Seiji Ozawa Hall August 2 – August 26, 2012

Home , A Genuine Tong Funeral, Chris Botti in Boston, Crystal Silence, Paris Encounter, Sonus Quartet, The Movement Revisited

seiji ozawa hall august 2 – august 26, 2012

Bernard Haitink, Conductor Emeritus Seiji Ozawa, Music Director Laureate

131st season, 2011–2012

Trustees of the Boston Symphony Orchestra, Inc.

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

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

Life Trustees

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

Other Officers of the Corporation

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

Board of Overseers of the Boston Symphony Orchestra, Inc.

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

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

Overseers Emeriti

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

† Deceased Tanglewood The Tanglewood Festival

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

A banner advertising the 1939 Berkshire Symphonic Festival (BSO Archives) sive, he finally wrote that if the Trustees insisted on remaining within their budget, they would have “just a shed...which any builder could accomplish without the aid of an architect.” The Trustees then asked Stockbridge engineer Joseph Franz to further simplify Saarinen’s plans, and the “Shed” he erected—which remains, with modifications, to this day—was inaugurated on August 4, 1938, with the first concert of that year’s festival. It has resounded to the music of the Boston Symphony Orchestra every summer since, except for the war years 1942-45, and has become almost a place of pilgrimage to millions of concertgoers. In 1959, as the result of a collaboration between the acoustical consultant Bolt Beranek and Newman and architect Eero Saarinen and Associates, the installation of the then-unique Edmund Hawes Talbot Orchestra Canopy, along with other improve- After the storm of August 12, 1937, which precipitated a fundraising drive ments, produced the Shed’s present for the construction of the Tanglewood Shed (BSO Archives) world-famous acoustics. In 1988, on the occasion of its fiftieth anniversary, the Shed was rededicated as “The Serge Kousse- vitzky Music Shed,” recognizing the far-reaching vision of the BSO’s legendary music director. In 1940, the Berkshire Music Center (now the Tanglewood Music Center) began its operations. By 1941 the Theatre-Concert Hall, the Chamber Music Hall, and several small studios were finished, and the festival had so expanded its activities and reputation for excellence that it drew nearly 100,000 visitors. With the Boston Symphony Orchestra’s acqui- sition in 1986 of the Highwood estate adjacent to Tanglewood, the stage was set for the expan- sion of Tanglewood’s public grounds by some 40%. A master plan developed by the Cambridge firm of Carr, Lynch, Hack and Sandell to unite the Tanglewood and Highwood properties confirmed the feasibility of using the newly acquired property as the site for a new concert hall to replace the outmoded Theatre- Concert Hall (which, with some modifications, has remained in use since 1941), and for improved Tanglewood Music Center facilities. Designed by the architectural firm William Rawn Associates of Boston, in collaboration with acoustician R. Lawrence Kirkegaard & Associates of Downer’s Grove, Illinois, Seiji Ozawa Hall—the first new concert facility built at Tanglewood in more than a half-century— was inaugurated on July 7, 1994, providing a The tent at Holmwood, where the BSO played modern venue throughout the summer for its first Berkshire Symphonic Festival concerts in 1936 (BSO Archives) TMC concerts, and for the varied recital and chamber music concerts offered by the Boston Symphony Orchestra and its guests. Ozawa Hall with its attendant buildings also serves as the focal point of the Tanglewood Music Center’s Leonard Bernstein Campus. Also each summer, the Boston University Tanglewood Institute sponsors a variety of programs offering individual and ensemble instruction to talented younger students, mostly of high school age. Today, Tanglewood annually draws more than 300,000 visitors. Besides the concerts of the Boston Symphony Orchestra, there is a full schedule of chamber music and recital programs featuring prestigious guest artists in Ozawa Hall, Prelude Concerts, Saturday- morning Open Rehearsals, the annual Festival of Contemporary Music, and almost daily concerts by the gifted young musicians of the Tanglewood Music Center. The Boston Pops Orchestra appears annually, and the season closes with a weekend-long Jazz Festival. The season offers not only a vast quantity of music, but also a vast range of musical forms and styles, all of it presented with a continuing regard for artistic excellence that maintains Tanglewood’s status as one of the world’s most significant music festivals.

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

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

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

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

Leonard Bernstein, Aaron Copland, and Serge Koussevitzky at Tangle- wood in the late 1940s (BSO Erich Leinsdorf conducting the Berkshire Music Center Archives/photo by Ruth Orkin) Orchestra (now called the Tanglewood Music Center Orchestra) in the Theatre-Concert Hall, c.1967 (BSO Archives/photo by Heinz Weissenstein, Whitestone Photo) In Consideration of Our Performing Artists and Patrons Please note: We promote a healthy lifestyle. Tanglewood restricts smoking to designated areas only. Maps identifying designated smoking areas are available at the main gate and Visitors Center. Latecomers will be seated at the first convenient pause in the program. If you must leave early, kindly do so between works or at intermission. Except for water, please do not bring food or beverages into the Koussevitzky Music Shed, Theatre, or Ozawa Hall. Please note that the use of audio or video recording equipment during concerts and rehearsals is prohibited, and that video cameras may not be carried into the Music Shed or Ozawa Hall during concerts or rehearsals. Cameras are welcome, but please do not take pictures during the performance as the noise and flash are disturbing to the performers and to other listeners. For the safety of your fellow patrons, please note that cooking, open flames, sports activities, bikes, scooters, skateboards, and tents or other structures are prohibited from the Tanglewood grounds. Please also note that ball playing is not permitted on the Shed lawn when the grounds are open for a Shed concert, and that during Shed concerts children may play ball only behind the Visitor Center or near Ozawa Hall. In consideration of the performers and those around you, please be sure that your cellular phones, pagers, and watch alarms are switched off during concerts. Thank you for your cooperation.

Tanglewood Information

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

Severe Weather Action Plan

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

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

In Tribute to Florence Gould Florence Gould Florence Lacaze Gould, for whom the Florence Gould Auditorium in Seiji Ozawa Hall is named, was born in San Francisco to French parents in 1895. The San Francisco earthquake of 1906 destroyed her father’s printing house, and the family returned to France. Florence arrived not speaking a word of French, but she was quick, intelligent, and musically gifted, and by the age of sixteen she was studying voice at the Paris Conservatory. Although she asserted throughout her life that she “had not a drop of American blood,” she remained a U.S. citizen until her death in 1983. Florence returned to San Francisco with her new husband, an American architect, at the outbreak of World War I, but the marriage did not last and she returned to France in 1917. Following the Armistice, she recommenced her musical studies, and was often to be found singing in the salons of Paris, along with the likes of the famous Parisian entertainer Colette. It was at such an event that she caught the eye of Frank Jay Gould, son of the American railroad magnate Jay Gould. The two were married in 1923 and, at her husband’s request, Florence gave up her singing career. The Goulds were at the center of social life in (photo courtesy of the Trustees, Florence Gould Foundation) the South of France during the 1920s and 1930s, where they attracted an international crowd of socialites, artists, and writers. They remained in France throughout World War II, during which time Florence served as a nurse and established a famous literary salon that became a center of intellectual life in wartime Paris. It was also at this time that she became a patron of contemporary painters, Braque and Picasso among them, and began amassing an extraordinary collection of modern art. Frank Gould died in 1956, leaving an enormous fortune to his wife. Florence Gould continued her philanthropy to the arts, and was awarded the Légion d’honneur by French Presi- dent Charles de Gaulle in 1961. The guests of her salon tended no longer to be rebellious, avant-garde intellectuals, but, instead, great established personages, many of them members of the Académie. She also surrounded herself with the leading European and American art collectors, dealers, and cultural leaders. At the time of her death, her art collection included works by Bonnard, Cassatt, Cézanne, Corot, Degas, Gauguin, Toulouse-Lautrec, Manet, Monet, Pissarro, Renoir, and Van Gogh. The majority of the proceeds from the sale of her estate was given to the Florence Gould Foundation, the principal purpose of which is to foster Franco- American amity and collaboration. The Florence Gould Foundation endowed the auditorium of Seiji Ozawa Hall, naming it in honor of Mrs. Gould, in 1990, and similarly has named other cultural facilities throughout the United States and in France. The Foundation also has endowed a Fellowship at the Tanglewood Music Center for the benefit of talented young French musicians.

SEIJI OZAWA HALL AT TANGLEWOOD August 2–August 26, 2012 Table of Contents

3 WELCOME TO TANGLEWOOD

Thursday, August 2, 8pm 5 GERALD FINLEY, baritone; JULIUS DRAKE, piano Songs by Loewe, Schubert, Ravel, and Britten

Sunday, August 5, 8pm 16 CHRIS BOTTI, trumpet, and his band

Thursday, August 16, 8pm 19 ÉBÈNE STRING QUARTET Music of Mozart and Tchaikovsky, plus jazz improvisations

Monday, August 20, 8pm 26 WYNTON MARSALIS QUINTET CHRISTIAN McBRIDE TRIO with CHRISTIAN SANDS & ULYSSES OWENS, JR.

