BOSTON SYMPHON ORCHESTRA
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2008-2009 M SEASON
WEEK 11b
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The artist's rendering shown may not be representative of the building. The features described and depicted herein are based upon current development plans, which ,i< subject to change without notice. No guarantee is made that said features will be built, or, if built, will be of the same type, size, or nature as depicted or described. No Fedet agency has judged the merits or value, if any, of this property. This is not an offer where registration is reguired prior to any offer being made. Void where prohibited Table of Contents Week iib
15 BSO NEWS
21 ON DISPLAY IN SYMPHONY HALL
23 BSO MUSIC DIRECTOR JAMES LEVINE
26 THE BOSTON SYMPHONY ORCHESTRA
31 THIS WEEK'S PROGRAM
32 FROM THE MUSIC DIRECTOR
Notes on the Program
35 Ludwig van Beethoven
51 Igor Stravinsky
63 To Read and Hear More.
Solo Artist
71 James Sommerville
75 SPONSORS AND DONORS
80 FUTURE PROGRAMS
82 SYMPHONY HALL EXIT PLAN
83 SYMPHONY HALL INFORMATION
THIS WEEK S PRE-CONCERT TALKS ARE GIVEN BY BSO PUBLICATIONS ASSOCIATE ROBERT KIRZINGER.
program copyright ©2008 Boston Symphony Orchestra, Inc. design by Hecht Design, Arlington, MA * A
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JAMES LEVINE, MUSIC DIRECTOR RAY AND MARIA STATA MUSIC DIRECTORSHIP, FULLY FUNDED IN PERPETUITY BERNARD HAITINK, CONDUCTOR EMERITUS LACROIX FAMILY FUND, FULLY FUNDED IN PERPETUITY SEIJI OZAWA, MUSIC DIRECTOR LAUREATE
128th season, 2008-2009
TRUSTEES OF THE BOSTON SYMPHONY ORCHESTRA, INC.
H. Edward Linde, Chairman Diddy Cullinane, Vice-Chairman Robert P. O'Block, Vice-Chairman •
Kay, • Stephen Vice-Chairman Roger T. Servison, Vice-Chairman Edmund Kelly, Vice-Chairman •
Vincent M, O'Reilly, Treasurer • George D. Behrakis • Mark G. Borden Alan Bressler •
Jan Brett • Samuel B. Bruskin Paul Buttenwieser • Eric D. Collins • Cynthia Curme
Alan J. Dworsky William R. Elfers • Judy Moss Feingold, ex-officio • Nancy J. Fitzpatrick
Thelma E. Goldberg • Michael Gordon • Brent L. Henry Charles H. Jenkins, Jr. Shari Loessberg, ex-officio • Carmine A. Martignetti Robert J. Mayer, M.D. • Nathan R. Miller • Richard P. Morse •
J. • Aaron Nurick, ex-officio Susan W. Paine Carol Reich Edward I, Rudman Hannah H. Schneider
Arthur I. Segel • Thomas G. Sternberg Stephen R. Weber • 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.
Abram T Collier • Mrs. Edith L. Dabney Nelson J. Darling, Jr. • Nina L. Doggett •
Mrs. John H. Fitzpatrick • Dean W. Freed Edna S. Kalman • George H. Kidder • George Krupp
R. Willis Leith, Jr. • Mrs. August R. Meyer Mrs. Robert B. 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.
Judy Moss Feingold, Chairman • William F. Achtmeyer • NoubarAfeyan Diane M. Austin •
Judith W. Barr • Lucille M. Batal • Linda J.L. Becker George W. Berry • Paul Berz
James L. Bildner • Bradley Bloom Partha Bose • Anne F. Brooke • Stephen H. Brown •
Gregory E. Bulger • Joanne Burke Ronald G. Casty • Carol Feinberg Cohen •
Susan Bredhoff Cohen Richard F. Connolly, Jr. Charles L. Cooney • Ranny Cooper •
James C. Curvey • Mrs. Miguel de Braganca Paul F. Deninger Ronald M. Druker
Alan Dynner Ursula Ehret-Dichter • John P. Eustis II • Pamela D. Everhart Joseph F. Fallon
Thomas E. Faust, Jr. • Steven S. Fischman John F. Fish • Lawrence K. Fish Myrna H. Freedman •
Carol Fulp • Robert Gallery Robert P. Gittens • Carol Henderson Susan Hockfield •
Osbert M. Hood • Roger Hunt • William W. Hunt • Valerie Hyman • Ernest Jacquet
Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow
Stephen R. Karp • Douglas A. Kingsley Robert Kleinberg Farla H. Krentzman
• Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Christopher J. Lindop John M. Loder
Shari Loessberg Edwin N. London Jay Marks • Jeffrey E. Marshall Joseph B. Martin, M.D. •
• Thomas McCann • Albert Merck • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone
• Robert J. Morrissey • Evelyn Stefansson Nef • Robert T. O'Connell • Peter Palandjian
WEEK 11B TRUSTEES AND OVERSEERS
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Boston Private Bank & Trust Company's Donor Advised Fund is a simple and flexible tool that makes charitable giving easier than ever. It enables you to set aside funds and recommend grants to qualified nonprofit organizations according to your interests and on your timetable, all while realizing a tax benefit. It is just one of the ways we make the connections that count — connections to the financial expertise you need, and a personal connection that goes far beyond the sum of our transactions.
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photos by Michael J. Lutch
• • • • Diane Patrick Joseph Patton Ann M. Philbin - May H. Pierce Claudio Pincus Joyce L. Plotkin
Jonathan Poorvu • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint Claire Pryor
Patrick J. Purcell John Reed Donna M. Riccardi Dr. Carmichael Roberts • Susan Rothenberg
• Alan Rottenberg • Joseph D. Roxe • Kenan Sahin Gilda Slifka - Christopher Smallhorn
John C. Smith • Patricia L. Tambone • Caroline Taylor Douglas Thomas Mark D. Thompson
Samuel Thorne Albert Togut • Diana Osgood Tottenham Joseph M. Tucci • Robert S. Weil •
David C. Weinstein James Westra • Richard Wurtman, M.D. • Patricia Plum Wylde
Dr. Michael Zinner D. Brooks Zug
OVERSEERS EMERITI
Helaine B. Allen Marjorie Arons-Barron Caroline Dwight Bain Sandra Bakalar William T Burgin
Mrs. Levin H. Campbell Earle M. Chiles • Mrs. James C. Collias • Joan P. Curhan Phyllis Curtin
• Tamara P. Davis Disque Deane • Betsy P. Demirjian JoAnne Walton Dickinson Phyllis Dohanian
• Goetz B. Eaton • Harriett Eckstein • George Elvin J. Richard Fennell Peter H.B. Frelinghuysen
Mrs. Thomas Galligan, Jr. Mrs. James Garivaltis • Dr. Arthur Gelb - Jordan Golding
• Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser Mrs. Richard D. Hill
• Marilyn Brachman Hoffman • Lola Jaffe Michael Joyce • Martin S. Kaplan Mrs. S. Charles Kasdon
Mrs. Gordon F. Kingsley • David I. Kosowsky • Robert K. Kraft Benjamin H. Lacy
Mrs. William D. Larkin Hart D. Leavitt"'" • Frederick H. Lovejoy, Jr. • Diane H. Lupean
Mrs. Charles P. Lyman • Mrs. Harry L. Marks • Joseph C. McNay John A. Perkins • Daphne Brooks Prout
Robert E. Remis • John Ex Rodgers Mrs. Jerome Rosenfeld Roger A. Saunders • Lynda Anne Schubert
Mrs. Carl Shapiro L. Scott Singleton • Charles A. Stakely Patricia Hansen Strang Paul M. Verrochi
Robert A. Wells • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Mrs. Donald B. Wilson
Mrs. John J. Wilson t Deceased
OFFICERS OF THE BOSTON SYMPHONY ASSOCIATION OF VOLUNTEERS
President, Aaron J. Nurick, President Gerald Dreher, Treasurer Charles Jack, Executive Vice
Administration • Ellen W. Mayo, Executive Vice President, Fundraising • Margery Steinberg, Executive
Vice President, Tanglewood
BOSTON EXECUTIVE BOARD
David Dubinsky, Vice President, Education and Outreach • Audley Fuller, Nominating Chairman
Mary Gregorio, Vice President, Special Projects Joan Hall, Vice President, Hall Services • Karen Licht,
• Strasser, Vice President, Membership • Rosemary Noren, Vice President, Symphony Shop Paula Secretary Janis Su, Vice President, Public Relations
TANGLEWOOD EXECUTIVE BOARD
Howard Arkans, Vice Chair, Community Outreach William Ballen, Liaison to Ushers and Programmers,
Nominating Chairman and Secretary • Gus Leibowitz, Vice Chair, Education • Wilma Michaels, Vice
President, Tanglewood Ken Singer, Liaison to Glass House Alexandra Warshaw, Vice Chair, Membership
WEEK 11 B TRUSTEES AND OVERSEERS EMC? where information lives*
EMC is proud to support the Boston Symphony Orchestra.
The global icon of artistic virtuosity known as the Boston Symphony Orchestra is also the world's largest orchestral organization. The BSO understands the critical role information plays in its business, and turns to information infrastructure solutions from EMC to help keep its intricate operations a miracle
of performance. We're proud to help the BSO bring the power of information to life— information that illuminates what's possible and that can move the world forward.
Leam more at www.EMC.com.
owners. EMC, EMC, and where information lives are registered trademarks of EMC Corporation. All other trademarks used herein are the property of their respective © Copyright 2008 EMC Corporation. All rights reserved. Administration
Mark Volpe, Managing Director, Eunice and Julian Cohen Managing Directorship, fully funded in perpetuity
Anthony Fogg, Artistic Administrator
Marion Gardner-Saxe, Director of Human Resources
Ellen Highstein, Director of Tanglewood Music Center, Tanglewood Music Center Directorship,
in endowed honor of Edward H. Linde by Alan S. Bressler and Edward I. Rudman
Bernadette M. Horgan, Director of Public Relations
Thomas D. May, Chief Financial Officer
Peter Minichiello, Director of Development
Kim Noltemy, Director of Sales, Marketing, and Communications
Elizabeth P. Roberts, Campaign Director/Director of Major Gifts
Ray F. Wellbaum, Orchestra Manager
ADMINISTRATIVE STAFF/ARTISTIC
Bridget P. Carr, Senior Archivist, Position endowed by Caroline Dwight Bain Vincenzo Natale,
Chauffeur/Valet • Suzanne Page, Assistant to the Managing Director/Manager of Board Administration •
Claudia Robaina, Manager of Artists Services Benjamin Schwartz, Assistant Artistic Administrator
ADMINISTRATIVE STAFF/PRODUCTION
Christopher W. Ruigomez, Director of Concert Operations
Amy Boyd, Orchestra Personnel Administrator • H.R. Costa, Technical Director • Vicky Dominguez,
Operations Manager • Deborah De Laurell, Assistant Chorus Manager Jake Moerschel, Assistant Stage
Manager Leah Monder, Production Manager John Morin, Stage Technician Mark C. Rawson, Stage
Technician • Mark B. Rulison, Chorus Manager Leslie D. Scott, Concert Operations Administrator
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 Joseph Senna, Director of Investments Pam Wells, Controller
Thomas Friso-Engeln, Budget Assistant Michelle Green, Executive Assistant to the Chief Financial
Officer Karen Guy, Accounts Payable Supervisor David Kelts, Staff Accountant • Minnie Kwon,
• Payroll Associate • John O'Callaghan, Payroll Supervisor Nia Patterson, Accounts Payable Assistant
• Harriet Prout, Accounting Manager • Michael Shea, Cash Accountant • Teresa Wang, Staff Accountant Audrey Wood, Senior Investment Accountant
WEEK 11 B ADMINISTRATION "
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to enjoy tonight's performance. DEVELOPMENT
Alexandra Fuchs, Director of Annual Funds • Nina Jung, Director of Development Events and Volunteer
Outreach Ryan Losey, Director of Foundation and Government Relations Bart Reidy, Director of
Development Communications • Mia Schultz, Director of Development Administration •
George Triantaris, Director of Principal and Planned Giving
Amanda Aldi, Data Projects Coordinator • Stephanie Baker, Major Gifts and Campaign Coordinator
Emily Borababy, Assistant Manager of Development Communications Dulce Maria de Borbon,
Beranek Room Hostess • Cullen E. Bouvier, Stewardship Officer • Diane Cataudella, Associate Director of Stewardship for Donor Relations • Joseph Chart, Senior Major Gifts Officer Kerri Cleghorn,
Associate Director, Business Partners • Allison Cooley, Associate Director of Society Giving
Marcy Bouley Eckel, Stewardship Officer • Laura Frye, Assistant Manager of Society Giving
Emily Gonzalez, Donor Information and Data Coordinator David Grant, Manager of Gift Processing and
Operations • Laura Hahn, Annual Fund Projects Coordinator • Barbara Hanson, Major Gifts Officer
Joseph Heitz, Grant Writer • Emily Horsford, Assistant Manager of Friends Membership • Sabrina Karpe,
Friends Membership Coordinator • Andrea Katz, Coordinator of Special Events • Angela Kaul, Assistant
Manager of Planned Giving • Elizabeth Murphy, Senior Major Gifts Officer Jill Ng, Senior Major Gifts
Officer • Jennifer Raymond, Associate Director, Friends Membership • Emily Reeves, Major Gifts
Coordinator • Amanda Roosevelt, Major Gifts Coordinator Joyce M. Serwitz, Major Gifts and Campaign
Advisor Yong-Hee Silver, Major Gifts Officer • Kenny Smith, Acknowledgment and Gift Processing
Coordinator Mary E. Thomson, Associate Director of Development Corporate Events
EDUCATION AND COMMUNITY PROGRAMS
Myran Parker-Brass, Director of Education and Community Programs
Claire Carr, Manager of Education Programs • Sarah Glenn, Assistant Manager of Education and
Community Programs Emilio Gonzalez, Manager of Curriculum Research and Development •
Cerise Sutton, Associate Director, Education and Community Programs Darlene White, Manager,
Berkshire Education and Community Programs
EVENT SERVICES
Cheryl Silvia Lopes, Director of Event Services
Tony Bennett, Cafe Supervisor/Pops Service Staff Manager • Kristin Jacobson, Senior Sales Manager
Sean Lewis, Assistant to the Director of Event Services • Cesar Lima, Assistant Food and Beverage
• Manager • Kyle Ronayne, Food and Beverage Manager • Erin Smith, Special Events Sales Manager James Sorrentino, Bar Manager
FACILITIES
C. Mark Cataudella, Director of Facilities symphony hall Christopher Hayden, Facilities Manager • Tyrone Tyrell, Facilities Services Lead
Michael Finlan, Switchboard Supervisor Judith Melly, Facilities Coordinator • Shawn Wilder,
Mailroom Clerk house crew Jim Boudreau, Electrician Charles F. Cassell, Jr., HVAC • Francis Castillo,
• Upholsterer • Dwight Caufield, HVAC Thomas Davenport, Carpenter • Michael Frazier, Carpenter
Paul Giaimo, Electrician • Sandra Lemerise, Painter custodial crew Landel Milton, Lead
Custodian • Rudolph Lewis, Assistant Lead Custodian Desmond Boland • Julien Buckmire
Claudia Ramirez Calmo • Angelo Flores Gaho Boniface Wahi
the Berkshires tanglewood David P. Sturma, Director of Tanglewood Facilities and BSO Liaison to
• facilities crew Ronald T Brouker, Supervisor of Tanglewood Crew • Robert Lahart, Electrician
Peter Socha, Carpenter Robert Casey • Stephen Curley Richard Drumm • Bruce Huber
WEEK 11B ADMINISTRATION Destination Anywhere on We know how to get you there.
