 7:15-7:45pm for “This Week at Tanglewood” hosted by Martin Bookspan, a series of informal, behind-the-scenes discussions of upcoming Tanglewood events, with special guest artists and BSO and Tanglewood personnel. This week’s guests, on Friday, August 10, are conductor Stéphane Denève and video artist Netia Jones. The series continues through Friday, August 24, the final weekend of the BSO’s 2012 Tanglewood season.

Saturday-Morning Open Rehearsal Speakers July 7 and 21; August 4—Robert Kirzinger, BSO Assistant Director of Program Publications July 28; August 11 and 25—Marc Mandel, BSO Director of Program Publications

Koussevitzky Shed lawn video projections provided by Myriad Productions, Saratoga Springs, NY

TANGLEWOODWEEK 6 TABLEOFCONTENTS 1 From the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts: a page about the Tanglewood estate, and the gift of the estate to the BSO as a permanent home for what was then called the Berkshire Symphonic Festival (BSO Archives)

2 Welcome to Tanglewood

On behalf of everyone affiliated with the Boston Symphony Orchestra and Tanglewood, it is my pleasure and privilege to welcome you here this summer as we celebrate the 75th anniversary of the BSO’s first Tanglewood concerts. In 1937, Serge Koussevitzky and the BSO played just six concerts, two of which we are replicating this year—the all-Beethoven opener, and the all-Wagner concert so famously interrupted by a severe thunderstorm. As it turned out, however, that storm provided an unanticipated bonus: it led ultimately to the construction of the Music Shed, which remains the venue for the BSO’s Tanglewood concerts to this day. The 1937 season was actually the second year that Koussevitzky and the orchestra played concerts in the Berkshires: they had first done so in 1936, making such a profound impression that the owners of the Tanglewood estate donated it to Koussevitzky as a place for the BSO to continue its summer music-making. Over the years, Tanglewood has since expanded its offerings to include an entire summer’s worth of concerts encompassing music of all kinds, performed by a vast range of internationally celebrated artists, drawing audiences that today number consistently in the hundreds of thousands each year. Visitors to Tanglewood of course experience more than just world-class music- making: they share experiences that are immeasurably heightened by the beauti- ful and idyllic surroundings of Tanglewood and the Berkshire Hills—another reason patrons find themselves returning year after year. This summer we take further pride in our surroundings by marking the anniversary with the planting of 75 trees to enhance Tanglewood’s beauty even more. But even as we celebrate Tanglewood’s rich history, we also continue always to look to the future, and not just through an ever-increasing range of musical offerings. Since its founding by Koussevitzky in 1940 as the Berkshire Music Center, the Tanglewood Music Center has continued to train and nourish countless young musicians on the verge of professional careers. We are also continually increasing the range of offerings made possible by the most recent advances in media and technology, including, to mark the 75th anniversary this summer, an Interactive Media Center at the Tanglewood Visitor Center, an Interactive Time Line about the history of Tanglewood, and a series of 75 historic audio performances from the BSO’s Tanglewood archives, being issued as downloads on the BSO’s website. In conclusion, I thank you on behalf of us all for your being at Tanglewood and by supporting us, and this historic festival, with your presence. We hope to see you here again soon, and often. Yours truly,

Mark Volpe Eunice and Julian Cohen Managing Director Boston Symphony Orchestra

TANGLEWOODWEEK 6 WELCOMETOTANGLEWOOD 3 Tanglewood 75 SUMMER 2012

Prelude Concert Friday, August 10, 6pm Florence Gould Auditorium, Seiji Ozawa Hall

HAWTHORNE QUARTET SI-JING HUANG, violin (1st violin in Clarinet Quintet) RONAN LEFKOWITZ, violin (Harbison; 2nd violin in Clarinet Quintet) MARK LUDWIG, viola SATO KNUDSEN, cello

THOMAS MARTIN, clarinet VYTAS BAKSYS, piano

PREVIN Clarinet Sonata I. = 116 II. Very Slow ( = ca. 60) Interlude: Slow ( = 56) III. Fast ( = ca. 92)

HARBISON Trio Sonata for Violin, Viola, and Cello 1. Fast 2. Fast 3. Fast 4. Fast

PREVIN Clarinet Quintet, for clarinet and string quartet I. Tempo = 88 II. Slow and lonely III. [no tempo designation]

Bank of America is proud to sponsor the 2012 Tanglewood season.

Steinway & Sons is the exclusive provider of pianos for Tanglewood. Special thanks to Commonwealth Worldwide Chauffeured Transportation. In consideration of the performers and those around you, please turn off cellular phones, texting devices, pagers, watch alarms, and all other personal electronic devices during the concert. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members. Note that the use of audio or video recording during performances in the Koussevitzky Music Shed and Seiji Ozawa Hall is prohibited.

4 NOTES ON THE PROGRAM

The celebrated musical versatility of André Previn (b.1929) is at the root of his two clarinet-friendly pieces on this program, both written for BSO clarinetist Thomas Martin. André Previn-the-conductor-of-classical-music has been working with the Boston Symphony Orchestra for more than thirty years now, and has also performed with many of its players as a pianist in chamber music settings (especially the Boston Symphony Chamber Players). Although the BSO and subsets thereof have played Previn-the-composer’s chamber and orchestral music on many occasions, the last decade has brought several high-profile collaborations involving him as both conductor and composer. The first of these was his Violin Concerto Anne-Sophie, commissioned by the BSO and written for the orchestra and violinist Anne-Sophie Mutter, who premiered it under Previn’s direction in March 2001. Since then, the BSO commissioned and premiered his “orchestral nocturne” Owls (October 2008) and premiered his Double Concerto for violin, double bass, and orchestra, with Mutter and double bassist Roman Patkoló, in April 2007. The BSO also commissioned his Octet for Eleven for the Boston Symphony Chamber Players, who premiered it in October 2010. Previn has also played a few small-group jazz concerts at Tangle- wood. His latest BSO commission, which he has called Music for Boston, was written for the BSO’s 75th anniversary at Tanglewood this summer and will be premiered here in tomorrow night’s Boston Symphony Orchestra concert. It was during this period of heady collaboration that Tom Martin, who has a particular affinity for the clarinet’s jazz history, engaged André Previn-the-jazz-musician in conversation. Martin asked him to autograph an LP of Previn’s 1958 collaboration with Benny Goodman, “The King and Me,” and was treated to anecdotes about those sessions, on which Previn was both composer and pianist. (For you youngsters in the audience, “The King” is of course Goodman, the King of Swing, and the title is a takeoff on the Rodgers and Hammerstein musical The King and I.) A year later, Martin, increasingly impressed with the range and depth of Previn’s musicianship (and especially the writing for winds in the Violin Concerto), asked the composer to write a new Sonata for Clarinet and Piano, with Martin himself providing the commission. Previn agreed, but a couple of years passed before he could write the piece. The kick-start for its composition was an opportunity for it to premiere at the 2010 Prague Spring Festival, where Martin was to perform along with the Hawthorne String Quartet in the annual Terezín Legacy Concert co-sponsored by the Terezín

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 5 Music Foundation and the Prague Spring Festival. Previn himself was pianist in the premiere, which took place on May 28, 2010. Martin says that his commission of Previn’s Clarinet Sonata was not for himself, but for all clarinetists as an outstanding addition to the repertoire. The piece is in four sections—three are marked as movements, with the third section called an “Inter- lude.” The clarinet and piano are in every way equal partners throughout. The first movement features punchy rhythms with syncopation, capitalizing on the clarinet’s ability in rapid runs and big leaps. There are frequent points of direct conversation between the two instruments. Toward the end of the movement, the meter shifts from 4/4 to 3/4 for a lyrical section, the mood and style of which are a recurring idea. The second movement is introduced by a slow 3/4 piano melody that falls through three octaves; then a series of rich chords defines the range of the movement. The clarinet’s melody is songlike at first, but an answering phrase adds intri- cate leaps and runs, which overflow into the piano. Previn takes advantage of the clarinet’s large compass with phrases beginning in the rich, low, so-called chalumeau register and rising to the instrument’s highest range. The bluesy interlude, in 12/8, expands from a short phrase in the clarinet, rising in range and in the piano’s increasingly active accompaniment. The finale begins in 5/8 time, anticipating the syncopations and meter changes throughout the movement. There are brief, clear references to the first movement, tying the whole piece together. The Clarinet Quintet originated naturally from Previn’s encounters with the Haw- thorne Quartet in Prague. While in Prague, Hawthorne violist and Terezín Music Foundation director Mark Ludwig asked Previn if he would consider composing a piece for Martin and the quartet, a configuration that has performed together on many occasions, including in Prague. Much to their delight, Previn immediately

6 agreed. The commission came from the Terezín Music Foundation, of which Ludwig is director, and “was made possible by Carol and Joseph Reich in loving memory of the two Townsend Friedmans.” “The André Previn Clarinet Quintet was commissioned by the Terezín Music Foundation in 2010 as a living memorial to the composers and musicians of the Terezín concentration camp who perished during the holocaust.” Thomas Martin and the Hawthorne String Quartet gave the world premiere of the piece on November 14, 2011, at a Terezín Music Foundation gala in Boston with the composer in attendance. The three-movement quintet begins with a suggestively lilting phrase in the strings, setting up the clarinet as the odd man out with a rapid arpeggio. The lilt is tempered by brief shifts into asymmetrical measures, and the back-and-forth keeps the music moving forward. The string quartet’s role is not that of accompaniment, but as an ensemble, as a balanced partner for the clarinet; the roles for the individual strings are also balanced within the group, with individuals sometimes pairing up with the clarinet. Alternating between two kinds of music, the movement increases in tension and energy right up to the end. The marking of the middle movement, “Slow and lonely,” speaks for its mood; it is a freely lamenting aria for clarinet with quartet accompaniment. The finale is a perpetual-motion romp, a quick melody in the clarinet bouncing in syncopation off the quartet. More metrical shifts create imbalance and further excitement. A long coda ratchets up the energy further for a breathless close.

One of the country’s most honored composers, John Harbison (b.1938) is the recipient of a Pulitzer Prize and commissions from many of the world’s major musical organizations. His association with the Boston Symphony Orchestra dates back to his time at Tanglewood in 1959 as a TMC Fellow; the BSO first performed his music in 1977, and a few years later, for its centennial, commissioned his Symphony No. 1. The orchestra has since commissioned many of Harbison’s orchestral works, including the Fifth and Sixth symphonies, the Requiem, and a new work celebrating the 75th anniversary of Tanglewood, Koussevitzky Said: for chorus and orchestra, to be performed this coming August 26, preceding Beethoven’s Ninth Symphony on the final Sunday of this season’s Tanglewood Festival. A musician with a strong sense of tradition, he has written for every conceivable genre of chamber, orchestral, and stage music and is also active as a conductor and teacher. He has been affiliated with Boston’s Emmanuel Music for decades, and is chair of the composition program here at Tanglewood. Harbison wrote his Trio Sonata (1995) for oboe, English horn, and bassoon, but he specifies in the score that the piece may be played by any number of trio combina- tions—the original double reeds; clarinets (two “normal” B-flat clarinets plus a B-flat bass clarinet); sax trio (soprano, alto, baritone), or the present combination of three strings. There is also a published version for solo keyboard (not necessarily piano). He also suggests that “performers may wish to try mixed configurations (e.g., violin,

PRELUDE CONCERT SEATING Please note that seating for the Friday-evening Prelude Concerts in Seiji Ozawa Hall is unreserved and available on a ﬁrst-come, ﬁrst-served basis when the grounds open at 5:30pm. Patrons are welcome to hold one extra seat in addition to their own. Also please note, however, that unoccupied seats may not be held later than five minutes before concert time (5:55pm), as a courtesy to those patrons who are still seeking seats.

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 7 English horn, and bass clarinet).” It was first performed by the Oakwood (WI) Cham- ber Players on May 12, 1995, in a version for three clarinets, but with a bassoon playing the bass clarinet part. The composer estimates that the piece has since been performed by every combination of instruments suggested in the score, including mixed ensembles. Here, it will be performed by the standard string trio combination of violin, viola, and cello. The Trio Sonata takes its title from the Baroque trio sonata, a genre typically consist- ing of two or three solo instruments (usually within the same family, e.g., two violins) with continuo, but no deeper resemblance is implied than that the work is for three equal instruments. Harbison’s piece is light and essentially neoclassical in style, sug- gesting a kinship with such works as Francis Poulenc’s clever mixed-instrument “sonatas” from the early 1920s and other such works. There are four movements, totaling only about five minutes. Each movement is marked “fast,” and they are somewhat related in their musical material. The melodic lines are basically modal in character. Each movement has its own basic meter, with interpolated shorter or longer measures keeping things slightly off balance in the first two movements: prevailing 4/4 in the first movement with measures of 2/4, 6/4, and 3/4; 6/8, 9/8, 12/8, or even 15/8 in the second (all denoting a three-part division of the beat); 3/4 throughout the third, and 2/4 in the finale. Frequent syncopation provides further rhythmic interest among the three well-balanced parts, and in these contexts Harbison continually pushes and pulls the short thematic fragments into new and ever-evolving shapes.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

Artists

Named for New England novelist Nathaniel Hawthorne, the Hawthorne String Quartet includes Boston Symphony members Ronan Lefkowitz and Si-Jing Huang, violins, Mark Ludwig, viola, and Sato Knudsen, cello. Since its inception in 1986, the ensemble has performed extensively throughout Europe, South America, Japan, and the United States, including appearances at such major festivals as Tanglewood, Ravinia, and Aspen. The group’s expansive repertoire ranges from 18th- and 19th- century classics to contemporary works. It has distinguished itself internationally by championing the works of composers persecuted during the Nazi regime, with an emphasis on the Czech composers incarcerated in the Theresienstadt concentration camp (Terezín). In October 1991, the quartet performed in Terezín and Prague in ceremonies hosted by President Vaclav Havel to mark the opening of the Terezín Ghetto Museum and to commemorate the 50th anniversary of the first transports to Terezín. In November 2002 they performed additional concerts at the invitation of President Havel and under the sponsorship of the U.S. State Department, to help raise funds for Czech flood relief and restoration efforts at Pamatník Terezín. The quartet has returned repeatedly to the Czech Republic, for performances, master classes at the Prague Conservatory, and film projects. The Hawthorne Quartet’s recordings include chamber music by the American composers Arthur Foote, Samuel Coleridge-Taylor, Thomas Oboe Lee, and David Post, as well as several motion pic- ture and documentary soundtracks. The group has also performed in radio and television programs worldwide, and in documentaries. Their CD “Chamber Music from

8 Theresienstadt” won the Preis der Schallplattenkritik in 1991. Other recordings include “Silenced Voices” (Northeastern Records), with newly recovered music of composers persecuted during World War II; string quartets by Pavel Haas and Hans Krása (part of London/Decca’s “Entartete Musik” project), and Ervín Schulhoff’s Concerto for Solo String Quartet and Chamber Orchestra (also in the “Entartete Musik” series). The quartet gave the American premiere of Schulhoff’s concerto with Seiji Ozawa and the Boston Symphony Orchestra. Appointed quartet-in-residence at Boston College in 1998, the Hawthorne String Quartet has collaborated with Christopher Hogwood, Ned Rorem, André Previn, Sir Simon Rattle, Yo-Yo Ma, Joshua Bell, Lynn Harrell, Martha Argerich, and the Pilobolus Dance Company, and has made solo appearances with the Boston Symphony, National Symphony, Juilliard Orchestra, and the Deutsche Kammerphilharmonie. Among the quartet’s current projects is “Remembrance & Beyond,” a collaboration with artist Jim Schantz and the Terezín Chamber Music Foundation. This coming October at Symphony Hall, they will perform Schulhoff’s Concerto for String Quartet and Wind Orchestra with the Boston Symphony Orchestra under the direction of Marcelo Lehninger. Please contact [email protected] for more information about the Hawthorne String Quartet. Thomas Martin served as principal clarinet of the Alabama Symphony Orchestra before joining the Boston Symphony in the fall of 1984. He occupies the Stanton W. and Elizabeth K. Davis Chair, endowed in perpetuity. Born in Oshkosh, Wisconsin, Mr. Martin graduated from the Eastman School of Music, where he was a student of Stanley Hasty and Peter Hadcock. He participated in master classes with Guy Deplus of the Paris Conservatory. Mr. Martin performs frequently as a recitalist and chamber musician and has been heard on “Morning Pro Musica” on WGBH radio. He has appeared in the Chamber Prelude series at Symphony Hall, in the Friday Preludes at Tanglewood, at the Longy School of Music, and at the Gardner Museum. Pianist Vytas Baksys is an active freelance collaborator performing in a variety of recitals, competitions, and other musical settings employing various styles and gen- res throughout North America, Europe, and Asia. Since 1989 he has been the faculty pianist of the Fellowship Conducting Program at Tanglewood. He is a frequent keyboardist with the Boston Symphony and Boston Pops orchestras, has performed on several occasions with the Boston Symphony Chamber Players, and works with such other area ensembles as the Boston Secession, Concord Chamber Music Society, and the Rivers School Conservatory. Of Lithuanian descent, Mr. Baksys is a graduate of the New England Conservatory of Music and State University of New York at Stony Brook. He has participated in recordings for RCA, CRI, Golden Crest, Sony Classical, Deutsche Grammophon, Warner Brothers, Nonesuch, Reference Recordings, and BSO Classics. Kevin Toler

TANGLEWOODWEEK 6 PRELUDEPROGRAMNOTES 9 Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Friday, August 10, 8:30pm THE GEORGE W. AND FLORENCE N. ADAMS CONCERT ENDOWED IN PERPETUITY

PINCHAS ZUKERMAN, conductor and violin

ALL-J.S. BACH PROGRAM

“Brandenburg” Concerto No. 3 in G for strings, BWV 1048 Allegro—Adagio—Allegro

Concerto in C minor for oboe, violin, and strings, BWV 1060R Allegro Adagio Allegro JOHN FERRILLO, oboe PINCHAS ZUKERMAN, solo violin

Concerto in D minor for two violins and strings, BWV 1043 Vivace Largo ma non tanto Allegro PINCHAS ZUKERMAN and MALCOLM LOWE, solo violins

{Intermission}

Bank of America is proud to sponsor the 2012 Tanglewood season.