Wednesday, August 22, 8pm 31 BOSTON SYMPHONY CHAMBER PLAYERS JULIAN KUERTI, conductor; KARINA GAUVIN, soprano; JOHN GIBBONS, harpsichord; VYTAS BAKSYS, piano Music of Foss, J.S. Bach, Hindemith, Bruch, and Mozart

Sunday, August 26, 8pm 43 CHICK COREA AND GARY BURTON HOT HOUSE TOUR with HARLEM STRING QUARTET Steve Rosenthal

SEIJIOZAWAHALL TABLEOFCONTENTS 1

Welcome to Tanglewood

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

Mark Volpe Eunice and Julian Cohen Managing Director Boston Symphony Orchestra

SEIJIOZAWAHALL WELCOMETOTANGLEWOOD 3

Tanglewood 75 SUMMER 2012

Thursday, August 2, 8pm Florence Gould Auditorium, Seiji Ozawa Hall

GERALD FINLEY, baritone JULIUS DRAKE, piano

Please note that texts and translations are being distributed separately.

LOEWE Erlkönig, Opus 1, No. 3 Tom der Reimer, Opus 135a Die wandelnde Glocke, Opus 20, No. 3 Edward, Opus 1, No. 1

SCHUBERT Grenzen der Menschheit, D.716 Der Zwerg, D.771 Der Schiffer, D.536 Der Kreuzzug, D.932 Der Einsame, D.800 Erlkönig, D.328

{Intermission}

RAVEL “Histoires naturelles” Le Paon Le Grillon Le Cygne Le Martin-pêcheur Le Pintade

BRITTEN Lemady Greensleeves She’s like the swallow The Crocodile

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

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

SEIJIOZAWAHALL PROGRAM 5

NOTES ON THE PROGRAM

CARL LOEWE (1769-1869)—almost an exact contemporary of Schubert’s, though Loewe lived much longer—was one of the nineteenth century’s great composers of Lieder, yet today his works are unjustly underperformed, languishing despite their own merit in the long shadow of Schubert’s extensive, legendary catalogue. But Loewe, too, was prolific, leaving behind more than 400 songs, and if their inventiveness suffers by direct comparison to Schubert’s, they give up noth- ing in vividness of expression and sensitivity to their texts. Prodigiously talented as a baritone, pianist, and conductor in addition to his work as a composer, Loewe was famous in his own day thanks to the many tours he made performing his own music within Germany and internationally, often singing and accompanying himself on piano for the songs. He did his best work in the sub-genre of the ballad, a dramatic, narrative form in which a complete story is told over the course of a single song, often requiring the singer to inhabit the voices of several different characters. And like many of his contemporaries, Loewe was fascinated by the supernatural and the macabre; the ballad, with its free-form and episodic nature, was the perfect medium to explore these mystical themes. For suitably evocative texts, Loewe drew on a wide variety of sources and subjects, from mythology and folk stories to the high Romantic poetry of Goethe and Heine. Though ranging from fairy-tale lyricism—the enchanted, rhapsodic admiration of a bardic Scottish laird for a beautiful eleven queen in Tom der Reimer—to playful fancy—a child learning the hazards of truancy from church in Die wandelnde Glocke when a bell descends from the steeple to pursue him—to eerie nightmare— Loewe’s straightforward but suitably harrowing setting of Goethe’s familiar Erlkönig— and grisly murder—the blood-soaked tale of juvenile patricide in Edward—all four selections on tonight’s program inhabit the same mysterious, surrealist realm.

SEIJIOZAWAHALL PROGRAMNOTES 7

The Lieder of FRANZ SCHUBERT (1797-1828) are a miracle of music history. Over the course of more than 600 songs, this composer, despite only surviving to young adulthood and having fairly limited life experience of his own, managed to capture and contemplate in music what seems like every possible human emotion. He imbued this most miniature of forms with an endless depth of feeling, expressing in a few minutes what took other composers a few hours. There is also no reasonable explanation for his rate of production. In the years 1815-16, for example, despite having a full-time job as a teacher at his father’s school and writing much other music for orchestral, church, and chamber settings, the teenaged Schubert composed approximately 375 songs—more than one every other day. Though he did not achieve great public fame in his tragically short lifetime, Schubert became a touchstone for the composers who followed in the Romantic tradition he helped to create. Beginning shortly after his death, posterity has looked upon his Lieder with appropriate awe. “In this category he stands unexcelled, even unapproached,” wrote Schubert’s longtime friend and patron Joseph von Spaun. “Every one of his songs is in reality a poem on the poem he set to music.” Brahms was a particularly fierce admirer and considered Schubert Beethoven’s true successor. For inspiration, he collected Schubert manuscripts. “There is no song of Schubert’s from which one cannot learn some- thing,” Brahms wrote. “To me he is like a child of the gods, who plays with Jupiter’s thunder...” The six songs featured on this program span the entirety of Schubert’s mature career, from 1815, when his output of songs surged from a trickle to a flood, to 1827, the year before his death. We begin with the solemn, sonorous Grenzen der Menschheit, in which Schubert sets Goethe’s meditative verses on the fleeting, impotent nature of human existence above fearsomely tolling piano. Goethe’s metaphor of mankind as an endless chain, each generation a tiny interlocking ring, is mirrored in the con- strained nature of the melody and the circular structure of the song, which travels through a progression of tonalities and ends where it began. In Der Zwerg—a moonlit tale of obsessive love, betrayal, and murder, with suggestions of sado- masochism—we return to the shadowy world of Loewe’s macabre ballads. The con- stant rhythmic allusion to Beethoven’s Fifth Symphony is perhaps a reference to Schubert’s love-hate relationship with that composer’s music, a powerful source of both inspiration and intimidation.

SEIJIOZAWAHALL PROGRAMNOTES 9

The next three songs, each capturing the internal thoughts of a single person, pon- der themes of self identity and loneliness, very common both in Schubert’s music and in his own life. The first of the three protagonists—the brash, thrill-seeking sailor of Der Schiffer, who delights in the multitude of dangers, depicted by the stormy piano, that nature throws at his ship—certainly displays no lack of confi- dence. In the deceptively simple-sounding Der Kreuzzug, however, we are in distinctly more contemplative and self-questioning terrain. A solitary monk watching knights departing for the Crusade compares the relative merit of the warriors’ quest to reach the geographical Holy Land with his own efforts to attain the spiritual one. Schubert’s setting—with its slight variations of melody and harmony to match the text of each stanza, and the gradually increasing discrepancy between the music of piano and voice as the knights fade from view—is brilliantly subtle. The final song of this trio, Der Einsame, illustrates the fine line between contentedness and loneliness as a hermit jauntily extols the simple pleasures of his reclusive life, to the accompaniment of a chirping cricket in the piano. It is only at the end, after several brushes with the minor mode, that the hermit reveals his dependency on the cricket to keep him from feeling quite so alone. We end with Schubert how we began with Loewe: a white-knuckled ride through the creepy, malevolent forest of the Erlkönig. Written in 1815 when he was just eighteen years old, Schubert’s version—with its racing triplets in the piano, panicked inflec- tion of the child’s cries, and repulsively honeyed tones of the Erlkönig’s entice- ments—emphasizes both the suspenseful drama on the surface of the poem and the perverse undercurrents below. The savage cadence at the end of the song makes it painfully obvious how the story ends.

Jules Renard’s Histoires naturelles, a collection of poetry ostensibly on the subject of animal behavior, are both charming and cutting, silly in their depictions of the ani- mals’ antics and scathing when those antics become eerily reminiscent of our own. For his song cycle of the same name, MAURICE RAVEL (1875-1937) selected five prose poems from Renard’s collection and created musical settings that he said attempted to “interpret” the text, expressing in music the same feelings expressed by the words and, since the source material was not written in verse, mirror- ing the natural rhythms of the language as it would be spoken. Predictably, this style—so different from the lyrical tradition of French vocal music, in which the rules for pronunciation are different from when the language is spoken—was not well received. At its 1907 premiere, a hubbub of complaints and disruptive laughter broke out in the crowd; even Ravel’s teacher and mentor Gabriel Fauré remarked, “I like him very much, but I wish he wouldn’t set such things to music.” Over the past century, opinion has changed. The speech-like style Ravel employed in Histoires naturelles is now considered an ingenious fusion of words and music, and the music has won over audiences with its witty depictions of its animal subjects. In Le Paon, Ravel uses the haughty, halting rhythms of the French overture to depict a peacock’s self-satisfied strutting, obliviously continuing his pompous march despite onlookers’ disdain. For the obsessive-compulsive cricket of the second movement, who can’t seem to make peace with the cleanliness and order of his home, Ravel conjures a distinct chirping and suitably repetitive patterns in the piano. We’re then introduced to a majestic swan, accompanied by gently shimmering water music, adorably attempting to catch in his beak the reflection of the clouds on the water— but wait, no, he’s actually rummaging through the pond scum for worms. Finally, after a delighted fisherman receives a visit from a kingfisher in Le Martin-pêcheur,

SEIJIOZAWAHALL PROGRAMNOTES 11

Ravel brings the cycle to a clamorous conclusion with La Pintade, his dissonant por- trait of a belligerent guinea hen.