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HUMAN RESOURCES
Susan Olson, Human Resources Recruiter • Heather Mullin, Human Resources Manager Kathleen Sambuco, Benefits Manager
INFORMATION TECHNOLOGY
David W. Woodall, Director of Information Technology
Guy W. Brandenstein, User Support Specialist Andrew Cordero, Manager of User Support • Timothy James, Senior Business Systems Analyst • David Tucker, Infrastructure Systems Manager Brian Van Sickle, User Support Specialist
PUBLIC RELATIONS
Kathleen Drohan, Associate Director of Public Relations • Taryn Lott, Public Relations Coordinator Michael Wood, Public Relations Associate
PUBLICATIONS
Marc Mandel, Director of Program Publications
Robert Kirzinger, Publications Associate • Eleanor Hayes McGourty, Publications Coordinator/ Boston Pops Program Editor
SALES, SUBSCRIPTION, AND MARKETING
Amy Aldrich, Manager, Subscription Office Helen N.H. Brady, Director of Group Sales
Alyson Bristol, Director of Corporate Sponsorships • Sid Guidicianne, Front of House Manager •
James Jackson, Call Center Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood •
Sarah L. Manoog, Director of Marketing Programs • Michael Miller, Director of Ticketing
Gretchen Borzi, Marketing Production Manager • Rich Bradway, Associate Director of E-Commerce and
New Media • Samuel Brewer, SymphonyCharge Representative • Allegra Brooke, Corporate Sponsorship
Coordinator • Lenore Camassar, Associate Manager, SymphonyCharge Theresa Condito, Subscriptions
Associate • John Dorgan, Group Sales Coordinator • Paul Ginocchio, Manager, Symphony Shop and
Tanglewood Glass House • Erin Glennon, Graphic Designer Randie Harmon, Customer Service and
Special Projects Manager • Matthew Heck, Marketing Projects Coordinator • Michele Lubowsky,
Assistant Subscription Manager • Jason Lyon, Group Sales Manager Laura Maas, Merchandising
Assistant • Ronnie McKinley, Ticket Exchange Coordinator • Maria McNeil, SymphonyCharge
Representative • Michael Moore, E-Commerce Marketing Analyst • Melina Moser, Senior Access
Administrator/Subscription Representative • Clint Reeves, Graphic Designer • Doreen Reis, Marketing
Coordinator for Advertising • Andrew Russell, Senior Manager, Corporate Sponsorships • Laura Schneider,
Web Content Editor Robert Sistare, SymphonyCharge Coordinator • Kevin Toler, Art Director
Himanshu Vakil, Web Application Lead box office David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager •
Dominic Margaglione, Donor Ticketing Representative box office representatives Mary J. Broussard • Cary Eyges • Mark Linehan • Arthur Ryan
TANGLEWOOD MUSIC CENTER
Rachel Ciprotti, Coordinator • Karen Leopardi, Associate Director for Faculty and Guest Artists •
Michael Nock, Associate Director for Student Affairs • Gary Wallen, Manager of Production and Scheduling
VOLUNTEER OFFICE
Kris DeGraw Danna, Associate Director of Volunteers • Sabine Chouljian, Assistant Manager for Volunteer Services
WEEK 11 B ADMINISTRATION 13 &&-
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B9T &> BSO News
25th Annual "A Company Christmas at Pops"
For more than twenty years, the corporate community has gathered each holiday season
for A Company Christmas at Pops to support the BSO and many of its outstanding programs. Join our yearly tradition attended by more than 2,000 professionals each December. This
year's event will take place on Wednesday evening, December 17. Packages start at $5,500 and include a gourmet boxed dinner and a gala Boston Pops concert featuring Keith
Lockhart and special guest artists, as well as a full sponsor page in the commemorative event program book. Your company may also choose to sponsor some of the 200 children who participate in the A Company Christmas at Pops Children's Program. Each $250 contri-
bution allows a child attendance at a holiday party with dinner, a visit from Santa Claus, special gifts, and the concert. Children from many of Boston's leading social service agen- cies attend. For more information about A Company Christmas at Pops, please contact Mary Thomson at (617) 638-9278 or [email protected].
2009 Tanglewood Ticket Advance Sale for Friends
Tickets for the 2009 Tanglewood season do not go on sale to the general public until
February, but all Friends of Tanglewood, as well as Friends of the BSO and Pops at the $350
level or higher, have the opportunity to purchase tickets earlier. This special pre-sale is just one benefit of membership. To learn more about this opportunity and other ways you can support the BSO, please contact the Friends Office at (617) 638-9267 or FriendsofTangle- [email protected].
"Symphony+": A New Series of Pre- and Post-Concert Events
The Boston Symphony Orchestra has recently launched "Symphony+"— a series of pre- and post-concert events designed to enhance the overall concert experience by offering social and educational opportunities to concertgoers. "Symphony+" offers BSO patrons a variety of options designed to connect BSO concerts at Symphony Hall to literature, food, and the performing and visual arts. Events include opportunities to meet the artists, discussions of the works being performed, recitals of works that complement the evening's BSO program, and the chance to get to know fellow concertgoers.
Upcoming events include a post-concert "Happy 100th Birthday Party" for Elliott Carter on
Friday afternoon, December 5, in Higginson Hall, free and open to the public (reservation
required: call 617-638-9446) and a post-concert reception with BSO principal horn James
Sommerville in Higginson Hall on Tuesday, December 9 (free to ticket holders).
Events being scheduled for January through April include a film series, poetry readings, a fashion show, a caviar tasting, and additional post-concert receptions with BSO members
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16 and guest artists. As events are added during the season, ticket holders will be notified by e-mail. An updated schedule and details of each event can also be found on bso.org, by vis- iting the box office, or by calling SymphonyCharge at (617) 266-1200 or 1-888-266-1200.
Symphony Cafe Offers Convenient Pre-Concert Dining at Symphony Hall
The Symphony Cafe in the Cohen Wing of Symphony Hall offers a buffet-style dinner prior to all evening BSO concerts and a buffet-style lunch prior to Friday-afternoon concerts. Enjoy the convenience of pre-concert dining in the unique ambiance of historic Symphony Hall. Dinner includes a pre-set appetizer, soup, salad, and two hot entrees. Coffee and tea are served at the table, and patrons may select from a scrumptious dessert buffet. Lunch includes soup, salad, a hot entree, finger sandwiches, fresh fruit, and cookies, as well as coffee and tea. Full bar service, and specialty coffees and tea, are available at an additional cost. Jules Catering, one of Boston's finest caterers, creates the fine dining experience of the Symphony Cafe. Call (617) 638-9328 to make a reservation, which will be confirmed by a return phone call. Walk-ins are accepted, but are not always guaranteed a seat when the cafe is full. Dinner is $32.50 per person and lunch $19.50 per person, not including service charge and tax. And if you're running late, the Symphony Cafe offers an 'After Seven" menu of lighter fare (served exclusively in the Cafe Lounge) after 7 p.m., and a similar menu after 12:30 p.m. on Friday afternoons, for just $7.50 per person.
"Boston Symphony Orchestra: An Augmented Discography" by James H. North
Boston Symphony Orchestra: An Augmented Discography by James H. North, with a foreword by James Levine, was published on October 28 (Scarecrow Press, Lanham, MD). Capturing more than 90 years of recorded history, the 320-page book offers a complete discography of the BSO in the form of a chronological list citing complete details of the recording ses- sions (works performed; conductors, soloists, and choruses; session dates and venues; recording companies and producers; first release dates, and information related to master copies and all issues of the recording, including 78- and 45-rpm discs, LPs, and CDs), fol- lowed by cross-referenced listings organized alphabetically by composer, conductor, and soloist. Additional appendices include (among other things) two-track tapes and video recordings; a discography of recordings by the Boston Symphony Chamber Players; record- ings issued by the U.S. government, and unauthorized "pirate" issues documenting live BSO performances and broadcasts from the 1930s to the present day. This will be of interest to collectors, fans, and anyone interested in recorded classical music and the history of the Boston Symphony Orchestra. Boston Symphony Orchestra: An Augmented Discography sells for $60 and is available in the Symphony Shop and online at bso.org.
Pre-Concert Talks
Pre-Concert Talks available free of charge to BSO ticket holders precede all Boston Symphony subscription concerts, starting at 6:45 prior to evening concerts, 12:15 p.m. prior to Friday- afternoon concerts, and one hour before the start of morning and evening Open Rehearsals. Given by a variety of distinguished speakers from Boston's musical community, these informative half-hour talks include recorded examples from the music being performed. This week, BSO Publications Associate Robert Kirzinger discusses Schubert, Beethoven, Carter, and Stravinsky. The speakers for January 2009 include Hugh Macdonald of Washing-
WEEK 11B BSO NEWS 17 STRENGTH AND VISION
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ton University in St. Louis (on Mozart, Haydn, and Handel, January 14-17), Helen Greenwald of the New England Conservatory of Music (discussing Mendelssohn, January 22-27), and BSO Director of Program Publications Marc Mandel (on Verdi's Simon Boccanegra, January 29-February 3). The BSO's Pre-Concert Talks are supported by New England Coffee.
INDIVIDUAL TICKETS ARE ON SALE FOR ALL CONCERTS IN THE BSO'S 2008-2009 SEASON.
FOR SPECIFIC INFORMATION ON PURCHASING TICKETS BY PHONE, ONLINE, BY MAIL, OR IN PERSON AT THE SYMPHONY HALL BOX OFFICE, PLEASE SEE PAGE 83 OF THIS PROGRAM BOOK.
We Want to Celebrate You! tour dates are subject to change. Please call the BSAV Office to confirm. The BSO is actively seeking to identify all patrons who have been attending BSO con- certs for twenty-five years or more. We want BSO Business Partners to hear from you. Please call or write with Enjoy the Benefits of your name, patron number, and the number Association with the BSO of years you have been attending, and we will The BSO Business Partners is an annual cor- be sure to include you in our plans to cele- porate membership program that extends brate you during the 2008-09 season. Call exclusive benefits to its partners year-round, (617) 638-9454 or write to 25-Year Patron during the Symphony, Pops, and Tanglewood Celebration, Symphony Hall, 301 Massachu- seasons. Membership benefits include corpo- setts Avenue, Boston, MA 02115. rate recognition such as named concerts and program listings; business networking such Symphony Hall Tours as exclusive and intimate member events; client entertaining such as concert passes/ The Boston Symphony Association of Volun- tickets, behind-the-scenes tours, and VIP teers offers tours of Symphony Hall through- ticketing assistance; and corporate employee out the Symphony season. Experienced vol- benefits such as two-for-one ticket pricing unteer guides discuss the history and tradi- for Symphony and Pops concerts. For more tions of the BSO and its world-famous home, information about becoming a BSO Business Symphony Hall, as the group is escorted Partner, contact Kerri Cleghorn at (617) through public and selected "behind-the- 638-9277 or [email protected]. scenes" areas of the building. Free walk-up tours lasting approximately one hour take place on the second Saturday of each month Comings and Goings . . at 1:30 p.m., and every Wednesday at 4:30 Please note that latecomers will be seated p.m. All tours begin in the Massachusetts by the patron service staff during the first Avenue lobby of Symphony Hall, where the convenient pause in the program. In addition, guide will meet participants for entrance to please also note that patrons who leave the the building. No reservations are necessary. hall during the performance will not be In addition, group tours— free for New England allowed to reenter until the next convenient school and community groups, or at a mini- pause in the program, so as not to disturb the mal charge for tours arranged through com- performers or other audience members while mercial tour operators— can be arranged in the concert is in progress. We thank you for advance (the BSO's schedule permitting) by your cooperation in this matter. contacting the BSAV Office at (617) 638- 9390 or by e-mailing [email protected]. Walk-up
WEEK 11B BSO NEWS 19 I
I
Cutting-Edge Classical Concerts with New York's Miller Theatre
"The hotbed of contemporary music. " (The New York Times)
THURSDAY, JANUARY 15, 7PM
THE MUSIC OF LEON KIRCHNER
Join some of the world's finest musicians for an evening of
chamber music in celebration of the composer's 90th birthday.
Then enjoy a stroll through the galleries and courtside cocktails
as part of Gardner After Hours - a new kind of night out in
Boston's most inspiring setting.
Tickets $10-$23 I Online, by phone, or at the door isabelia stwart Gardner MUSEUM
280 THE FENWAY BOX OFFICE 617 278 5156 WWW.GARDNERMUSEUM.ORG ON DISPLAY IN SYMPHONY HALL
This season's BSO Archives exhibit, located throughout the orchestra and first- balcony levels of Symphony Hall, displays the breadth and depth of the Archives' holdings so as to document the many facets of the orchestra's history. High- lights of this year's exhibit include a display case that explores the origin of the
Symphony Hall statues (first balcony, audience-right, near the stage); a case devoted to a newly acquired collection of pen and wash sketches by Donald C.
Greason depicting BSO musicians at work from 1938 through 1940 (first balcony, audience-right, near the Cabot-Cahners Room); and new exhibit content focusing on the history of the Tanglewood Festival Chorus and the history of BSO Youth
Concerts at Symphony Hall (orchestra level, Huntington Avenue corridor).
ALSO ON DISPLAY, IN THE CABOT-CAHNERS ROOM: "Carter's Century—An Exhibit Celebrating the Life and Music of Elliott Carter"
To commemorate the iooth-birthday year of Elliott Carter, one of America's great-
est composers (his 100th birthday is December n, 2008), the BSO Archives has
mounted an exhibit celebrating Mr. Carter's life and music. The exhibit includes
reproductions of more than 75 photographs, letters, and manuscript scores from Mr. Carter's personal collection and from the Elliott Carter Collection located at the Paul Sacher Foundation in Basel, Switzerland. The exhibit was originally
installed at Tanglewood this past summer, in conjunction with the 2008 Festival of Contemporary Music devoted entirely to Mr. Carter's music. The Boston Sym-
phony Orchestra is grateful to the Paul Sacher Foundation, Basel, for its generous support of this exhibition.
TOP OF PAGE, LEFT TO RIGHT:
Sketch by Donald C. Greason of a BSO musician, c.1940 (BSO Archives)
Aaron Copland, Elliott Carter, and Leonard Bernstein, c.1970 (photographer unknown; courtesy Elliott Carter)
Elliott Carter at the piano (undated photograph by Rudolph Burckhardt; courtesy Elliott Carter)
WEEK 11 B ON DISPLAY 21 I
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' rea Covered: Metro Boston James Levine
Now in his fifth season as Music Director of the Boston Symphony Orchestra, James Levine is the BSO's 14th music director since the orchestra's founding in 1881 and the first American- born conductor to hold that position. Highlights of Maestro Levine's 2008-09 BSO programs
(three of which again go to Carnegie Hall) include an Opening Night all-Russian program; the world premieres of BSO 125th anniversary commissions by Leon Kirchner and Gunther
Schuller and of a new work for piano and orchestra by Elliott Carter (the latter to be intro- duced in Boston, then repeated at Carnegie Hall on the composer's 100th birthday in Decem- ber); Brahms's German Requiem; Mahler's Symphony No. 6; concert performances of Verdi's
Simon Boccanegra; a three-program survey of Mozart symphonies (concluding with the last three symphonies in a single program), and additional works by Beethoven, Berlioz, Boulez,
Brahms, Carter, Messiaen, Mozart, Schubert (the F minor Fantasie for piano four-hands, with
Daniel Barenboim), Schumann, Stravinsky, and Tchaikovsky. At Tanglewood in 2008, Mr.
Levine led Berlioz's Les Troyens with the Boston Symphony Orchestra and Dvorak's Symphony
No. 8 with the Tanglewood Music Center Orchestra, and was Festival Director for Tangle- wood's 2008 Festival of Contemporary Music, the Elliott Carter Centenary Celebration mark- ing the composer's lOOth-birthday year. Following the 2007 Tanglewood season, James
Levine and the Boston Symphony Orchestra made their first European tour together, perform- ing in the Lucerne Festival, the Schleswig-Holstein Festival (in Hamburg), Essen, Dusseldorf, the Berlin Festival, Paris, and the BBC Proms in London. Maestro Levine made his BSO debut in April 1972 and became music director in the fall of 2004, having been named music direc- tor designate in October 2001. His wide-ranging programs balance orchestral, operatic, and choral classics with significant music of the 20th and 21st centuries, including newly commis- sioned works from such leading American composers as Milton Babbitt, Elliott Carter, John
Harbison, Leon Kirchner, Peter Lieberson, Gunther Schuller, and Charles Wuorinen.