10 Violin Concerto No. 1 in A minor, BWV 1041 [Allegro] Andante Allegro assai Mr. ZUKERMAN

“Brandenburg” Concerto No. 5 in D for flute, violin, keyboard, and strings, BWV 1050 Allegro Affettuoso Allegro ELIZABETH ROWE, flute Mr. ZUKERMAN, solo violin JOHN GIBBONS, harpsichord

Florence Newsome and George William Adams Florence and George Adams shared a love of music. Mrs. Adams grew up in Jamaica Plain and attended Boston Symphony and Pops concerts frequently with her mother during the Koussevitzky-Fiedler era. The same devotion led them to travel to Lenox by train in the 1930s—a more arduous journey than it is today—to hear the ﬁrst concerts presented by the Berkshire Symphonic Festival in a tent. In 1937, after Lenox became the summer home of the Boston Symphony, Mrs. Adams attended the famous “thunderstorm concert” that led Gertrude Robinson Smith to begin fundraising to build a permanent music shed. A graduate of Simmons College and Boston University, Mrs. Adams began her career as a reference librarian with the Boston Public Library. She met and married her husband George, also a librarian, while both were working at the Newark Public Library in New Jersey. Upon the birth of their daughter the family relocated and Mrs. Adams began her association with the Hartford Public Library, where she served as a branch librarian for thirty-six years. An expert on Connecticut legislative history, Mr. Adams was consulted by many state lawmakers and authored numerous articles in his post as legislative reference chief of the Connecticut State Library. Having found many years of enjoyment in the music of the Boston Symphony Orches- tra, especially in its tranquil Berkshire setting, Mrs. Adams decided to endow a concert there to maintain that tradition—the ﬁrst such memorial concert to be endowed at Tanglewood. She died just weeks before the first George W. and Florence N. Adams Concert took place on August 1, 1987, a program featuring works of George Perle and Felix Mendelssohn conducted by Seiji Ozawa.

TANGLEWOODWEEK 6 FRIDAYPROGRAM 11 NOTES ON THE PROGRAM

Johann Sebastian Bach (1685-1750) “Brandenburg” Concerto No. 3 in G, BWV 1048 Concerto in C minor for oboe, violin, and strings, BWV 1060R Concerto in D minor for two violins and strings, BWV 1043 Violin Concerto No. 1 in A minor, BWV 1041 “Brandenburg” Concerto No. 5 in D, BWV 1050 The concerto more or less as we know it began to thrive at the beginning of the eighteenth century and became an important standalone instrumental genre in the hands of Vivaldi, Telemann, and others. It was Vivaldi whose precedent Bach most closely followed in developing his own concerto voice, going so far as to copy out and rearrange concertos by the Italian after encountering his music in Weimar in the early 1710s. Although the origins of these pieces are not always clear, some of the concertos by Bach we continue to enjoy began as concertos by Vivaldi. Bach’s various professional positions dictated to a great degree the kinds of pieces he composed. At Weimar between 1708 and 1717, where he was appointed court organist, Bach apparently wrote much of his solo organ music, with a few concertos (and arrangements) and cantatas as well. At Cöthen between 1717 and 1723, he wrote the bulk of his music for solo instruments, including the partitas and sonatas for solo violin, the solo cello suites, the keyboard preludes and fugues of The Well-Tempered Clavier, Book I, and the Brandenburg Concertos. The Brandenburgs are of course some of Bach’s most familiar and most popular pieces. He wrote the six concertos for varied forces during his time in Cöthen, trig-

12 gered by his meeting in Berlin of the music-loving Christian Ludwig, Margrave of Brandenburg, half-brother of Friedrich Wilhelm I, King of Prussia. Although more or less happily employed by Leopold, Prince of Anhalt-Cöthen, a music-lover himself, Bach was always on the lookout for important new patrons and ways to supple- ment his income. Still, he didn’t follow up immediately on Christian Ludwig’s request for music for his court orchestra. In 1721 he finally presented his six Brandenburg concertos to the Margrave, who, apparently, had inadequate means at his disposal to present them; he neither thanked nor paid Bach for his efforts, nor did he return the scores. Bach scholar Christoph Wolff and others suspect that at least some of the concertos were written during Bach’s concentration on learning the ropes of the concerto genre while in Weimar, or at least for the orchestra at Cöthen; they were certainly not created out of whole cloth for the Margrave. There’s little hope of ever coming to a definitive conclusion about the compositional history of these pieces. In some ways the six fit into a pattern of catalogue collections that Bach began writing and assembling beginning around this time—that is, collections of pieces for demonstra- tion of a variety of compositional and pedagogical approaches, such as the first Little Keyboard Book for Anna Magdalena Bach and the Well-Tempered Clavier. The variety and range of the Brandenburgs suggest a working-out of different kinds of solo-vs.- ensemble textures. They are, in contrast to the solo concertos on this program, of the concerto grosso genre, in which a small group of instruments opposes a larger group (in the case of Corelli’s defining Opus 6 concerti grossi, two violins and cello versus an orchestra, but Bach’s are more varied). The distinction can be subtle, or non-existent, in practice. The “Brandenburg” Concerto No. 3 in G, BWV 1048, the shortest of the set, is scarcely concerto-like at all, being scored for well-balanced groups of three violins, three violas, three cellos, and continuo. These days one often hears it performed by a string orchestra, with multiple instruments on a part; in this evening’s performance, there are nine violins (three on a part), six violas, three cellos, and a continuo of harpsichord with double bass. The bright Allegro is one of the most familiar movements of these familiar works, full of rapid figures and sequences, which Bach enlivens by distributing smaller fragments among the groups of instruments, causing them to move through the space of the orchestra. The middle movement provides cause for some speculation, being a small cadence of just two chords—originally perhaps a basis for a short improvised cadenza of some sort by the ensemble leader. The finale, Allegro, is even more exuberant than the opening movement. The movement is in two large sections, each repeated verbatim (AABB). “Brandenburg” Concerto No. 5 in D, BWV 1050, is scored for a concertante group of flute, violin, and keyboard plus orchestra. The presence of a keyboard as a true solo participant makes this piece the first accompanied keyboard concerto in the history of music. Bach himself would have played this part, probably (suggests Bach scholar Alfred Dürr) to demonstrate the capabilities of a newly acquired two-manual harpsichord he had purchased in Berlin for the Cöthen court. (It was during his Berlin trips to arrange for its purchase that he would have met the Margrave of Branden- burg.) The ripieno or orchestra consists of a single violin section, violas, cellos, and double basses (two in this case). The harpsichord part, when it’s not engaging in soloist work, falls back into the continuo role, just as the solo violinist tends to play with the ripieno group when not otherwise engaged. This is also the first time Bach wrote specifically for the transverse flute (held out to the side, the predecessor of our modern flute—as opposed to the vertically held recorder), an instrument that would greatly gain in importance in his music after Cöthen. The textures in the big first movement (nearly as long as the entire Brandenburg No. 3) are enormously varied,

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 13 and the thematic material is subject to a greater amount of transformation than in many contemporary concertos. The solo presence of the harpsichord is underlined by a big written-out cadenza—sixty-five measures!—just prior to the final statement of the ripieno theme. The B minor second movement is chamber music: the solo violin and solo flute with keyboard alone. The movement is marked Affettuoso—affec- tionate, tender; it features some lovely, intimate interaction among the soloists. The finale, a fugue with a jig-like theme, begins with the soloists alone; the body of the orchestra is sometimes a full participant in the fugue, sometimes not, for the most part providing doubling or simple accompaniment for the soloists.

Cantatas and other church music dominated Bach’s first years at Leipzig, beginning in 1723, but in the late 1720s he took up the direction of the city’s Collegium Musicum, which group performed frequent instrumental concerts at Zimmermann’s coffee house and other locations. This led to an outpouring of concertos, originals as well as arrangements of his own earlier works and those of Vivaldi, and in some cases arrangements of arrangements. Bach frequently repurposed music for one occasion to work in another; for example, the opening instrumental movements— some of them concertos in themselves, others more like symphonies—that begin

14 many of Bach’s cantatas were sometimes readily extracted for use as independent instrumental works. When he required a new concerto for the Collegium Musicum, such pieces were often ready to hand, requiring a minimum of reconfiguration. The greatest fruit of these years was Bach’s development of the concerto type that he is said to have invented, the accompanied concerto for solo and multiple keyboards. One of the reasons for this was his concern to begin involving his coming-of-age sons as keyboard performers in a public setting—hence the concertos for two, three, and four keyboards, likely played by multiple Bachs. The Concerto in C minor for Oboe, Violin, Strings, and Continuo is a reconstruction of a score that has not survived. What has survived is a Leipzig Collegium Musicum- era concerto for two harpsichords and orchestra, BWV 1060, which is known to be an arrangement of that earlier, lost work. (The reconstructed concerto earns the designation “1060R.”) The process of reconstruction relies on the study of Bach’s practices in other transcriptions to keyboard concertos from earlier scores to which we do have access. In a general sort of way this is perhaps more straightforward than one might think, since in the instance of a concerto for two keyboards like this one, it’s typically the case that only one or two clear, single lines are going on at once, and the imitation or chordal accompaniment in the left hand is rarely independent or far afield of the orchestral parts. Here, those right-hand lines in the keyboards are reverse-engineered to the single solo lines of oboe and violin. In the first-movement Allegro, the oboe and violin join in the ripieno to start; the violin solo moves more easily back and forth, joining the orchestral violins readily. The accompaniment in the Adagio second movement is far more restrained; the oboe and violin play in alternation and imitation throughout the movement. The Allegro finale is bright and energetic, its theme characterized by its insistent collection of leaping intervals.

The Double Violin Concerto in D minor, BWV 1043, is, along with the Brandenburgs, one of Bach’s most familiar, most often performed orchestral works. This piece, too, is a product of the early years of the composer’s association with the Leipzig Collegium Musicum, but in this case the piece is probably original to that period, written in 1730 or 1731, and would have been performed soon after. This piece was rescored as a concerto for two harpsichords and orchestra (BWV 1062) in about 1736. The first movement, marked Vivace or very fast, is a constant motor, beginning with the sixteenth-note upward scale that launches the theme in the second violins, followed, as in a fugue, by the first violins a fifth higher. The violas and cellos are full partners in contrapuntal exchange, with many figures in imitation of the violins. When the soloists—first violin, then second—take over, the orchestral body is restrained, providing chordal underpinning but now and then adding short, propul- sive figures to remind us of the presence of the theme. The F major second movement, Largo ma non tanto, is one of the anchors of this concerto’s popularity, con- sidered one of Bach’s loveliest movements. It is essentially a double aria in a sedate 12/8 meter; the melodies could as well be set for soprano and mezzo-soprano, with melismatic turns in gentle sixteenth-notes. The orchestra is discreetly supportive. The finale, Allegro, begins with quick entries for the solo violins (figures in quick imitation), which immediately creates a tension and energy that define much of the movement. Unlike the first movement, the two soloists are off on their own through virtually the entire movement until the final measures.

There is nothing to suggest that the “No. 1” designation for the Violin Concerto No. 1 in A minor, BWV 1041, means anything about the chronology of the piece; it’s likely

TANGLEWOODWEEK 6 FRIDAYPROGRAMNOTES 15 that the E minor concerto predates it, and scholars are certain there must have been earlier violin concertos, now lost, that were the basis of some of the later harpsichord concertos, as mentioned above. (In fact this piece, probably dating from no earlier than 1730, was the source for the G minor harpsichord concerto, BWV 1058.) Like the Double Violin Concerto in D minor, the A minor violin concerto has been a core repertoire piece for violinists for many more years than most of Bach’s orchestral works have been regularly heard. The first movement—there is no tempo designation, but we can assume something in the Allegro range, like most of Bach’s concertos—begins with a two-note declamatory figure followed by a pause, the theme taking a stand before going on to churn- ing sixteenth-notes. The basic pattern—ripieno alternating with solo passages, with the orchestra providing commentary in agreement with the soloist—obtains. The C major Andante is unusual in its size and searching chromaticism. Again the violin solo has an almost vocal quality. The movement is nearly twice as long as the other two (which are relatively brief in the scheme of Bach’s concertos). The finale, Allegro assai, is in a dancelike 9/8 time and features some of the most brilliantly virtuosic passages in all of Bach’s concertos.

ROBERT KIRZINGER Composer-annotator Robert Kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

16 Artists

Pinchas Zukerman Equally acclaimed as violinist, violist, conductor, pedagogue, and chamber musician, Pinchas Zukerman has been a presence in the world of music for four decades. His 2011-12 season has included more than 100 performances worldwide, bringing him to multiple destinations in North America, Europe, and Asia. In his third season as principal guest conductor of the Royal Philharmonic Orchestra in London, he led concerts throughout Spain, Italy, and the United Kingdom, as well as on an east coast tour of the United States and Canada. Additional orchestral engagements took him to the New York Philharmonic, Israel Phil- harmonic, and the symphony orchestras of Chicago, San Francisco, Oregon, and San Diego. Guest appearances with international orchestras include the Bayerische Staatsoper Munich, Budapest Festival Orchestra, English Chamber Orchestra, OSESP Brazil, Miyazaki Festival Orchestra, Bavarian Radio Symphony, and Orchestra Giovanile Luigi Cherubini. His chamber ensemble, the Zukerman ChamberPlayers, appears at the Ravinia, Schleswig-Holstein, and Tuscan Sun music festivals and tours to Germany, Italy, Switzerland, Croatia, the Netherlands, Czech Republic, United States, and Canada. Over the last decade, Pinchas Zukerman has become as noted a conductor as he is an instrumentalist, leading many of the world’s top ensembles in a wide variety of orchestral repertoire. Having completed his thirteenth season as music director of the National Arts Centre Orchestra in Ottawa, he is recognized for heightening the ensemble’s caliber and reputation and inaugurating the prestigious National Arts Centre Summer Music Institute. In addition to the National Arts Centre and Royal Philharmonic orchestras, Mr. Zukerman maintains long-term conducting relationships with such esteemed ensembles as the Chicago Symphony, Israel Philharmonic, and Pittsburgh Symphony. In North America he has led the New York Philharmonic, Rochester Philharmonic, National Symphony, Florida Orchestra, and the symphony orchestras of Atlanta, Boston, Dallas, Toronto, Milwaukee, Saint Louis, Madison, Oregon, Utah, and Colorado, among others. Internationally he has conducted the Staatskapelle Berlin, Radio France Philharmonic, Nagoya Philhar- monic, and the Barcelona, São Paulo and Singapore symphony orchestras. A devoted and innovative pedagogue, he chairs the Pinchas Zukerman Performance Program at the Manhattan School of Music. To maintain close relationships with his students while fulfilling the travel demands of his concert engagements, Mr. Zukerman has pioneered the use of distance-learning technology in the arts. In 2003 he formed the Zukerman ChamberPlayers, an ensemble that has performed at prestigious festivals in North America and Europe and on tour throughout Europe, Asia, South America, and New Zealand. His extensive discography of more than 100 titles has earned twenty-one Grammy nominations and two awards. Born in Tel Aviv, Pinchas Zukerman came to America in 1962 and studied at the Juilliard School with Ivan Galamian. He has been awarded the Medal of Arts and the Isaac Stern Award for Artistic Excellence, and was appointed as the Rolex Mentor and Protégé Arts Initiative’s first instrumentalist mentor in the music discipline. Pinchas Zukerman made his BSO debut as violin soloist in July 1969 at Tanglewood in the Tchaikovsky Violin Concerto, subsequent Tanglewood appearances also including his BSO debut as a conductor in July 1977. He made his subscription series debut in January 1979, appearing on that occasion as both violinist (in Mozart’s Sinfonia concertante for violin and viola, K.364) and violist (in Berlioz’s Harold in Italy). His most recent Tanglewood appearance with the orchestra was in July 2010 (in Mozart’s A major violin concerto, K.219), his most recent subscription appearances in October 2010 (as soloist in Beethoven’s Violin Concerto).

TANGLEWOODWEEK 6 ARTISTS 17 Elizabeth Rowe BSO principal flutist Elizabeth Rowe joined the Boston Symphony Orchestra in 2004 and holds the Walter Piston Principal Flute Chair. Prior to joining the BSO, Ms. Rowe held titled positions with the orchestras of Fort Wayne, Baltimore, and Washing- ton, D.C. Regularly featured in front of the orchestra, Ms. Rowe has been soloist with the BSO in Elliott Carter’s Flute Concerto (including its American premiere performances under James Levine in February 2010, followed more recently by repeat performances in Boston and San Francisco in November/December 2011); the Ligeti Concerto for Flute and Oboe with Christoph von Dohnányi conducting, and BSO colleague John Ferrillo; Gabriela Lena Frank’s Illapa, Tone Poem for Flute and Orchestra, under the direction of Miguel Harth- Bedoya, and Mozart’s G major flute concerto, K.313, with which she made her first BSO appearance as a concerto soloist in August 2008 at Tanglewood, under the direction of André Previn. Noted for her insightful teaching, Ms. Rowe attracts flute students from around the country to her lessons and master classes. She currently serves on the faculties of the New England Conservatory and the Tanglewood Music Center and is a regular guest artist at the National Orchestral Institute of Music and the New World Symphony. She has previously taught at both the Peabody Conservatory of Music and the University of Maryland. A member of the Boston Symphony Chamber Players, she can be heard in a wide variety of chamber works throughout the season at NEC’s Jordan Hall and in several recordings. Elizabeth Rowe grew up in Eugene, Oregon. She received her bachelor of music degree from the University of Southern California, where she was a Trustee Scholar and a student of Jim Walker, former principal flute of the Los Angeles Philharmonic. Ms. Rowe recently returned to Los Angeles to join Mr. Walker as a guest teacher at his week-long intensive course, “Beyond the Masterclass.” Ms. Rowe’s connection to the Boston Symphony Orchestra dates back to the summer of 1996, when she was a Tanglewood Music Center Fellow and performed as principal flute under Seiji Ozawa’s direction in the TMC production of Benjamin Britten’s Peter Grimes that marked the fiftieth anniversary of the opera’s 1946 American premiere at Tanglewood.

John Ferrillo John Ferrillo joined the Boston Symphony Orchestra as principal oboe at the start of the 2001 Tanglewood season, occupying the Mildred B. Remis Principal Oboe Chair, having appeared with the orchestra several times in previous seasons as a guest performer. From 1986 to 2001 he was principal oboe of the Metropolitan Opera Orchestra. Mr. Ferrillo grew up in Bedford, Massachusetts, and played in the Greater Boston Youth Symphony Orchestra. He is a graduate of the Curtis Institute, where he studied with John de Lancie and received his diploma and artist’s certificate. He also studied with John Mack at the Blossom Festival and has participated in the Marlboro, Craftsbury, and Monadnock festivals. Prior to his appointment at the Metropolitan Opera, Mr. Ferrillo was second oboe of the San Francisco Symphony, and was a faculty member at Illinois State University and West Virginia State University. A former faculty member of the Mannes School of Music and Juilliard School of Music in New York City, he has taught and performed at the Aspen and Waterloo festivals and currently serves on the faculty of the New England Conservatory, Boston University, and the Boston University Tanglewood Institute. His previous BSO appearances as concerto soloist have included Ligeti’s Double Concerto for Flute and Oboe, in January/February 2011 with BSO colleague Elizabeth Rowe; Frank Martin’s Concerto for Seven Winds, Timpani, and Percussion in October 2001, and Richard Strauss’s Oboe Concerto in November 2004. As principal

18 oboe of the BSO he is also a member of the Boston Symphony Chamber Players, with which he has recorded Mozart’s Quartet in F for oboe and strings, K.370, available on a BSO Classics disc of Mozart chamber music for winds and strings, and William Bolcom’s Serenata Notturna for oboe and strings, on a Chamber Players disc, also on BSO Classics, of music by American composers.