BENJAMIN BRITTEN (1913-1976) had a lifelong love of folk songs, especially those from his native England, in which he admired “the sweetness of the melodies, the close connection between the words and music, and the quiet uneventful charm of the atmosphere.” Unlike many other composers interested in the musical heritage of their native lands, however, Britten had no interest in being a collector or archivist of folk music. Rather, his arrangements use the traditional songs as a source of inspiration and raw material, which Britten subjects to his own skillful, and often extensive, alterations. Between 1939 and his death in 1976, Britten wrote seven volumes of folksong arrangements, as well as a number of arrangements that were performed but never published. In 2007, these were finally assembled and made available in a volume called Tom Bowling and Other Song Arrangements, from which the composer’s unsettlingly off-kilter take on the beloved Greensleeves and his jaunty setting of the absurd The Crocodile are drawn. The charming, pastoral love song Lemady and the melancholy and mysterious She’s like the swallow were originally written in 1976 as part of a collection with harp accompaniment and were among Britten’s last works.

JAY GOODWIN New York-based annotator Jay Goodwin writes for the Metropolitan Opera, Boston Symphony Orchestra, St. Louis Symphony, Juilliard School, and Australian Chamber Orchestra. Currently on the editorial staff at Carnegie Hall, he was the Tanglewood Music Center’s Publications Fellow in 2009.

SEIJIOZAWAHALL PROGRAMNOTES 13 Guest Artists

Gerald Finley Making his Tanglewood debut with this concert, Canadian baritone Gerald Finley works regularly with such leading conductors as Harnoncourt, Rattle, Haitink, Gilbert, and Pappano. His operatic roles include Mozart’s Don Giovanni, Count Almaviva, Figaro, Papageno, and Guglielmo, Tchaikovsky’s Onegin and Yeletsky, and Frank/Fritz in Korngold’s Die tote Stadt. His portrayal of Golaud in Pelléas et Mélisande at Covent Garden garnered a nomination for “Outstanding Achieve- ment in Opera” at the 2008 Laurence Olivier Awards. More recent additions to his repertoire include Verdi’s Iago in concert performances with the LSO (also recorded for LSO Live), Zurga in Les Pêcheurs des perles at Covent Garden, Rossini’s Guillaume Tell with the orchestra of the Accademia di Santa Cecilia in Rome (recorded for EMI), and his debut as Hans Sachs in Glyndebourne’s first Die Meistersinger von Nürnberg. In contemporary opera, Mr. Finley has created such roles as J. Robert Oppenheimer in John Adams’s Doctor Atomic, Harry Heegan in Mark- Anthony Turnage’s The Silver Tassie, Jaufré Rudel in Kaija Saariaho’s L’Amour de loin, the title role in Tobias Picker’s Fantastic Mr. Fox, and Howard K. Stern in the world premiere of Turnage’s new opera Anna Nicole at Covent Garden. In 2011-12, he returned to the Metropolitan Opera and Covent Garden for Don Giovanni, sang his first Escamillo at Bavarian State Opera Munich, and appeared at Vienna State Opera as Count Almaviva in Le nozze di Figaro. On the concert stage, he has premiered Turn- age’s The Torn Fields and When I Woke (both recorded for LPO Live) and Saariaho’s Reflections on L’Amour de loin. Recent recordings include Mozart’s Requiem and Handel’s Messiah, Britten’s War Requiem, and Beethoven’s Ninth Symphony. His recordings of Stanford’s Songs of the Sea (Chandos), “Songs of Samuel Barber,” Dichterliebe and other Heine settings by Schumann, and “Songs and Proverbs of William Blake by Benjamin Britten” have all been honored at the Classic FM Gramophone Awards. This year he records an album of Schumann songs. Concert highlights for 2011-12 include appearances with the Concertgebouw Orchestra, Deutsches Symphonie-Orchester Berlin, Berlin Philharmonic, and Boston Symphony Orchestra, the UK premiere of Peter Lieberson’s Songs of Love and Sorrow, and Beethoven’s Christus am Ölberge at the Theater an der Wien, as well as a return to London’s Wigmore Hall with Julius Drake for the world premiere of Huw Watkin’s Look down, fair moon. Further recitals take them to Madrid’s Teatro Zarzuela, La Monnaie in Brussels, and the Schubertiade. In North America, he appears at Alice Tully Hall and the Toronto, Tanglewood, Ravinia, and Lanaudière festivals. His film credits include the title role in Britten’s Owen Wingrave; The Holocaust–a Music Memorial Film (filmed at Auschwitz in 2004); In Search of Mozart, and Wonders are Many, a film on the making of Doctor Atomic. Gerald Finley began singing as a chorister in Ottawa, Canada, and completed his musical studies in the UK at the Royal College of Music, King’s College, Cambridge, and the National Opera Studio with the support of the Friends of Covent Garden, the Worshipful Company of Musi- cians, the Keith B. Poole Scholarship, and the Countess of Munster Musical Trust. A winner of Glyndebourne’s John Christie Award, he is a visiting professor and Fellow of the Royal College of Music. Tomorrow night he makes his first Tanglewood appear- ance with the Boston Symphony Orchestra, singing music of Mozart and Ravel.

14 Julius Drake The pianist Julius Drake lives in London and specializes in the field of chamber music, working with many of the world’s leading artists, both in recital and on disc. He appears at all the major music centers, including the Aldeburgh, Edinburgh, Munich, Schubertiade, and Salzburg music festivals; Carnegie Hall and Lincoln Center in New York; the Amsterdam Concertgebouw and Cologne Philharmonie; the Châtelet and Musée de Louvre, Paris; Milan’s La Scala and Barcelona’s Liceu; Vienna’s Musikverein and Konzerthaus, and Wigmore Hall and BBC Proms, London. Director of the Perth International Chamber Music Festival in Australia from 2000 to 2003, he was also musical director of Deborah Warner’s staging of Janáˇcek’s Diary of One Who Vanished, touring to Munich, London, Dublin, Amsterdam, and New York. In 2009 he was appointed artistic director of the Machynlleth Festival in Wales. Mr. Drake is invited regularly to give master classes, recently in Amsterdam, Brussels, Luxembourg, Oxford, Paris, Vienna, and at the Schubert Institut, Baden bei Wien. Since 2010 he has been Professor at Graz University for Music and the Performing Arts in Austria. His passionate interest in song has led to invitations to devise several song series for London’s Wigmore Hall, the BBC, and the Amsterdam Concertgebouw. A series of song recitals, entitled “Julius Drake and Friends” and held in London’s historic Middle Temple Hall, has featured many outstanding vocal artists, including Thomas Allen, Olaf Bär, Ian Bostridge, Angelika Kirchschlager, Sergei Leiferkus, Felicity Lott, Katarina Karneus, Simon Keenlyside, Christopher Maltman, Mark Padmore, Christoph Prégardien, Amanda Roocroft, and Willard White. Julius Drake’s many recordings include songs by Sibelius and Grieg with Katarina Karneus, French sonatas with Nicholas Daniel, Spanish song with Joyce DiDonato, songs by Mahler and Tchaikovsky with Christianne Stotijn, and Schumann Lieder with Alice Coote. Live recordings from Wigmore Hall recitals have featured Lorraine Hunt Lieberson, Joyce DiDonato, Christopher Maltman, Gerald Finley, and Matthew Polenzani. Mr. Drake has made an award-winning series of recordings with Ian Bostridge for EMI, including discs of Schumann, Schubert, Henze, Britten, the English Songbook, and La Bonne Chanson. His recent series of recordings with Gerald Finley—works by Ives, Barber, Schumann, Ravel, and Britten—has been widely acclaimed, and both the Barber songs and Schumann Heine Lieder have won Gramophone Awards. Recent and upcoming highlights include recitals in Madrid, Brussels, and New York with Gerald Finley; in Moscow, Oslo, and at the Schwetzingen Festival with Dorothea Röschmann; at La Fenice in Venice, La Scala in Milan, and the Schubertiade Festival with Ian Bostridge; instrumental chamber music at the festivals of Delft, West Cork, and Oxford; new recordings of Liszt with Angelika Kirchschlager, Shostakovich with Christianne Stotijn, and Schumann with Gerald Finley; performances of Janáˇcek’s Diary of One Who Vanished in London, Stuttgart, and Vienna with Christianne Stotijn and Mark Padmore; recitals in Bern and London with Christoph Prégardien, and four concerts at Wigmore Hall presenting the complete Mörike and Goethe Songbooks of Hugo Wolf. Stu Rosner