James Levine is also Music Director of the Metropolitan Opera, where, in the thirty-seven years since his debut there, he has developed a relationship with that company unparalleled in
WEEK 11B JAMES LEVINE 23 at he has led nearly 2,500 its history and unique in the musical world today. All told the Met
performances— more than any other conductor in the company's history—of 83 different
operas, including fifteen company premieres. In 2008-09 Maestro Levine leads the Opening
Night gala featuring Renee Fleming; a free performance of Verdi's Requiem marking the first 40th anniversary of Luciano Pavarotti's death; a 125th Anniversary Gala (also celebrating the
anniversary of Placido Domingo's Met debut) featuring recreations of scenes from historic a new Met productions; the final revival of Wagner's Ring cycle in Otto Schenk's production; Robert Lepage production of Berlioz's Damnation of Faust, and a revival of Gluck's Orfeo ed Hall with the Euridice in Mark Morris's production, as well as concerts at Carnegie MET
Orchestra and MET Chamber Ensemble. Also in New York this season he conducts Charles at the Guggen- Wuorinen's Ashberyana in a 70th-birthday-year celebration for that composer Foundation at heim Museum in November, and leads a master class for the Marilyn Home
Zankel Hall in January.
endur- Outside the United States, Mr. Levine's activities are characterized by his intensive and especially the Berlin ing relationships with Europe's most distinguished musical organizations,
Philharmonic, the Vienna Philharmonic, and the summer festivals in Salzburg (1975-1993) and
Bayreuth (1982-98). He was music director of the UBS Verbier Festival Orchestra from its of the Munich Philhar- founding in 2000 and, before coming to Boston, was chief conductor Orchestra for monic from 1999 to 2004. In the United States he led the Chicago Symphony twenty summers as music director of the Ravinia Festival (1973-1993) and, concurrently, was
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f£M Wj music director of the Cincinnati May Festival (1973-1978). Besides his many recordings with m?S& the Metropolitan Opera and the MET Orchestra, he has amassed a substantial discography with such leading ensembles as the Berlin Philharmonic, Chicago Symphony, London
Symphony, Philharmonia Orchestra, Munich Philharmonic, Dresden Staatskapelle, Philadelphia
Orchestra, and Vienna Philharmonic. Over the last thirty years he has made more than 200
recordings of works ranging from Bach to Babbitt. Maestro Levine is also active as a pianist,
performing chamber music and in collaboration with many of the world's great singers.
Born in Cincinnati, Ohio, on June 23, 1943, James Levine studied piano from age four and
made his debut with the Cincinnati Symphony at ten, as soloist in Mendelssohn's D minor
piano concerto. He was a participant at the Marlboro Festival in 1956 (including piano study with Rudolf Serkin) and at the Aspen Music Festival and School (where he would later teach and conduct) from 1957. In 1961 he entered the Juilliard School, where he studied conducting with Jean Morel and piano with Rosina Lhevinne (continuing on his work with her at Aspen).
In 1964 he took part in the Ford Foundation-sponsored "American Conductors Project" with the Baltimore Symphony Orchestra and Alfred Wallenstein, Max Rudolf, and Fausto Cleva.
As a direct result of his work there, he was invited by George Szell, who was on the jury, to
become an assistant conductor (1964-1970) at the Cleveland Orchestra— at twenty-one, the youngest assistant conductor in that orchestra's history. During his Cleveland years, he also founded and was music director of the University Circle Orchestra at the Cleveland Institute
of Music (1966-72).
James Levine was the first recipient (in 1980) of the annual Manhattan Cultural Award and
in 1986 was presented with the Smetana Medal by the Czechoslovak government, following
performances of the composer's Ma Vlast in Vienna. He was the subject of a Time cover story
in 1983, was named "Musician of the Year" by Musical America in 1984, and has been featured
in a documentary in PBS's "American Masters" series. He holds numerous honorary doctor-
ates and other international awards. In recent years Mr. Levine has received the Award for
Distinguished Achievement in the Arts from New York's Third Street Music School Settlement;
the Gold Medal for Service to Humanity from the National Institute of Social Sciences; the
Lotus Award ("for inspiration to young musicians") from Young Concert Artists; the Anton
Seidl Award from the Wagner Society of New York; the Wilhelm Furtwangler Prize from
Baden-Baden's Committee for Cultural Advancement; the George Jellinek Award from WQXR
in New York; the Goldenes Ehrenzeichen from the cities of Vienna and Salzburg; the Crystal
Award from the World Economic Forum in Davos, Switzerland; America's National Medal of
Arts and Kennedy Center Honors; the 2005 Award for Distinguished Service to the Arts from
the American Academy of Arts and Letters, and a 2006 Opera News Award. Most recently,
in October 2008, he received the newly created NEA Opera Honor from the National Endow-
ment for the Arts.
WEEK 11B JAMES LEVINE 25 Boston Symphony Orchestra
2008-2009
JAMES LEVINE Bonnie Bewick* Xin Ding* Andrew Pearce* Stephanie Morris Marryott and Stephen and Dorothy Weber Music Director Glen Cherry* Franklin J. Marryott chair chair Ray and Maria Stata Music Directorship, fully funded James Cooke* Mickey Katz* in perpetuity VIOLAS Catherine and Paul Buttenwieser Richard C and Ellen E. Paine
chair Steven Ansell chair, fully funded in perpetuity BERNARD HAITINK Principal Victor Romanul* Alexandre Lecarme* Conductor Emeritus Charles S. Dana chair, endowed in Bessie Pappas chair Lillian and Nathan R. Miller chair LaCroix Family Fund, perpetuity in 1970 fully funded in perpetuity Catherine French* Adam Esbensen* Cathy Basrak Mary B. Saltonstall chair, Assistant Principal Blaise Dejardin* SEIJI OZAWA fully funded in perpetuity Anne Stoneman chair, fully Music Director Laureate # Kelly Barr* funded in perpetuity
Kristin and Roger Servison chair BASSES Edward Gazouleas Edwin Barker Jason Horowitz* Lois and Harlan Anderson chair, Principal FIRST VIOLINS Donald C. and Ruth Brooks Heath fully funded in perpetuity Harold D. Hodgkinson chair, chair, fully funded in perpetuity Malcolm Lowe Robert Barnes endowed in perpetuity in 1974 Concertmaster Julianne Lee* Ronald Wilkison Lawrence Wolfe 5 Charles Munch chair, Assistant Principal fully funded in perpetuity Michael Zaretsky SECOND VIOLINS Maria Nistazos Stata chair, Tamara Smirnova Marc Jeanneret fully funded in perpetuity Haldan Martinson Associate Concertmaster Principal Benjamin Levy Helen Horner Mclntyre chair, Mark Ludwig* Carl Schoenhof Family chair. Leith Family chair, fully funded endowed in perpetuity in 1976 Rachel Fagerburg* fully funded in perpetuity in perpetuity Alexander Velinzon Vyacheslav Uritsky Kazuko Matsusaka* Dennis Roy Assistant Concertmaster Assistant Principal Joseph and Jan Brett Hearne Robert L Beal, Enid L, and Rebecca Gitter* Charlotte and Irving W. Rabb chair Bruce A. Beal chair, endowed chair, endowed in perpetuity in perpetuity in 1980 Joseph Hearne in 1977 CELLOS Kathryn H. and Edward M. Elita Kang Ronald Knudsen Jules Eskin Lupean chair Assistant Concertmaster
Shirley and J. Richard Fennell Principal Edward and Bertha C. Rose chair James Orleans* chair, fully funded in perpetuity Philip R. Allen chair, endowed Bo Youp Hwang in perpetuity in 1969 Todd Seeber* Joseph McGauley John Dorothy Wilson chair, and Eleanor L and Levin H. Campbell David H. and Edith C. Howie Martha Babcock fully funded in perpetuity chair, fully funded in perpetuity chair, fully funded in perpetuity Assistant Principal Lucia Lin Vernon and Marion Alden chair, JohnStovall* Ronan Lefkowitz Forrest Foster Collier chair endowed in perpetuity in 1977
Sheila Fiekowsky* Ikuko Mizuno Sato Knudsen FLUTES Dorothy and David B. Q. Arnold, Jennie Shames* Mischa Nieland chair, fully Jr., chair, fully funded in perpetuity funded in perpetuity Elizabeth Rowe Valeria Vilker Kuchment* Principal Amnon Levy Mihail Jojatu Walter Piston chair, endowed Muriel C. Kasdon and Marjorie C Tatiana Dimitriades* Sandra and David Bakalar chair in perpetuity in 1970 Foley chair Si-Jing Huang* Miller* 5 Jonathan Jennifer Nitchman Nancy Bracken* Charles and JoAnne Dickinson Nicole Monahan* Myra and Robert Kraft chair, Ruth and Carl J. Shapiro chair, chair endowed in perpetuity in 1981 fully funded in perpetuity Wendy Putnam* Owen Young* Robert Bradford Newman chair, Elizabeth Ostling Aza Raykhtsaum* John F. Cogan, Jr., and Mary L. Principal fully funded in perpetuity Associate Theodore W. and Evelyn Cornille chair, fully funded in Marian Gray Lewis chair, Berenson Family chair perpetuity fully funded in perpetuity
26 W
photos by Michael J. Lutch
PICCOLO Suzanne Nelsen (position vacant) HARP John D. and Vera M. MacDonald Assistant Principal Pilot Cynthia Meyers chair Ann Hobson Benjamin Wright fve/yn and C Charles Marran Principal Richard Ranti Arthur and Linda Gelb chair chair, endowed in perpetuity Nicholas and Thalia Zervas chair, Associate Principal in 1979 fully funded in perpetuity by Diana Osgood Tottenham/ TROMBONES Sophia and Bernard Gordon Hamilton Osgood chair,
OBOES fully funded in perpetuity Toby Oft VOICE AND CHORUS Principal John Ferrillo J.P. and Mary B. Barger chair, Principal CONTRABASSOON John Oliver fully funded in perpetuity Mildred B. Remis chair, endowed Tanglewood Festival Chorus Gregg Henegar in 1975 Conductor perpetuity in (position vacant) Helen Rand Thayer chair Alan J. and Suzanne W. Dworsky
Mark McEwen chair, fully funded in perpetuity James and Tina Collias chair HORNS BASS TROMBONE Keisuke Wakao Douglas Yeo LIBRARIANS Assistant Principal James Sommerville John Moors Cabot chair, Principal Marshall Burlingame fully funded in perpetuity Helen Sagoff Slosberg/Edna S. Principal
ENGLISH HORN Kalman chair, endowed in Lia and William Poorvu chair,
perpetuity in 1974 fully funded in perpetuity Robert Sheena TUBA
Beranek chair, fully funded Richard Sebring Mike Roylance William Shisler in perpetuity Associate Principal Principal John Perkel Andersen Congleton Margaret Margaret and William C chair, fully funded in perpetuity CLARINETS Rousseau chair, fully funded perpetuity (position vacant) in ASSISTANT William R. Hudgins Elizabeth 8. Storer chair, CONDUCTORS Principal fully funded in perpetuity TIMPANI Julian Kuerti Ann S.M. Banks chair, endowed Say Wadenpfuhl Anna E. Finnerty chair, in perpetuity in 1977 Timothy Genis fully funded in perpetuity John P. II and Nancy S. Eustis Michael Wayne Sylvia Shippen Wells chair, chair, fully funded in perpetuity endowed in perpetuity in 1974 Shi-Yeon Sung Thomas Sternberg chair Jason Snider Thomas Martin Gordon and Mary Ford Kingsley Associate Principal & PERCUSSION PERSONNEL Family chair E-flat clarinet MANAGERS Frank Epstein Stanton W. and Elisabeth K. Jonathan Menkis Peter and Anne Brooke chair, Lynn G. Larsen Davis chair, fully funded in Jean-Noel and Mono N. Tariot fully funded in perpetuity perpetuity chair Bruce M. Creditor
J. William Hudgins
Peter Andrew Lurie chair, BASS CLARINET TRUMPETS STAGE MANAGER fully funded in perpetuity Thomas Rolfs Craig Nordstrom W. Lee Vinson John Demick Farla and Harvey Chet Krentzman Principal Barbara Lee chair chair, chair, fully funded in perpetuity Roger Louis Voisin endowed
in perpetuity in 1977 (position vacant) * participating in a system
Assistant Timpanist of rotated seating (position vacant) BASSOONS Mr, and Mrs. Edward H. Linde Ford H. Cooper chair, endowed 5 on sabbatical leave chair Richard Svoboda perpetuity in 1984 in # on leave Principal
Edward A. Taft chair, endowed
in perpetuity in 1974
WEEK 11B BOSTON SYMPHONY ORCHESTRA ( 27 4
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Care • Community • Innovation MAKE A CONTRIBUTION THIS SEASON Enhance Your BSO Experience with Exclusive Benefits
Join the Friends of the BSO and enhance your experience of the Boston Symphony Orchestra throughout the year ahead. The exclusive benefits offered to members will make your association with the BSO more reward- ing and concert attendance more enjoyable.
By joining, you will have the opportunity to attend a BSO or Pops working rehearsal and receive special discounts at the Symphony Shop and Tanglewood Glass House. Monthly behind-the-scenes news and updates on BSO concerts and programs will be sent to you via email. You may even receive advance ticketing privileges based on your level of giving.
More importantly, you will help make possible a season of extraordinary music making by Maestro James Levine and BSO musicians.
To learn more, or to make a gift, call 617-638-9276, visit bso.org, or stop by the information table in the lobby.
THE HIGGINSON SOCIETY riends OF THE BOSTON SYMPHONY ORCHESTRA BOSTON SYMPHONY ORCHESTRA JAMES LEVINE, MUSIC DIRECTOR BERNARD HAITINK, CONDUCTOR EMERITUS SEIJI OZAWA, MUSIC DIRECTOR LAUREATE
Boston Symphony Orchestra
128th season, 2008-2009
Saturday, December 6, 8pm
Tuesday, December 9, 8pm
JAMES LEVINE conducting
BEETHOVEN SYMPHONY NO. J IN A, OPUS 92
Poco sostenuto—Vivace Allegretto Presto
Allegro con brio {INTERMISSION}
ELLIOTT CARTER HORN CONCERTO (2006) JAMES SOMMERVILLE
STRAVINSKY LE 5ACRE DU PRINTEMPS, PICTURES FROM PAGAN RUSSIA
Part I: The Adoration of the Earth
Introduction—Auguries of spring (Dances of the young girls— Mock abduction— Spring
Khorovod (Round Dance)— Games of the rival clans— Procession of the wise elder—Adoration
of the earth (The wise elder)— Dance of the earth
Pa rt II: The Sacrifice
Introduction— Mystical circles of the young girls— Glorification of the chosen victim—The
summoning of the ancients— Ritual of the
ancients— Sacrificial dance (The chosen victim)
<_J<^^ UBS IS PROUD TO SPONSOR THE BSO'S 2008-2009 SEASON.
These concerts will end about 9:55.
Steinway and Sons Pianos, selected exclusively for Symphony Hall
Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation
In consideration of the performers and those around you, cellular phones, pagers, and watch alarms should be switched off during the concert.
•v ''' i From the Music Director
On behalf of the Boston Symphony Orchestra and myself, I can't tell you how exciting
it is to continue celebrating Elliott Carter's TOOth-birthday year (which was marked with
an extraordinary five-day Carter Centenary Celebration at Tanglewood this past July) as
we also look forward to celebrating the actual birthday this Thursday, December 11, in
Elliott's home town of New York, when we perform his new work, Interventions for piano
and orchestra, at Carnegie Hall (having premiered it in Boston this past week).
I've had the wonderful privilege of premiering numerous Carter works in recent years
with the BSO, the Met Orchestra, and the Met Chamber Ensemble. It's been so gratifying
to see this extraordinary outpouring of pieces from Elliott as he continues, with seem-
ingly infinite amounts of wit, energy, and invention, to produce such terrific and varied
works— orchestral, chamber, and vocal music—for ensembles of various kinds and sizes.
My own immensely gratifying and musical friendship with Elliott dates back to 1990,
when I included his Variations for Orchestra (along with music of Babbitt, Schuller, and
Cage) on a disc I was recording with the Chicago Symphony for Deutsche Grammophon.
I didn't actually meet him in person at that time (his schedule kept him from coming to Chicago), but we had numerous telephone conversations discussing the rehearsal and
session tapes that were sent to him for feedback. This experience made me determined
not to let Elliott reach "old age" without his getting appropriate recognition and exposure,
as has happened to too many deserving composers. Though I've come to be known as a
champion of his music, it's really only in the last fifteen years that I've been able to per-
form a lot of it. (Daniel Barenboim, Pierre Boulez, David Robertson, Michael Gielen, and
particularly Oliver Knussen have also made his work a significant part of their repertoire.)