Malcolm Lowe Malcolm Lowe joined the Boston Symphony Orchestra as concertmaster in 1984, becoming the tenth concertmaster in the orchestra's history and only its third since 1920; he occupies the Charles Munch chair, endowed in perpetuity. As concertmaster, he also performs with the Boston Symphony Chamber Players. Mr. Lowe is equally at home as an orchestral player, chamber musician, solo recitalist, and teacher. He appears frequently as a soloist with the Boston Symphony Orchestra at Symphony Hall and Tanglewood and he has returned many times to his native Canada for guest appearances as a soloist with the Toronto and Montreal Symphony Orchestras and the National Arts Centre Orchestra in Ottawa. Mr. Lowe is a faculty member at the Tanglewood Music Center, New England Conservatory, and Boston University. Prior to his Boston appointment, he was concertmaster of the Quebec Symphony Orchestra. The recipient of many awards, he was one of the top laureate winners in the 1979 Montreal International Violin Competition. Born to musical parents—his father was a violinist, his mother a vocalist—on a farm in Hamiota, Manitoba, Mr. Lowe moved with his family to Regina, Saskatchewan, at the age of nine. There he studied at the Regina Conservatory of Music with Howard Leyton-Brown, former concertmaster of the London Philharmonic. He later studied with Ivan Galamian at the Meadowmount School of Music and at the Curtis Institute of Music. Mr. Lowe also studied violin with Sally Thomas and Jaime Laredo and was greatly influenced by Josef Gingold, Felix Galimir, Alexander Schneider, and Jascha Brodsky. Since his first appearance with the BSO as a concerto soloist in 1985 at Tanglewood, he has been soloist with the orchestra for works of Bruch, Mozart, Brahms, Chausson, Haydn, Vivaldi, Bach, Walton, Saint-Saëns, Spohr, Britten, and Berlioz.

John Gibbons A distinguished keyboard artist and founding member of the Boston Museum Trio, John Gibbons has performed as harpsichord and fortepiano soloist with major ensembles in the United States and Europe, among them the Chamber Music Society of Lincoln Center, New York Chamber Symphony, Orchestra of the 18th Century, Philharmonia Baroque, and the Da Camera Society of Houston. He performs regularly at such festivals as those in Torino and Spoleto, Italy, Chamber Music Northwest, and the Aston Magna Festival in the Berkshires. At the New England Conservatory, Mr. Gibbons leads the NEC Bach Ensemble, composed of students who are interested in performing Baroque works on modern instruments. He typically directs these concerts from the keyboard. John Gibbons has received the Erwin Bodky Prize (1969), the NEC Chadwick Medal (1967), and a Fulbright Scholarship for study with Gustav Leonhardt in Amsterdam. He has recorded for the Centaur, Delos, Musical Heritage Society, Titanic, Cambridge, Harmonia Mundi, Nonesuch, Philips, and RCA labels.

TANGLEWOODWEEK 6 ARTISTS 19 The Jean Thaxter Brett Memorial Concert Saturday, August 11, 2012 The Tanglewood concert on Saturday evening is supported by a generous gift from Great Benefactors Jan Brett and Joseph Hearne. The concert is named in memory of Jan’s mother, Jean Thaxter Brett. A retired nursery school teacher, Jean taught for twenty-six years, and she also founded and ran the Lazy Eye Clinic for the Hingham Visiting Nurse Association for twenty- six years. A lifelong Hingham resident, Jean worked to preserve her hometown’s character and beauty, helping to pioneer recycling in Hingham and secure land for conservation. She was a member of the Second Parish Church and choir in Hingham, the Ladies Committee for the Museum of Fine Arts, Colonial Dames Society, and Hingham Yacht Club. As a young child, BSO Trustee Jan Brett would often attend Symphony’s youth concerts with her mother. Jan served on the BSO Board of Overseers from 1994 to 1999, and she was elected to the BSO Board of Trustees in 1999. Jan is a member of the Trustees Nominating Committee. Her husband, Joe Hearne, is the player with the longest term of service currently in the Boston Symphony Orchestra. Joe is celebrating his 50th anniversary with the orchestra as a double bassist, having joined the BSO bass section in 1962 fresh out of Juilliard. For Jan and Joe, the BSO is tightly woven into the fabric of their lives together in Boston and the Berkshires, and they support the organization on many levels. Jan and Joe have supported the BSO’s educational programs in addition to endow- ing a full fellowship for a bass player at the Tanglewood Music Center and naming a BSO bass chair. They provide ongoing support through the Annual Funds, and in 2006 they served as chairs of the highly successful Opening Night at Tanglewood fundraiser. Jan and Joe are members of the Higginson and Koussevitzky Societies at the Encore level, as well as members of the Walter Piston Society. With more than thirty-six million books in print, Jan is one of the nation’s foremost authors and illustrators of children’s books. She has published more than thirty works in as many years, including The Hat, The Three Snow Bears, Gingerbread Baby, and The Mitten, which celebrated its 20th anniversary in 2009. In 2005, Jan received the Boston Public Library’s Lifetime Achievement Award.

Serge Koussevitzky conducting at Tanglewood (BSO Archives)

20 Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Saturday, August 11, 8:30pm THE JEAN THAXTER BRETT MEMORIAL CONCERT

STÉPHANE DENÈVE conducting

PREVIN “Music for Boston” (2012) (world premiere; commissioned by the Boston Symphony Orchestra through the generous support of the New Works Fund established by the Massachusetts Cultural Council, a state agency) I. Tempo I II. Slow III. Fast

ELGAR Cello Concerto in E minor, Opus 85 Adagio—Moderato— Lento—Allegro molto Adagio Allegro—Moderato—Allegro, ma non troppo YO-YO MA

{Intermission}

SHOSTAKOVICH Symphony No. 5 in D minor, Opus 47 Moderato Allegretto Largo Allegro non troppo

Bank of America is proud to sponsor the 2012 Tanglewood season.

TANGLEWOODWEEK 6 SATURDAYPROGRAM 21 NOTES ON THE PROGRAM

André Previn (b.1929) “Music for Boston” (2012) Receiving its world premiere performance in this concert, André Previn’s “Music For Boston” was commissioned by the Boston Symphony Orchestra to mark the 75th Anniversary of the Tanglewood Music Festival. The duration of the piece is about 17 minutes. In the course of his career, conductor-composer-pianist André Previn has been acclaimed for his work in the realms of orchestral music, chamber music, film music, musical theater, and jazz. As a conductor, he has held chief artistic posts with the Houston Symphony, London Symphony, Los Angeles Philharmonic, NHK Symphony, Pittsburgh Symphony, Oslo Philharmonic, and Royal Phil- harmonic. In recent decades, his diverse credits have included a series of concert works resulting from his ongoing collaborations with many of the world’s foremost artists and ensembles, including, among others, the Boston Symphony Orchestra and Boston Symphony Chamber Players, the Vienna Philharmonic, violinist Anne-Sophie Mutter, cellist Yo-Yo Ma, sopranos Kathleen Battle, Barbara Bonney, and Renée Fleming, and the Emerson String Quartet. Opera has also figured in his career: his first, A Streetcar Named Desire (on a libretto by Philip Littell based on Tennessee Williams’s play), was premiered in 1998 at San Francisco Opera with Previn conducting and has since had some twenty productions on both sides of the Atlantic. His second opera, Brief Encounter (with a libretto by John Caird based on David Lean’s film adap- tation of the play by Noël Coward), commissioned by Houston Grand Opera, was premiered by that company in May 2009. Previn’s new Music for Boston was commissioned by the Boston Symphony Orchestra to mark the 75th anniversary of the Tanglewood Music Festival (or, as the title page

22 of the score puts it, “in Celebration of the 75th Anniversary of Tanglewood”). Previn’s own connection to Tanglewood is longstanding: he made his BSO debut conducting two programs here in August 1977 and has returned many times since as both conductor and pianist; as pianist he has appeared not only with the BSO, but also in chamber music concerts and for evenings of jazz with friends and collaborators from that arena. He recently expressed his feelings for Tanglewood, and his long association with Tanglewood, when asked about his latest new composition: To fully absorb that my conducting debut at Tanglewood was thirty-five years ago this month is both breathtaking and quite heartwarming. I have always embraced Tanglewood with great esteem, and I am equally grateful for the many musical memories I share with the musicians of the Boston Symphony Orchestra. My initial introduction to Seiji Ozawa was at Tanglewood—and since that meeting, he has become a lifelong friend. It was with great love and humility that I accepted the writing of this commission, Music For Boston, in honor of Tanglewood’s 75th Anniversary Season. Along with this new work, I send my warm congratulations on your first 75 years— anticipating much, much more to follow! The first Boston Symphony performance of any of Previn’s music was at Tanglewood in 1993, when Seiji Ozawa led a performance of his Honey and Rue, on texts by Toni Morrison, with soprano Kathleen Battle. In March 1996, Previn on the Symphony Hall podium introduced, with soprano Barbara Bonney, the world premieres in their orchestral versions of two works he wrote originally with piano accompaniment: Sallie Chisum Remembers Billy the Kid, and Vocalise. In July 1999 at Tanglewood he led the BSO in the world premiere of the suite from his opera A Streetcar Named Desire (including vocal excerpts for soprano and tenor), since which time, at Symphony Hall, he has led the world premiere performances of his BSO-commissioned Violin Concerto No. 1, Anne-Sophie, in March 2002 (subsequently recorded in concert the following fall); the world premiere in April 2007 of his Double Concerto for Violin, Contrabass, and Orchestra, with Ms. Mutter and the bass player Roman Patkoló (later released on CD), and the world premiere in October 2008 of his orchestral work Owls. More recently, in October 2010, the Boston Symphony Chamber Players premiered his BSO-commissioned Octet for Eleven, which they repeated at Tanglewood last summer. As has been his inclination for a long while, Previn remains typically quiet about his music, generally preferring that it speak for itself. For the present occasion, however, he has offered a few further words in addition to the general statement given above, observing that, in composing Music For Boston, which the listener will properly hear as a “concerto for orchestra,” it was the ensemble, not individual players, that he was thinking primarily about: “More often than not, when somebody writes a brilliant piece, it’s written for a ‘star’ or ‘stars.’ But with the BSO it was impossible for me to do that, because it’s the ensemble that counts; so I wrote a piece not so much with particular players in mind, but one that offers the same level of difficulty and exposure for all the sections of the orchestra.” One question provoked from Previn a hearty chuckle, this having to do with the tempo designation at the very start of the piece—“TempoI.” Normally, of course, such a designation within a movement harks back to the tempo designation given at the beginning. But not so here. As Previn observed, by no means entirely tongue-in-cheek: “Specific tempo indications are nonsense anyway: a good orchestra and conductor will find the right tempo—so I left it up to them!”

MARC MANDEL Marc Mandel is the Boston Symphony Orchestra’s Director of Program Publications.

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 23 Sir Edward Elgar (1857-1934) Cello Concerto in E minor, Opus 85 First performance: October 26, 1919, London, Elgar cond., Felix Salmond, soloist. First BSO performance: April 4, 1955, Charles Munch cond., Maurice Eisenberg, soloist. First Tanglewood performance: August 3, 1969, Daniel Barenboim cond., Jacqueline Du Pré, soloist. Most recent Tanglewood performance: August 1, 2010, Charles Dutoit cond., Yo-Yo Ma, soloist. Only for twenty of his seventy-six years did Elgar enjoy the simultaneous beneﬁts of fame and creative abundance. For the ﬁrst forty-two years he was unknown in the wider world, and for the last fourteen his muse was in retirement, if not quite still. The work that closed this twenty-year period of high creativity was the Cello Concerto, completed in the summer of 1919. A year later, with the death of his beloved wife Alice, Elgar withdrew more and more from public life; he wrote no more masterpieces. His slow progress toward national recognition was no doubt due to the fact that he grew up far from London and did not study with someone who could have helped him on his way. He was largely self-taught, and did not at all match people’s notion of a typical composer, expected in those days to be an aesthete in the manner of Oscar Wilde. A friend who had played under his direction described him as “a very distinguished-looking English country gentleman, tall, with a large and somewhat aggressive moustache, a prominent but shapely nose and rather deep-set but piercing eyes. It was his eyes perhaps that gave the clue to his real personality: they sparkled with humour, or became grave or gay, bright or misty as each mood in the music revealed itself. He looked upstanding, and had an almost military bearing. He was practical to a degree, he wasted no time. The orchestra, it is almost needless to say, adored him.” Until the success of the Enigma Variations in London in 1899, he was regarded as a provincial composer, which indeed he was, composing mostly for the regional festivals that flourished in late Victorian England. Then the great works appeared in steady succession—The Dream of Gerontius, Sea Pictures, the Pomp and Circumstance marches, In the South, the Introduction and Allegro for strings, the First Symphony, the Violin Concerto, the Second Symphony, Falstaff, and a group of three chamber works composed towards the end of the war: the Violin Sonata, the String Quartet, and the Piano Quintet. These three works were composed at Brinkwells, the house

24 in Sussex where the Elgars moved in 1917. It was odd that Elgar should live any- where but in his beloved West Country, but this house brought him respite from the constant anxieties of the war, and is readily associated with the leaner, more reflective style that the Cello Concerto perfectly illustrates. A letter written at this time describes his routine: “I rise about seven work till 8-15—then dress, breakfast—pipe (I smoke again all day!) work till 12-30 lunch (pipe)—rest an hour—work till tea (pipe)—then work till 7-30—change, dinner at 8. Bed at 10—every day practically goes thus...We go for lovely walks...the woods are full of flowers, wonderful...” On September 26, 1918, with the war still on, Elgar’s wife’s diary recorded “wonderful new music, real wood sounds & other lament wh. shd. be in a war symphony.” But this was to be a concerto, not a symphony, and as it neared completion the following summer, Elgar described it as “a real large work & I think good & alive.” On the occasion of the first performance, which took place under the composer’s direction on October 26, 1919, there was in the cello section of the London Symphony Orchestra a future conductor, John Barbirolli, then aged nineteen, who would later conduct a historic recording of the work with Jacqueline Du Pré. On that first night Elgar had been given too little rehearsal time, and the main impression was of orchestral incompetence. Ernest Newman reported that the orchestra “made a lam- entable public exhibition of itself.” Later the work came to be recognized as one of the handful of supreme concertos for the instrument. In 1928 Elgar led a recording of the work with Beatrice Harrison as the soloist. The original soloist, Felix Salmond, moved to the United States in 1922; after a brief spell teaching at the Juilliard School he was head of the cello department at the Curtis Institute from 1925 to 1942. Among his pupils were Bernard Greenhouse and Leonard Rose. We may discern in the Cello Concerto a sentiment of resignation and even of despair generated from within by that strong vein of melancholy that had always been an

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 25 inescapable element of Elgar’s music, and from without by the desolating impact of the Great War. But the Cello Concerto is not a threnody, nor even, so far as we can tell, a deliberately planned swan song. It is reflective, playful, tearful, and energetic by turns, like all his best music, and we underestimate the work if we attach too much to its autumnal character: many of its pages might have been summoned into existence by the Wand of Youth. Unlike the traditional concerto it has four movements, not three. Brahms’s Second Piano Concerto had expanded the form to four movements and taken on mighty symphonic proportions, but Elgar here has four movements not for length and weight but for diversity and contrast. The movements are all concise, especially when compared to the expansive landscape of the Violin Concerto’s three movements. As in his two symphonies, the two central movements, a scherzo and a slow movement, offer a complete contrast in momentum and temper. The declamatory opening of the work recurs truncated at the beginning of the scherzo and in full, this time mar- velously valedictory in effect, at the end of the finale. After a declamatory opening for the soloist, the first movement’s gentle lilt is far removed from any pomp or circumstance. Over the meandering first theme Elgar wrote in his sketchbook: “very full, sweet and sonorous,” and although the whole orchestra tries to give it breadth, it ends as it began, bleak and bare. The scherzo that follows is in 4/4 time with bustling sixteenths reminiscent of the Introduction and Allegro for strings of many years earlier. There is a brief expressive phrase offered here and there in contrast, but lightness prevails. For the slow movement Elgar indulges unashamedly in the yearning phrases and sliding harmony that breathe nostalgia and tranquility. This is not a lament but a private world of sweetness so direct and complete that it requires no development or expansion. For all its heartrending beauty, the movement is short, and its half-close

26 leads directly into the ﬁnale. Here, after another declamatory start, the movement settles into a sturdy rhythm which proceeds in a business-like and oddly impersonal fashion right through to the closing pages. Then, as if yielding to some fatal destiny, Elgar adds an epilogue in slow tempo as passionate as anything he had ever written, full of drooping phrases and desperate gestures, like a dying man reaching up for help. There is asperity too, in the harmony, and the music slides inevitably into a brief memory of the slow movement followed by the work’s opening statement and a brief, energetic (and surely ironic) close.

HUGH MACDONALD Hugh Macdonald is Avis Blewett Professor Emeritus of Music at Washington University in St. Louis. General editor of the New Berlioz Edition, he has written extensively on music from Mozart to Shostakovich and is a frequent guest annotator for the BSO.