SEIJIOZAWAHALL GUESTARTISTS 15 Tanglewood 75 SUMMER 2012

Sunday, August 5, 8pm Florence Gould Auditorium, Seiji Ozawa Hall THE CANYON RANCH CONCERT

CHRIS BOTTI, trumpet BILLY KILSON, drums BILLY CHILDS, piano LEONARDO AMUEDO, guitar TIM LEFEBVRE, bass ANDY EZRIN, keyboards LISA FISCHER, vocals SERENA MCKINNEY, violin

Selections to be announced from the stage

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

16 Guest Artist

Chris Botti Trumpeter Chris Botti’s new Columbia Records CD, Impressions, is the latest in a series of albums—starting with 2004’s When I Fall in Love and continuing with To Love Again, Italia, and the CD/DVD Chris Botti in Boston—that have firmly established him as the world’s largest-selling jazz instrumentalist. In addition, he has earned multiple Grammy nominations and three #1 albums on Billboard’s Jazz Albums chart. The success of Chris Botti in Boston—recorded live at Symphony Hall with Keith Lockhart and the Boston Pops and featuring guest artists Sting, Lucia Micarelli, John Mayer, Josh Groban, Katharine McPhee, Yo-Yo Ma, Steven Tyler, and Sy Smith—led to the creation of Impressions. This studio album produced by Bobby Colomby features Mr. Botti in collaboration with guest artists including Dire Straits’ Mark Knopfler (singing “What a Wonderful World”), pianist Herbie Hancock (“Tango Suite,” co-composed by Botti and Hancock), tenor Andrea Bocelli (the song “Per Te,” by Botti, David Foster, and Tiziano Ferro), country star Vince Gill (singing Randy Newman’s “Losing You”), and Brazilian guitarist Leonardo Amuedo (performing on multiple tracks, among them “Over the Rainbow” and “You Are Not Alone”). Born in Portland, Oregon, Chris Botti was encouraged to pursue music by his mother, a concert pianist. His father, who is Italian, taught English and Italian languages, and took the family to live in Italy for several years. That connection with his Italian roots was fully manifest in the title song Chris composed with David Foster for the album Italia. A different, but equally significant, connection took place when Botti was twelve and he heard Miles Davis play “My Funny Valentine.” The impact it had not only persuaded him to make a lifetime commitment to the trumpet, but also launched the affection for melody, space, and balance that have been intrinsic aspects of Botti’s musical vision. After attending Indiana University, and studying with jazz educator David Baker, trumpet teacher Bill Adam, jazz trumpeter Woody Shaw, and jazz saxophonist George Coleman, he moved to New York in the mid-’80s. His early career was spent crafting his skills in collaborations with such artists as the Buddy Rich Big Band, Frank Sinatra, Natalie Cole, and Joni Mitchell. Throughout the ’90s and into the new century, Botti played extensively with Paul Simon and had an especially creative association with Sting. Now a major artist in his own right, performing worldwide and selling more than three million albums, he has found a form of creative expression that begins in jazz and expands beyond the limits of any single genre. Stu Rosner

SEIJIOZAWAHALL GUESTARTIST 17

Tanglewood 75 SUMMER 2012

Thursday, August 16, 8pm Florence Gould Auditorium, Seiji Ozawa Hall

ÉBÈNE QUARTET PIERRE COLOMBET, violin GABRIEL LE MAGADURE, violin MATHIEU HERZOG, viola RAPHAËL MERLIN, cello

MOZART String Quartet No. 15 in D minor, K.421 Allegro moderato Andante Menuetto Allegretto, ma non troppo

TCHAIKOVSKY String Quartet No. 1 in D, Opus 11 Moderato e semplice Andante cantabile Scherzo: Allegro non tanto Finale: Allegro giusto

{Intermission}

“FICTION” Selections to be announced from the stage

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

SEIJIOZAWAHALL PROGRAM 19

NOTES ON THE PROGRAM

Wolfgang Amadè Mozart (1756-1791) String Quartet No. 15 in D minor, K.421 Mozart abandoned his native Salzburg for the more cosmopolitan Vienna in the name of greater exposure, sophisticated audiences, and the company of other great musicians. The friendship he established there with Haydn, defined by profound mutual admiration and a source of inspiration for both composers, is one resounding piece of evidence that Mozart made the right decision. Haydn’s influence on Mozart was most pronounced in the younger man’s development as a composer of string quartets—not surprising since, with his own sixty-eight quartets, Haydn singlehandedly established the genre as one of the most exalted of musical forms, and because it was the only medium with which Mozart truly struggled. During the first few years of the composers’ friendship in the early 1780s, Mozart redoubled his efforts to master the genre, inspired by Haydn’s recently published Opus 33 quartets as well as by occasional impromptu string quartet readings in Mozart’s apartment, for which Haydn played the violin and Mozart the viola. Finally, after three years of what he called “long and arduous labor”—an eternity for this most gifted and expeditious of composers—Mozart completed a set of six new quartets, which he dedicated to his friend and mentor. The String Quartet in D minor, K.421, is the second of those six, which have come to be known as the “Haydn Quartets.” The only one—of this set and of Mozart’s mature quartets—in a minor key, K.421 was written in 1783 against the backdrop of

SEIJIOZAWAHALL PROGRAMNOTES 21

Constanze Mozart’s labor with the couple’s first child. (She later claimed that the yelping figures midway through the second movement represented her crying out in the other room.) A marvel of dramatic tension, formal ingenuity, and instrumental balance and independence, this is one of the Classical period’s finest quartets. Throughout the work, Mozart uses sudden dynamic changes to imbue simple phras- es with impact and drama, and we are often reminded of the composer’s love and mastery of counterpoint. Across its four movements, there is no hint of uncertainty; this quartet and its five brethren reflect a composer who finally felt comfortable in the genre. Their dedicatee was duly impressed. Upon first hearing the six quartets that bear his name, Haydn penned his rapturous and oft-quoted letter to Mozart’s father Leopold: “Before God and as an honest man,” Haydn wrote, “I tell you that your son is the greatest composer known to me either in person or by name.”

Pyotr Ilyich Tchaikovsky (1840-1893) String Quartet No. 1 in D, Opus 11 Tchaikovsky was the very definition of the Romantic composer, pouring every possible ounce of feeling into his overtly emotional, even sentimental, music. Accordingly, his body of work consists mainly of grand works in glamorous genres: symphonies, concertos, operas, and ballets. He left behind very little chamber music, and even less that measures up to the standard of his larger works. So how does one explain the classy and charmingly understated D major string quartet, which in its restrained elegance and gracefulness is so unlike, yet no less accomplished than, the composer’s more extravagant masterpieces? It helps to remember that of the first generation of great Russian composers— including the likes of Mussorgsky, Borodin, Balakirev, and Rimsky-Korsakov— Tchaikovsky was by far the most classically trained. Born to two parents with musical backgrounds, Tchaikovsky’s musical studies began at home with piano lessons starting at age five and continuing through adolescence. Following a brief tenure in a government job after graduating high school, Tchaikovsky received a thorough formal education at the brand new St. Petersburg Conservatory in his mid-twenties, after which he assumed a full-time teaching position at his alma mater’s sister school in Moscow, where he remained for the next ten years. Furthermore, though it is apparent in only a few of his works—this being one— Tchaikovsky worshipped Mozart, calling him “a musical Christ” and writing rhapsod- ically about his music on numerous occasions. In a passage from his autobiography, Tchaikovsky recounts the effect of attending a performance of Don Giovanni, a defining moment that inspired the young composer to devote his life to music: “It was a pure revelation to me. It is impossible for me to describe the enthusiasm, the delight and intoxication which I was seized by.... Amongst the great masters, Mozart is the one to whom I feel most attracted; it has been so ever since that day and it will always be like that.” Perhaps in the D major quartet, Tchaikovsky used Mozart not only as an inspiration but as a model. In 1871, despite his modest income from his post at the Moscow Conservatory, Tchaikovsky was strapped for cash. On a suggestion from Nicolay Rubinstein (the founder of the school), Tchaikovsky decided to stage a public concert featuring his own music in order to raise funds. But without the money to hire a large ensemble, the composer was forced to eschew his orchestral works and present instead a selection of more intimate music. Though he was well stocked with songs and solo piano

SEIJIOZAWAHALL PROGRAMNOTES 23 pieces, Tchaikovsky lacked a significant chamber work to serve as the concert’s centerpiece. In February of that year, he composed the D major string quartet as a remedy to that problem. Classical in both constitution and character, this work adheres to traditional string quartet structure: four movements in standard tempo arrangement, the first, last, and scherzo in sonata form. But Tchaikovsky’s authorship shines through in the Slavic accent with which the music speaks, most obviously in the second movement. This Andante cantabile, deeply affecting in its simplicity, is an eloquent setting of the Ukrainian folksong “Sidel Vanya”—depicting a drunken peasant pining for his beloved—which Tchaikovsky is said to have heard being whistled by a craftsman at his sister’s estate in Kamenka. Famous in its own right, having been transcribed for a variety of other instruments and ensemble types (including a transcription of the composer’s own for cello and string orchestra), this movement has been a favorite of great artists and humble audience members alike since that 1781 premiere. “Never in my life have I felt so flattered and proud of my creative ability,” wrote Tchaikovsky in his diary after a performance of the quartet several years later, “as when Leo Tolstoy, sitting next to me, heard my Andante with tears coursing down his cheeks.”