My friendship with Elliott continues to confirm what one can't help but hear in his music:
he's a completely irresistible and absolutely unique combination of erudition and playful-
ness. He's also extraordinarily funny and may even be the most youthful person I know!
At the same time, he's entirely without arrogance and endlessly curious. (It's striking,
32 and I think no accident, that most of his pieces end with a question.) Above all, he has complete integrity: each of his pieces, in its own terms, conveys an internal right-ness, a sense of proportion and care. Nothing is thrown away, nothing is derivative, and there are no wrong notes.
This week at Symphony Hall brings repeat performances of Elliott's Horn Concerto, pre- miered here a year ago and again displaying the extraordinary artistry of BSO principal horn James Sommerville, for whom Elliott wrote it. Also on the program are two histori- cally significant works whose infinite energy and invention Elliott's own energy and inven- tion continue to rival: Stravinsky's Le Sacre du printemps—which played a part in Elliott's decision to become a composer after he heard a 1924 BSO performance in New York with Pierre Monteux conducting!—and Beethoven's Seventh Symphony, which is singu- larly exciting to play and hear on any occasion.
It makes us incredibly happy to be celebrating Elliott's 100th birthday in this way. He's a gift to us all, and we can't possibly thank him enough.
ilTL-
Elliott Carter at the reception following
the Carter Centenary Celebration at
Tanglewood in July 2008
WEEK 11B FROM THE MUSIC DIRECTOR TtI ftes ffj3& «BE
j uMmVx
P-Vtt- r$ ! A PERFECT GIFT IS ggk THE RESULT OF A CAREFUL BALANCE BETWEEN alSfl p#ii EXQUISITE TASTE AND IMPECCABLE TIMING. S3s * Shreve, Crump & Low is proud to be the Official Jeweler of the Boston Symphony Orchestra Sterling silver music charm bracelet $2 65 Our exclusive BSO Symphony Hall pin $75> ornament $6$ SHREVE.CRUMP & LOW The Gem of Boston Singe 1796™ www.shrevecrumpandlow.com Boston Flagship Store The Mall at Chestnut Hill Corner of Berkeley & Boylston (617) 965-2700 (617) 267-9100 TM 2008 BSO m Ludwig van Beethoven MMOTMM Symphony No. 7 in A, Opus 92 LUDWIG VAN BEETHOVEN was born in Bonn (then an independent electorate) probably on December 16, 1770 (his baptismal certificate is dated the 17th), and died in Vienna on March 26, 1827. He began his Symphony No. 7 in the fall of 1811, completed it on April 13, 1812, and led the first performance on December 8, 1813, in the auditorium of the University of Vienna. THE SYMPHONY IS SCORED for two each of flutes, oboes, clarinets, and bassoons, two horns, two trumpets, timpani, and strings. &> By 1812 much had changed in Beethoven's life and career since the extraordinary peri- od between 1802 and 1809, when he produced a flood of masterpieces perhaps unprecedented in the history of music. In 1809, however, around the time of the pre- miere of the Fifth and Sixth symphonies, this stupendous level of production abruptly fell off. Though there was much extraordinary music to come, Beethoven never again composed with the kind of fury he possessed in the first decade of the century. What happened? Beethoven was increasingly ill and his bad hearing getting worse. However, given his ability to transcend physical misery, it is more likely that his decline in production came from expressive quandaries. He had begun to sense that the train of ideas that had sustained him through the previous decade was close to being played out. He had to find something new. It is in the Seventh and Eighth symphonies that we see the turn toward the third period taking shape. In the Seventh Beethoven put aside for good the heroic model of the Third and Fifth symphonies, but he had not yet arrived at the inward music of the late works. If not heroic or sublime, then what for the Seventh? A kind of Bacchic trance, dance music from beginning to end. Wagner called it "the apotheosis of the dance." But the Seventh dances unlike any symphony before: it dances wildly and relentlessly, WEEK 11B PROGRAM NOTES 35 EILEEN FISHER »3 ;*v Sii"f"\ ' '" '"'• "JS» THE MALL AT CHESTNUT HILL 617.964.5200 COPLEY PLACE 617.536.6800 HINGHAM 781.740.4140 53 CENTRAL STREET, WELLESLEY 781.235.2065 DERBY STREET SHOPPES, EILEENFISHER.COM dances almost heroically, dances in obsessive rhythms whether fast or slow. Noth- BSStr ing as decorous as a minuet here; it's rather shouting horns and skirling strings (skirling being what bagpipes do). The symphony's expansive and grandiose introduction strikes a note at once appro- priate and misleading: the fast dance that eventually starts out from it seems something of a surprise. But from the introduction's slow-striding opening theme many other melodies will flow. Above all the introduction defines the symphony in its harmonies: wandering without being restless so much as brash and audacious, with a tendency to leap nimbly from key to key by nudging the bass up or down a notch. And the introduction defines key relationships to be thumbprints of late Beethoven: around the central key of A major he groups F major and C major, keys a third up and a third down. That group of keys will persist through the symphony, just as D and B-flat persist in the Ninth. With a coy transition from the introduction, we're off into the first movement Vivace, quietly at first but with rapidly mounting intensity. The movement is a titanic gigue. Its dominant dotted rhythmic figure is as relentless as the Fifth Symphony's famous figure, but here the effect is mesmerizing rather than fateful. Rhythm plays a more central role than melody here, though there is a pretty folk tune in residence. More, though, the music is engaged in quick changes of key in startling directions, every- thing propelled by the rhythm. From the first time you hear the symphony's outer Redefining Assisted and Nursing Care Renaissance Gardens, the extended care neighborhood at Linden Ponds and Brooksby Village, features Assisted,* Nursing Care, and Short-Term Rehab. All-inclusive rates cover private residences, medication management, personal laundry, housekeeping, and more. £ 'Renafssance gardens * Brooksby Village Linden Ponds North Shore South Shore 978-536-7920 781-534-7170 www.TheCareExperts.com *Assisted not available at Linden Ponds. (=) WEEK 11B PROGRAM NOTES •'. . " -. " . -.:.• v v -• * ' .. . vW" '- ''' t ' J'' Iff if! 1 I I 11 LllE iiil (I II 1 ^ft 1 6 r^d^ l^li i! M' t x ** atrm OTELS & RESORTS At The Fairmont Copley Plaza, we appreciate all our guests' preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. The Fairmont Copley Plaza is honored to be the Official Hotel of two of the world's greatest orchestras, the Boston Symphony and the Boston Pops. For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com .£* - *% *r*~th *hi. yX. .Vx. «~_ U~tf*Jt; m Ik— A pencil drawing of Beethoven by Ludwig Schnorr von Carolsfeld, c.7870 movements, meanwhile, you never forget the lusty and rollicking horns. Nor are you likely to forget the first time you hear the stately and mournful dance of the second movement, in A minor. It has been an abiding hit and an object of near-obsession since its first performances. The idea is a process of intensification, adding layer on layer to the inexorably marching chords (with their poignant chro- maticism that Germans call moll-Dur, minor-major). Once again, in a slowish movement now, the music is animated by an irresistible rhythmic momentum. For contrast comes a sweet, harmonically stable B section in A major (plus C, a third up). Rondo-like, the opening theme returns twice, lightened, turned into a fugue, the last time serving as coda. The scherzo is racing, eruptive, giddy, its main theme beginning in F major and ending up a third in A, from one flat to three sharps in a flash. We're back to brash shifts of key animated by relentless rhythm. The Trio provides maximum contrast, slowing to a kind of majestic dance tableau, as frozen in harmony and gesture as a painting of a ball. The Trio returns twice and jokingly feints at a third time before Beethoven slams the door. The purpose of the finale seems to be, amazingly, to ratchet the energy higher than it has yet been. If earlier we have had exuberance, brilliance, stateliness, those moods of dance, now we have something on the edge of delirium, in the best and most intoxicating way: stamping and whirling two-beat fiddling, with the horns in high spirits again. Does any other symphonic movement sweep you off your feet and take your breath away so nearly literally as this one? The Seventh was premiered in December 1813 as part of the ceremonies around WEEK 11B PROGRAM NOTES Casner & Edwards, llp ATTORNEYS AT LAW Personalized Legal Services for Individuals, Businesses and Institutions Estate Planning and Wealth Management Probate & Family Tax Business & Corporate Real Estate Nonprofit Organizations Civil Litigation 303 Congress Street, Boston, Massachusetts 02210 Phone 617-426-5900, Fax 617-426-8810, www.casneredwards.com Experience Trinity V M-. Handel's Messiah (Part I) and Bach's Cantata 140: Wachet auf Hymns and Carols sung by all December 14, 3pm m* (Tickets available at www.trinityinspires.org.) Candlelight Carols (Free) December 20, 4pm, and December 21, 7pm ' i_ »«sw* Candlelight Carols Benefit ft December 21, 4pm (Call 617-536-0944 for tickets.) Visit The Shop at Trinity I Unique Gifts for the Spirit r &' Trinity Church Copley Square 617-536-0944 www.trinitychurchboston.org 40 dK3 the Congress of Vienna, when the aristocracy of Europe gathered with the inten- tion of turning back the clock to before Napoleon. Beethoven would despise the reactionary results of the Congress, but that was in the future; he was glad to receive its applause. The premiere of the Seventh under his baton was one of the triumphant moments of his life. For the first of many times, the slow movement had to be encored. The orchestra was fiery and inspired, suppressing their giggles at the composer's antics on the podium. In loud sections (the only ones he could hear) Beethoven launched himself into the air, arms windmilling as if he were try- ing to fly; in quiet passages he all but crept under the music stand. The paper reported from the audience "a general pleasure that rose to ecstasy." It's true that another piece premiered on the program, Beethoven's trashy and opportunistic Wellington's Victory, got more applause and in the next years more performances. But for the moment he was not too proud to bask a little, pocket the handsome proceeds, perhaps to enjoy with a sardonic laugh the splendid success of the bad piece and the merely bright prospects of the good one. The Seventh after all celebrates the dance, which lives in the ecstatic and heedless moment. Jan Swafford JAN SWAFFORD is an award-winning composer and author whose books include biographies of Johannes Brahms and Charles Ives, and "The Vintage Guide to Classical Music." An alumnus of the Tanglewood Music Center, where he studied composition, he teaches at The Boston Conservatory and is currently working on a biography of Beethoven for Houghton Mifflin. THE FIRST AMERICAN PERFORMANCE of Beethoven's Symphony No. 7 was given by Ureli Corelli Hill with the New York Philharmonic Society on November 18, 1843. The symphony reached Boston a week later, on November 25, 1843, when Henry Schmidt conducted the Academy of Music at the Odeon. THE FIRST BOSTON SYMPHONY PERFORMANCE of Beethoven's Seventh Symphony was given by Georg Henschel in February 1882, during the orchestra's first season, subsequent BSO perform- ances being given by Wilhelm Gericke, Arthur Nikisch, Emit Paur, Karl Muck, Max Fiedler, Pierre Monteux, Henri Rabaud, Serge Koussevitzky, Richard Burgin, Leonard Bernstein, Charles Munch, Erich Leinsdorf Leopold Stokowski, Antdl Dorati, William Steinberg, Michael Tilson Thomas, Eugen Jochum, Edo de Waart, Colin Davis, Seiji Ozawa, Joseph Silverstein, Klaus Tennstedt, Kurt Masur, Stanislaw Skrowaczewski, Charles Dutoit, Stuart Challender, Roger Norrington, Robert Spano, Christoph Eschenbach, Bernard Haitink, James DePreist, Andre Previn, Rafael Fruhbeck de Burgos, James Levine (the most recent subscription performances, in February 2006), David Robertson (on tour in Chicago, Newark, Philadelphia, and Washington, D.C., in March 2006, substituting for James Levine), and Jens Georg Bachmann (the BSO's most recent Tanglewood performance, on July 22, 2007, though Roberto Abbado and the Orchestra of St. Luke's performed it more recently there on July 27, 2008). 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Dramatic and distinctive residence features a magnificent welcoming foyer, curved Debra SordilJo, VP, Boston, MA office, front staircase, 9.5-foot ceilings, handsome den, six spacious bedrooms and six fireplaces. (617) 796-7510, [email protected] The fabulous kitchen and adjoining family room open to a patio overlooking the beautiful grounds. Entertainment-sized living and dining rooms offer fireplaces and lovely moldings. Christine Mayer, Wellesley, MA office, (781 ) 237-9090, [email protected] CONCORD, MASSACHUSETTS BOSTON, MASSACHUSETTS $3,975,000. Lovely English Country Estate with tennis court, two-bedroom guest house and $9,150,000. Extraordinary duplex penthouse at the world-renowned Four Seasons comprised barn on 4+ acres of rolling lawns with gardens, a pond, patios and natural stone walls. A recent of 4,000+ square feet of architectural drama with stunning views of the Public Garden, Swan renovation boasts a new kitchen and breakfast room with gas fireplace. Finished lower level with Pond and beyond. Two-story living room overlooking the Garden, three bedrooms, formal dining billiard room, wine cellar and home gym. A rare offering close to conservation land and minutes room, library, four baths and a private 3-car garage. Access to all available services of the 5-star from Concord center. Brigitte Senkler and Sharon Mendosa, Concord, MA office (978) 505-2652 Four Seasons Hotel. Annette Itzkan, Boston, MA office, (617) 247-2909 [email protected] For information on the Previews International Program offered by Coldwell Banker Residential Brokerage, please call (800) 548-5003 www.NewEnglandMoves.com © 2008 Coldwell Banker Real Estate Corporation. Coldwell Banker" is a registered trademark licensed to Coldwell Banker Real Estate Corporation. An Equal Opportunity Company. Equal Housing Opportunity. Owned and Operated by NUT, LLC. Elliott Carter Horn Concerto (2006) ELLIOTT COOK CARTER, JR., was born in New York City on December n, 1908, and lives there. He wrote the Horn Concerto in 2006 on commission from the Boston Symphony Orchestra, James Levine, Music Director, with generous support from the New Works Fund established by the Massachusetts Cultural Council, a state agency. Carter wrote the solo part specifically for the BSO's principal horn, James Sommerville; the score is inscribed "to James Levine" and "for James Sommerville." Sommerville was the soloist with the BSO and James Levine in the first perform- ances of the concerto, which took place on November 15, 17, and 20, 2007, in Symphony Hall. He repeated the work with the BSO and conductor Shi-Yeon Sung on July 24, 2008, at Tanglewood's Seiji Ozawa Hall during the five-day Festival of Contemporary Music marking Elliott Carter's 1 ooth birthday year. IN ADDITION TO THE SOLO HORN, the score calls for flute, two piccolos, two oboes, English horn, two clarinets, bass clarinet, contrabass clarinet, two bassoons and contrabassoon, three trumpets, three trombones, tuba, percussion (three minimum— I: vibraphone, large gong, large almglocke, cowbell, temple blocks, bongos, triangle, small maracas, high snare drum; II: marimba, two tom-toms, medium snare drum, large and small suspended cymbals, woodblocks, very high pipes, tambourine, large maracas; III: glockenspiel, bass drum, hw snare drum, medium snare drum, log drum, medium suspended symbol, wood gong, guiro, large pipe), piano, and strings. The piece is in one movement and is about twelve minutes long. Elliott Carter celebrates his 100th birthday on December 11, 2008, with the Boston ^ Symphony Orchestra, James Levine, and pianist Daniel Barenboim performing his piano and orchestra work Interventions in a concert at Carnegie Hall. Carter wrote Interventions at the joint request of Levine and Barenboim for a work specifically for them to perform together on the occasion; it received its first performances this December 4 and 5 at Symphony Hall. This week's performances of the Horn Concerto are also part of these birthday celebrations for the composer. Soloist James Sommerville, in addition to giving the first performances of the concerto in November 2007 and repeating it this past sum- WEEK 11B PROGRAM NOTES 43 1 ft-** K la.Mp| NCERT' TRINGS AND ORCHESTRA o o Martin Boykan Charles 14 NOV 2008 Dimmick 00 Robert Erickson Curtis Macomber >- Arnold Schoenberg Rafael Popper-Keizer O Elliott