Dmitri Shostakovich (1906-1975) Symphony No. 5 in D minor, Opus 47 First performance: November 21, 1937, Leningrad Philharmonic, Yevgeny Mravinsky cond. First BSO performance: January 20, 1939, Richard Burgin cond. First Tanglewood performance: August 2, 1941, Serge Koussevitzky cond. Most recent Tanglewood performance: August 14, 2009, Michael Tilson Thomas cond. Dmitri Shostakovich’s Fifth Symphony has been called many things, not all of them accurate: “a Soviet artist’s creative reply to just criticism,” an “optimistic tragedy,” “a masterpiece of socialist realism.” Completed during one of the most terrifying, uncertain periods in Soviet history, when dictator Joseph Stalin was super- vising the arrest, imprisonment, and often execution of thousands of prominent figures, the Fifth Symphony literally saved Shostakovich’s neck. Its tri- umph established Shostakovich as the leading Soviet composer, a position he occupied, with numerous ups and downs, until his death. Given its cultural and political significance, the Fifth Symphony’s conserva- tive and “classical” personality is ironic and strange. Symphonies No. 2 (To October, 1927) and No. 3 (First of May, 1929) are sprawling and programmatic, scored for gargantuan forces and featuring concluding choruses set to jingo- istic political verses. The Fourth Symphony (1935-36), which Shostakovich once called “a sort of credo of my work as an artist,” indulges in what he later described as “grandiosomania,” and is rivaled in length, instrumentation, and scale only by the Seventh (Leningrad). Just as Shostakovich was finishing the Fourth, a scathing attack on his opera Lady Macbeth of the Mtsensk District was published in the official Communist Party newspa- per Pravda. First performed in 1934, Lady Macbeth had been a huge hit with audiences in Leningrad and Moscow, and had already been staged abroad. But Stalin and his cultural advisers decided that the opera’s overt sexuality, raw language, slap- stick irreverence, and dissonant musical style were inappropriate. It was banned from Soviet theaters, and Shostakovich’s future suddenly looked terribly uncertain. A casualty of this fallout was the Fourth Symphony, withdrawn after a few rehearsals under pressure from local bureaucrats—perhaps because of its depressing, funeral- march Largo, so out of line with the official Social Realist optimism. When he started work on the Fifth Symphony in April 1937, Shostakovich was all too aware how much was on the line: “I have tried in my Fifth Symphony to show the Soviet listener that I have taken a turn towards greater accessibility, towards greater simplicity.” Yet

TANGLEWOODWEEK 6 SATURDAYPROGRAMNOTES 27 he abhorred the thought of cheapening his talent and integrity by creating music that pandered to the Party’s demands. Shostakovich got the music down on paper quickly once the preparatory work had been done in his head, writing the third-movement Largo, the symphony’s emotional and dramatic center, in a mere three days. “My new work could be called a lyrical- heroic symphony.... I aimed to show how—through a series of tragic conflicts and great inner spiritual struggle—optimism is affirmed as a world view. The subject of my symphony is the genesis of the individual. I placed man and all his sufferings at the center.” One wonders how much of that was merely intended to placate Soviet officialdom. Yet the Fifth Symphony is clearly more “accessible” in certain ways, adhering relatively closely to classical symphonic form and built on a base of tonal harmony. It is spiritu- ally indebted to Tchaikovsky and Beethoven. There is the same contrast between two emotional worlds drawn in Tchaikovsky: the implacable world of fate in conflict with the subjective world of human experience and limitation. Like Tchaikovsky’s Fourth and Fifth symphonies, Shostakovich’s Fifth concludes after long passages of soul- searching and doubt with an upbeat, even militaristic finale. A kinship with Beetho- ven appears in the Fifth Symphony’s opening bars, in the “motto” theme that jumps portentously from D to B-flat and down to A. What these opening bars bring most obviously to mind are the opening bars of Beethoven’s Symphony No. 9 and (to a lesser extent) the opening motto theme of Beethoven’s Symphony No. 5. And Beethoven was a musical and political model long admired both by Shostakovich and by the keepers of Soviet culture. The first movement’s motto theme contrasts sharply with two more lyrical themes, the first somewhat uncertain and nervous, the second serene and free of conflict. The second-movement scherzo shows us the composer’s familiar sarcastic, ironic side, but the symphony’s prevailing mood is serious and reflective, as the length and emotional intensity of the third-movement Largo make clear. It isn’t easy to write music to follow such an exquisite confession of grief and suffering, and the finale has always been the most controversial movement. Outwardly, its spirit of celebration can seem forced, but Shostakovich included a hidden subversive message under- neath all those blaring trumpets and rattling drums. It is a musical quotation from the setting of a poem (“Rebirth”) by Alexander Pushkin which Shostakovich had composed a few months earlier, one of the Four Pushkin Romances, Opus 46. The

ﬁnale’s initial march theme takes its contour from the four notes setting the ﬁrst three words of the poem, dealing with the struggle between genius and mediocrity in art. Here, the struggle ends with the artist triumphant over his persecutors. At the time, these Romances were unpublished and unknown, so the reference was intended for Shostakovich alone—and, perhaps, for future generations. The public reaction to the premiere of the Fifth Symphony in Leningrad on Novem- ber 21, 1937, was ecstatic, and has gone down as one of the most important events in the history of Soviet culture. The concert also marked the beginning of a long association between Shostakovich and the young conductor, Yevgeny Mravinsky. While the Party cultural bureaucrats were made uneasy by the display of enthusiasm for Shostakovich, in the end they accepted the public verdict. With the Fifth Symphony, Shostakovich resurrected his fortunes, narrowly escaping the catastrophe that struck down numerous friends and colleagues at the end of the 1930s. But it was hardly the last time that Shostakovich would feel like a hunted man.

HARLOW ROBINSON Harlow Robinson, Matthews Distinguished University Professor at Northeastern University, writes and lectures frequently on Russian music and culture for the Boston Symphony Orchestra, Metropolitan Opera, and Lincoln Center.

Guest Artists

Stéphane Denève Stéphane Denève is chief conductor of the Stuttgart Radio Symphony Orchestra (SWR) and is also music director of the Royal Scottish National Orchestra, a post he has held since 2005. With the Royal Scottish National Orchestra he has performed at many of Europe’s most prestigious festivals and venues, including the BBC Proms, Edinburgh International Festival, and Festival Présences, the Konzerthaus in Vienna, the Amsterdam Concertgebouw, and the Théâtre des Champs-Élysées. He and the Royal Scottish National Orchestra have made a number of acclaimed recordings together, including an ongoing survey of the works of Albert Roussel for Naxos, the first disc of which won a Diapason d’Or de l’année award. Their most recent recording (Chandos) is of selected orchestral works by Debussy. A graduate of and prizewinner at the Paris Conservatoire, Stéphane Denève began his career as Sir Georg Solti’s assistant with the Orches- tre de Paris and Paris National Opera, also assisting Georges Prêtre and Seiji Ozawa during this time. At home in a broad range of repertoire, and a champion of new music, he has a particular affinity for the music of his native France, and in recent years has also premiered a number of works by the contemporary French composer Guillaume Connesson. Recent engagements have included his Carnegie Hall debut with the Boston Symphony Orchestra, and appearances with the Chicago Symphony, Philadelphia Orchestra, Toronto Symphony, Munich Philharmonic, Bavarian Radio Symphony, Orchestra Sinfonica dell’Accademia Nazionale di Santa Cecilia, Deutsches Symphonie-Orchester Berlin, London Symphony Orchestra, the Philharmonia Orchestra, NDR Symphony Hamburg, and Swedish Radio Symphony, among others. Highlights of recent and future engagements include concerts with the Philadelphia Orchestra in Philadelphia, Vail, and Saratoga, and with the San Francisco Symphony, Montreal Symphony, and Cincinnati Symphony. Mr. Denève enjoys close relationships with many of the world’s leading solo artists; he has performed with, among others, Jean-Yves Thibaudet, Leif Ove Andsnes, Piotr Anderszewski, Emanuel Ax, Lars Vogt,

TANGLEWOODWEEK 6 GUESTARTISTS 29 30 Nikolai Lugansky, Paul Lewis, Yo-Yo Ma, Frank Peter Zimmermann, Nikolaj Znaider, Pinchas Zukerman, Joshua Bell, Leonidas Kavakos, Hilary Hahn, Vadim Repin, Gil Shaham, Nathalie Dessay, and Nina Stemme. In the field of opera, he has conducted productions at the Royal Opera House, Glyndebourne Festival, La Scala, Gran Teatro de Liceu, Netherlands Opera, La Monnaie, Opéra National de Paris, the Teatro Comunale Bologna, and Cincinnati Opera. Visit www.stephanedeneve.com for further information. Stéphane Denève made his Boston Symphony debut at Symphony Hall in April 2011 with a program of Beethoven, Roussel, and Ravel, subsequently returning this past season in February and March 2012 to lead music of Ravel, Stravinsky, and Shostakovich in Boston and at Carnegie Hall. He made his Tanglewood debut this past Tuesday night, leading the BSO in the suite from Stravinsky’s Firebird as part of this year’s Tanglewood on Parade gala concert.

Yo-Yo Ma The many-faceted career of cellist Yo-Yo Ma is testament to his continual search for new ways to communicate with audiences, and to his personal desire for artistic growth and renewal. Mr. Ma maintains a balance between his engagements as soloist with orchestras worldwide and his recital and chamber music activities. His discography includes over seventy-five albums, including more than fifteen Grammy award winners. Mr. Ma serves as the artistic director of the Silk Road Project, an organization he founded to promote the study of cultural, artistic, and intellectual traditions along the ancient Silk Road trade routes. Since the Project’s inception, more than seventy works have been commissioned specifically for the Silk Road Ensemble, which tours annually. Mr. Ma also serves as the Judson and Joyce Green Creative Consultant to the Chicago Symphony Orches- tra’s Institute for Learning, Access and Training. His work focuses on the trans- formative power music can have in individuals’ lives, and on increasing the number and variety of opportunities audiences have to experience music in their communities. Mr. Ma was born in Paris to Chinese parents who later moved the family to New York. He began to study cello at the age of four, attended the Juilliard School, and in 1976 graduated from Harvard University. He has received numerous awards, among them the 2001 National Medal of Arts, the 2006 Sonning Prize, the 2008 World Economic Forum’s Crystal Award, and the 2010 Presidential Medal of Freedom. In 2011 he was recognized as a Kennedy Center Honoree. Mr. Ma and his wife have two children. He plays two instruments, a 1733 Montagnana cello from Venice and the 1712 Davidoff Stradivarius. Yo-Yo Ma serves as a UN Messenger of Peace and as a member of the President’s Committee on the Arts & the Humanities. He has performed for eight American presidents, most recently at the invitation of President Obama on the occasion of the 56th Inaugural Ceremony. Visit www.yo-yoma.com, www.silkroadproject.org, and www.opus3artists.com for additional information. Since his Boston Symphony debut in February 1983, Yo-Yo Ma has appeared many times with the BSO in Boston, at Tanglewood, and on tour, most recently for subscription performances in October 2011. This is his third Tanglewood appearance this summer, following concerts with the Silk Road Ensemble in June and his participation in the Tanglewood 75th Anniver- sary gala (performing Tchaikovsky’s Andante cantabile with the strings of the Tangle- wood Music Center Orchestra) in July.

TANGLEWOODWEEK 6 GUESTARTISTS 31 The Boston Symphony Association of Volunteers Concert Sunday, August 12, 2012 The performance on Sunday afternoon is named in honor of the Boston Symphony Association of Volunteers (BSAV). The BSO has relied on the assistance of volunteers for decades, but in 1984, a group of loyal and dedicated supporters of the BSO and Tanglewood first joined forces to further ensure that all aspects of the BSO’s many educational, service, and fundraising initiatives were top-notch. The BSAV recently celebrated its silver anniversary during the 2009-10 season, and the thriving program shows no signs of slowing down. Though they may not receive the same attention as the musicians and conductors, members of the BSAV are nonetheless instrumental in helping the BSO carry out its musical mission. Their devoted and enthusiastic support is a sustaining element for the BSO, Pops, and Tanglewood. Members of the BSAV diligently dedicate hours upon hours to the behind-the-scenes elements for marquee events such as Opening Nights, and the Tanglewood Wine and Food Classic, to name just a few. BSAV members also play a vital role in many BSO initiatives and programs, such as the instrument playgrounds, flower decorating, exhibit docents, and the BSO membership table/office, among others. And if you have ever visited the Symphony Shop or Tanglewood Glass Houses, engaged the assistance of an usher at Tanglewood, or taken a tour of Symphony Hall or the Tanglewood campus, then you have likely encountered a member of the BSAV in action. During the 2010-11 season, some 800 volunteers donated more than 24,000 hours of their time in passionate support of the BSO. For more than twenty-five years, the BSAV has been a valued partner in helping the BSO maintain its legacy of musical excellence and sustain its community and educational outreach to spread the joy of music far and wide.

A tangle of traffic at the Main Gate of Tanglewood in the 1950s (BSO Archives)

32 Tanglewood 75 SUMMER 2012

Boston Symphony Orchestra 131st season, 2011–2012

Sunday, August 12, 2:30pm THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS CONCERT

CHRISTOPH VON DOHNÁNYI conducting

BEETHOVEN Symphony No. 4 in B-flat, Opus 60 Adagio—Allegro vivace Adagio Allegro vivace Allegro ma non troppo

{Intermission}

MOZART Piano Concerto No. 23 in A, K.488 Allegro Adagio Allegro assai PAUL LEWIS

STRAUSS “Till Eulenspiegel’s Merry Pranks,” after the old rogue’s tale, set in rondo form for large orchestra, Opus 28

Bank of America is proud to sponsor the 2012 Tanglewood season.

TANGLEWOODWEEK 6 SUNDAYPROGRAM 33

NOTES ON THE PROGRAM

Ludwig van Beethoven (1770-1827) Symphony No. 4 in B-flat, Opus 60 First performance: (private) March 1807, at the Vienna town house of the composer’s patron Prince Lobkowitz, Beethoven cond.; (public) April 13, 1808, Burgtheater, Vienna, Beethoven cond. First BSO performance: December 3, 1881, Georg Henschel cond. First Tanglewood performance: August 11, 1940, Serge Koussevitzky cond. Most recent Tanglewood performance: August 21, 2010, Susanna Mälkki cond. The works Beethoven completed in the last half of 1806—the Fourth Symphony, the Violin Concerto, and the Fourth Piano Concerto among them—were finished rather rapidly by the composer following his extended struggle with the original version of his opera Fidelio, which had occupied him from the end of 1804 until April 1806. The most important orchestral work Beethoven had produced before this time was the Eroica, in which he had overwhelmed his audiences with a forceful new musical language reflecting both his own inner struggles in the face of impending deafness and his response to the political atmosphere sur- rounding him. The next big orchestral work to embody this “heroic” style— with a striking overlay of defiance as well—would be the Fifth Symphony, which had begun to germinate in 1804, was worked out mainly in 1807, and was completed in 1808. But in the meantime, a more relaxed sort of expression began to emerge, emphasizing a heightened sense of repose, a broadly lyric element, and a more spacious approach to musical architecture. The Fourth Symphony, the Violin Concerto, and the Fourth Piano Concerto share these characteristics to varying degrees, but it is also important to realize that these works, though completed around the same time, do not represent a unilateral change of direction in Beethoven’s approach to music, but, rather, the emergence of a particular element that appeared strikingly at this time. Sketches for the Violin Concerto and the Fifth Symphony in fact occur side by side, and that the two aspects— lyric and aggressive—of Beethoven’s musical expression are not entirely separable is evident also in the fact that ideas for both the Fifth and the Pastoral symphonies appear in the Eroica sketchbook of 1803-04. These two symphonies—the one strong- ly assertive, the other more gentle and subdued—were not completed until 1808, two years after the Violin Concerto. And it appears that Beethoven actually interrupted work on his Fifth Symphony so that he could compose the Fourth in response to a commission from the Silesian Count Franz von Oppersdorff, whom he had met through Prince Carl von Lichnowsky, one of his most important patrons during the early years in Vienna and the joint dedicatee, together with Count Razumovsky, of the Fifth and Sixth symphonies. So Beethoven’s Fourth Symphony partakes successfully and wonderfully of both these worlds, combining a relaxed and lyrical element with a mood of exuberantly aggressive high spirits. The key is B-flat, which suggests—insofar as we can describe the effects of different musical keys—a realm of spaciousness, relaxation, and warmth, in contrast, for example, to the “heroic” E-flat of the Third Symphony and Emperor Concerto, the “defiant” C minor of the Fifth, and the “heaven-storming” D minor of the Ninth. Beethoven actually begins the first movement with an Adagio introduction in a mys- teriously pianissimo B-flat minor, and the mystery is heightened as the music moves toward B-natural, via the enharmonic interpretation of G-flat to F-sharp, until trumpets and drums force the music back to B-flat, and to the major mode, of the Allegro

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 35 vivace. (This same gambit will be repeated on a larger scale as the music of the Allegro moves from the development into the recapitulation, at which point, once again, the timpani will play a crucial role in telling us where we belong—this time with an extended drumroll growing through twenty-two measures from a pianissimo rumble to a further nine measures of thwacking fortissimo.) Once the Allegro is underway, all is energy and motion, with even the more seemingly relaxed utter- ances of the woodwinds in service to the prevailing level of activity. One more word about the first movement: one wants the exposition-repeat here, not just for the wonderful jolt of the first ending’s throwing us back to the home key virtually without notice, but also for the links it provides to the end of the introduction and the beginning of the coda. The E-flat major Adagio sets a cantabile theme against a constantly pulsating accompaniment, all moving at a relaxed pace that allows for increasingly elaborate fig- uration in both melody and accompaniment as the movement proceeds. The second theme is a melancholy and wistful song for solo clarinet, all the more effective when it reappears following a fortissimo outburst from the full orchestra. The scherzo, another study in motion, is all ups and downs. Beethoven repeats the Trio in its

36 entirety following the scherzo da capo (a procedure he will follow again in the third movement of the Seventh Symphony). A third statement of the scherzo is cut short by an emphatic rejoinder from the horns. The whirlwind finale (marked “Allegro ma non troppo,” “Allegro, but not too...”; the speed is built into the note values, and the proceedings shouldn’t be rushed by an overzealous conductor) is yet another exercise in energy, movement, and dynam- ic contrasts. Carl Maria von Weber, who didn’t much like this symphony when he was young and it was new, imagined the double bass complaining: “I have just come from the rehearsal of a Symphony by one of our newest composers; and though, as you know, I have a tolerably strong constitution, I could only just hold out, and five minutes more would have shattered my frame and burst the sinews of my life. I have been made to caper about like a wild goat, and to turn myself into a mere fiddle to execute the no-ideas of Mr. Composer.” Beethoven’s approach in this movement is wonderfully tongue-in-cheek and no-holds-barred: the solo bassoon, leading us into the recapitulation, is asked to play “dolce” (“sweetly”) when he’s probably thankful just to get the notes in, and only at the very end is there a brief moment of rest to prepare the headlong rush to the final cadence.

MARC MANDEL Marc Mandel is Director of Program Publications of the Boston Symphony Orchestra.