Guest Artists

Ébène Quartet The four French musicians who make up the Ébène Quartet—Pierre Colombet and Gabriel Le Magadure, violins, Mathieu Herzog, viola, and Raphaël Merlin, cello—have been described as “a string quartet that can easily morph into a jazz band.” The quartet’s traditional repertoire does not suffer in any way from its love of jazz. On the contrary, the Ébènes’ tendency to delve into the “other side” of music inspires their work in untangling and giving new life to classical works. During its performance at the 2009 Hitzacker summer festival, for example, the quartet was heard playing a Haydn quartet with such spontaneity, it gave the impression that this centuries-old music was somehow just composed. This new generation of French musicians has been captivating audiences with great success, converting listeners into avid fans of the chamber music genre. The Ébène Quartet has studied extensively with the Ysaÿe Quartet in Paris as well as with Gábor Takács, Eberhard Feltz, and György Kurtág. Since its 2004 triumph at the prestigious ARD international competition in Munich, where the quartet was also awarded five additional special prizes, the Ébènes went on to win the Forberg-Schneider Foundation’s Belmont Prize in 2005. The members have since remained close to the foundation, which has very generous- ly arranged to have the quartet outfitted with several unique Italian instruments, on loan from private owners. From “promising young ensemble,” the Ébène Quartet has grown to become one of today’s foremost quartets on the international scene. In 2006 the foursome was specially selected to take part in the BBC’s esteemed “New Generation Artists” scheme and in 2007 became Borletti-Buitoni Trust Award winners. The support of the Borletti-Buitoni Foundation sponsored its first, critically acclaimed live recording of Haydn works as well as a second CD devoted entirely to works of Bartók. Since the 2007-08 season, the quartet has been heard in the most prestigious concert halls of Europe, Canada, and the United States, including London’s Wigmore Hall, Amsterdam’s Concertgebouw, Berlin’s Philharmonie, and New York’s Carnegie Hall. The ensemble’s fruitful collaboration with Virgin Classics began in 2009 with its Debussy, Ravel, and Fauré recording, which was awarded several prizes, including “Chamber Music Record of the Year” by ECHO-Klassik, the fff Télérama Award, the “Choc” Monde de la Musique award, and Gramophone’s “Recording of the Year.” There followed a Brahms CD with the pianist Akiko Yamamoto, as well as Fiction, a jazz and world music album that earned an Echo Award. At the beginning of 2011-12 season Virgin Classics released a live DVD of Fiction, recorded at Folies Bergère in Paris. The quartet’s most recent CD features Mozart’s string quartets K.421 and K.465, and his Divertimento, K.138. The Ébène Quartet has recently begun teaching at the prestigious Colburn School in Los Angeles.

SEIJIOZAWAHALL GUESTARTISTS 25 Tanglewood 75 SUMMER 2012

Monday, August 20, 8pm Florence Gould Auditorium, Seiji Ozawa Hall

WYNTON MARSALIS QUINTET

CHRISTIAN McBRIDE TRIO with CHRISTIAN SANDS & ULYSSES OWENS, JR.

Selections to be announced from the stage

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

Guest Artists

Wynton Marsalis An internationally acclaimed musician, composer, bandleader, educator, and a leading advocate of American culture, Wynton Marsalis is the world’s first jazz artist to perform and compose across the full jazz spectrum, expanding the vocabulary for jazz and creating a vital body of work that places him among the world’s finest musicians and composers. At age seventeen he became the youngest musician ever admitted to the Tanglewood Music Center, later moving to New York City to attend Juilliard. In 1980 he joined the Jazz Messengers to study under Art Blakey. In 1981 he assembled his own band, performing over 120 concerts annually for fifteen consecutive years, rekindling widespread interest in jazz throughout the world. His debut recording of the Haydn, Hummel, and Leopold Mozart trumpet concertos won the Grammy Award for “Best Classical Soloist With an Orchestra.” Mr. Marsalis has recorded ten additional classical records and performed with leading orchestras including the New York Philharmonic, Los Angeles Philharmonic, Boston Pops, and many others. His more than 70 records have sold over seven million copies worldwide, including three Gold Records. His recordings include “Standard Time” (Volumes I-VI), “The Majesty Of The Blues,” “Levee Low Moan,” “Thick In The South,” “Citi Movement,” and “In This House On This

26 Morning.” A significant composer, he has been commissioned to create new music for several dance companies, and collaborated with the Lincoln Center Chamber Music Society on the string quartet At The Octoroon Balls and on A Fiddler’s Tale, a response to Stravinsky’s A Soldier’s Tale. He followed his oratorio Blood On The Fields with the epic All Rise, for big band, gospel choir, and symphony orchestra. Other compositions include Congo Square, Abyssinian 200: A Celebration, Blues Symphony, and Swing Symphony. In fall 1995 he launched two major PBS broadcast events: “Marsalis On Music,” an educational television series on jazz and classical music, and the twenty-six-week series entitled “Making the Music,” marking the first full exposition of jazz music in American broadcast history. His radio and television series were awarded the prestigious George Foster Peabody Award. The author of five books, Wynton Marsalis has won nine Grammy Awards. In 1983 he became the only artist ever to win Grammys for both jazz and classical records (repeating that feat in 1984); he is the only artist to win Grammys in five consecutive years (1983-87). In November 2005 he received the National Medal of Arts, the highest award given to artists by the United States Government. In 1997 he became the first jazz musician ever to win the Pulitzer Prize for Music, for Blood On The Fields. Internationally he has been honored by the Netherlands, France, Spain, and Great Britain. In 1987 Wynton Marsalis co-founded and became artistic director of Jazz at Lincoln Center and music director of the Jazz at Lincoln Center Orchestra. In 1996 Jazz at Lincoln Center was installed as a new constituent of Lincoln Center, equal in stature with the New York Philharmonic, Metropolitan Opera, and New York City Ballet. His humanitarian efforts include organizing the Higher Ground Hurricane Relief Concert following Hurricane Katrina, and supporting, among others, My Sister’s Place, Graham Windham, the Children’s Defense Fund, Amnesty International, the Sloan Kettering Cancer Institute, Food For All Seasons, Very Special Arts, and the Newark Boys Chorus School.

Christian McBride Bassist extraordinaire, composer, arranger, educator, curator, and administrator, Christian McBride has been one of the most important and omnipresent figures in the jazz world for twenty years. Beginning in 1989, the Philadelphia-born bassist moved to New York City to further his classical studies at the Juilliard School, only to be snatched up by alto saxophonist Bobby Watson. Since then, McBride’s list of accomplishments has been impressive. As a sideman he has worked with jazz artists Freddie Hubbard, Sonny Rollins, J.J. Johnson, Ray Brown, Milt Jackson, McCoy Tyner, Roy Haynes, Chick Corea, Herbie Hancock, and Pat Metheny; R&B performers Isaac Hayes, Chaka Khan, Natalie Cole, Lalah Hathaway, and James Brown; pop/rock musicians Sting, Carly Simon, Don Henley, and Bruce Hornsby; hip-hop/neo-soul performers the Roots, D’Angelo, and Queen Latifah, and in special projects with soprano Kathleen Battle, bass virtuoso Edgar Meyer, the Shanghai Quartet, and the Sonus Quartet. A respected spokesperson for music, Mr. McBride spoke on former President Bill Clinton’s 1997 town hall meeting “Racism in the Performing Arts.” He has served as artistic director of the Jazz Aspen Snowmass Summer Sessions, co-director of the National Jazz Museum in Harlem, and the second Creative Chair for Jazz of the Los Angeles Philharmonic Association. In 1998 he composed The Movement, Revisited, a four-movement suite dedicated to Rosa Parks, Malcolm X, Muhammad Ali, and Dr. Martin Luther King, Jr., and commissioned by the Portland (ME) Arts Society and the National Endowment for the Arts. Ten years later, The Movement, Revisited was performed again—in a revised, expanded version featuring a gospel choir, an eighteen-piece big band, and four actors/speakers—at Walt Disney Concert Hall in Los Angeles. Since 2000, McBride has led the Christian McBride Band, which includes saxophonist Ron Blake, key-

SEIJIOZAWAHALL GUESTARTISTS 27 boardist Geoffrey Keezer, and drummer Terreon Gully. Their CDs include 2002’s “Vertical Vision” and 2006’s “Live at Tonic.” In 2009 McBride released his quintet CD “Christian McBride & Inside Straight” featuring alto/soprano saxophonist Steve Wilson, vibraphonist Warren Wolf, pianist Eric Reed, and drummer Carl Allen. Subsequent recordings include “Conversations with Christian” featuring duets with, among others, George Duke, Angelique Kidjo, Dr. Billy Taylor, Hank Jones, Chick Corea, Eddie Palmieri, Regina Carter, Ron Blake, Roy Hargrove, and Russell Malone, and, his most recent release, “The Good Feeling,” his first big band recording as a leader. Christian McBride’s first foray into the world of big band composing and arranging dates back to 1995, when he was commissioned by Jazz At Lincoln Center to write Bluesin’ in Alphabet City, featured on “The Good Feeling” and originally premiered by Wynton Marsalis and the Jazz At Lincoln Center Orchestra. Other repertoire on “The Good Feeling” includes classic tunes along with original McBride compositions, many of which have been featured on earlier recordings, now rearranged for big band, as well as several songs with vocalist Melissa Walker.