Schwartz Wendy Richman < Ken Ueno > BOSTON CONNECTION LU 17 JAN 2009 Kati Agocs Angel Subero o u Peter Maxwell Davies Karl Doty o Michael Gandolfi Heiss < John —I JOHN HARBISON: A WINTER'S TALE 20 MAR 2009 Concert performance In celebration of the composer's 70th birthday LU PREMIERES < 22 MAY 2009 Lisa Bielawa Ina Zdorovetchi Geoffrey Gordon Robert Schulz Thomas Oboe Lee Lou Spratlan < O WORLD PREMIERE O **BM0P COMMISSION All programs subject to change PROGRAM NOTES WITH THE EVENING'S COMPOSERS 7: 00 SAVE 10% ORDER TICKETS by phone using promotion code "BSO program" to save 10% on regularly-priced tickets for Jordan Hall concerts only. Limited number of discounted tickets available. www.bmop.org BOSTON MODERN ORCHESTRA PROJECT 617.363.0396 44 mer at Tanglewood, also played it with the Netherlands Radio Chamber Orchestra and Peter Eotvos in January 2008, and with the Orchestra Sinfonica Nazionale della RAI, Peter Rundel conducting, at the Torino Milano International Music Festival in September. Including the Horn Concerto, Elliott Carter has written eight concertos (so designated) for solo instruments. The first was the Double Concerto for Harpsichord, Piano, and Two Chamber Orchestras (1961); this was followed a few years later by the big Piano Concerto, written for Jacob Lateiner and premiered by the Boston Symphony Orchestra in April 1967. Most of Carter's concertos are relatively recent, beginning with the Oboe Concerto, followed by the Violin Concerto, Clarinet Concerto, Cello Concerto, the Horn Concerto, and a Flute Concerto, the premiere of which Daniel Barenboim conducted in Jerusalem in September with soloist Emmanuel Pahud and the Jerusalem International Chamber Music Ensemble. The Flute Concerto is another Boston Symphony Orchestra co-com- mission. (There are also the Concerto for Orchestra, premiered by the New York Philhar- monic in 1969, and the BSO-commissioned Boston Concerto of 2003, but these are con- certos of a different sort.) There are other "concerted" works as well, including three for piano solo and orchestra, all written within the past few years: Dialogues, Soundings, and Interventions. Changes in Carter's rate of production, and in the music itself, since about 1980 have been much remarked upon. The number of works he has written in the past thirty years or so easily exceeds twice or even three times the number he wrote in the previous thirty < Dale Chihuly ! idpphire and . lein HOLSTEN GALLERIES Contemporary Glass Sculpture 3 Elm Street, Stockbridge, MA www • holstengalleries • com 413 • 298 • 3044 WEEK 11 B PROGRAM NOTES 45 /Jin the newDpool, fitness center and spa at Newbury Court. It's your time to experience Newbury Court... Suites now available. Phase 3 opening March '09. Visit us today and see what we have in store for you. Newbury Court 1 100 NEWBURY COURT A DEACONESS Abunck CONCORD, MA 01742 978.369.5155 WWW.NEWBURYCOURT.ORG $ Join over 1 30 depositors " excited about their' pew home at The Groves/; Make your deposit now while lower -rates and prime . locations d(e •still.available. community of uni residential lifestyle options mGigve* "for active older adults I N C O L Visit our Information Center located at Pfi 57 Bedford Street.•"Lexington, MA c-JcfjNessrtJJUilUclUls*Abundant LA/e r, r O „M „ N I / 781.259.0800 WWW.GROVESINLINCOLN.ORG 46 James Levine, Elliott Carter, and James Sommerville following the Horn Concerto premiere in November 2007 or even forty years. Much of this change is due to an upsurge in requests from his many musical friends and colleagues. Daniel Barenboim with the Chicago Symphony and the Berlin Staatsoper, and James Levine with the Met Orchestra in New York and with the Boston Symphony Orchestra, have been significant among these colleagues in the past decade or so, as has BSO artistic administrator Anthony Fogg, who arranged for the commission of Carter's Boston Concerto prior to Levine's appointment as music director. It was James Levine who suggested that Carter write a horn concerto for the BSO. The composer wasn't immediately sold on the idea, although he had had experience writing hefty parts for the horn in his Brass Quintet and the Concerto for Orchestra, both of which feature highly idiomatic horn parts. (Carter had begun looking closely at the range of the instrument's potential in the 1950s, when he got to know a horn player in the Symphony Orchestra of Italian Radio while in residence at the American Academy in Rome.) Levine suggested that Carter listen for inspiration to the playing of the BSO's principal horn, James Sommerville, when attending the BSO's concerts, not only in per- formances of his own music but of other works both in Boston and at Carnegie Hall. With that sound as a trigger, Carter eventually began to sketch a solo part. Sommerville provided technical feedback as the work became more detailed, which he described in a short article he wrote for the newsletter of the New England Horn Society, Cornucopia: During the spring of 2006, rumpled envelopes would appear periodically in my mail- box, stuffed with pages from handwritten sketches and questions. By mid-August, Carter had substantially completed the concerto. During the process, I drove down to Manhattan and played through the sketches for him. Carter was gracious, and unusu- ally collaborative for such an august figure. He took my timorous suggestions seriously, though his understanding of the horn was encyclopedic. . . . He was curious about alter- nate fingerings, and uses these to great effect in the work. The sense of sheer enjoyment of the horn in the concerto, the focus on things that only WEEK 11B PROGRAM NOTES 47 M 1 NOW IN PAPERBACK, THE NATIONWIDE BESTSELLER Tolstoy's magnificent novel in the everywhere- talked-about new translation by award winners Richard Pevear and Larissa Volokhonsky SMI SB!Vm -- ail 1 <*. "SHIMMERING.... WJn 1 It offers an opportunity great classic *•& to see this afresh." — The Washington Post Book World "EXCELLENT.... An extraordinary achievement." — The New York Review of Books "IF YOU'VE NEVER READ IT, NOW IS THE MOMENT. This translation will show that you don't read War and Peace, you live it." — The Times (London) Special Web Features: unique opportunity. Chat with the translators—visit our dedicated web site for a in the book: chapter-by-chapter And, find these additional resources, also included major characters summary; historical chronology; numbered end notes; list of and family relations; behind the book features; and more. www.warandpeace-book.com VINTAGE CLASSICS 48 the horn can play, is hard to miss. Carter wrote the solo part for the specific sonic per- sonality of the triple horn. Its three lengths of tubing (F, B-flat, F alto) allow for a much greater range of timbres than the more standard double horn offers. The concerto begins with a brief series of sharp chords— successively brass, marimba, woodwinds, piano, strings, then a massive, fortissimo twelve-note chord for the whole orchestra. Out of this emerges the soloist's first sustained pitch. Carter describes the soloist's relationship to the orchestra as being a part of the ensemble that gradually separates from the larger group. The piece is laid out in a series of episodes played con- tinuously. The big divisions are: Allegro (J = 120)- Meno mosso (J = 96)— Meno mosso (J = 72). Scherzando— Piumosso(J = 90)— Largo (J = 48)- Presto(J = 144)- Meno mosso (J = 120/J = 60) The horn's material is unique for each episode, and each is characterized by a particular ensemble timbre. Full orchestra accompanies the horn's initial bold line, which features a very wide melodic range and both sustained and fast music. Two breaks for percussion alone interrupt, leading to the next section, a quiet and lyrical one for the soloist accom- panied with a shifting backdrop of brass. In the succeeding Scherzando section, the horn shifts rapidly among several different kinds of sound, from fully stopped (a congested tone) through echo tone and fully open, accompanied mostly by unpitched percussion. This section broadens out into an episode marked "emphatically" in the solo part, with sharp orchestral chords—the strings surge in little accelerations and decelerations writ- ten into their parts. The Largo section returns to sustained, lyrical music for the horn with delicate percus- sion and strings. The Presto passage contrasts strongly, with rapid figuration in the solo part, including quickly repeated pitches. (The composer was surprised to find that his sketches for this very fast section were so readily handled by Sommerville when he played through them.) The orchestral music here is sparse, even pointillistic. The closing section is lyrical once again, building to the horn's highest point and largest, most dra- matic leap downward. The final measures echo the horn's emergence from the first big orchestral chord at the start of the piece. Robert Kirzinger WEEK 11B PROGRAM NOTES 49 :Jw3fB AT HOME OR AT THE BSO, Experience Highland Meadows Weston Welcome to a wonderful new community of warmth, charm, and unsurpassed excellence. At Highland Meadows, the living's as easy as the homes are gorgeous. This is your time - your time for coffee with friends, catching up on your reading, or enjoying a massage after your tennis game. Highland Meadows makes it easy. No yard work, no snow shoveling, no exterior maintenance - it's all taken care of so you're free to spend time with your friends and family, pursuing the activities you enjoy most. Now that should be music to your ears. The community Meetinghouse is open for tours daily as of September 28th. Visit our stunning model homes and one-of-a-kind design studio too. Potential dual master suite I Meetinghouse with full amenities I Har-Tru tennis court I Hiking trails I 44% of site preserved as woods and meadows Luxury Living for Active Adults V U 36 Highland Meadows Lane, Weston, MA 02493 • 781.893.3335 ^NDM6N° www.highlandmeadowsweston.com E S T O N Igor Stravinsky "Le Sacre du printemps," Pictures from pagan Russia IGOR FEDOROVICH STRAVINSKY was born at Oranienbaum, Russia (now Lomonosov in the Northwest Petersburg Region of Russia) on June 18, 1882, and died in New York City on April 6, 1971. "Le Sacre du printemps" ("The Rite of Spring") was formally commissioned by Sergei Diag- hilev on August 8, 1911, and Stravinsky began composing almost immediately. He finished Part I by early January 1912 and completed the sketch score on November 17 "with an unbearable tooth- ache." The work was produced in Paris by Diaghilev's Russian Ballet with Pierre Monteux con- ducting on May 29, 1913. Monteux would later lead the first Boston Symphony performances, on January 25 and 26, 1924, also leading the BSO in the first New York performance that January 31 and repeating it there with the BSO that March. THE SCORE OF "LE SACRE DU PRINTEMPS" calls for two piccolos, two flutes, and alto flute in G, four oboes (one doubling second English horn), English horn, three clarinets (one doubling sec- ond bass clarinet), high clarinet in E-flat, bass clarinet, three bassoons (one doubling second con- trabassoon), contrabassoon, eight horns (two doubling Wagner tubas), four trumpets, high trum- pet in D, bass trumpet, three trombones, two tubas, five timpani (divided between two players), bass drum, tambourine, cymbals, antique cymbals, triangle, tam-tam, rape guero, and strings. 0- Almost singlehandedly responsible for revealing the riches of Russian art, music, theater, and ballet to the world at large, Sergei Diaghilev was without question the most influential impresario of the twentieth century. Having first arranged a Russian art exhibit in Paris in 1906, he followed up with a series of concerts of Russian music and then Mussorgsky's powerful opera, Boris Godunov. In a particularly bold move, in 1909 he traveled to Paris with a complete troupe of set designers, cos- tumiers, choreographers, dancers, and composers to introduce the French to Russian ballet. The artistic world would never be quite the same. Although not a performing artist himself, Diaghilev had the uncanny ability to find and nurture artistic talent. Indeed, his ballet troupe included such luminaries as choreographers Mikhail Fokine and Vaslav Nijinsky, set designers Leon Bakst and WEEK 11B PROGRAM NOTES 51 c 'Bofton farlyjHusic Feftival VENICE BAROQUE "Boston's ORCHESTRA best early January 17, 2009, 8pm • Emmanuel Church, Boston music series." directed by Andrea Marcon - The Boston with Giuliano Carmignola, violin Phoenix Music of Vivaldi, Albinoni, Pre-concert talk at 7pm. and Galup>f?i SARASA ENSEMBLE February 7, 2009, 8pm • First Church, Cambridge with Dominique Labelle, soprano and Michael Chance, countertenor Music of Handel, Purcell, and Pergolesi's Stabat Mater Pre-concert talk at 7pm. FR£E parking, Oxford Garage. ORDER YOUR TICKETS TODAY! $19-$64 • Discount packages from 3 concerts for $100 617-661-1812 • WWW.BEMF.ORG for details Enjoy a Full Hearing Experience. Every day, we are exposed to a world of sounds: conversations with family, the laughter of friends, the whisper of wind through leaves, and the rich patterns of music. A hearing loss can mean no longer being able to enjoy the everyday sounds others take for granted. ..like the sounds of the Orchestra! Boston Hearing Services specializes in... *- • State-of-the-art hearing aid technology • Diagnostic testing • Hearing aid service We are proud to support the Boston Symphony Orchestra Audiologists Robert G. Sanderson, MA, CCC-A and Dr. Matthew Moreno, Au.D., CCC-A Hear well, Live well The Brook House, 44 Washington St., Ste. 102A, Brookline, MA Please call today to reserve your appointment. (617) 731-9988 PHONAK 52 wr inn€SMF Alexandre Benois, and the 27-year-old composer, Igor Stravinsky. Diaghilev had first come in contact with Stravinsky in 1909, when he attended the premiere of two of the composer's most dazzling orchestral works, Scherzo fantastique and Fireworks. Recognizing an original voice, Diaghilev immediately invited the composer to join his company. Thus began one of the most fruitful artistic collaborations of the last century. Stravinsky's first ballet for Diaghilev was The Firebird (L'Oiseau de feu), based on a Russian fairy story and choreographed by Mikhail Fokine. Collaborating closely with all the other artists involved in the project, he completed the score in a mere seven months. Narrative, choreography, set design, and costumes all developed in tandem with the music, establishing a collaborative pattern that would be repeated again and again throughout Stravinsky's career. Firebird garnered rave reviews when it was premiered in Paris in June 1910 and added Stravinsky's name to the vocabu- lary of the Parisian artistic community. The musical language of Firebird is firmly rooted in 19th-century melodic and har- monic practice, but there are moments where we catch a glimpse of procedures that Stravinsky would employ in his later scores. Particularly notable are his use of exotic scales to represent the story's magical dimension and his subtle handling of syncopation and cross-accents. In addition, Stravinsky required what he himself called a "wastefully large" orchestra (including an independent stage band, three harps, and a huge percussion section) to create brilliant, often breathtaking effects. Little wonder that Firebird remains one of Stravinsky's most popular scores today. Stravinsky's next ballet for Diaghilev, Petrushka (1911), was a collaboration with Alexandre Benois. As Stravinsky explained, "in composing the music, I had in my mind a distinct picture of a puppet, suddenly endowed with life." Stravinsky's sensi- tivity to the coordination of music and choreography, already evident in Firebird, became even more finely tuned just as the movements and emotions of the char- acters found perfect expression in the music. The orchestra is leaner than before, but Stravinsky compensated with unusual combinations of instruments, including the piano, a newcomer to the symphony orchestra. In the first tableau, Stravinsky depicts the bustle of a pre-Lenten Russian fair by juxtaposing colorful blocks of musical material, often abruptly shifting from one to another. Stravinsky once said that "the success of Petrushka was good for me in that it gave me the absolute con- viction of my ear." It was, however, with the next ballet, Le Sacre du printemps, that Stravinsky's place as the foremost composer of his day was secured. While Paris eagerly awaited his next ballet, Stravinsky took two years to prepare the work, his most daring score to date. As with Petrushka, the impetus for compo- sition was a visual image. In 1911, Stravinsky had a fleeting vision of a young girl dancing herself to death while surrounded by village elders in a pagan Russian ritu- al. He then turned to his friend, Nikolai Roerich, a painter and noted scholar in ancient Russian rites, and together they worked at a depiction of the ancient ritual WEEK 11B