Wolfgang Amadè Mozart (1756-1791) Piano Concerto No. 23 in A, K.488 First performance: Presumably soon after the completion date of March 2, 1786, in Vienna, Mozart, soloist. First BSO performance: February 8, 1929, Serge Koussevitzky cond., Nikolai Orloff, soloist. First Tanglewood performance: July 13, 1956, Pierre Luboschutz cond., Boris Goldovsky, soloist. Most recent Tanglewood performance: July 17, 2009, James Levine cond., Leon Fleisher, soloist. Paul Lewis plays Mozart’s own first- movement cadenza in today’s performance. Figaro was the big project for the spring of 1786, and it was ready for performance on May 1, but Mozart repeatedly interrupted himself, dashing off his one-acter The Impresario for a party at the Imperial palace at Schönbrunn, and writing three piano concertos, presumably for his own use that year. The A major is the middle one of the three, being preceded by the spacious E-flat, K.482, completed at the end of December, and being followed just three weeks later by the sombre C minor, K.491. Its neighbors are bigger. Both have trumpets and drums, and the C minor is one of the relatively rare works to allow itself both oboes and clarinets. The A major adds just one flute plus pairs of clarinets, bassoons, and horns to the strings, and with the last in the whole series, K.595 in B-flat (January 1791), it is the most chamber-musical of Mozart’s mature piano concertos. It is gently spoken and, at least until the finale, shows little ambition in the direction of pianistic brilliance. Lyric and softly moonlit—as the garden scene of Figaro might be, were there no sexual menace in it—it shares something in atmosphere with later works in the same key, the great violin sonata, K.526, the Clarinet Quintet, and the Clarinet Concerto. The first movement is music of lovely and touching gallantry. Its second chord, dark- ened by the unexpected G-natural in the second violins, already suggests the melancholy that will cast fleeting shadows throughout the concerto and dominate its slow movement altogether. The two main themes are related more than they are contrast-

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 37 ed, and part of what is at once fascinating and delightful is the difference in the way Mozart scores them. He begins both with strings alone. The first he continues with an answering phrase just for winds, punctuated twice by forceful string chords, and that leads to the first passage for the full orchestra. But now that the sound of the winds has been introduced and established, Mozart can proceed more subtly. In the new theme, a bassoon joins the violins nine measures into the melody, and, as though encouraged by that, the flute appears in mid-phrase, softly to add its sound to the texture, with horns and clarinets arriving just in time to reinforce the cadence. When the same melody reappears about a minute-and-a-half later, the piano, having started it off, is happy to retire and leave it to the violins and bassoon and flute who had invented it in the first place, but it cannot after all refrain from doubling the descending scales with quiet broken octaves, adding another unobtrusively achieved, perfectly gauged touch of fresh color. Slow movements in minor keys are surprisingly uncommon in Mozart, and this one is in fact the last he writes. An “adagio” marking is rare, too, and this movement is an altogether astonishing transformation of the siciliano style. The orchestra’s first phrase harks back to “Wer ein Liebchen hat gefunden” (“He who has found a sweet- heart”), Osmin’s animadversions in The Abduction from the Seraglio on the proper treatment of women, but nothing in the inner life of that grouchy, fig-picking harem-steward could ever have motivated the exquisite dissonances brought about here by the bassoon’s imitation of clarinet and violins. Throughout, Mozart the pianist imagines himself as the ideal opera singer—only the Andante in the famous C major concerto, K.467, is as vocal—and a singer, furthermore, proud of her flaw-

FROM THE TANGLEWOOD AUDIO ARCHIVES A Tanglewood 75th Anniversary Celebration For 75 days this summer, from June 20 through September 2, Tanglewood celebrates its 75th anniversary with the release, at tanglewood.org, one each day, of 75 historic performances from its audio archives. These historic recordings are being streamed free on the first day of release, and then released for purchase as downloads, with detailed program notes, as of the following day. THE RELEASES FOR THIS WEEK ARE: Friday, August 10: Brahms Violin Concerto, Pierre Monteux conducting, Isaac Stern, violin (July 24, 1959) • Saturday, August 11: Kirchner Music for Orchestra I, Tanglewood Music Center Orchestra, Leon Kirchner conducting (August 7, 1985) • Sunday, August 12: Rodgers and Hammerstein Carousel, Boston Pops Orchestra, Keith Lockhart conducting, vocal soloists, Tanglewood Festival Chorus (July 10, 2007) • Monday, August 13: Strauss Final Scene from Der Rosenkavalier, Tanglewood Music Center Orchestra and Vocal Soloists, Erich Leinsdorf conducting (July 27, 1982) • Tuesday, August 14: Beethoven String Quartet No. 15 in A minor, Op. 132, Juilliard String Quartet (July 8, 2004) • Wednesday, August 15: Schoenberg Gurrelieder, James Levine conducting, vocal soloists including Christine Brewer, Waltraud Meier, Johan Botha, Matthew Polenzani, and Eike Wilm Schulte, Tanglewood Festival Chorus (July 14, 2006) • Thursday, August 16: Wagner Götterdämmerung excerpts, Erich Leinsdorf conducting, Marilyn Horne, mezzo-soprano (August 20, 1967) For complete details, please visit tanglewood.org.

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 39 lessly achieved changes of register and of her exquisitely cultivated taste in expressive embellishment. After the restraint of the first movement and the melancholia of the second, Mozart gives us a finale of captivating high spirits. It keeps the pianist very busy in music that comes close to perpetual motion and in which there is plenty to engage our ear, now so alert to the delicacy and overflowing invention with which Mozart uses those few and quiet instruments.

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

Richard Strauss (1864-1949) “Till Eulenspiegel’s Merry Pranks,” Opus First performance: November 5, 1895, Cologne, Franz Wüllner cond. First BSO performance: February 21, 1896, Emil Paur cond. First Tanglewood performance: August 8, 1946, Serge Koussevitzky cond. Most recent Tanglewood performance by the BSO: July 30, 2006, Hans Graf cond. Most recent Tanglewood performance: July 17, 2011, Tanglewood Music Center Orchestra, Kurt Masur cond. There was a real Till Eulenspiegel, born early in the fourteenth century near Brunswick and gone to his reward—in bed, not on the gallows as in Strauss’s tone poem—in 1350 at Mölln in Schleswig-Holstein. Stories about him have been in print since the beginning of the sixteenth century, the ﬁrst English version coming out around 1560 under the title Here beginneth a merye Jest of a man that was called Howleglas (“Eule” in German means “owl” and “Spiegel” “mirror” or “looking-glass”). The consistent and serious theme behind his jokes and pranks, often in themselves distinctly on the coarse and even bru- tal side, is that here is an individual getting back at society, more speciﬁcally the shrewd peasant more than holding his own against a stuffy bourgeoisie and a repressive clergy. The most famous literary version of Till Eulenspiegel is the one

TANGLEWOODWEEK 6 SUNDAYPROGRAMNOTES 41 published in 1866 by the Belgian novelist Charles de Coster: set in the period of the Inquisition in the sixteenth century, it is also the most explicitly politicized telling of the story, and it is the source of one of the great underground masterpieces of 20th- century music, the oratorio Thyl Claes by the Russian-German composer Vladimir Vogel. Strauss knew de Coster’s book, and it seems also that in 1889 in Würzburg he saw an opera called Eulenspiegel by Cyrill Kistler, a Bavarian composer whose earlier opera Kunihild had a certain currency in the ’80s and early ’90s, and for which he was pro- claimed as Wagner’s heir. Indeed, Strauss’s first idea was to compose an Eulenspiegel opera, an idea that appealed to him especially after the failure of his own exceedingly Wagnerian Guntram in 1894. He sketched a scenario and later commissioned another from Count Ferdinand von Sporck, the librettist of Kistler’s Kunihild, but somehow the project never got into gear. “I have already put together a very pretty scenario,” he wrote in a letter, “but the figure of Master Till does not quite appear before my eyes. The book of folk-tales only outlines a generalized rogue with too superficial a dramatic personality, and developing his character in greater depth, taking into account his contempt for humanity, also presents considerable difficulties.” But if Strauss could not see Master Till, he could hear him, and before 1894 was out, he had begun the tone poem that he finished on May 6, 1895. As always he could not make up his mind whether he was engaged in tone painting or “just music.” To Franz Wüllner, who was preparing the first performance, he wrote: I really cannot provide a program for Eulenspiegel. Any words into which I might put the thoughts that the several incidents suggested to me would hardly suffice; they might even offend. Let me leave it, therefore, to my listeners to crack the hard nut the Rogue has offered them. By way of helping them to a better under-

42 standing, it seems enough to point out the two Eulenspiegel motives [Strauss jots down the opening of the work and the virtuosic horn theme], which, in the most diverse disguises, moods, and situations, pervade the whole up to the catastrophe when, after being condemned to death, Till is strung up on the gibbet. For the rest, let them guess at the musical joke a Rogue has offered them. On the other hand, for Wilhelm Mauke, the most diligent of early Strauss exegetes, the composer was willing to offer a more detailed scenario—Till among the market- women, Till disguised as a priest, Till paying court to pretty girls, and so forth—the sort of thing guaranteed to have the audience anxiously reading the program book instead of listening to the music, probably confusing priesthood and courtship anyway, wondering which theme represents “Till confounding the Philistine peda- gogues,” and missing most of Strauss’s dazzling invention in the process. (Also, if you’ve ever been shown in a music appreciation class how to “tell” rondo form, forget it now.) It is probably useful to identify the two Till themes, the very ﬁrst violin melody and what the horn plays about ﬁfteen seconds later,* and to say that the opening music is intended as a “once-upon-a-time” prologue that returns after the graphic trial and hanging as a charmingly formal epilogue (with rowdily humorous “kick- er”). For the rest, Strauss’s compositional ingenuity and orchestral bravura plus your attention and fantasy will see to the telling of the tale.

MICHAEL STEINBERG

* It is told that Strauss’s father, probably both the most virtuosic and the most artistic horn player of his time, protested the unplayability of this ﬂourish. “But Papa,” said the composer, “I’ve heard you warm up on it every day of my life.”

Guest Artists

Christoph von Dohnányi Christoph von Dohnányi is recognized as one of the world’s preeminent orchestral and opera conductors. In addition to guest engagements with the major opera houses and orchestras of Europe and North America, his appointments have included opera directorships in Frankfurt and Hamburg; principal orchestral conducting posts in Germany, London, and Paris, and his legendary twenty-year tenure as music director of the Cleveland Orchestra. In 2011-12 he returned to North America to lead subscription concerts with the Boston Symphony, Kansas City Symphony, New York Philharmonic, and Cleveland Orchestra. He also conducted Brahms’s German Requiem with the Philharmonia Orchestra in London; returned to Israel several times for concerts with the Israel Philharmonic; conducted Strauss’s Salome with Zurich Opera and orchestra concerts with the Zurich Tonhalle. Honorary Conductor for Life of London’s Philharmonia Orchestra, he and that orchestra have played in residence at Vienna’s Musikverein and toured Germany and the west coast of the United States. With the Théâtre du Châtelet in Paris, he has collaborated on productions of Strauss’s Arabella, Die Frau ohne Schatten, and Die schweigsame Frau, Schoenberg’s Moses und Aron, Stravinsky’s Oedipus Rex, and Humperdinck’s Hänsel und Gretel. Other highlights of recent seasons include concerts with the Royal Concertgebouw Orchestra of Amsterdam, the Orchestre de Paris, and

TANGLEWOODWEEK 6 GUESTARTISTS 43 the Israel Philharmonic, as well as concert series with the Los Angeles Philharmonic (leading all four Brahms symphonies over a two-week period), the Boston and Chicago symphonies, New York Philharmonic, and Cleveland Orchestra. In summer 2010 he conducted the Tanglewood Music Center’s production of Richard Strauss’s Ariadne auf Naxos. During his years with the Cleveland Orchestra, Christoph von Dohnányi led that ensemble in a thousand concerts, fifteen international tours, twenty-four premieres, and recordings of more than one hundred works. Immediately upon concluding his tenure there in 2002, he made long-awaited guest appearances with the major orchestras of Boston, Philadelphia, Pittsburgh, Chicago, and New York. He also conducts frequently at the world’s great opera houses, including Covent Garden, La Scala, the Vienna State Opera, Berlin, and Paris. He has been a frequent guest with the Vienna Philharmonic at the Salzburg Festival, leading the world premieres of Henze’s Die Bassariden and Cerha’s Baal. He also regularly appears with Zurich Opera, where in recent years he has conducted Die schweigsame Frau, a double bill of Stravinsky’s Oedipus Rex and Bartók’s Bluebeard’s Castle, and new productions of Verdi’s Un ballo in maschera, Berg’s Wozzeck, and Schoenberg’s Moses und Aron. He has made many critically acclaimed recordings for London/Decca with the Cleveland Orchestra and the Vienna Philhar- monic. With Vienna he recorded a variety of symphonic works and a number of operas. His large and varied Cleveland Orchestra discography includes, among many other things, Wagner’s Die Walküre and Das Rheingold, and the complete symphonies of Beethoven, Brahms, and Schumann. An alumnus of the Tanglewood Music Center, Christoph von Dohnányi made his BSO subscription series debut in February 1989 and has been a frequent guest with the orchestra at Symphony Hall and at Tanglewood since his BSO subscription concerts of November 2002. Tonight marks his fourth Tanglewood appearance this summer, following upon the BSO’s opening all-Beethoven concert in July, a BSO concert last weekend, and an appearance with the Tanglewood Music Center Orchestra to open the gala Tanglewood on Parade concert this past Tuesday night. He returns to Symphony Hall in February 2013 for two weeks of BSO subscription concerts, to include music of Brahms, Sibelius, Beethoven, Mozart, and Bruckner. Stu Rosner

44 Paul Lewis Pianist Paul Lewis makes his Boston Symphony Orchestra and Tanglewood debuts this afternoon. In 2011, Mr. Lewis embarked upon a two-year Schubert project entitled “Schubert and the Piano: 1822-1828,” performing all the mature piano works from the Wanderer Fantasy onwards; the program is being presented in such major music centers as London, New York, Chicago, Tokyo, Rotterdam, Florence, and the Schubertiade Schwarzenberg. Orchestral engagements during the 2011- 12 season have included appearances with the London Philharmonic Orchestra and the Hong Kong Symphony Orchestra. Among Mr. Lewis’s many awards are the Royal Philharmonic Society’s Instrumentalist of the Year Award, the South Bank Show Classical Music Award, France’s Diapason d’Or de l’année, two suc- cessive Edison awards in Holland, the 25th Premio Internazionale Accademia Musicale Chigiana in Siena, and three Gramophone awards, including 2008’s Record of the Year. Between 2005 and 2007 he performed the complete Beethoven sonatas at venues throughout Europe and North America, earning acclaim for his performances and for his Harmonia Mundi recordings of the cycle. His 2010 recording of Schubert’s Winterreise with Mark Padmore received a Gramophone award. His recordings of Beethoven’s five piano concertos with Jiˇrí Bˇelohlávek and the BBC Symphony Orches- tra and of Beethoven’s Diabelli Variations were named Recording of the Month by such publications as Gramophone, Classic FM Magazine, BBC Music Magazine, and International Record Review. His most recent releases include a double-CD of Schubert piano works and Schwanengesang with Mr. Padmore, marking the completion of their survey of Schubert’s three song cycles. In summer 2010 Paul Lewis became the first pianist to play all the Beethoven piano concertos in a single BBC Proms season. He is a regular guest at many other prestigious venues and festivals, including the Schubertiade Schwarzenberg, the Roque d’Antheron Piano Festival, and the Klavier Festival Ruhr. He has appeared on more than forty occasions at London’s Wigmore Hall. In addition to performing with all of the major UK orchestras, he has appeared with the Los Angeles Philharmonic, Chicago Symphony, Leipzig Gewandhaus, Bamberg Symphony, NDR-Philharmonie, Vienna Symphony, Seattle Symphony, Mahler Chamber Orchestra, Australian Chamber Orchestra, Sydney Symphony, and Melbourne Symphony. Recent highlights have included a complete Beethoven concerto cycle with the Orquesta Sinfonica de Galicia, his São Paulo Symphony Orchestra debut, opening New York’s Mostly Mozart Festival with Beethoven’s Emperor Concerto, concerts in New York, Chicago, Milan, and Turin with the London Symphony Orchestra and Sir Colin Davis, a European tour with the Bournemouth Symphony and Marin Alsop, his second recital tour of Australia for Musica Viva, and a United States tour with the Australian Chamber Orchestra. Solo recitals have taken him to London’s Royal Festival Hall, Tokyo’s Toppan Hall, Chicago’s Symphony Center, the Amsterdam Concertgebouw, Tonhalle Zurich, Madrid’s Auditorio Nacional, the Kennedy Center in Washington, D.C., and the Vienna Konzerthaus. Paul Lewis studied with Ryszard Bakst at Chethams School of Music and Joan Havill at the Guildhall School of Music and Drama, before going on to study privately with Alfred Brendel. Along with his wife, the Norwegian cellist Bjørg Lewis, he is artistic director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK.

TANGLEWOODWEEK 6 GUESTARTISTS 45 A page from the 1937 program book for the Boston Symphony Orchestra’s first Tanglewood concerts (BSO Archives)

46 The Koussevitzky Society

The Koussevitzky Society recognizes gifts made since September 1, 2011, to the following funds: Tanglewood Annual Fund, Tanglewood Business Fund, and Tanglewood restricted annual gifts. The Boston Symphony Orchestra is grateful to the following individuals, foundations, and businesses for their annual support of $3,000 or more during the 2011-12 season. For further information on becoming a Koussevitzky Society member, please contact Leslie Antoniel, Assistant Director of Society Giving, at 617-638-9259.

Dr. Robert J. Mayer, Chair, Tanglewood Annual Fund

Chairman’s $100,000 and above

Roberta and George Berry • Sally † and Michael Gordon • Carol and Joe Reich • Caroline and James Taylor Virtuoso $50,000 to $99,999

Linda J.L. Becker • Cynthia and Oliver Curme • Sanford and Isanne Fisher • Dorothy and Charlie Jenkins • Joyce Linde • Mrs. Irene Pollin • Susan and Dan Rothenberg • Kitte † and Michael Sporn Encore $25,000 to $49,999

Berkshire Money Management • Blantyre • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Canyon Ranch in Lenox • Country Curtains • Elizabeth W. and John M. Loder • Kate and Al Merck • The Claudia & Steven Perles Family Foundation • Claudio and Penny Pincus • The Red Lion Inn • Ronald and Karen Rettner • Stephen and Dorothy Weber Benefactors $20,000 to $24,999

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TANGLEWOODWEEK 6 THEKOUSSEVITZKYSOCIETY 47 Prelude $7,500 to $9,999

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Abbott’s Limousine & Livery Service, Inc. • Alli and Bill Achtmeyer • American Terry Co. • Gideon Argov and Alexandra Fuchs • Liliana and Hillel Bachrach • Susan Baker and Michael Lynch • Bayer Material Science • Berkshire Bank and Berkshire Insurance Group • The Berkshires Capital Investors • Linda and Tom Bielecki • Hildi and Walter Black • Brad and Terrie Bloom • Jane and Jay Braus • Judy and Simeon Brinberg • Anne and Darrel Brodke • Lynn and John Carter • The Cavanagh Family • James and Tina Collias • Judith and Stewart Colton • Dr. Charles L. Cooney and Ms. Peggy Reiser • Alan R. Dynner • Ursula Ehret-Dichter and Channing Dichter • Dr. T. Donald and Janet Eisenstein • Eitan and Malka Evan • Mr. David Fehr • Rabbi Daniel Freelander and Rabbi Elyse Frishman • Carolyn and Roger Friedlander • Myra and Raymond Friedman • Audrey and Ralph Friedner • Lynne Galler and Hezzy Dattner • Mr. and Mrs. Leslie J. Garfield • Dr. Donald and Phoebe Giddon • The Goldman Family Trust • Joe and Perry Goldsmith • Martha and Todd Golub • Mr. and Mrs. Robert A. Goodman • Corinne and Jerry Gorelick • Mr. David Haas • Joseph K. and Mary Jane Handler • Ann L. Henegan • In memory of D.M. Delinferni • Stephen and Michele Jackman • Liz and Alan Jaffe • Martin and Wendy Kaplan • Natalie Katz, in memory of Murray S. Katz • Mrs. Sarah K. Kennedy • Koppers Chocolate • William and Marilyn Larkin • Helaine and Marvin Lender • Phyllis and Walter F. Loeb • Carmine A. and Beth V. Martignetti • Janet McKinley • Judy and Richard J. Miller • Mr. and Mrs. Michael Monts • Kate and Hans Morris • Robert E. and Eleanor K. Mumford • Mr. and Mrs. Raymond F. Murphy, Jr. • Myriad Productions • The Netter Foundation • Mike, Lonna and Callie Offner • Mr. and Mrs. Chet Opalka • Dr. and Mrs. Simon Parisier • Wendy Philbrick • Jonathan and Amy Poorvu • Quality Printing Company, Inc. • The Charles L. Read Foundation • Ms. Deborah Reich and Mr. Frank Murphy • Mary and Lee Rivollier • Elaine and Bernard Roberts • Barbara and Michael Rosenbaum • Ruth and Milton Rubin • Suzanne and Burton Rubin • Sue Z. Rudd • Dr. Beth Sackler • Ms. Sherri Samuels • Dr. and Mrs. James Satovsky • Marcia and Albert Schmier • Mr. Daniel Schulman and Ms. Jennie Kassanoff • The Shields Family • The Silman Family • Marion A. Simon • Scott and Robert Singleton • Noreene Storrie and Wesley McCain • Norma and Jerry Strassler • Jerry and Nancy Straus • Roz and Charles Stuzin • Bill and Adrienne Taft • Jerry and Roger Tilles • Jacqueline and Albert Togut • Mrs. Charles H. Watts II • Karen and Jerry Waxberg • Mr. and Mrs. Barry Weiss • Robert and Roberta Winters • Patricia Plum Wylde • Anonymous (6) Members $3,000 to $4,999