28 Christian Sands Pianist Christian Sands began playing the piano at age three and composing at five; he studied at the Manhattan School of Music. His fresh approach across the spectrum of jazz (stride, swing, bebop, progressive, fusion, Brazilian, and Afro-Cuban) has made him a rising star. Although still in his early twenties, he already has four recordings to his credit, and appearances on the 48th and 49th Grammy Awards shows, including a notable duet with Oscar Peterson. Christian Sands was a special guest at Dr. Billy Taylor’s Jazz at the Kennedy Center performance in Washington, D.C., and garnered a Grammy nomination (Best Latin Solo) for the work Kenya Revisited, conducted by Manhattan School of Music’s Bobby Sanabria. Other CDs include “Risin’” and “Furioso,” both of which were released in Tokyo, Japan. In addition to writing, arranging, and producing songs, Mr. Sands has played on countless stages and festivals such as Jazz Standard with Christian McBride and Inside Straight, Clifford Brown Festival, Utah Jazz Festival, National Black Arts Festival in Atlanta, Great Barrington Jazz Festival, Kennedy Center Millennium Stage, New Haven Jazz Festival, Jazz Mobile with Wycliffe Gordon, and New Orleans Jazz Festival with Bill Summers and the New Headhunters.

Ulysses S. Owens, Jr. In May 2006, Ulysses S. Owens, Jr., completed his bachelor’s degree in jazz studies at New York’s Juilliard School. His interest in percussion began at the tender age of two, when he began demonstrating a natural ability with the drums in church. From the age of eight he studied classical percussion, drum set, and classical piano. In addition, he is a composer, having been commissioned by the Washington D.C. Arts Counsel to compose the opening piece for the 24th Annual Mayoral Arts, which featured African percussion, a jazz ensemble, and dancers at the Kennedy Center in 2009. Mr. Owens, a finalist for Modern Drummer Magazine’s “Up & Coming Drummer of 2011,” was also on Wynton Marsalis’s list in Ebony/ Jet Magazine of the next generation of “Jazz Musicians to Watch.” He has performed with some of the world’s finest artists, including Patti Austin, Terence Blanchard, Dianne Reeves, Maceo Parker, Ron Carter, the Count Basie Jazz Orchestra, Michael Feinstein, Audra McDonald, Mulgrew Miller, and many others. He is currently touring nationally and internationally with such Grammy-winning artists as Christian McBride, Nicholas Payton, Kurt Elling, Ted Nash, and Wynton Marsalis. Throughout his career he has obtained endorsements from Zildjian Cymbals, Gretsch Drums, Gibraltar Hardware, Gator Drum Cases, DG Cajons, Avid Group (Sibelius Software & M-Audio interfaces and modules), Earthworks Hi-Definition Microphones, Craviotto Snare Drums, Remo Drumheads, and Vic Firth Drumsticks and Mallets. Mr. Owens also holds the position of artistic director for Don't Miss A Beat, Inc., his family's non-profit organization located in Jacksonville, Florida. Carrying out the organization’s vision to expose inner city youth to the arts, he travels annually and conducts workshops, a summer camp, and productions designed to educate students worldwide about using the arts as an alternative to violence. In 2009 Mr. Owens released his debut recording project, “It’s Time for U,” which displayed his performance abilities, as well as compositions with his new quintet called The U.O. Project. In October 2011 he recorded his second album for the jazz label Criss Cross based in the Netherlands. The CD features Christian McBride, Nicholas Payton, Jaleel Shaw, and Christian Sands. In addition to his talents as an educator, composer, and performer, Ulysses S. Owens, Jr., has emerged as producer, with three albums to his credit, for the jazz artists Matthew Rybicki, Mike Cottone, and Jeremiah Abiah.

SEIJIOZAWAHALL GUESTARTISTS 29

Tanglewood 75 SUMMER 2012

Wednesday, August 22, 8pm Florence Gould Auditorium, Seiji Ozawa Hall

BOSTON SYMPHONY CHAMBER PLAYERS MALCOLM LOWE, violin ELIZABETH ROWE, ﬂute HALDAN MARTINSON, violin JOHN FERRILLO, oboe STEVEN ANSELL, viola RICHARD SVOBODA, bassoon JULES ESKIN, cello JAMES SOMMERVILLE, horn EDWIN BARKER, double bass with JULIAN KUERTI, conductor KARINA GAUVIN, soprano JOHN GIBBONS, harpsichord VYTAS BAKSYS, piano and ADDITIONAL MEMBERS OF THE BSO MARK MCEWEN, oboe THOMAS ROLFS, trumpet MICHAEL WAYNE, clarinet TOBY OFT, trombone SUZANNE NELSEN, bassoon TIMOTHY GENIS, percussion RACHEL CHILDERS, horn

FOSS “For Aaron” (2002) Ms. ROWE; Messrs. FERRILLO, SVOBODA, WAYNE, SOMMERVILLE, ROLFS, OFT, GENIS, LOWE, ANSELL, ESKIN, and BARKER

BACH Cantata No. 209, “Non sa che sia dolore” Sinfonia Recitative: Non sa che sia dolore Aria: Parti pur e con dolore Recitative: Tuo saver al tempo e l’età contrasta Aria: Ricetti gramezza e pavento KARINA GAUVIN, soprano Ms. ROWE; Messrs. LOWE, MARTINSON, and ANSELL Mr. GIBBONS JULIAN KUERTI, conductor

Text and translation are on page 35.

{Intermission}

Program continues...

SEIJIOZAWAHALL PROGRAM 31 HINDEMITH “Kleine Kammermusik,” Opus 24, No. 2, for wind quintet Merrily Waltz. Very gentle throughout Calm and simple Quick Very lively Ms. ROWE; Messrs. FERRILLO, WAYNE, SVOBODA, and SOMMERVILLE

BRUCH “Kol Nidrei,” Adagio on Hebrew melodies, Opus 47, for double bass and piano Messrs. BARKER and BAKSYS

MOZART Divertimento in E-flat for two oboes, two bassoons, and two horns, K.289 Adagio—Allegro Menuetto Adagio Finale: Presto

Messrs. FERRILLO and MCEWEN; Mr. SVOBODA and Ms. NELSEN; Mr. SOMMERVILLE and Ms. CHILDERS

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

32 NOTES ON THE PROGRAM

Lukas Foss (1922-2009) “For Aaron” (2002) Lukas Foss was a member of the very first class (1940) of the Berkshire Music Center, established by Koussevitzky to be a training ground for young professional composers, conductors, singers, and orchestral musicians. The German-born Foss spent the summers 1940-42 in the Berkshires working with Koussevitzky. Soon after, Kousse- vitzky hired him as orchestral pianist for the BSO. His musical life then had many parallel tracks: composer, conductor, pianist, and educator. He took a faculty position at UCLA in 1951 and taught there for many years, also teaching at Tanglewood, Harvard, Boston University, Carnegie Mellon, and many other institutions. As music director of the Brooklyn Philharmonic, the Buffalo Philharmonic, and the Milwaukee Symphony he followed the lead of Koussevitzky, Copland, and Bernstein in bringing American music to its rightful audience, and at the same time was also a noted performer of the music of Bach and Mozart. Early in his career as a composer, Lukas Foss leaned toward American neo- classicism, the then current mainstream represented by Copland, Piston, and Schuman, along with a certain rigor of construction growing out of his love for the music of Mozart, Bach, and other composers he performed as a keyboardist. The Prairie and Song of Songs are examples of this early style. Foss began exploring avant- garde approaches in the late 1950s, forming an ensemble with younger musicians to unleash the energies of group improvisation. Some of his most important works date from the 1960s, among them Time Cycle and Baroque Variations. Through his recent pieces runs the thread of lucid nostalgia that also appears in For Aaron, a crisp, rhythmically incisive reminiscence of Foss’s association with Tanglewood and Aaron Copland beginning over sixty years ago. For Aaron’s clear motivic writing and casually exquisite contrapuntal textures are a hallmark of Foss’s craft, a result of careful study of the masters from Bach to Copland. At the time of the premiere, Foss wrote: For Aaron means of course Aaron Copland. I never took lessons with him but I learned a lot from his music, which made me fall in love with America. I got to know Aaron when I was sixteen years old. We became friends for life. For Aaron is based on early sketches I wrote in my Tanglewood student days (1940, ’41, ’42). It is basically in one movement, but there are different sections: slow, fast, scherzando, slow. It can be performed with just twelve musicians (solo strings and winds) or with a string orchestra and winds. It was commissioned in 2001 by the Boston Symphony for Tanglewood. The world premiere of For Aaron took place on July 23, 2002, at Tanglewood during the summer’s Festival of Contemporary Music, in recognition of Lukas Foss’s 80th birthday year. It was performed by Fellows of the Tanglewood Music Center under the direction of conductor Stefan Asbury. Foss writes in his introduction to the score, “I dedicate this composition to you, Aaron, and to our fifty years of friendship.”