PROGRAM NOTES 53 ATLANTIC TRUST PRIVATE WEALTH MANAGEMENT It All Comes Down to Having the Right Partner At Atlantic Trust, we arc in stop with the unique needs ot our clients. We are proud to partner with you. helping you enhance your wealth and leave a legacy to future generations. We applaud you for your generosity and grace. The enduring relationships we've built arc based on the personal touch we bring to the serious business of wealth management—the quality of our investment management, estate, trust and :*£ related advisory services, supplemented by our personalized family office capabilities. *Mk * Proud Supporters of the w * Boston Symphony Orchestra Sidney F. Queler Managing Director [email protected] 617 357 9600 100 Federal Street, 37th Floor Boston, Massachusetts 02110 www. atlantictrust . com This ad is not to be construed as an offer to buy or sell any financial instruments. Pierre Monteux, who led the premiere of "Le Sacre du printemps" in 1913 and was music director of the Boston Symphony Orchestra from 1919 to 1924 that had attracted Stravinsky so profoundly. Having grown up in St. Petersburg, Stravinsky remembered the cracking of the ice over the rivers when spring arrived and the din that reverberated throughout the city. For him, the coming of spring was a violent occurrence: it seemed "to begin in an hour and was like the whole earth cracking." Roerich and Stravinsky divided the ballet into two parts, each beginning with an introduction. The action of the ballet was meant to depict the actual ritual of sacri- fice; to this end, Stravinsky included no mime in the work, only dance. Each half contained a climactic set piece, thereby providing the ballet with two dramatic high points, and allowing for innovative and daring choreography. Vaslav Nijinsky, the star dancer in the Ballets Russes, and well known to Parisian audiences for his con- troversial roles (most notably the faun in Debussy's Prelude a I'Apres midi d'un faune), was asked to choreograph the ballet. After intensive rehearsals, at which both cho- reographer and composer were present, the piece was ready. The premiere on May 29, 1913, led by Pierre Monteux at the Theatre des Champs- Elysees, precipitated one of the most infamous riots in the history of Western music. During the introduction, even before the curtain rose, members of the audi- ence began to hiss and shout. The strange orchestration and unusual harmonies, with the bassoon in its highest register and unresolved chords supporting the opening melodic line, both contributed to the tension in the theater. At first there were only isolated outbursts of laughter and mild protests, but as the curtain rose revealing a completely new approach to costuming and choreography, the commo- tion intensified. Once the caterwauling began, it never stopped. Opposing factions in the audience began to bicker, some calling for the ballet to cease and others for silence so it could continue. Diaghilev attempted to stop the commotion by flicking the lights off and on, managing only to create an even more WEEK 11 B PROGRAM NOTES wm 2X& An accredited music school, sW Discover us in Boston's hip and historic South End. Sucrvc^ 34 Warren Ave, Boston MA 021 16 phone: 617.482.7494 WWW.CMCB.ORG r> b? ^^ lisS vra 3JPJ. 3^ J irtBT.. -.., mi HH Brookhaven at Lexington offers an abundance of opportunities for intellectual growth, artistic expression and personal wellness. Our residents share your commitment to live a vibrant lifestyle in a lovely community. Call today for a tour of our model apartment and newly renovated Commons! A Full-Service Lifecare Community (781) 863-9660 • (800) 283-1114 www.aboutbrookhaven.org 1=r EQUAL HOUSING 56 5 ->" .'•• -.'-'-'.« SPmHKH.-•'."' .&-»• jjfli*' - in The f/'na/ page of the fu// score of "te Sacre du printemps," March 7973. /n October 7968 Straw'nsfcy added an inscription at the upper right, reading in part: "May who- ever listens to this music never experience the mockery to which it was subjected and of which I was the witness in the Theatre des Champs-Elysees, Paris, Spring 7973." charged atmosphere. Because of the deafening noise, Nijinsky was forced to scream the count to the dancers while standing on a chair behind the curtain. When vio- lence broke out the police were called in. Stravinsky stormed out of the theater after the performance, furious that his work had not been given a thorough hearing. The next day the riot made the front pages of the Parisian newspapers. What caused such a ruckus and why did the new ballet make such a violent impres- sion? Some scholars have suggested that Diaghilev actually instigated the riot through the strategic placement of paid "protestors" in hopes of receiving good press coverage. Even this, however, does not fully explain the audience's violent reaction to the work. Perhaps the audience was subjected to too much novelty at once, for it was not just the score that displayed an unfamiliar idiom, but also the scenario, the chore- ography, and even the costumes. In an attempt to depict prehistoric people, Nijinsky introduced gestures as alien to classical ballet as Stravinsky's harmonies were to traditional musical practice. The dancers often stood knock-kneed with toes turned and stomped around flat-footed, leading the outraged audience to think that the art of ballet itself was under siege. Stravinsky's music drew heavily on folk song, though in later years he often tried to downplay his dependence upon it. Recent research on the Rite has uncovered much WEEK 11B PROGRAM NOTES ISrm Team harmony. I ^H I 1 Richard Knisely lassical Performances Brian McCreath Classical Weekend Cathy Fuller Classics in the Morninc f i v V Classical music. On air seven days a week. Online anytime. :v:r podcasts wgbh.org/classical • Live performances • Weekly of this original folk material, though it is sometimes difficult to ascertain exactly what he borrowed. In general, Stravinsky treated the preexistent folk music as raw material, excising and utilizing gestures, melodic fragments, and patterns as he saw fit and, in the process, transforming the original into something entirely new for the ballet. Stravinsky's real interest in these tunes lay in their potential for rhythmic manipulation, a very different procedure from that in Petrushka. What is particularly revolutionary in the Rite, then, is not Stravinsky's borrowing of folk song, but his transformation of it. There is an unprecedented use of dissonance in the piece, even though Stravinsky himself said that the use of nine-note chords was not particularly new. The accents and displaced rhythms that he superim- posed on these chords, however, made for something genuinely unique. At times, he builds unstable rhythmic cells to which others are gradually added, resulting in where Independence, BostonBCMSChamber Music Society Health, & r* friendship are always in perfect harmony. K'y Discover life in perfect harmony, at Susan Bail is Intimacy Excitement Sheer Beauty Susan Bajlis Assisted Living. ASSISTED LIVING COMMUNITY Ronald Thomas, Artistic Director Alan Mann, Executive Director 352 Massachusetts Ave, Boston 2008-09 Season Upcoming Event 617-247-1010 • www.susanbailis.com Friday, December 12 • 7:30 p.m. First Church in Cambridge, Congregational An Evening with Mozart NEWTONSYMPHONY Duo for Violin and Viola in B-flat, K. 424 ORCHESTRA Oboe Quartet in F, K. 370 James M. Orent MusicDirector Divertimento for String Trio in E-flat, K. 563 March 1, 2009 3 pm Celtic Voyage BERLIOZ, STANFORD, WILLIAMS, FREE PARKING available at Harvard's Oxford Street Garage ALWYN, BRUCH: Scottish Fantasy with violinist Joseph Scheer I and harpist Susan Robinson "Besides the expected deluxe playing... you heard an excitement that was borne April 26, 2009 7:30 pm Masters of Cantabile of discovery." ,TheBostonGlobe PUCCINI: Preludio Sinfonico MAHLER 4 with soprano, Jayne West For tickets and information 6 1 7.349.0086 newtonsymphony.org 617-965-2555 www.bostonchambermusic.org Rashi Auditorium, Newton Corner WEEK 11 B PROGRAM NOTES flDB :**> A college preparatory day school whose program integrates an intimate, rigorous, intellectually stimulating academic setting with the resources of a major university. Open House: December 7, l-3pm One University Rd. Boston, MA 02215 P: 617.353.9000 w-Avw.buacademy.org 6o turn HA2UI IP Wk a shifting sense of meter. Other composers had used similar techniques, but none with the energy and violence of Stravinsky, who fires these rhythmic cells at the audience in explosive combinations. The Rite was performed in London several weeks after the notorious premiere and was revived in 1920 with new choreography by Massine. Unfortunately, Nijinsky's choreography does not survive, though in 1987 the Joffrey Ballet attempted to reconstruct the original from reminiscences of living witnesses and performers, period photographs, and notations in the score itself— an exercise that received mixed reviews. By the 1930s, the Rite was often performed as a concert piece and has since re- mained a staple of the orchestral repertory, maintaining its power and savage beauty despite the absence of dancers. Time has not dulled its cutting-edge quality. Indeed, the Rite sounds new, even to our 21st-century ears. What was originally interpreted in 1913 as an attack on art in fact represented a daring vision of what art could say and how it could say it. Elizabeth Seitz ELIZABETH SEITZ received her doctorate from Boston University in 1995 and now teaches at The Boston Conservatory and for Boston Lyric Opera; her interests range widely from Schubert to Tito Puente. A frequent pre-concert speaker for the BSO, she has lectured widely on various musical topics, including MTV as a cultural force in popular music. THE FIRST AMERICAN PERFORMANCE of "Le Sacre du printemps" was given by Leopold Stokowski with the Philadelphia Orchestra on March 3, 1922. THE FIRST BOSTON SYMPHONY PERFORMANCES of "Le Sacre du printemps" were given by Pierre Monteux on January 25 and 26, 1924, followed by the first New York performance that January 31. Since then, the BSO has also played "Le Sacre du printemps" under the direction of Serge Koussevitzky, Leonard Bernstein, Igor Markevitch, Eleazar de Carvalho, Erich Leinsdorf, Charles Wilson, Michael Tilson Thomas, William Steinberg, Seiji Ozawa, Charles Dutoit, Gennady Rozhdestvensky, Leonard Slatkin, Bernard Haitink, James Conlon, Rafael Fruhbeck de Burgos, James Levine (the most recent subscription performances, in October 2004), and Dutoit again (the most recent Tanglewood performance, on July 29, 2005). WEEK 11B PROGRAM NOTES 61 , ' - IasSSswMWr HI 9s H Bji >v w^ beautifully crafted piano is an investment in elegance, enjoyment and a lifetime of listening pleasure. And no other piano offers the performance and lasting value of a Steinway Visit M. family - Steinway, Boston and Essex. f^ M. Steinert & Sons Steinway & otherpianos ofdistinction 800-944-2498 www.msteinert.com Boston • Natick • Worcester '*.-• ' \ "Dmn«__ jjbffr] *m BEPSaBIBM • . To Read and Hear More... Although now ten years old, David Schiff's The Music of Elliott Carter in its second edition (1998) is the first place to start for a detailed study of Carter's music. In spite of some detailed discussion of technique, the book is for the most part accessible to a general audience of music lovers (Cornell University Press). Just published is Elliott Carter: A Centennial Portrait in Letters and Documents, edited by Anne Schreffler of Harvard University and Felix Meyer of the Paul Sacher Foundation (Boydell Press). Published last summer is Elliott Carter: A Centennial Celebration, edited by Marc Ponthus and Susan Tang, which includes a conversation about Carter's music between Ponthus and Pierre Boulez as well as articles and tributes by Fred Lehrdahl, Charles Rosen, John Ashbery, Alvin Curran, and others (Pendragon Press "Festschrift Series" paperback). Elliott Carter, Collected Essays and Lectures, 1937-1995, edited by Jonathan Bernard, compiles the composer's early reviews and later essays on his own and others' music (University of Rochester paper- back). This collection overlaps somewhat with Else and Kurt Stone's 1977 volume, The Writings of Elliott Carter, which is now out of print (Indiana University Press). David Schiff wrote the Carter essay in The New Grove II (2001). The essay in the 1980 edition of The New Grove Dictionary is by Bayan Northcott. The most recent biography of Carter is in French— Max Noubel's Elliott Carter et le temps fertile (Contrechamps). For those with access to a good academic library, interesting, albeit usually technical, articles on Carter and his music appear very frequently in such musical publications as Tempo and Perspectives of New Music. John Link's Elliott Carter: A Guide to Research (Routledge) and Elliott Carter Harmony Book are very helpful for scholars; Link is at work on a book about Carter's late music. A short biography, news, and other useful information about Carter can be found on the website of his publisher, Boosey & Hawkes (www.boosey.com), and Boosey teamed up with the composer's former publisher, G. Schirmer, for the informative Carter Centenary site (www.carter100.com). Also on the web is Frank Oteri's interesting and unstuffy interview with the composer on the website of the American Music Center, www.newmusicbox.org, although it's from spring 2000 (search for "Elliott Carter"). Frank Scheffer's touching 2004 documentary on Carter, A Labyrinth of Time, is available on DVD (Juxtapositions). Almost all but the most recent Carter pieces have been recorded and are available on disc. The American stage premiere of Carter's opera What Next?, filmed at Tanglewood in July 2006 and featuring Tanglewood Music Center Fellows in a production by Douglas Fitch conducted by James Levine, has been released on DVD (available in the Symphony Shop and online at bso.org). James Levine recorded Carter's Variations for Orchestra in WEEK 11B READ AND HEAR MORE 63 iJTm 1990 with the Chicago Symphony Orchestra (Deutsche Grammophon, with music of Milton Babbitt, John Cage, and Gunther Schuller), and again recently with the Munich Philharmonic (Oehms Classics, with works by Sessions, Di Domenica, and Wuorinen). n The most recent release, issued in recognition of Carter's 100th birthday year, includes nor Dialogues for piano and orchestra, the first release of Mosaic for harp and ensemble, and smaller works with the New Music Concerts Ensemble and others (Naxos). There are many other good recordings of Carter's orchestral music, including all of the concertos (some multiple times— the following list is not exhaustive). Oliver Knussen and the BBC Symphony Orchestra recorded Carter's Clarinet Concerto with soloist Michael Collins, pairing it with the symphony Symphonia: Sum fluxae pretium spei on a Grammy-nominated CD (Deutsche Grammophon "20/21"). Pianist Ursula Oppens recorded the Piano Concerto twice, with Michael Gielen conducting the Cincinnati Symphony Orchestra (New World Records, with the Variations for Orchestra), and with Gielen and the Southwest German Radio Symphony Orchestra (budget-priced Arte Nova, with Three Occasions and the Concerto for Orchestra). Oppens has also recorded the complete solo piano music (Cedille). In the 1960s the Boston Symphony Orchestra recorded the Piano Concerto with Erich Leinsdorf and soloist Jakob Lateiner following their world premiere perform- ances (RCA), but this has never been issued on CD. A terrific recording of Carter's Double Concerto for Harpsichord and Piano with Two Chamber Orchestras has Paul Jacobs and Gilbert Kalish as soloists with the Contemporary Chamber Ensemble con- ducted by Arthur Weisburg (Nonesuch). Ole Bonn (with Oliver Knussen and the London Sinfonietta on Virgin Classics) and Rolf Schulte (with Justin Brown and the Odense Symphony Orchestra for Bridge) both recorded the Violin Concerto. Heinz Holliger 617.267.5777 www.projectstep.org q; — (D o OR IN-KIND SUPPORT IS GIVEN BY THE BOSTON SYMPHONY ORCHESTRA AND THE NEW ENGLAND CONSERVATORY 64 recorded the Oboe Concerto with Boulez and the Ensemble InterContemporain (Apex). Fred Sherry recorded the Cello Concerto with Oliver Knussen and the BBC Symphony Orchestra (Bridge). HP^k he»: Robert Kirzinger Edmund Morris's Beethoven: The Universal Composer is a thoughtful, first-rate compact biography aimed at the general reader (in the HarperCollins series "Eminent Lives"). The two important full-scale modern biographies are Maynard Solomon's Beethoven, pub- lished originally in 1977 and revised in 1998 (Schirmer paperback), and Barry Cooper's Beethoven in the "Master Musicians" series (Oxford University Press). Also well worth knowing is Beethoven: The Music and the Life, by the Harvard-based Beethoven authority Lewis Lockwood, who offers comprehensive discussion of the composer's life, times, and works (Norton paperback). "Musical lives," a series of readable, compact composer biographies from Cambridge University Press, includes David Wyn Jones's The life of Beethoven (Cambridge paperback). Dating from the nineteenth century, but still crucial, is Thayer's Life of Beethoven as revised and updated by Elliot Forbes (Princeton paper- back). The New Grove Beethoven provides a convenient paperback reprint of the Beetho- ven article by Alan Tyson and Joseph Kerman from the 1980 edition of The New Grove Dictionary of Music and Musicians (Norton paperback). Kerman and Tyson are among the contributors to the revised Beethoven article in the 2001 Grove. Also of interest are The Beethoven Compendium: A Guide to Beethoven's Life and Music, edited by Barry Cooper (Thames & Hudson paperback) and Peter Clive's Beethoven and his World: A Biographical Dictionary, which includes entries about virtually anyone you can think of who figured in the composer's life (Oxford). Charles Rosen's The Classical Style remains important to anyone seriously interested in the music of Haydn, Mozart, and Beethoven (Norton). Michael Steinberg's program notes on the nine Beethoven symphonies are in his compi- lation volume The Symphony-A Listener's Guide (Oxford paperback). Donald Francis Tovey's time-honored program notes on the Beethoven symphonies are among his Essays in Musical Analysis (Oxford). Other useful treatments of the symphonies include George Grove's classic Beethoven and his Nine Symphonies, now more than a century old (Dover paperback), and Robert Simpson's Beethoven Symphonies in the series of BBC Music Guides (University of Washington paperback). James Levine has recorded Beethoven's Symphony No. 7 with the Munich Philharmonic (a 2001 concert performance, on Oehms Classics). Boston Symphony recordings of the Seventh Symphony include Charles Munch's from 1949 (his first recording as the BSO's music director, on RCA), Erich Leinsdorf's from 1966 (part of his complete Beethoven symphony cycle with the BSO for RCA), and Leonard Bernstein's, taken from the very last concert he ever conducted, in August 1990 at Tanglewood (Deutsche Grammophon). Karl Muck included the finale of the Seventh in the BSO's very first recording sessions, in October 1917 (BSO Classics). Other noteworthy complete cycles include (listed alpha- betically by conductor) Claudio Abbado's with the Berlin Philharmonic (Deutsche Grammophon), Bernard Haitink's with the London Symphony Orchestra (LSO Live), Nikolaus Harnoncourt's with the Chamber Orchestra of Europe (Teldec), Herbert von WEEK 11 B READ AND HEAR MORE 65 V-VMSSff t.j 1 «"-.