Abbott Capital Management, LLC • Mrs. Estanne Abraham-Fawer and Mr. Martin Fawer • Mark and Stephanie Abrams • Deborah and Charles Adelman • Howard J. Aibel • Mr. Michael P. Albert • Toby and Ronald Altman • Arthur Appelstein and Lorraine Becker • Apple Tree Inn • Barrington Associates Realty Trust • Stephen Barrow and Janis Manley • Timi and Gordon Bates • Dr. Burton and Susan Benjamin • Cindy and David Berger • Helene Berger • Jerome and Henrietta Berko • Mr. and Mrs. Richard Berkowitz • Berkshire Co-op Market • Berkshire Landmark Builders, Inc. • Biener Audi • Big Y Supermarkets • Mr. and Mrs. James L. Bildner • Gail and Stanley Bleifer • Birgit and Charles Blyth • Mr. and Mrs. Nat Bohrer • Marlene and Dr. Stuart H. Brager • Jim and Linda Brandi • Carol and Bob Braun • Sandra L. Brown • Samuel B. and Deborah D. Bruskin • Mr. and Mrs. Jon E. Budish • Rhea and Allan Bufferd • Bonnie and Terry Burman • Careers Through Culinary Arts Program (C-CAP) • Phyllis H. Carey • David and Maria Carls • Susan and Joel Cartun • Dr. Antonia Chayes • Frederick H. Chicos • Chocolate Springs Café • Lewis F. Clark, Jr. • Cohen Kinne Valicenti & Cook LLP • Carol and Randy Collord • Linda Benedict Colvin in loving memory of her parents, Phyllis and Paul Benedict • Mr. and Mrs. Herbert J. Coyne • Cranwell Resort, Spa & Golf Club • Ernest Cravalho and Ruth Tuomala • Mrs. Ann Cummis • Richard H. Danzig • Leslie and Richard Daspin • Mr. and Mrs. Jerome A. Deener • Arthur and Isadora Dellheim •

48 Dr. and Mrs. Harold Deutsch • Chester and Joy Douglass • Dresser-Hull Lumber & Building Supply Company • Terry and Mel Drucker • The Dulye Family • Mrs. Harriett M. Eckstein • Mr. and Mrs. Leonard Edelson • Mr. and Mrs. Monroe B. England • Gwenn Earl Evitts • Mr. and Mrs. Sanford P. Fagadau • Dr. and Mrs. Gerald D. Falk • Marie V. Feder • Eunice and Carl Feinberg • Dr. Jeffrey and Barbara Feingold • Ms. Nancy E. Feldman • Deborah Fenster-Seliga and Edward Seliga • Beth and Richard Fentin • Laura and Philip Fidler • Joseph and Marie Field • Doucet and Stephen Fischer • John M. and Sheila Flynn • Betty and Jack Fontaine • Herb and Barbara Franklin • Ms. Adaline Frelinghuysen • Fried Family Foundation, Janet and Michael Fried • Mr. David Friedson and Ms. Susan Kaplan • Mr. and Mrs. Robert L. Gable • Genatt Associates, Inc. • Drs. Ellen Gendler and James Salik in memory of Dr. Paul Gendler • Mr. and Mrs. Melvin Y. Gershman • Drs. Anne and Michael Gershon • Mr. and Mrs. James W. Giddens • Stephen Gilbert and Geraldine Staadecker • Glad Rags • David H. Glaser and Deborah F. Stone • Stuart Glazer and Barry Marcus • Sondra and Sy Goldman • Judi Goldsmith • Gorbach Family Foundation • Goshen Wine & Spirits, Inc. • Jud and Roz Gostin • Mrs. Roberta Greenberg • Mr. Harold Grinspoon and Ms. Diane Troderman • Charlotte and Sheldon Gross • Carol B. Grossman • Michael and Muriel Grunstein • Mr. and Mrs. Robert Haber • Mr. and Mrs. Jonathan Halpern • Dena and Felda Hardymon • Dr. and Mrs. Leon Harris • William Harris and Jeananne Hauswald • Ricki T. and Michael S. Helfer • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Jim Hixon • Enid and Charles Hoffman • Richard Holland • Howard Johnson Inn, Lenox • Iredale Mineral Cosmetics, LTD. • Madeline Brandt Jacquet • Lola Jaffe • Mr. and Mrs. Daniel R. Johnson • Marcia E. Johnson • Ms. Lauren Joy • Kahn Family Foundation • Charlotte Kaitz and Family • Carol and Richard Kalikow • Adrienne and Alan Kane • Cathy M. Kaplan • Marcia Simon Kaplan • Mr. Chaim and Dr. Shulamit Katzman • Monsignor Leo Kelty • Mr. and Mrs. Carleton F. Kilmer • Deko and Harold Klebanoff • Robert E. Koch • Margaret and Joseph Koerner • Dr. Samuel Kopel and Sari Scheer • Dr. and Mrs. David Kosowsky • Margaret and Richard Kronenberg • J. Kenneth and Cathy Kruvant • Norma and Sol D. Kugler • Dr. and Mrs. Stephen Kulvin • Shirley and Bill Lehman • Cynthia and Robert J. Lepofsky • Mr. and Mrs. Bill Lewinski • Marjorie Lieberman • Murray and Patti Liebowitz • Geri and Roy Liemer • Ian and Christa Lindsay • Jane and Roger Loeb • Diane H. Lupean • Gloria and Leonard Luria • Mrs. Paula M. Lustbader • Diane and Darryl Mallah • The Marketplace Kitchen • Suzanne and Mort Marvin • Mary and James Maxymillian • Dr. and Mrs. Malcolm Mazow • Drs. Gail and Allen Meisel • The Messinger Family • Wilma and Norman Michaels • Peter and Yvette Mulderry • Paul Neely • Linda and Stuart Nelson • Mr. Richard Novik • Mr. and Mrs. Gerard O’Halloran • Patten Family Foundation • Ms. Joyce Plotkin and Bennett Aspel, M.D. • Ted Popoff and Dorothy Silverstein • Walter and Karen Pressey • Mary Ann and Bruno A. Quinson • Ellen and Mickey Rabina • Mr. and Mrs. Nathan Reiber • Robert and Ruth Remis • Mr. and Mrs. Albert P. Richman • Lucinda and Brian Ross • Mr. and Mrs. Stanley Ross • Mr. Robert M. Sanders • Dr. and Mrs. Wynn A. Sayman • Mr. Gary S. Schieneman and Ms. Susan B. Fisher • Pearl and Alvin Schottenfeld • Jane and Marty Schwartz • Sol Schwartz Productions • Carol and Marvin Schwartzbard • Carol and Richard Seltzer • Seven Hills Inn • Lois and Leonard Sharzer • Natalie and Howard Shawn • Jackie Sheinberg and Jay Morganstern • Beverly and Arthur T. Shorin • Susan and Judd Shoval • Linda and Marc Silver, in loving memory of Marion and Sidney Silver • Robert and Caryl Siskin • Arthur and Mary Ann Siskind • Maggie and Jack Skenyon • Elaine Sollar and Edwin R. Eisen • Mr. Peter Spiegelman and Ms. Alice Wang • Lauren Spitz • Lynn and Ken Stark • Mr. and Mrs. Lewis Stein • Mr. and Mrs. Daniel S. Sterling • Mrs. Pat Strawgate • Mr. and Mrs. Edward Streim • The Studley Press, Inc. • Michael and Elsa Daspin Suisman • Marjorie and Sherwood Sumner • Mr. and Mrs. George A. Suter, Jr. • Mr. and Mrs. Gerald E. Swimmer • Mr. and Mrs. Richard Taylor • John Lowell Thorndike • David J. Tierney, Jr., Inc. • Bob Tokarczyk • Diana O. Tottenham • Barbara and Gene Trainor • Myra and Michael Tweedy • Mr. and Mrs. Howard J. Tytel • Mr. Antoine and Mrs. Emily B. Van Agtmael • Ron and Vicki Weiner • Stephen M. Weiner and Donald G. Cornuet • Betty and Ed Weisberger • Dr. and Mrs. Jerry Weiss • Michelle Wernli and John McGarry • Ms. Carol Andrea Whitcomb • Carole White • Peter D. Whitehead Builder, LLC • Mr. Robert G. Wilmers • The Wittels Family • Sally and Steve Wittenberg • Pamela and Lawrence Wolfe • Ira and Shirley Yohalem • Erika and Eugene Zazofsky and Dr. Stephen Kurland • Carol and Robert Zimmerman • Mr. Lyonel E. Zunz • Anonymous (8) † Deceased

TANGLEWOODWEEK 6 THEKOUSSEVITZKYSOCIETY 49 2012 Tanglewood Named Concerts and Guest Artists

The Boston Symphony Orchestra wishes to thank the following for naming a concert or guest artist appearance during the 2012 Tanglewood season. Concerts and guest artists are available for naming to Boston Symphony, Boston Pops, and Tanglewood Annual Fund supporters of $25,000 or more and may also be endowed for a minimum of ten years. BSO Prelude concerts are available for naming in recognition of annual fund donors of $7,500 or more.

2012 Tanglewood Named Concerts

Friday, July 6, 2012 (Prelude) The Mae and Gabriel Shapiro Memorial Concert Friday, July 6, 2012 Sponsored by Country Curtains, The Red Lion Inn, and Blantyre in loving memory of Jack Fitzpatrick Saturday, July 7, 2012 The Evelyn and Samuel Lourie Memorial Concert Sunday, July 8, 2012 (Matinee) The Allen P. Harris Concert Sunday, July 8, 2012 (Evening) The Phyllis and Lee Coffey Memorial Concert Wednesday, July 11, 2012 The Caroline and James Taylor Concert Friday, July 13, 2012 The Stephen and Dorothy Weber Concert Sunday, July 15, 2012 The Linde Family Concert Monday, July 16, 2012 The Daniel Freed and Shirlee Cohen Freed Memorial Concert Friday, July 27, 2012 (Prelude) The Valerie and Allen Hyman Concert Friday, July 27, 2012 The Serge and Olga Koussevitzky Memorial Concert Sunday, July 29, 2012 The Daniel and Lynne Ann Shapiro Concert Saturday, August 4, 2012 The Ting Tsung Chao Memorial Concert Sunday, August 5, 2012 (Evening) The Canyon Ranch Concert Tuesday, August 7, 2012 (Tanglewood On Parade) The Gregory E. Bulger Foundation Concert August 9, 2011 – August 13, 2011 (Festival of Contemporary Music) The 2012 Festival of Contemporary Music is made possible by grants from the Aaron Copland Fund for Music, the Fromm Music Foundation, the National Endowment for the Arts, the Ernst von Siemens Music Foundation, the Helen F. Whitaker Fund, and by the generous support of Dr. Raymond and Hannah H. Schneider.

50 Friday, August 10, 2012 The George W. and Florence N. Adams Concert Saturday, August 11, 2012 The Jean Thaxter Brett Memorial Concert Sunday, August 12, 2012 (Morning) The Fromm Concert at Tanglewood Sunday, August 12, 2012 (Matinee) The Boston Symphony Association of Volunteers Concert Monday, August 13, 2012 The Margaret Lee Crofts Concert Saturday, August 18, 2012 The George and Roberta Berry Supporting Organization Concert Sunday, August 19, 2012 (Matinee) The Leonard Bernstein Memorial Concert The 2012 Leonard Bernstein Memorial Concert is supported by generous endowments established in perpetuity by Dr. Raymond and Hannah H. Schneider, and Diane H. Lupean. Friday, August 24, 2012 The Carol and Joe Reich Concert Saturday, August 25, 2012 (Family Concert) Supported by a gift from the James A. Macdonald Foundation Saturday, August 25, 2012 (Evening) Opera activities at Tanglewood are supported by the Geoffrey C. Hughes Foundation and the Tanglewood Music Center Opera Fund.

2012 Named Support of Tanglewood Guest Artists

All appearances of the Tanglewood Festival Chorus Alan J. and Suzanne W. Dworsky Fund for Voice and Chorus Stu Rosner

TANGLEWOODWEEK 6 NAMEDCONCERTSANDGUESTARTISTS 51 The Walter Piston Society

The Walter Piston Society was established in 1987 and named for Pulitzer Prize-winning composer and noted musician, Walter Piston, who endowed the Principal Flute Chair with a bequest. The Society recognizes and honors those who have provided for the future of the Boston Symphony Orchestra, Boston Pops, or Tanglewood, through one of a variety of irrevocable deferred gifts or by including the BSO in their long-term plans. If you would like information about how to include the BSO in your plans, or if you find that your name is not listed and should be, please contact John MacRae, Director of Principal and Planned Giving, at (617) 638-9268 or [email protected]. Everett L. Jassy, Co-Chair, Planned Giving Committee Richard P. Morse, Co-Chair, Planned Giving Committee Peter C. Read, Co-Chair, Planned Giving Committee

Sonia S. Abrams • Dellson Alberts • Ms. Eunice Alberts † • Vernon R. Alden • John F. Allen • Rosamond Warren Allen • Lois and Harlan Anderson • Mr. Matthew Anderson • Mariann Berg (Hundahl) Appley • Dorothy and David Arnold • Dr. David M. Aronson • Miss Eleanor Babikian • Denise Bacon • Henry W. D. Bain • Mr. and Mrs. Sherwood E. Bain • Mr. Donald Ball • Dr. and Mrs. Richard F. Balsam • Dr. and Mrs. James E. Barrett • Robert Michael Beech • Alan and Judith Benjamin • Gabriella and Leo Beranek • Deborah Davis Berman • George and Joan Berman • Leonard and Jane Bernstein • Mr. Roger Berube • Mrs. Ben Beyea • Mr. Peter M. Black • Mr. Carl G. Bottcher • Mrs. John M. Bradley • Jan Brett and Joseph Hearne • Peter and Anne Brooke • Phyllis Brooks • Mr. and Mrs. E. B. Brown • Ms. Lorian R. Brown • Dulce W. Bryan • Michael Buonsanto • Mr. Richard-Scott S. Burow • Margaret A. Bush • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Mrs. Mary L. Cabot • Eleanor L. and Levin H. Campbell • Mr. and Mrs. Steven Castraberti • Ms. Deborah P. Clark • Kathleen G. and Gregory S. Clear • John F. Cogan, Jr. and Mary L. Cornille • Ms. Carolyn A. Cohen • Saul and Mimi Cohen • Mrs. Aaron H. Cole • Dr. and Mrs. James C. Collias • Mrs. Abram T. Collier • Mr. and Mrs. Marvin A. Collier • Mrs. Carol P. Côme • Mrs. William H. Congleton • Dr. William G. and Patricia M. Conroy • Dr. Michael T. Corgan and Sallie Riggs Corgan • Mrs. Bigelow Crocker • Joan P. and Ronald C. Curhan • Mrs. Edith L. Dabney • Gene and Lloyd Dahmen • Peggy Daniel • Eugene M. Darling, Jr. • Mr. and Mrs. Nelson J. Darling, Jr. • Tamara P. and Charles H. Davis II • Maude Sergeant Davis • Mr. Henry B. Dewey • Mr. Robert Djorup • Mr. and Mrs. David Doane • Nina L. and Eugene B. Doggett • Mr. Norman Dorian • Henry P. Dunbar • The Rev. and Mrs. J. Bruce Duncan • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ms. Marie J. Eger and Ms. Mary Jane Osborne • Miss Mary C. Eliot • Mrs. Richard S. Emmett • Lillian K. Etmekjian • John P. Eustis II • David H. Evans • Marilyn Evans • Mrs. Samuel B. Feinberg • Roger and Judith Feingold • Mr. Gaffney J. Feskoe • Miss Elio Ruth Fine • C. Peter and Beverly A. Fischer • Doucet and Stephen Fischer • Mr. Stuart M. Fischman • Jane Fitzpatrick • Elaine Foster • Mr. Matthew Fox and Ms. Linda Levant Fox • Mr. and Mrs. Dean W. Freed • Dr. Joyce B. Friedman • Mr. Gabor Garai and Ms. Susan Pravda • Mrs. James G. Garivaltis • Prof. Joseph Gifford • Mrs. Henry C. Gill, Jr. • Annette and Leonard Gilman • Barry Glasser and Candace Baker • Mrs. Joseph Glasser • Susan Godoy • Thelma and Ray Goldberg • Ms. Claire Goldman • Mr. Mark R. Goldweitz • Hugo † and Midge Golin • Hon. Jose A. Gonzalez, Jr. and Mary Copeland Gonzalez • Jane W. and John B. Goodwin • Mrs. Clark H. Gowen • Madeline L. Gregory • Mrs. Norman Gritz • Hope and Warren Hagler • Mr. and Mrs. Roger H. Hallowell, Jr. • Mr. Michael A. Halperson • Dr. Firmon E. Hardenbergh • Margaret L. Hargrove † • Anne and Neil Harper • Ms. Judith Harris • Mr. Warren Hassmer • Mrs. Francis W. Hatch • Deborah Hauser • Mr. Harold A. Hawkes • Mr. Robert R. Hayward † • Dorothy A. Heath • Julie and Bayard Henry • Ann S. Higgins • Mr. James G. Hinkle, Jr. • Mrs. Richard B. Hirsch • Mr. John Hitchcock • Joan and Peter Hoffman • Mrs. Marilyn Brachman Hoffman • Mr. Richard Holman • Ms. Emily C. Hood • Silka Hook • Larry and Jackie Horn • Mr. Charles A. Hubbard II • Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson • Holcombe Hughes, Sr. • Mr. and Mrs. Roger Hunt • Mrs. Joseph Hyman • Valerie and Allen Hyman • Janet S. Isenberg • Emilie K. Jacobs • Margery and Everett Jassy • Mrs. David Jeffries • Carolyn J. Jenkins •