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

SEIJIOZAWAHALL PROGRAMNOTES 33 Johann Sebastian Bach (1685-1750) Cantata No. 209, “Non sa che sia dolore” The Cantata No. 209, Non sa che sia dolore (“He does not know what sorrow is”), is a rarity with fuzzy origins among the many hundreds of cantatas of J.S. Bach. Consensus seems to agree that the cantata, the authorship of which has sometimes been disputed, is in fact Bach’s, given its musical characteristics, in spite of no direct evidence of its history. Assuming its authenticity, among his hundreds of cantatas it is one of only thirty secular ones, and one of only two in Italian (the overwhelming majority being in German), the other being the Cantata No. 203, Amore traditore, whose authorship is also disputed. The Italian text of the cantata is described as poor, and is a mixture of several disparate sources. The text bemoans—perhaps to the point of caricature—the loss and celebrates the fine qualities of a departing colleague. There is specific reference to the Bavarian town of Ansbach, leading to speculation that the cantata was written for a friend of Bach’s, J.M. Gesner, whom he had known in Weimar in the 1710s and who took up a post in Ansbach in 1729. But this is circumstantial. The cantata is for soprano, flute, strings, and continuo keyboard. Its big form is conventional for a solo cantata, with a sinfonia or opening instrumental movement as a small, brisk, flute concerto in B minor, repeated verbatim. This is followed by the text setting for soprano as recitative-aria, recitative-aria. The first recitative and the first half of the da capo aria are sufficiently dolorous; the aria, as one might expect, features flute as solo obbligato accompanist to the soprano. (We could very well think of this movement as the slow-movement continuation of the flute’s concerto, and think of the soprano as obbligato.) In the second half of the aria, where the text becomes optimistic about the future, the key moves from E minor to G major. This being a da capo aria, the first part is then repeated, leaving us dolorous again for the start of the next recitative, “Your knowledge contrasts with your age and years,” which is really just an introduction to the final aria, “Suppressing grief and fear,” which is in a bright G major in 3/8 time. A second section (“... no longer fearful and pale”) brings a brief minor-key contrast before the repeat of the first part. Flute again is an active accompanist, and the first violin also has a forward part at the beginning of the movement. A little fast dotted-note oscillating figure is the signature motif.

ROBERT KIRZINGER

34 J.S. BACH Cantata 209, “Non sa che sia dolore”

1. Sinfonia 1. Sinfonia

2. Recitativo 2. Recitative Non sa che sia dolore He does not know what sorrow is Chi dall’ amico suo parte e non more. who parts from his friend and does not die. Il fanciullin’ che plora e geme The little child weeps and moans, Ed allor che più; ei teme, and indeed, the more fearful he is, Vien la madre a consolar. his mother comes to console him. Va dunque a cenni del cielo, Therefore, go and seek a sign from heaven, Adempi or di Minerva il zelo. that you will now fulfill Minerva’s purpose.

3. Aria 3. Aria Parti pur e con dolore Go then, and with grief Lasci a noi dolente il core. leave to us our sorrowful hearts. La patria goderai, You will delight your nation, A dover la servirai; as you will serve it with duty; Varchi or di sponda in sponda, set sail now from shore to shore, Propizi vedi il vento e l’onda. you will find the winds and waves gracious.

4. Recitativo 4. Recitative Tuo saver al tempo e l’età contrasta, Your knowledge contrasts with your age and years, Virtù e valor solo a vincer basta; strength and bravery alone are enough for victory; Ma chi gran ti farà più che non fusti but greater than you were will you now be, Ansbaca, piena di tanti Augusti. Ansbach, favored by such august ones.

5. Aria 5. Aria Ricetti gramezza e pavento, Suppressing grief and fear, Qual nocchier, placato il vento The sailor, in quiet winds, Più non teme o si scolora, no longer is fearful or pale, Ma contento in su la prora but happily upon his prow Va cantando in faccia al mar. goes forth singing in the face of the sea.

SEIJIOZAWAHALL TEXTANDTRANSLATION 35 Paul Hindemith (1895-1963) “Kleine Kammermusik,” Opus 24, No. 2, for wind quintet This “Little Chamber Music” for wind quintet was the German composer Paul Hindemith’s first mature work. In his early years, Hindemith experimented with the newest musical techniques. His String Quartet No. 2 (1921) was overheated and expressionistic. Still more were his first two operas calculated to outrage, to push the bounds of decency; the second, Sancta Susanna (1921), depicts a young nun who, under the influence of a balmy spring night and the chance observation of a pair of lovers, tears off her habit and makes love to a cruci- fix. Hindemith experimented with jazz around this same time—in his Suite 1922 for solo piano, and in the first Kammermusik, Opus 24, No. 1, which scandalously included jazz instruments in the ensemble—and also indulged in orientalisms, in the whimsical Burmese puppet play Das Nusch-Nuschi. None of these very different, earnest kinds of works could have prepared an audience for the jovial delights and cooler neo-Baroque sonorities of the Kleine Kammermusik (1922), his “first work to reveal the poised hand of a master,” to quote Ian Kemp. The five movements are all quite short, but each invites the players to delight in themselves with music of wit and character.

STEVEN LEDBETTER Steven Ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998.

Max Bruch (1838-1920) “Kol Nidrei,” Adagio on Hebrew melodies, Opus 47 Max Bruch’s G minor violin concerto is one of the best-known works in the classical repertory, played by every violinist everywhere, and Kol Nidrei, composed by Bruch originally for cello and orchestra, is equally familiar to cellists of all ranks. Bruch’s style, like Brahms’s, was rooted in the German classics, especially Mendelssohn and Schumann, but he never moved into any advanced idioms and was forced by longevity to witness the coming of modern styles with which he was out of sympathy. Bruch lived a long and active life and composed in every genre. He had an important career as a conductor and was respected as a major musician in all the capitals of Europe. Kol Nidrei, along with a virtuoso work for violin and orchestra, the Scottish Fantasy, was written in Berlin in 1880, shortly before Bruch became conductor of the Liverpool Philharmonic, where he remained for three years. Bruch was not Jewish, but he was attracted by Hebrew melodies (as he was by Scottish melodies) to which he was introduced by Jewish members of a chorus he led in Berlin. The work falls into two sections, each based on a different Hebrew melody: the first, in D minor, is an ancient song of atonement traditionally sung on the eve of Yom Kippur; the second, in D major, was taken from a collection published in 1815 by Isaac Nathan with words by Lord Byron beginning “O weep for those that wept on Babel’s stream.” Bruch composed Kol Nidrei in response to a request from the cellist Robert Haus- mann, to whom it was dedicated, but it was another German cellist, Joseph Hollmann, who gave the first performance, in Liverpool, on November 2, 1880, with Bruch conducting. The work quickly became popular, and Bruch arranged it for viola and

36 piano, piano and harmonium, solo piano, cello and organ, and solo organ. The music is unusually well suited to the double bass’s plaintive melodic style. In the present performance for double bass and piano, BSO principal Edwin Barker makes some small modifications to the original solo line, but otherwise plays it unchanged.

HUGH MACDONALD Hugh Macdonald is Avis Blewett Professor Emeritus of Music at Washington University in St. Louis, principal pre-concert speaker for the Saint Louis Symphony Orchestra, and a frequent guest annotator for the BSO.