•'ftrLKiiM&l h?^ SSI*-^/*ip\ fej *&ifa %V^M fWux&sl -'*» Waffim Longy bar°que School of Music & jl MATT E RS SeffCk Q/s. Zarzuela! DIAMONDS EARLY MUSIC OPERA Celebrate the PRECIOUS STONES holiday season with FINE JEWELRY delightful Spanish lyric- dramatic music See us lastfor the bestprice. 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Period-instrument recordings include John Eliot Gardiner's with the Orchestre Revolutionaire et Romantique (Deutsche Grammophon Archiv), Roy Goodman's with the Hanover Band (originally Nimbus), and Christopher Hogwood's with the Academy of Ancient Music (L'Oiseau-Lyre). Important historic accounts of the Seventh include Arturo Toscanini's, most famously from 1939 with the New York Philharmonic (originally RCA but more recently available on various CD labels) or in a 1935 concert performance with the BBC Symphony (BBC Legends), and Wilhelm Furtwangler's 1943 wartime con- cert performance with the Berlin Philharmonic (Deutsche Grammophon, Music & Arts, and other labels). The very first, and still illuminating, complete recorded Beethoven symphony "cycle" (in quotes because several orchestras were used)— Felix Weingartner's from the 1930s with the Vienna Philharmonic, the London Symphony, the London Phil- harmonic, and the British Symphony Orchestra— has been reissued on CD in impressive- ly listenable sound (Naxos). The Stravinsky article in the 2001 New Grove Dictionary of Music and Musicians is by Stephen Walsh, who is also the author of an important two-volume Stravinsky biography: Stravinsky-A Creative Spring: Russia and France, 1882-1934 and Stravinsky-The Second Exile: France and America, 1934-1971 (Norton). Eric Walter White, author of the crucial refer- ence volume Stravinsky: The Composer and his Works (University of California), also pro- vided the Stravinsky article for the 1980 edition of The New Grove; this was reprinted in INVESTING It's about balancing your investments Derby and Company Investment, Trust & Retirement Services 7 Wells Ave • Newton, Ma 02459 Tel: 617.527.8900 • derbyandcompany.com WEEK TIB READ AND HEAR MORE 67 mm?:';-*< "V* 1 1 WW *^«^ ft jf • Kk eV SkS Join the Family! ' ^ m George and Nancy Mumford, Fox Hill Village residents riends have always been F important to the Mumfords. In fact, when George (an astronomer and former Dean of Liberal Arts and the Graduate School of Tufts University) and Nancy (a mentor and board member of Associated Day Care Services of Boston) moved from their hill top farm to an elegant apartment at Fox Hill Village, they brought their friends with them! Now new friends and old enjoy the many onsite cultural activities available (college courses, movies, lectures, and concerts), and the dependable security that means worry-free travel. The Mumfords agree that the Fox Hill Village "family" of welcoming residents and friendly staff make life a pleasure! Distinguished floor plans, convenient fitness center, superb dining, and most importantly, the flexibility and the accommodation afforded by resident ownership and management, help rate Fox Hill Village highest in resident satisfaction. Like Nancy and George, come and experience for yourself the incomparable elegance of Fox Hill Village, New England's premiere retirement community. To learn more, call us at 781-329-4433. Developed by the Massachusetts General Hospital. Fox Hill Village at WESTWOOD 10 Longwood Drive, Westwood, MA 02090 (781) 329-4433 (Exit 16B offRoute 128) 68 mmMWmV" b mSSBkmmm The New Grove Modern Masters: Bartok, Hindemith, Stravinsky (Norton paperback). Charles M. Joseph's Stravinsky Inside Out challenges some of the popular myths surrounding the composer (Yale University Press, 2001). Also relatively recent are Joseph's Stravinsky and Balanchine, which studies the relationship between those two collaborators (Yale University Press), and The Cambridge Companion to Stravinsky, edited by Jonathan Cross, which includes a variety of essays on the composer's life and works (Cambridge Uni- versity Press). Two other readily available biographies are Michael Oliver's Igor Stravinsky in the wonderfully illustrated series "20th-century Composers" (Phaidon paperback) and Neil Wenborn's Stravinsky in the series "Illustrated Lives of the Great Composers" (Omnibus Press). Other useful studies include Stephen Walsh's The Music of Stravinsky (Oxford paperback) and Francis Routh's Stravinsky in the "Master Musicians" series (Littlefield paperback). If you can find a used copy, Stravinsky in Pictures and Documents by Vera Stravinsky and Robert Craft offers a fascinating overview of the composer's life (Simon and Schuster).. Craft, who worked closely with Stravinsky for many years, has also written and compiled numerous other books on the composer. Useful specialist publications include Confronting Stravinsky: Man, Musician, and Modernist, edited by Jann Pasler (California), Pieter C. van den Toorn's highly analytical The Music of Igor Stravinsky (Yale), and Richard Taruskin's two-volume, 1700-page Stravinsky and the Russian Traditions: A Biography of the Works through "Mavra," which treats Stravinsky's career through the early 1920s (University of California). The Boston Symphony Orchestra has made three recordings of Le Sacre du printemps: first in 1951 for RCA (monaural) with Pierre Monteux, conductor of the 1913 premiere; then later with Michael Tilson Thomas in 1972 (Deutsche Grammophon) and Seiji Ozawa in 1979 (Philips). James Levine has recorded Le Sacre du printemps with the MET Orchestra (Deutsche Grammophon). Stravinsky himself recorded Le Sacre du printemps first with the New York Philharmonic and then in 1960 with the Columbia Symphony Orchestra (CBS/Sony). Other recordings of interest (listed alphabetically by conductor) include Daniel Barenboim's with the Chicago Symphony Orchestra (Teldec), Leonard Bernstein's with the New York Philharmonic (Sony Classical), Pierre Boulez's with the Cleveland Orchestra (Deutsche Grammophon), and Valery Gergiev's with the Kirov Theater Orchestra (Philips). Benjamin Zander's recording with the Boston Philharmonic pairs the orchestral version of Le Sacre with the composer's own two-piano arrangement (IMP Masters). An interesting reissue pairs the great Russian-born conductor Igor Mar- kevitch's two recordings of Le Sacre, both with the Philharmonia Orchestra— in monaural from 1951 and in stereo from 1959— on a single disc (Testament). Marc Mandel WEEK 11B READ AND HEAR MORE 69 >^ 1991 i^P HP 'VJ ' " .;';.:' ,v ' HiN If ^> Solo Artist James Sommerville James Sommerville joined the Boston Symphony Orchestra as principal horn in January 1998; he occupies the Helen Sagoff Slosberg/Edna S. Kalman chair, endowed in perpetuity in 1974. After winning the highest prizes at the Munich, Toulon, and CBC Young Performers competi- tions, and with the support of the CBC and generous grants from the Canada Council and the Macmillan Foundation, James Sommerville embarked on a solo career that has brought critically acclaimed appearances with all the major Canadian orchestras, the radio orchestras of Bavaria and Berlin, and many other orchestras throughout North America and Europe. His disc of the Mozart horn concertos with the CBC Vancouver Orchestra won the JUNO Award for Best Classical Recording in Canada. His CBC recordings of Britten's Serenade for Tenor, Horn, and Strings and Canticle III were nominated for Junos in 1999 and 1997. Mr. Sommerville is a member of the Boston Symphony Chamber Players, with whom he tours regularly world- wide, and with whom he has recorded Mozart's Quintet in E-flat for horn and strings, K.407, for BSO Classics. He has also recorded chamber music for the Deutsche Grammophon, Telarc, CBC, Summit, and Marquis labels. Mr. Sommerville previously played for the symphony orchestras of Toronto and Montreal, the Canadian Opera Company Orchestra, Symphony Nova Scotia, and as acting solo horn of the Chamber Orchestra of Europe; thus he has traveled throughout the globe and recorded extensively as an orchestral player. He is heard regularly on the CBC network in various chamber music combinations and has recorded all of the standard horn repertoire for broadcast over the past twenty years. As a guest artist and faculty member, Mr. Sommerville has performed at many chamber music festivals, including WEEK 11B SOLO ARTIST 71 m ADIVARIUS ...created for all time a perfect marriage of pre- cision and beauty for both the eye and the ear. He had the unique genius to combine a thor- ough knowledge of the acoustical values of wood with a fine artist's sense of the good and the beautiful. Unexcelled by anything before or after, his violins have such purity of tone, they are said to speak with the voice of a lovely soul within. In business, as in the arts, experience and ability are invaluable. HRH has earned a most favorable reputation for providing special insur- ance programs for the musical community throughout the USA. In addition, we have built a close working relationship with other areas of the arts. Whatever the special insurance protection challenge, HRH will find the solutions you need. We respectfully invite your inquiry. HILB, ROGAL AND HOBBS INSURANCE AGENCY ONE INDUSTRIAL AVENUE, SUITE 1 100 LOWELL, MA 01851 (800) 445-4664 LOWELL • WILMINGTON #HRH hilb rogal & hobbs' SUITE 1100, ONE INDUSTRIAL AVENUE, LOWELL, MA 01851 (800) 445-4664 LOWELL • WILMINGTON 72 the Festival of The Sound, the Vancouver Chamber Music Festival, Scotia Festival, Domaine Forget, Sarasota, and the Banff International Festival of the Arts. Recent noteworthy solo performances include the world premiere of Christos Hatzis's Winter Solstice for horn and strings in Yellowknife, Northwest Territories; the North American premiere of Ligeti's Hamburg Concerto with the Boston Symphony Orchestra; John Williams's Horn Concerto, with the composer conducting the BSO at Tanglewood; and, performing on natural horn, Weber's Concertino, which was broadcast live on National Public Radio with the Handel & Haydn Society led by Christopher Hogwood. Future engagements include concerto appearances with the Academy of St. Martin in the Fields in London and the National Symphony of Costa Rica. Besides performing as a horn player, Mr. Sommerville is also artistic director of the Hamilton Philharmonic, one of Canada's venerable professional symphony orchestras; he maintains an active and growing conducting career, presenting a full season of subscription and educational concerts in Hamilton each year. Mr. Sommerville teaches at the Tanglewood Music Center, the Longy School, and the New England Conservatory of Music. His previous featured appearances with the Boston Symphony Orchestra have included Strauss's Horn Concerto No. 1, Britten's Serenade for Tenor, Horn, and Strings, Martin's Concerto for Seven Winds, Timpani, Percussion, and String Orchestra, the American premiere of Ligeti's Hamburg Concerto, John Williams's Horn Concerto, and, most recently, Elliott Carter's Horn Concerto (the world premiere performances in November 2007, followed by a Tanglewood performance in July 2008) and Mozart's Horn Concerto No. 3 (at Tanglewood in August 2008). WOODSTOCK Est. 1929 Creating and preserving wealth for more than seventy-five years A wealth management firm providing highly personalized financial counseling and investment services to high net-worth individuals and their families, trustees, corporations and philanthropic institutions. For more information, please contact Paul D. Simpson at 617.896.8531 www.woodstockcorp.com [email protected] 617.227.0600 | | 27 School Street, Boston, MA 02108 | WEEK 11B SOLO ARTIST 73 October 14,2008 November 10,2008 Speaker Christopher Hitchens Doris Kearns Goodwin October 23, 2008 November 17, 2008 Frederick Gooding & Noah Griffin Khalid Patterson December 10,2008 Series Dr. Ruth Westheimer Free & open to the public For the most up to date schedule, please visit: wsc.ma.edu/speakerseries 577 Western Avenue Westfield Westfield, Massachusetts 01086 State (413) 572-5300 College wsc.ma.edu FOUNDED 1838 POPtt-J*^w « 1 0eCrwerobermber ony Ha atSyrnpn ostonpops°tft • b 6^-266-^00 * orus,)oh" The Boston W Cn g,e now- ™ on sale TicketsXkets &fi&W lONSOR SEASON SP 74 0^ BSO Consolidated Corporate Support The support provided by members of the corporate community enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community outreach programs throughout the greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following companies for their generous support of the BSO Business Partners, A Company Christmas at Pops, and Presidents at Pops, including gifts-in-kind. This list recognizes cumulative contributions of $2,500 or more made between September 1, 2007, and August 31, 2008. For more information, contact BSO Corporate Programs at (617) 638-9466 or (617) 638-9277. $100,000 AND ABOVE Bank of America, Anne M. Finucane, Robert E. Gallery $50,000 TO $99,999 Citizens Bank, Robert E. Smyth Dick and Ann Marie Connolly $25,000 to $49-999 AGAR Supply Co., Inc., Karen S. Bressler • Accenture, William D. Green Arbella Insurance Group, John Donohue AVFX, Murray Lapides • The Bank of New York Mellon, David F. Lamere • Bingham McCutchen LLP, Catherine Curtin • Bose Corporation, Daniel A. Grady • Boston Properties, Inc., Edward H. Linde • Connell Limited Partnership, Francis A. Doyle • The Fairmont Copley Plaza, Paul Tormey Goodwin Procter LLP, Regina M. Pisa, Esq. • Gourmet Caterers, Bob Wiggins Harvard Pilgrim Health Care, Charles D. Baker • John Hancock Financial Services, John D. DesPrez III • K&L Gates LLP, Michael Caccese, Esq. Suffolk Construction Company, Inc., John F. Fish • Waters Corporation, Douglas A. Berthiaume $15,000 to $24,999 Arnold Worldwide, Francis J. Kelly III • Blue Cross Blue Shield of Massachusetts, • Cleve L. Killingsworth, Jr. • The Boston Globe, P. Steven Ainsley Boston Private Bank & Trust Company, Mark D. Thompson Jim and Barbara Cleary • Brokerage, Clough Capital Partners, LP, Charles I. Clough, Jr. Coldwell Banker Residential Richard J. Loughlin, Jr. • Colliers Meredith & Grew, Inc., Thomas J. Hynes, Jr., Kevin C. Phelan Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter Eaton Vance Corp., Jeff Beale • Goulston & Storrs, Alan W. Rottenberg, Esq. Greater Media, Inc., Peter H. Smyth Herald Media, Inc., Patrick J. Purcell • High Output Inc., John C. Cini WEEK 11B BSO CONSOLIDATED CORPORATE SUPPORT ( 75 Boston Youth Symphony ORCHESTRAS