52 Lloyd W. Johnson and Joel H. Laski • Ms. Elizabeth W. Jones • Mr. and Mrs. H. E. Jones • Mrs. Béla T. Kalman • Dr. Alice S. Kandell • David L. Kaufman • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Richard L. Kaye • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent • Athena and Richard Kimball • Mary S. Kingsbery • Ms. Marsha A. Klein • Mr. Mason J. O. Klinck, Sr. • Kathleen Knudsen • Audrey Noreen Koller • Joan H. Kopperl • Mr. Robert K. Kraft • Farla Krentzman • Mr. George F. Krim • Mr. and Mrs. Rudolf M. Kroc • Mr. Richard I. Land • Mr. and Mrs. Robert A. Lawrence • Dr. Robert Lee • Mrs. Shirley Lefenfeld • Barbara Leith † • Don and Virginia LeSieur • Mrs. Vincent J. Lesunaitis • Toby Levine • Jeffrey and Della Levy • Dr. Audrey Lewis • Marjorie Lieberman • Mrs. George R. Lloyd • John M. Loder • Diane H. Lupean • Adam M. Lutynski and Joyce M. Bowden • Mr. and Mrs. Donald Malpass, Jr. • Matthew B. and Catherine C. Mandel • Mrs. Irma Fisher Mann • Mr. Russell E. Marchand • Jay Marks • Mrs. Nancy Lurie Marks • Mr. and Mrs. Jeffrey E. Marshall • Jane and Robert J. Mayer, M.D. • Mrs. Barbara McCullough • Mrs. Richard M. McGrane • Mr. and Mrs. David McKearnan • Mrs. Williard W. McLeod, Jr. • Mr. and Mrs. Russell P. Mead • Mr. Heinrich A. Medicus • Dr. Joel R. Melamed • Henrietta N. Meyer • Edie Michelson and Sumner Milender • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Miss Margo Miller • Mr. and Mrs. Nathan R. Miller • Richard S. Milstein, Esq. • Patricia A. Monk • Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse • Mr. James Edward Mulcahy • John Munier and Dorothy Fitch • Cecile Higginson Murphy • Mrs. Robert M. Mustard • Katharine S. Nash • Chloe and Paul Nassau • Robert and Lee Neff • Anne J. Neilson • Ms. Dianna Nelson • Mary S. Newman • Michael L. Nieland, M.D. • Koko Nishino • Mr. Richard C. Norris • Mr. and Mrs. Arthur E. Norton • Ms. Luciana Noymer • Dr. Peter Ofner • Annette and Vincent O'Reilly • Mrs. Stephen D. Paine • Mrs. Marion S. Palm • Catherine L. Pappas • Mary B. Parent • Janet Fitch Parker • Mrs. Jack S. Parker • Mr. and Mrs. John B. Pepper • Mr. and Mrs. † John A. Perkins • Polly Perry • Mrs. Roger A. Perry, Jr. • Margaret D. Philbrick • Rev. Louis W. Pitt, Jr. • Mrs. Rita Pollet • Lia and William Poorvu • M. Joan Potter • William and Helen Pounds • Mr. Peter J. Previte • Dr. Robert O. Preyer • Carol Procter • Mrs. Daphne Brooks Prout • Mrs. Millard H. Pryor, Jr. • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mark Reach and Laurel Bifano • Mr. John B. Read, Jr. • Peter and Suzanne Read • Kenneth Sawyer Recu • Emily M. Reeves • John S. Reidy • Robert and Ruth Remis • Ms. Carol Ann Rennie • Marcia and Norman Resnick • Dr. Paul A. Richer • Barbara Rimbach • Marcia A. Rizzotto † • Elizabeth P. Roberts • Ms. Margaret C. Roberts • Mr. David Rockefeller, Jr. • Dr. J. Myron Rosen • Mr. James L. Roth • Mrs. George R. Rowland † • Arnold Roy • Jordan S. Ruboy, M.D. • Mr. Robert M. Sanders • Mr. Stephen Santis • Ms. Carol Scheifele-Holmes and Mr. Ben L. Holmes • Constance Lee Scheurer • John N. and Liolia J. Schipper • Dr. Raymond Schneider • Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann • Mr. and Mrs. George G. Schwenk • Alice M. Seelinger • Mrs. George James Seibert • Kristin and Roger Servison • Joyce and Bert Serwitz • Wolf Shapiro † • Carl H. and Claudia K. Shuster • Mrs. Jane Silverman • Scott and Robert Singleton • Barbara F. Sittinger • Dr. and Mrs. Jan P. Skalicky • Mr. and Mrs. Christopher E. Smith • Mrs. W. D. Sohier • Mrs. Joseph P. Solomon • Drs. Norman Solomon and Merwin Geffen • Harold Sparr and Suzanne Abramsky • Mrs. Nathaniel H. Sperber † • Maria and Ray Stata • Thomas G. Stemberg • Marylen R. Sternweiler • Mr. and Mrs. Josiah Stevenson IV • Miss Ruth Elsa Stickney • Henry S. Stone • Lillian C. Stone • Terry and Rick Stone • Mrs. Patricia Hansen Strang • Peter and Joanna Strauss • Mr. and Mrs. Jonathon D. Sutton • Jean-Noël † and Mona N. Tariot • Mr. Thomas Teal • John Lowell Thorndike • Mr. and Mrs. Samuel Thorne • Mrs. Carlos H. Tosi • Diana O. Tottenham • Laughran S. Vaber † • Robert and Theresa Vieira • Mr. and Mrs. Mark Volpe • Carol A. and Henry J. Walker • Eileen and Michael Walker • Lyle Warner • Harvey and Joëlle Wartosky • Ms. Kathleen M. Webb • Stephen and Dorothy Weber • Allen C. West • Ms. Carol A. Whitcomb • Mrs. Constance V. R. White • Edward T. Whitney, Jr. • Dr. Michael Wiedman • Mr. and Mrs. Mordechai Wiesler • Mrs. Mary Wilkinson-Greenberg • Mr. and Mrs. Richard E. Willett • Georgia H. Williams • Mr. Jeffery D. Williams • Samantha and John Williams • Mrs. Margaret Williams-DeCelles • Mrs. Leslie J. Wilson • Jeanne H. Wolf • Chip and Jean Wood • David A. Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Mr. David Yalen • Isa Kaftal and George O. Zimmerman • Richard M. Ziter, M.D. • Anonymous (34) † Deceased

TANGLEWOODWEEK 6 THEWALTERPISTONSOCIETY 53 From the 1937 program book for the Boston Symphony Orchestra's first concerts at Tanglewood (BSO Archives)

54 55 A page from the 1937 program book for the Boston Symphony Orchestra’s first concerts at Tanglewood (BSO Archives)

August at Tanglewood

Thursday, August 2, 8pm Friday, August 10, 8:30pm GERALD FINLEY, baritone BSO—PINCHAS ZUKERMAN, conductor JULIUS DRAKE, piano and violin Songs by Loewe, Schubert, Ravel, and Britten ELIZABETH ROWE, flute JOHN FERRILLO, oboe Friday, August 3, 6pm (Prelude Concert) MALCOLM LOWE, violin BSO BRASS, TIMPANI, AND PERCUSSION JOHN GIBBONS, harpsichord Music of Britten, Tippett, Stravinsky, ALL-J.S. BACH PROGRAM Bach/Kreines, Vierdanck, and Tomasi Brandenburg Concertos Nos. 3 and 5 Concerto in C minor for violin, oboe, and Friday, August 3, 8:30pm strings, BWV 1060 BSO—LORIN MAAZEL, conductor Concerto in D minor for two violins and GERALD FINLEY, baritone strings, BWV 1043 Violin Concerto No. 1 in A minor, BWV 1041 MOZART Symphony No. 38, Prague; Arias from Così fan tutte, Le nozze di Figaro, and Saturday, August 11, 10:30am Don Giovanni RAVEL Alborada del gracioso; Don Quichotte à Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Dulcinée, for baritone and orchestra; Daphnis BSO program of Sunday, August 12 et Chloé, Suite No. 2 Saturday, August 11, 8:30pm Saturday, August 4, 10:30am BOSTON SYMPHONY ORCHESTRA Open Rehearsal (Pre-Rehearsal Talk, 9:30am) STÉPHANE DENÈVE, conductor BSO program of Sunday, August 5 YO-YO MA, cello PREVIN Music for Boston (world premiere; Saturday, August 4, 8:30pm BSO commission) BSO—CHRISTOPH VON DOHNÁNYI, ELGAR Cello Concerto conductor SHOSTAKOVICH Symphony No. 5 YEFIM BRONFMAN, piano SCHUMANN Symphony No. 4 Sunday, August 12, 2:30pm BRAHMS Piano Concerto No. 2 BSO—CHRISTOPH VON DOHNÁNYI, conductor Sunday, August 5, 2:30pm PAUL LEWIS, piano BSO—LORIN MAAZEL, conductor BEETHOVEN Symphony No. 4 JEAN-YVES THIBAUDET, piano MOZART Piano Concerto No. 23 in A, K.488 GANDOLFI Night Train to Perugia (world STRAUSS Till Eulenspiegel’s Merry Pranks premiere; BSO commission) SAINT-SAËNS Piano Concerto No. 5, Egyptian Thursday, August 16, 8pm BERLIOZ Symphonie fantastique ÉBÈNE STRING QUARTET String quartets of Mozart and Tchaikovsky, Sunday, August 5, 8pm plus jazz improvisations CHRIS BOTTI, trumpet, and his band Friday, August 17, 6pm (Prelude Concert) Tuesday, August 7, 8:30pm (Gala Concert) MEMBERS OF THE BSO Tanglewood on Parade VYTAS BAKSYS, piano (Grounds open at 2pm for music and activities Music of John Williams throughout the afternoon.) BSO, BOSTON POPS ORCHESTRA, and Friday, August 17, 8:30pm TMC ORCHESTRA BSO—BRAMWELL TOVEY, conductor STÉPHANE DENÈVE, CHRISTOPH VON AUGUSTIN HADELICH, violin DOHNÁNYI, KEITH LOCKHART, LORIN MAAZEL, and JOHN WILLIAMS, conductors COPLAND Suite from Appalachian Spring BARBER Violin Concerto Music of Beethoven, Stravinsky, Grofé, BEETHOVEN Symphony No. 7 Williams, and Tchaikovsky Saturday, August 18, 10:30am Friday, August 10, 6pm (Prelude Concert) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) MEMBERS OF THE BSO Boston Pops program of Saturday, August 18 VYTAS BAKSYS, piano Music of Previn and Harbison

Saturday, August 18, 8:30pm Saturday, August 25, 10:30am John Williams’ 80th Birthday Celebration Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BOSTON POPS ORCHESTRA BSO program of Sunday, August 26 KEITH LOCKHART, LEONARD SLATKIN, and SHI-YEON SUNG, conductors Saturday, August 25, 8:30pm, Shed YO-YO MA, cello BSO—RAFAEL FRÜHBECK DE BURGOS, ANTHONY MCGILL, clarinet conductor GABRIELA MONTERO, piano NANCY FABIOLA HERRERA, CRISTINA JESSYE NORMAN, soprano FAUS, CÁTIA MORESO, VICENTE GIL SHAHAM, violin OMBUENA, GUSTAVO PEÑA, ALFREDO U.S. ARMY HERALD TRUMPETS GARCÍA HUERGA, JOSEP MIQUEL RAMÓN, MIKE ROYLANCE, tuba and PEDRO SANZ, vocal soloists JAMES SOMMERVILLE, horn NÚRIA POMARES ROJAS, Flamenco dancer KEISUKE WAKAO, oboe PABLO SÁINZ VILLEGAS, guitar Plus surprise guests ALBÉNIZ Suite española (orch. Frühbeck) FALLA La vida breve (concert performance; Sunday, August 19, 2:30pm, Shed sung in Spanish with English supertitles) The Leonard Bernstein Memorial Concert TMC ORCHESTRA—RAFAEL FRÜHBECK Sunday, August 26, 2:30pm, Shed DE BURGOS, conductor BSO—RAFAEL FRÜHBECK DE BURGOS, GIL SHAHAM, violin conductor BEETHOVEN Violin Concerto LEAH CROCETTO, MEREDITH ARWADY, FRANK LOPARDO, and JOHN RELYEA, BARTÓK Concerto for Orchestra vocal soloists TANGLEWOOD FESTIVAL CHORUS, Monday, August 20, 8pm JOHN OLIVER, conductor WYNTON MARSALIS QUINTET HARBISON Koussevitzky Said: for chorus and CHRISTIAN MCBRIDE TRIO orchestra (world premiere; BSO commission) with CHRISTIAN SANDS & BEETHOVEN Symphony No. 9 ULYSSES OWENS, JR. Sunday, August 26, 8pm Wednesday, August 22, 8pm CHICK COREA AND GARY BURTON BOSTON SYMPHONY CHAMBER PLAYERS HOT HOUSE TOUR KARINA GAUVIN, soprano with HARLEM STRING QUARTET JOHN GIBBONS, harpsichord VYTAS BAKSYS, piano Friday, August 31, 7pm Music of Foss, J.S. Bach, Hindemith, Bruch, TRAIN and Mozart MATT KEARNEY and ANDY GRAMMER, special guests Friday, August 24, 6pm (Prelude Concert) BOSTON CELLO QUARTET Saturday, September 1, 7pm Music of Mozart, J. Strauss II, Verdi, Prokofiev, EVANESCENCE Popper, Gimenez, Corea, Hoshii, Anderson, and Déjardin CHEVELLE

Friday, August 24, 8:30pm, Shed Sunday, September 2, 2:30pm BOSTON POPS—KEITH LOCKHART, BOSTON POPS—THOMAS WILKINS, conductor conductor MAUREEN MCGOVERN and MICHAEL FEINSTEIN, BETTY BUCKLEY, BRIAN STOKES MITCHELL, vocalists and CHRISTINE EBERSOLE, special guests ILYA YAKUSHEV, piano A program celebrating the Great American Songbook Gershwin and Friends: A celebration of George Gershwin and the creators of the Great American Songbook; program also to include Gershwin’s Rhapsody in Blue

Programs and artists subject to change. 2012 Tanglewood Music Center Schedule Unless otherwise noted, all events take place in Florence Gould Auditorium, Seiji Ozawa Hall. * indicates that tickets are only available through the Tanglewood Box Office, SymphonyCharge, or online at bso.org. indicates that admission is free, but restricted to that evening’s concert ticket holders.

Thursday, June 28, 8pm * Saturday, July 14, 6pm Friday, June 29, 8pm * Prelude Concert MARK MORRIS DANCE GROUP TANGLEWOOD MUSIC CENTER FELLOWS Saturday, July 14, 8:30pm (Shed) * LUCY SHELTON and MARK MORRIS, Tanglewood 75th Anniversary Celebration reciters BSO, BOSTON POPS ORCHESTRA, and Choreography by Mark Morris to music of TMC ORCHESTRA WALTON, SCHUBERT, and HUMMEL KEITH LOCKHART, JOHN WILLIAMS, Sunday, July 1, 10am STEFAN ASBURY, and ANDRIS NELSONS, BRASS EXTRAVAGANZA conductors EMANUEL AX, YO-YO MA, ANNE-SOPHIE Sunday, July 1, 8pm MUTTER, PETER SERKIN, JAMES TAYLOR, Monday, July 2, 10am & 1pm TANGLEWOOD FESTIVAL CHORUS, and STRING QUARTET MARATHON SPECIAL GUESTS One ticket provides admission to all three concerts. Sunday, July 15, 10am Chamber Music Thursday, July 5, 2:30pm Opening Exercises Monday, July 16, 2pm (Chamber Music Hall) (free admission; open to the public; perform- STEPHEN DRURY, piano ances by TMC faculty) Free recital Saturday, July 7, 6pm Monday, July 16, 6pm Prelude Concert Vocal Prelude Sunday, July 8, 10am Monday, July 16, 8pm * Chamber Music The Daniel Freed and Shirlee Cohen Freed Memorial Concert Sunday, July 8, 6pm TMC ORCHESTRA—MARCELO Vocal Prelude LEHNINGER and TMC CONDUCTING Sunday, July 8, 8pm FELLOWS, conductors The Phyllis and Lee Coffey Memorial Concert Music of BRAHMS, SCHUBERT, and TMC ORCHESTRA—MIGUEL HARTH- STRAUSS BEDOYA and TMC CONDUCTING Saturday, July 21, 6pm FELLOWS, conductors Prelude Concert Music of RESPIGHI, DVORÁˇ K, and Sunday, July 22, 10am PROKOFIEV, plus SCHULLER Dreamscape (world premiere; TMC commission) Chamber Music Sunday, July 22, 8pm Tuesday, July 10, 8pm Vocal Concert Vocal Concert