Federico Cortese, Music Director Le nozze di Figaro Boston Youth Symphony Federico Cortese, Conductor "One of the leading youth :aged orchestras in the country" mozart Le nozze di Figaro, semi-stag - THE BOSTON GLOBE, MAY 2008 Sunday, January 18, 2009, at 3 pm Sanders Theatre at Harvard University Tickets to this semi-staged opera make a great holiday gift! Order your tickets today! $25 and $30 617-496-2222 www.BYSOweb.org .2?, nuuniltuf AxuioUr; Piatt BUILDERS is a design/build firm who has earned an outstanding reputation for quality work and craftsmanship since its founding H.ra seventeen years ago. We specialize in residential renovations and additions which are enhanced with exquisite work from our in-house custom cabinet shop. UnLJ t! Through careful planning, thoughtful engineering, and masterful execution we can transform your home into an inspiring living space Piatt We love what we do. BUILDERS 978.448.9963 See more of our work at PlattBuilders.com -,$>,£«>-.,: 5-**fljllg5 j 76 Hilb, Rogal, and Hobbs Insurance Agency, Paul D. Bertrand • Hurley Wire and Cable, Arthur J. Hurley, Jr. • Intercontinental Real Estate Corporation, Peter Palandjian Liberty Mutual Group, Edmund F. Kelly • KPMG LLP, Anthony LaCava Latona Associates, Paul M. Montrone • Lehman Brothers Loomis, Sayles & Company, LP, Robert J. Blanding • LPL Financial Services, Mark S. Casady • Macy's East, Thomas R. Zapf Merrill Corporation, Rick Atterbury Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C., R. Robert Popeo, Esq. • New Balance Athletic Shoe, Inc., James S. Davis • NSTAR, Thomas J. May PricewaterhouseCoopers LLP The Procter & Gamble Company Savings Bank Life Insurance, Robert K. Sheridan Silver Bridge Advisors, LLC, Stephen E. Prostano • Sovereign Bank, Joseph P. Campanelli, Patrick J. Sullivan • State Street Corporation, Ronald E. Logue, George A, Russell, Jr. Tufts Health Plan, James Roosevelt, Jr. • Verizon, Donna C. Cupelo Wayne J. Griffin Electric, Inc., Wayne J. Griffin Weil, Gotshal & Manges LLP, James Westra, Esq. William Gallagher Associates, Philip J. Edmundson Wilmer Cutler Pickering Hale and Dorr LLP, Mark G. Borden $10,000 TO $14,999 Advent International Corporation, Peter A. Brooke • Analog Devices, Inc., Ray Stata Atlantic Trust Private Wealth Management, Jack Markwalter, Jeffrey Thomas Bluestone/Wingate, Mark S. Schuster • CBT/Childs Bertman Tseckares, Inc., • Charles N. Tseckares • Charles River Laboratories, Inc., James C. Foster Chief Executives Organization • Child Development and Education, Inc., William Restuccia Clair Automotive Network, The Clair Family Country Curtains, The Red Lion Inn & Blantyre • Cybex International, Inc., John Aglialoro Deloitte, William K. Bacic, James G. Sullivan • Dunkin' Donuts, Jon L. Luther • Eastern Bank, Richard E. Holbrook Egan Advisors LLC, • Michael J. Egan EMC Corporation, William J. Teuber, Jr. • Entegris Inc., Gideon Argov Ernst & Young LLP, Thomas Flannery, Frank Mahoney • First Act, Inc., Bernard Chiu Foley Hoag LLP, Michele A. Whitham • Frank Crystal & Company, Inc., John C. Smith galaxE. Solutions, Timothy Bryan Gallagher Koster, Teresa Koster • Global Partners LP, • Eric Slifka • Granite City Electrical Supply Charitable Foundation, Phyllis P. Godwin • Greater Boston Chamber of Commerce, Paul Guzzi • H. Carr & Sons, Inc., James L. Carr, Jr. The Halleran Company, LLC, Arthur J. Halleran, Jr. • Hill, Holliday, Michael Sheehan, • Karen Kaplan • Huron Consulting Group, Peter I. Resnick IBM, Maura O. Banta • John Moriarty& Associates, Inc., John Moriarty • Kaufman & Company, LLC, Sumner Kaufman • The Kessler Group, Howard J. Kessler • Koda Enterprises Group, LLC, Bill Karol The Kraft Group, Robert K. Kraft, Jonathan A. Kraft Legal Sea Foods, Roger Berkowitz • • Lexington Insurance Company, Kevin H. Kelley • Carolyn and Peter S. Lynch Marr Scaffolding Company, Daniel F. Marr III Medical Information Technology, Inc., A. Neil Pappalardo • Mercer, James J. McCaffrey, Esq. • The McGrath Family Navigator Management Co., LP., Thomas M. O'Neill • The New England Foundation, • LLP, Joseph C. McNay • New England Development, Stephen R. Karp Nixon Peabody • • Healthcare, Craig D. Mills, Esq. • Nortel, Anthony Cioffi The Paglia Family Partners • Sox Foundation James J. Mongan, MD Proskauer Rose LLP, Bernard M. Plum Red • RINET Company LLC, Brian Rivotto • The Ritz-Carlton, Boston Common, Erwin Schinnerl • Safety Insurance Company, David F. Brussard • Saturn Partners, Jeffrey S. McCormick • Staples, Inc. • The Stop & Shop Supermarket Company, LLC, Jose Alvarez WEEK 11B BSO CONSOLIDATED CORPORATE SUPPORT ( 77 -. &» • • 2008-2009: The Benjamin Britten Season November 7, 8 pm • Jordan Hall March 13, 8 pm • Jordan Hall Benjamin Britten Cantata misericordium Ludwig van Beethoven Mass in C Gabriel Faure Requiem Britten Suite from Death in Venice November 23, 3 pm April 26, 3 pm Longy School of Music Roxbury Community College Britten Songs and Vocal Chamber Music Britten The Little Sweep children's opera Cantata Singers Chamber Series, with PALS Children's Chorus Allison Voth, Music Directov May 8, 8 pm • Jordan Hall January 16, 8 pm • Jordan Hall J.S. Bach Cantata BWV 149 All-Britten program featuring Classroom Cantatas Serenade for Tenor, Horn and Strings Benjamin Britten Student cantata premiere Michael Slatlery, tenor Vores Natural Tickets and information Andy Selection Michael Thompson, horn (World Premiere) at 617-868-5885 or Britten Psalm 1 50 www.cantatasingers.org. February 7, 2 pm All Saints Parish, Brookline with Boston Children's Chorus This season is funded in part by the Britten-Pears Foundation. Britlen Noye's Fludde children's opera Britten The Company of Heaven Partners Private Care, a subsidiary of Partners Home Care, offers in-home support, such as home health aides for personal care assistance, nursing, and home man- agement, that give you confidence to live on your own. Our staff are thoroughly screened, supervised, and insured, providing you with added protection. Partners Lifeline offers an immediate response during emergencies. Help comes at the push of a button. So you and your family can be together at home THANKFUL TO BE HOME WITH all through the year. THOSE YOU LOVE PARTNERS PRIVATE CARE . 800.698.2628 ALL THROUGH THE YEAR. PARTNERS LIFELINE • 800.910.4225 Partners Partners PARTNERS- Home Care Private Care Lifeline Member of Partners HealthCare, founded by Massachusetts General Hospital and Brigham and Women's Hospital THE BOSTON CONSERVATORY By Jules Massenet. Sung in English. Bruce Hangen, conductor. Kirsten Z. Cairns, director. The Boston Conservatory Theater | 31 Hemenway St. | Boston Office: Box (617) 912-9222 | www.bostonconservatory.edu/tickets This organization is funded in part by the Massachusetts Cultural Ci state agency. 78 The Studley Press, Inc., Suzanne K. Salinetti • TA Associates Realty, Michael A. Ruane • Trans National Group, Steven B. Belkin • Paul M. Verrochi • Weiner Ventures, Adam J. Weiner • Suzy and Jack Welch $5,000 to $9,999 The Abbey Group Abt Associates Inc. Affiliated Professional Services Inc. ALPS Mutual Fund Services • Ambius The Baupost Group, LLC • The Beal Companies • Be Our Guest Bear Stearns, a JP Morgan Wholey Owned Subsidiary • BlackRock, Inc. Blake & Blake Genealogists, Inc. • BlueAlly • Bond Brothers, Inc. • Boston Culinary Group, Inc. Braver • Cabot Corporation Cisco Systems, Inc. • Citgo Petroleum Corporation • John and Diddy Cullinane • Curry College CWB Boylston LLC Davidson Kempner Partners The Drew Company EDS • Elkus Manfredi Architects Cecilia and John F. Farrell, Jr. • Fiduciary Trust Company The Paul and Phyllis Fireman Charitable Foundation Hampshire House Corporation • Harvey Industries, Inc. • HighVista Strategies LLC Hines • Jack Madden Ford Sales, Inc. • Jofran Jerry and Darlene Jordan Littler Mendelson, P.C. • John and Rose Mahoney • Martignetti Companies McRoberts, Roberts & Rainer, LLP. • Merrill Lynch • Morgan Stanley Mutual Oil Co., Inc. • National Lumber Company • New Boston Fund, Inc. Joseph and Joan Patton PerkinElmer, Inc. • Perot Systems Corporation Putnam Investments • Rasky Baerlein Strategic Communications, Inc. • Ruby Wines, Inc. Thomas A. and Georgina T Russo S.R. Weiner & Associates, Inc. • Sametz Blackstone Associates Shawmut Design and Construction Robert and Dana Smith • State Street Development Management Corp. Stonegate Group • Toray Plastics (America), Inc. Ty-Wood Corporation • Vitale, Caturano & Company, P.C. William A. Berry & Son, Inc. Willow Laboratories Woburn Foreign Motors $2,500 TO $4,999 • ACT ONE LISTS • Alliance Health and Human Services American Dental Partners • Paul and Ashley Bernon • Braintree Laboratories Inc. Cambridge Trust Company • Carson Limited Partnership • Chubb Group of Insurance Companies Columbia Tech - A Coghlin Company Constellation NewEnergy The E.B. Horn Company • • EHE International • The Fallon Company • Firestone and Parson, Inc. • J.D.P. Co. • Jack Morton Worldwide The Krentzman Family • Natixis Global Asset Management Nordblom Management Company, Inc. Paragon Communications, Inc. • • Martha and Paul Samuelson Talbots Charitable Foundation, Inc. • Tofias P.C. Universal Millennium, Inc. • Weber Shandwick Worldwide • WHDH-TV, 7NEWS WEEK 11B BSO CONSOLIDATED CORPORATE SUPPORT Next Program... Wednesday, January 14, 7:30pm (Open Rehearsal) Thursday, January 15, 8pm Friday, January 16, 1:30pm Saturday, January 17, 8pm BERNARD LABADIE, conductor MOZART CHACONNE FROM THE OPERA IDOMENEO HAYDN CELLO CONCERTO NO. 2 IN D Allegro Adagio Allegro PIETER WISPELWAY {INTERMISSION} HANDEL WATER MUSIC (CRITICAL EDITION BASED ON THE COMPOSER'S MANUSCRIPT- EDITED BY HANS REDLICH) Suite I in F Suite III in G Suite II in D PRE-CONCERT TALKS BY HUGH MACDONALD OF WASHINGTON UNIVERSITY, ST. LOUIS Quebecoise conductor Bernard Labadie is one of the world's most accomplished early-music spe- cialists. In his debut performances with the BSO, he is joined by Dutch cellist Pieter Wispelwey for Haydn's congenial Cello Concerto No. 2 in D. The concert begins with the Chaconne from the ballet music Mozart composed to follow his first operatic masterpiece, Idomeneo; since Mozart's time this music is almost exclusively heard as a standalone concert work or as part of a suite of the ballet music from the 1781 opera. On the second half of the program, Handel's complete Water Music, at least parts of which were probably written to be performed during an outing on the Thames taken by England's King George I in 1717, far transcends the highest aspirations of "occasional" music. 8o Coming Concerts... PRE-CONCERT TALKS The BSO offers Pre-Concert Talks in Symphony Hall prior to all BSO subscription con- certs and Open Rehearsals. Free to all ticket holders, these half-hour talks begin at 6:45 p.m. prior to evening concerts, at 12:15 p.m. prior to Friday-afternoon concerts, and one hour before the start of each Open Rehearsal. The BSO's Pre-Concert Talks are supported by New England Coffee. Wednesday, January 14, 7:30pm (Open Rehearsal) Thursday 'A' January 29, 8-10:45 Thursday 'B' January 15, 8-9:45 Saturday 'A' January 31, 8-10:45 Friday 'B' January 16, 1:30-3:15 Tuesday 'B' February 3, 8-10:45 Saturday 'B' January 17, 8-9:45 JAMES LEVINE, conductor BERNARD LABADIE, conductor BARBARA FRITTOLI, soprano (Amelia Grimaldi) PIETER WISPELWEY, cello MARCELLO GlORDANl, tenor (Gabriele Adorno) MOZART Chaconne from Idomeneo JOSE VAN DAM, bass-baritone (Simon Boccanegra) morris, Fiesco) HAYDN Cello Concerto No. 2 james bass (Jacopo HANDEL Water Music NICOLA ALAIMO, baritone (Paolo Albiani) RAYMOND ACETO, bass (Pietro) garrett sorenson, tenor (A Captain) Thursday 'C January 22, 8-9:55 TANGLEWOOD FESTIVAL CHORUS, Friday 'A' January 23, 1:30-3:25 JOHN OLIVER, conductor 8-9:55 Saturday 'A' January 24, VERDI Simon Boccanegra Tuesday 'C January 27, 8-9:55 (Concert performances, sung in Italian with KURT MASUR, conductor English supertitles) ALL- Overture, The Hebrides MENDELSSOHN Symphony No. 3, Scottish PROGRAM Symphony No. 4, Italian (celebrating the 200th anniversary of Mendelssohn's birth) Programs and artists subject to change. massculturalcouncil.org Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling "SymphonyCharge" at (617) 266-1200, Monday through Friday from 10 a.m. until 5 p.m. (Saturday from 10 a.m. until 4 p.m.), to charge tickets instantly on a major credit card, or to make a reservation and then send payment by check. Outside the 617 area code, call 1-888-266-1200. Please note that there is a $5.50 handling fee for each ticket ordered by phone or over the internet WEEK 11B COMING CONCERTS I ^^M Hi «P Symphony Hall Exit Plan MASSACHUSETTS AVENUE 1ST BALCONY AND 2ND BALCONY MASSACHUSETTS AVENUE IN CASE OF EMERGENCY Follow any lighted exit sign to street Do not use elevators. Walk, do not run. 82 Symphony Hall Information For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call "C-O-N-C-E-R-T" (266-2378). The Boston Symphony performs ten months a year, in Symphony Hall and at Tanglewood. For information about any of the orchestra's activities, please call Symphony Hall, or write the Boston Symphony Orchestra, Symphony Hall, Boston, MA 02115. The BSO's web site (www.bso.org) provides information on all of the orchestra's activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9240, or write the Director of Event Services, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Saturday; on concert evenings it remains open through intermission for BSO events or just past starting time for other events. In addition, the box office opens Sunday at 1 p.m. when there is a concert that afternoon or evening. Single tickets for all Boston Symphony sub- scription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, or to make a reservation and then send payment by check, call "SymphonyCharge" at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (until 4 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $5.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons. In consideration of our patrons and artists, children four years old or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638- 9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat WEEK 11B SYMPHONY HALL INFORMATION 83 available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. and Tuesdays and Thursdays as of 5 p.m. Please note that there are no Rush Tickets avail- able for Friday or Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and Recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and the Symphony Garage on Westland Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the Hatch and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies' rooms are located on both main corridors of the orchestra level, as well as at both ends of the first bal- cony, audience-left, and in the Cohen Wing. Men's rooms are located on the orchestra level, audience-right, outside the Hatch Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the Hatch and Cabot- Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The Hatch Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Boston Symphony Broadcasts: Friday-afternoon concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by WGBH 89.7 FM. Saturday-evening concerts are broadcast live by WCRB 99.5 FM. BSO Friends: The Friends are donors to the Boston Symphony Orchestra Annual Funds. Friends receive priority ticket information and other benefits depending on their level of giving. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail friendsofthebso(5)bso.org. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to the Development Office, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Tuesday through Friday from 11 a.m. until 4 p.m.; Saturday from noon until 6 p.m.; and from one hour before each concert through intermission. The Symphony Shop features exclusive BSO merchandise, including the Symphony Lap Robe, calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children's books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at www.bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383. 84 INVESTMENTS RETIREMENT 'The arte. If 4 fimply parr &L wfa we ore. At John Hancock we celebrate the talented performers and artists who bring the arts to life. And proudly continue our legacy of support for the performing arts and cultural institutions that enrich our community. Insurance I Investments I Retirement the future is yours BOSTON SYMPHONY ORCHESTRA The ampersand. A symbol of "&" collaboration. is where hand meets baton. Where bow meets strings. "&" turns a solo into a concerto. "&" is a celebration of working together for a common go, Which is precisely why UBS is proud to sponsor the Boston Symphony Orchestra and leading orchestras across America. "&" means working closely with our clients to deliver financial solutions that help them pursue their goals 'it of "&," great things can happen. You & Us. UBS UBS is the Proud Season Sponsor of the Boston Symphony Orchestr You & Us lef^T %5H