TICKETS FOR ALL TMC PERFORMANCES are available through Tanglewood Box Office, SymphonyCharge, or online at bso.org. For TMC concerts other than TMC Orchestra concerts, tickets at $11 are available one hour before concert time at the Gate closest to Ozawa Hall (cash or check only). Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orchestra concerts of July 8, 16, 23, and 30 can be purchased in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at bso.org. Please note that availability of seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, the Fromm Concert, and TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music Concerts are available for $11. FOR INFORMATION ABOUT BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 of visit tanglewood.org. Thursday, August 9—Monday, August 13 Monday, July 23, 6pm 2012 FESTIVAL OF CONTEMPORARY Vocal Prelude MUSIC Monday, July 23, 8pm * Oliver Knussen, Festival Director TMC ORCHESTRA—STEFAN ASBURY and Directed by composer/conductor/TMC TMC CONDUCTING FELLOWS, conductors alumnus Oliver Knussen, the 2012 Festival EMANUEL AX, piano highlights the work of Niccolò Castiglioni, Music of IVES, SCHOENBERG, and a 20th century composer almost unknown STRAVINSKY in this country, and four rising stars: Saturday, July 28, 6pm English composers Luke Bedford and Prelude Concert Helen Grime, and Americans Sean Shepherd and Marti Epstein. Knussen's Sunday, July 29, 10am own work is represented by his one-act Chamber Music opera Higglety Pigglety Pop!, written in col- Monday, July 30, 8pm * laboration with the late Maurice Sendak. TMC ORCHESTRA—CHARLES DUTOIT and The 2012 Festival of Contemporary Music TMC CONDUCTING FELLOWS, conductors is made possible by grants from the Aaron TANGLEWOOD FESTIVAL CHORUS Copland Fund for Music, the Fromm Music Music of LINDBERG, VARÉSE, MESSIAEN, Foundation, the National Endowment for the and STRAVINSKY Arts, the Ernst von Siemens Music Founda- tion, the Helen F. Whitaker Fund, and by Wednesday, August 1, 7pm the generous support of Dr. Raymond and Vocal Concert Hannah H. Schneider. Saturday, August 4, 6pm Thursday, August 9, 8pm Prelude Concert Music of BIRTWISTLE, CARTER, BED- Sunday, August 5, 10am FORD, CASTIGLIONI, and SHEPHERD Chamber Music Friday, August 10, 2:30pm Tuesday, August 7 * GLORIA CHENG, piano TANGLEWOOD ON PARADE Music of BIRTWISTLE, BENJAMIN, 2:30pm: TMC Chamber Music KNUSSEN, HARBISON, RANDS, and 3:30pm: TMC Piano Music SALONEN 5pm: TMC Vocal Music Saturday, August 11, 6pm 8pm: TMC Brass Fanfares (Shed) (Prelude Concert) 8:30pm: Gala Concert (Shed) An all-CHARLES IVES program, pre- TMC ORCHESTRA, BSO, and BOSTON POPS pared and conducted by GUNTHER ORCHESTRA SCHULLER STÉPHANE DENÈVE, CHRISTOPH VON DOHNÁNYI, KEITH LOCKHART, LORIN Sunday, August 12, 10am MAAZEL, and JOHN WILLIAMS, conductors The Fromm Concert at Tanglewood STEFAN ASBURY and OLIVER Wednesday, August 15, 8pm KNUSSEN, conductors Vocal Concert—Stephanie Blythe and TMC Music of BENJAMIN, BIRTWISTLE, Fellows (songs on Emily Dickinson texts) CASTIGLIONI, EPSTEIN(world pre- Saturday, August 18, 11am miere; TMC commission), DEL TREDICI, COMPOSER PIECE-A-DAY PERFORMANCE GRIME, and SHEPHERD Free admission Sunday, August 12, 8pm Saturday, August 18, 6pm CASTIGLIONI Inverno In-Ver Prelude Concert KNUSSEN Higglety Pigglety Pop! (concert Sunday, August 19, 10am performance, including live video with Chamber Music images from the Sendak book by video artist Netia Jones) Sunday, August 19, 1pm Vocal Prelude Concert Monday, August 13, 8pm The Margaret Lee Crofts Concert Sunday, August 19, 2:30pm (Shed) TMC ORCHESTRA The Leonard Bernstein Memorial Concert OLIVER KNUSSEN and STEFAN Supported by generous endowments established in ASBURY, conductors perpetuity by Dr. Raymond and Hannah H. PETER SERKIN, piano Schneider, and Diane Lupean Music of BIRTWISTLE, GRIME, TMC ORCHESTRA—RAFAEL FRÜHBECK SCHULLER (TMC commission), DE BURGOS, conductor BENJAMIN, BEDFORD, and GIL SHAHAM, violin DEL TREDICI Music of BEETHOVEN and BARTÓK

The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Sym- phony Orchestra and the Tanglewood Music Center. Now in its 47th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its interaction (photo: Michael J. Lutch) with the Boston Symphony Orchestra and the Tanglewood Music Center makes BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administra- tors. The Institute includes Young Artists Programs for students age fourteen to nineteen (Instrumental, Vocal, Piano, Harp, and Composition) as well as Institute Workshops (Clari- net, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the Institute’s students receive financial assistance from funds contributed by individuals, foundations, and corporations to the Boston University Tanglewood Institute Scholarship Fund. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

2012 BUTI Concert Schedule (All events in Seiji Ozawa Hall unless otherwise noted)

ORCHESTRAPROGRAMS: Saturday, July 14, 2:30pm, Ryan McAdams conducts Berlioz’s Symphonie fantastique and Chávez’s Sinfonia india. Saturday, July 28, 2:30pm, Ann Howard Jones and Paul Haas conduct Beethoven’s Mass in C featuring the BUTI Vocal Program and Bernstein’s Jeremiah Symphony with TMC Vocal Fellow Tammy Coil. Saturday, August 11, 2:30pm, Paul Haas conducts Mahler’s Symphony No. 6.

WIND ENSEMBLE PROGRAMS: Friday, July 13, 8pm, David Martins conducts Williams, Mackey, Stout, Nelhybel, and Reineke. Friday, July 27, 8pm, H. Robert Reynolds conducts Maslanka, Shapiro, Gandolfi, Daugherty, and Bernstein featuring BUTI Faculty Axiom Brass Quintet.

VOCAL PROGRAMS: Saturday, July 28, 2:30pm, Ann Howard Jones conducts Beetho- ven’s Mass in C.

CHAMBER MUSIC PROGRAMS, all in the Chamber Music Hall at 6pm: Monday, July 30; Tuesday, July 31; Wednesday, August 1.

Tickets available one hour before concert time. Admission is $11 for orchestra concerts, free to all other BUTI concerts. For more information, call (413) 637-1431.

Administration

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

Administrative Staff/Artistic

Bridget P. Carr, Senior Archivist • Felicia Burrey Elder, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Claudia Robaina, Manager of Artists Services • Benjamin Schwartz, Assistant Artistic Administrator

Administrative Staff/Production Christopher W. Ruigomez, Director of Concert Operations Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Mark B. Rulison, Chorus Manager

Boston Pops Dennis Alves, Director of Artistic Planning Gina Randall, Administrative/Operations Coordinator • Margo Saulnier, Assistant Director of Artistic Planning • Amanda Severin, Manager of Artistic Services/Assistant to the Pops Conductor

Business Office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

Development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Cara Allen, Development Communications Coordinator • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Donor Information and Data Coordinator • Laura Duerksen, Donor Ticketing Associate • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Donor Acknowledgment Writer and Coordinator • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Joyce M. Serwitz, Major Gifts and Campaign Advisor • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Benjamin Spalter, Annual Funds Coordinator, Friends Program • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research

Education and Community Programs Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and Community Programs • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager, Berkshire Education and Community Programs

Facilities C. Mark Cataudella, Director of Facilities SYMPHONY HALL OPERATIONS Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk MAINTENANCE SERVICES Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Michael Maher, HVAC Technician ENVIRONMENTAL SERVICES Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian TANGLEWOOD OPERATIONS Robert Lahart, Tanglewood Facilities Manager Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

Human Resources

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

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

Eric Lange |Lange Media Sales |781-642-0400 |[email protected] Information Technology Timothy James, Director of Information Technology Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist

Public Relations

Kathleen Drohan, Associate Director of Public Relations • Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager

Publications Marc Mandel, Director of Program Publications Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising

Sales, Subscription, and Marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Louisa Ansell, Marketing Coordinator • Susan Beaudry, Manager of Tanglewood Business Partners • Megan Bohrer, Group Sales Coordinator • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Theresa Condito, Access Services Administrator/Subscriptions Associate • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Junior Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • Matthew P. Heck, Office and Social Media Manager • Michele Lubowsky, Subscriptions Manager • Jason Lyon, Group Sales Manager • Richard Mahoney, Director, Boston Business Partners • Christina Malanga, Subscriptions Associate • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, Subscriptions Associate • Jeffrey Meyer, Manager, Corporate Sponsorships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Assistant Manager, Corporate Partnerships • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, SymphonyCharge Representative • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations

Box Office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager Box Office Representatives Danielle Bouchard • Mary J. Broussard • Arthur Ryan Event Services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant

Tanglewood Music Center

Andrew Leeson, Budget and Office Manager • Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Gary Wallen, Associate Director for Production and Scheduling

Tanglewood Summer Management Staff

Louisa Ansell, Tanglewood Front of House Manager • Thomas Cinella, Business Office Manager • Edward Collins, Logistics Operations Supervisor • Thomas Finnegan, Parking Supervisor • David Harding, TMC Concerts Front of House Manager • Matthew Heck, Manager of Visitor Center • Peggy and John Roethel, Seranak Innkeepers FAVORITE RESTAURANTS OF THE BERKSHIRES

If you would like to be part of this restaurant page, please call 781-642-0400. Boston Symphony Association of Volunteers

Executive Committee Chair Aaron J. Nurick Chair-Elect and Vice-Chair, Boston Charles W. Jack Vice-Chair, Tanglewood Howard Arkans Secretary Audley H. Fuller

Co-Chairs, Boston Mary C. Gregorio • Ellen W. Mayo • Natalie Slater

Co-Chairs, Tanglewood Roberta Cohn • Augusta Leibowitz • Alexandra Warshaw

Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Ken Singer

Tanglewood Project Leads 2012 Brochure Distribution, Robert Gittleman and Gladys Jacobson • Off-Season Educational Resources, Norma Ruffer • Exhibit Docents, Maureen O'Hanlon Krentsa and Susan Price • Friends Office, David Galpern and Anne Hershman • Newsletter, Sylvia Stein • Recruit, Retain, Reward, Toby Morganstein and Carole Siegel • Seranak Flowers, Diane Saunders • Talks and Walks, Joyce Kates and Rita Kaye • Tanglewood Family Fun Fest, Margery Steinberg • Tanglewood for Kids, Judy Benjamin, Dianne Orenstein and Mark Orenstein • This Week at Tanglewood, Gabriel Kosakoff • TMC Lunch Program, Mark Beiderman and Pam Levit Beiderman, Robert Braun and Carol Braun • Tour Guides, Mort Josel and Sandra Josel

Tanglewood Business Partners

The BSO gratefully acknowledges the following for their generous contributions of $650 or more during the 2011-12 fiscal year. An eighth note denotes support of $1,250-$2,999, and those names that are capitalized denote support of $3,000 or more. For more information on how to become a Tanglewood Business Partner, please contact Allegra Murray, Assistant Manager of Corporate Partnerships, at (617) 638-9270 or [email protected].

Nancy J. Fitzpatrick, Co-Chair, Tanglewood Business Partners Committee Mary Jane White, Co-Chair, Tanglewood Business Partners Committee Accounting/Tax Preparation Cherry Bekaert & Holland, CPA in honor of Alfred & Phyliss Schneider • Joseph E. Green, CPA • Michael G. Kurcias, CPA • Stephen S. Kurcias, CPA • Alan S. Levine, PC, CPA • Warren H. Hagler Associates Advertising/PR/Market Research/Professional Business Services/Consulting Barry Beyer • The Cohen Group • Ed Bride Associates • General Systems Company, Inc. • LA Communication • The Nielson Healthcare Group • Pilson Communications, Inc. • R.L. Associates • Robert Gal, LLC Alarm Services Alarms of Berkshire County Antiques/Art Galleries Charles Flint Fine Art & Antiques • DeVries Fine Art International, Inc. • Elise Abrams Antiques • Hoadley Gallery • Paul Kleinwald Art & Antiques, Inc. Architects/Designers Barbara Rood Interiors • Christian C. Carey, Architect, P.C. • edm – architecture . engineering . management • Hill Engineers, Architects, Planner, Inc. • Pamela Sandler, AIA, Architect Automotive BIENER AUDI Banking Adams Community Bank • BERKSHIRE BANK • Greylock Federal Credit Union • Lee Bank • Lenox National Bank • Salisbury Bank • TD Bank Beverage/Food Sales/Consumer Goods/Specialty Foods Barrington Bites • Barrington Coffee Roasting • BIG Y SUPERMARKETS • CHOCOLATE SPRINGS CAFÉ • BERKSHIRE CO-OP MARKET • Crescent Creamery, Inc. • Edible Adventures, LLC – Biscotti Babies and Yummy Gluten Free Cookies • GOSHEN WINE & SPIRITS, INC. • Guido’s Fresh Marketplace • KOPPERS CHOCOLATE • Price Chopper/Golub Corporation Catering International Polo Club Catering powered by Aaron’s Catering of the Palm Beaches • THE MARKETPLACE KITCHEN Contracting/Building Supplies BERKSHIRE LANDMARK BUILDERS • DAVID J. TIERNEY, JR., INC. • Dettinger Lumber Co., Inc. • DRESSER-HULL LUMBER & BUILDING SUPPLY COMPANY • Great River Construction Co., Inc. • PETER D. WHITEHEAD BUILDER, LLC • R.J. Aloisi Electrical Contractors Incorporated Education Belvoir Terrace – Visual and Performing Arts and Sports Camp • Berkshire Country Day School • Berkshire Children and Families offering El Sistema through Kids 4 Harmony • CAREERS THROUGH CULINARY ARTS PROGRAM (C-CAP) • Marty Rudolph’s Math Tutoring Service • Massachusetts College of Liberal Arts • Thinking in Music • Westfield State University Energy/Utilities VIKING FUEL OIL CO., INC. Engineering Foresight Land Services Environmental Services MAXYMILLIAN TECHNOLOGIES, INC. - J.H. MAXYMILLIAN, INC. • Nowick Environmental Associates Finance ABBOTT CAPITAL MANAGEMENT, LLC • American Institute for Economic Research •

BERKSHIRE MONEY MANAGEMENT • Berkshire Wealth Advisors of Raymond James • THE BERKSHIRES CAPITAL INVESTORS • MR. AND MRS. ROBERT HABER • Kenneth R. Heyman, CFP • Kaplan Associates L.P. • TD Wealth • True North Financial Services Insurance Bader Insurance Agency, Inc. • BERKSHIRE INSURANCE GROUP • GENATT ASSOCIATES, INC. • Keator Group, LLC • Lawrence V. Toole Insurance Agency, Inc. Legal Cianflone & Cianflone, P.C. • Jay M. Cohen, PA • COHEN KINNE VALICENTI & COOK, LLP • Michael J. Considine, Attorney at Law • Deely & Deely, Attorneys • Doris T. Friedman, Esq. • Hochfelder & Associates, PC • Jonas & Welch, P.C. • Lazan Glover & Puciloski, LLP • Ms. Linda Leffert • Norman Mednick, Esq. • Lester M. Shulklapper, Esq. • Bernard Turiel, Esq. Lighting ESCO Energy Service Company • Limited Edition Lighting Lodging 1804 Walker House Inn • 1850 Windflower Inn • APPLE TREE INN • Applegate Inn • Berkshire Comfort Inn & Suites • Berkshire Days Inn • BERKSHIRE HOLIDAY INN EXPRESS & SUITES HOTELS • Birchwood Inn • BLANTYRE • Briarcliff Motel • Brook Farm Inn • Chesapeake Inn of Lenox • The Cornell • CRANWELL RESORT, SPA & GOLF CLUB • DAYS INN, LENOX • Devonfield Inn • An English Hideaway Inn • Federal House Inn • The Garden Gables Inn • Gateways Inn • Hampton Terrace Bed and Breakfast Inn • The Historic Merrell Inn • HOWARD JOHNSON INN, LENOX • Inn at Green River • The Inn at Stockbridge • THE PORCHES INN AT MASSMOCA • THE RED LION INN • The Rookwood Inn • SEVEN HILLS INN • TRAVELODGE SUITES, GREAT BARRINGTON • WHEATLEIGH HOTEL & RESTAURANT Manufacturing/Industrial AMERICAN TERRY CO. • BAYER MATERIAL SCIENCE Photography Edward Acker, Photographer Printing/Publishing QUALITY PRINTING COMPANY, INC. • SOL SCHWARTZ PRODUCTIONS • THE STUDLEY PRESS, INC. Real Estate Barb Hassan Realty, Inc. • Barnbrook Realty • BARRINGTON ASSOCIATES REALTY TRUST • Brause Realty, Inc. • Cohen & White Associates • Barbara K. Greenfeld, Broker Associate at Roberts & Associates Realty • Hill Realty, LLC • Michael Sucoff Real Estate • PATTEN FAMILY FOUNDATION • Pennington Management Co. • Real Estate Equities Group, LLC • Roberts & Associates Realty, Inc. • Stone House Properties, LLC Restaurant Alta Restaurant & Wine Bar • Baba Louie’s Pizza • Brava • Café Lucia • Chez Nous • Cork ‘N Hearth • Firefly • Prime Italian Steakhouse & Bar Retail Arcadian Shop • Bare Necessities • Ben’s • Carr Hardware and Supply Co., Inc. • CASABLANCA • COUNRTY CURTAINS • CRANE & CO., INC. • Garden Blossoms • The Gifted Child • GLAD RAGS • IREDALE MINERAL COSMETICS, LTD. • Onyx Specialty Papers, Inc. • Paul Rich & Sons Home Furnishings & Design • Wards Nursery & Garden Center • Windy Hill Farm, Inc. Science/Medical 510 Medical Walk-In • Berkshire Health Systems • Stanley E. Bogaty, M.D. • Chelly Sterman Associates • Lewis R. Dan, M.D. • Eye Associates of Bucks County • Dr. and Mrs. Steven Gallant • Fred Hochberg, M.D. • Dr. William E. Knight • Livingstone Dental Excellence • Dr. Charles Mandel/Optical Care Associates • Dr. Joseph Markoff • Northeast Urogynecology • Dr. Donald Wm. Putnoi, M.D. • Dr. Robert Rosenthal • Royal Health Care Services of N.Y. and L.I. • Suburban Internal Medicine Services Aladco Linen Services • Camp Wagalot • SEVEN salon.spa • Shear Design Storage Security Self Storage Technology New Yorker Electronics Co., Inc. Tourism/Resorts CANYON RANCH IN LENOX • Eastover Resort • Jiminy Peak Mountain Resort Travel & Transportation ABBOTT’S LIMOUSINE & LIVERY SERVICE, INC. • AllPoints Drivers Video MYRIAD PRODUCTIONS Great Benefactors

In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Elizabeth P. Roberts, Director of Development— Campaign and Individual Giving, at 617-638-9269 or [email protected].

Ten Million and above

Julian Cohen † • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous

Seven and One Half Million

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

Five Million

Bank of America and Bank of America Charitable Foundation • Catherine and Paul Buttenwieser • EMC Corporation • Germeshausen Foundation • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

Two and One Half Million

Mary and J.P. Barger • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • Mara E. Dole † • Alan J. and Suzanne W. Dworsky • The Fairmont Copley Plaza Hotel and Fairmont Hotels & Resorts • Jane and Jack † Fitzpatrick • Sally † and Michael Gordon • Susan Morse Hilles † • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Liberty Mutual Foundation, Inc. • National Endowment for the Arts • Lia and William Poorvu • Miriam and Sidney Stoneman † • Elizabeth B. Storer † • Samantha and John Williams • Anonymous (2)

One Million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell † • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. † and Mrs. William H. Congleton • William F. Connell † and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis † • Mary Deland R. de Beaumont † • William and Deborah Elfers • Elizabeth B. Ely † • Nancy S. † and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty † • The Ann and Gordon Getty Foundation • Marie L. Gillet † • Sophia and Bernard Gordon • Mrs. Donald C. Heath † • Francis Lee Higginson † • Major Henry Lee Higginson † • Edith C. Howie † • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. † Kaye • Nancy D. and George H. † Kidder • Farla and Harvey Chet † Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith † • Vera M. and John D. MacDonald † • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Cecile Higginson Murphy • Mary S. Newman • Mrs. Mischa Nieland † and Dr. Michael L. Nieland • Mr. † and Mrs. Norio Ohga • P&G Gillette • John S. and Cynthia Reed • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. † • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Wilhemina C. (Hannaford) Sandwen † • Hannah H. † and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot † • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler † • Anonymous (9)

† Deceased Stu Rosner Tanglewood Emergency Exits

Koussevitzky Music Shed

Seiji Ozawa Hall