Wolfgang Amadè Mozart (1756-1791) Divertimento in E-flat for two oboes, two bassoons, and two horns, K.289 Although it can’t lay claim to the textural coherence and pedigree of the string quartet, woodwind chamber music of the Classical period has much to offer in the way of charm and inventiveness. In the hands of Mozart, master of just those qualities, the possibilities inherent in wind divertimentos and serenades flourished. The appellation of “divertimento” does not imply triviality, but it does insist that the piece provide pleasure and entertainment for the listeners and players. The sort of people interested in commissioning aural pleasures were, naturally, cultured aristo- crats, who tried to outdo each other in the novelty of the music garnishing their banquets, soirées, and outings. The development of the most tasteful wind ensemble became a serious musical pursuit in the courts of Salzburg and Vienna, and the genre gained a name: Harmoniemusik. The standard instrumentation eventually settled on pairs of bassoons and horns with a balancing pair (or more) of treble

SEIJIOZAWAHALL PROGRAMNOTES 37 instruments. Commissions and his own eagerness for work resulted in Mozart’s large and diverse collection of Harmoniemusik. Mozart apparently wrote five sextet divertimentos for his Archbishop in Salzburg in the mid-1770s, but aspersions have been cast upon the authenticity of K.289, which dates from 1777. There is unfortunately little intrigue here, just a marked difference in organizational zeal between modern musicologists and the publish- ers of Mozart’s day. The fact that many of his original manuscripts are lost or fragmented, the tendency of Classical composers for stylistic imitation, and the disorganization of printing and distributing in 18th-century Europe mean that some distinctly Mozartian works are inevitably the work of others. K.289 is a sextet, with a pair of oboes joining the bassoons and horns. Though parallel writing is integral to harmony and texture, the instruments are not wedded to their partners, with the first bassoon in particular proving itself a versatile and spirited voice. (The second bassoon is often left to do the heavy lifting of the eighth-note engine.) After a short, palate-cleansing introduction, a characteristically graceful melody announces the Allegro. The first bassoon provides contrapuntal bones in the courtly Menuet, with the instruments teaming up, chorale-like, in the Trio. The Menuet transitions easily to the Adagio (there are no key changes between movements), which is shaped with short, elegant motives rather than the long lines of an aria. Here the horns take over engine duty with their staccato octaves, while the first oboe floats through brief cadenzas and the bassoon sneaks in a bit of chromaticism. The finale incorporates passages of witty imitation and suspension; but, as in a good opera, everyone is paired up again by the end.

ZOE KEMMERLING A Boston-based violist and writer, TMC Publications Fellow Zoe Kemmerling is recipient of the Tanglewood Music Center’s Northern California Fellowship this summer.

Artists

Boston Symphony Chamber Players One of the world’s most distinguished chamber music ensembles sponsored by a major symphony orchestra and made up of principal players from the orchestra, the Boston Symphony Chamber Players include first-chair string and wind players from the Boston Symphony Orchestra. Founded in 1964 during Erich Leinsdorf’s tenure as BSO music director, the Chamber Players can perform vir- tually any work within the vast chamber music literature, expanding their range of repertoire by calling upon other BSO members or enlist- ing the services of such distinguished artists as pianists Leif Ove Andsnes, Emanuel Ax, and André Previn. The Chamber Players’ activities include an annual four-concert series in Boston’s Jordan Hall at the New England Conservatory, regular appearances at Tanglewood, and a busy touring schedule. In addition to their appearances throughout the United States, they have performed in Europe, Japan, South America, and the Soviet Union. In September 2008, sponsored by Cunard® Line, the Boston

38 Symphony Chamber Players performed on the Queen Mary 2’s transatlantic crossing from New York to Southampton, England. Among their many recordings are the Brahms string quintets and works by John Harbison, Aaron Copland, and Leon Kirchner, all on Nonesuch; and the quintets for clarinet and strings by Mozart and Brahms with former BSO principal clarinet, the late Harold Wright, on Philips. Their recordings on BSO Classics include an album of Mozart chamber music for winds and strings (the Clarinet Quintet in A, the Horn Quintet in E-flat, the F major Oboe Quartet, and the Flute Quartet in A, K.298); an album of chamber music by American composers William Bolcom (Serenata Notturna), Lukas Foss (For Aaron), Michael Gandolfi (Plain Song, Fantastic Dances), and Osvaldo Golijov (Lullaby and Doina), and an album of 20th-century French chamber music by Ravel, Debussy, Tomasi, Françaix, and Dutilleux released last fall.

Julian Kuerti Acclaimed conductor Julian Kuerti has led numerous orchestras across North America, including the Boston, Houston, Cincinnati, Atlanta, Seattle, Montreal, and Toronto symphonies, the Los Angeles Philharmonic, the Orchestra of St. Luke’s, the Saint Paul and Los Angeles chamber orchestras, and the National Arts Centre Orchestra. From 2007 until 2010 he was an assistant conductor of the Boston Symphony Orchestra under James Levine, making his BSO debut in March 2008 with soloist Leon Fleisher. Mr. Kuerti made his New York City Opera debut in the spring of 2011 conducting Oliver Knussen’s Where the Wild Things Are. Highlights of recent seasons have also included debuts with the Malaysian Philharmonic, Orchestre Philharmonique du Luxembourg, Deutsches Symphonie-Orchester Berlin, and Berliner Symphoni- ker. In 2011-12 he returned to the Cincinnati Symphony, conducted throughout Canada, and made debuts with the Milwaukee Symphony and Orchestre Metro- politain de Montréal. He also conducted the National Arts Centre Orchestra in Ottawa and on a two-week Atlantic Canada tour. The season began with the Monte Carlo Philharmonic at the Dvoˇrák Prague Festival and included multiple concerts with the Bochumer Symphony in Germany. Mr. Kuerti was born in Toronto into one of Canada’s most distinguished musical families; his father is famed pianist Anton Kuerti. He began his instrumental training on the violin. While completing an hon- ors degree in engineering and physics at the University of Toronto, Mr. Kuerti performed as concertmaster and soloist with various Canadian orchestras. After taking a year off and touring Brazil with Kahana, a Toronto-based world-music band, he began his conducting studies at the University of Toronto. He studied with Michael Jinbo and Claude Monteux at the Pierre Monteux School for Conductors in Maine, with David Zinman at the American Academy of Conducting at Aspen, with Lutz Köhler at the University of the Arts Berlin, and with Jorma Panula at the NAC Conductors Programme in Ottawa. In 2005 he was one of two Conducting Fellows at Tanglewood, performing with the TMC Orchestra and Fellows throughout the summer. He served as assistant conductor to Iván Fischer and the Budapest Festival Orchestra during the 2006-07 season. From 2005 to 2008 he was founding artistic director and principal conductor of Berlin’s Solistenensemble Kaleidoskop, with whom he recorded the CD When We Were Trees by Italian cellist and composer Giovanni Sollima for Sony/BMG. Mr. Kuerti conducted the Boston Symphony Chamber Players in music of Golijov and Foss on “Plain Song, Fantastic Dances,” a compact disc released in 2011 on the BSO’s own label.

SEIJIOZAWAHALL ARTISTS 39 Karina Gauvin Canadian soprano Karina Gauvin has sung with major orchestras including the New York Philharmonic, Chicago Symphony, Philadelphia Orchestra, Los Angeles Philharmonic, Montreal Symphony, and Toronto Symphony, and with such period instrument groups as Akademie für Alte Musik Berlin, Musica Antiqua Köln, Tafelmusik Baroque Orchestra, Les Violons du Roy, and Accademia Bizantina. She has performed under conductors Charles Dutoit, Kent Nagano, Semyon Bychkov, Roger Norrington, Christopher Hogwood, Alan Curtis, Helmuth Rilling, Bernard Labadie, and Christophe Rousset. As a recitalist, she has collaborated with several chamber music ensembles and with pianists Marc-André Hamelin, Michael McMahon, and Roger Vignoles. The 2011-12 season has included her debut with the Rotterdam Philharmonic in Ravel’s L’Enfant et les sortilèges and engagements with the Quebec Symphony (Berlioz’s Nuits d’été and Mozart’s Requiem), San Francisco Symphony, Toronto Symphony (Britten’s Les Illuminations), Les Violons du Roy, Los Angeles Chamber Orchestra, and Tafelmusik. In 2010-11 she performed Mahler’s Second Symphony with the San Francisco Symphony under Michael Tilson Thomas at the Grant Park Festival, and with the Orchestre Metropolitain in Montreal. She made her New York Philharmonic debut in Messiah, a work she repeated with the Calgary Philharmonic, and appeared with the St. Louis Symphony, Winnipeg Symphony, and Columbus Symphony. Career highlights include Mozart’s Requiem and Bach’s Magnificat with the Chicago Sym- phony under Helmuth Rilling and her Carnegie Hall debut in Bach’s B minor Mass under Peter Schreier. She has sung Iole in Handel’s Hercules with the Akademie für alte Musik Berlin, Euridice in Gluck’s Orphée with Les Violons du Roy, and Handel’s Alcina with the Gabrieli Consort and Paul McCreesh at France’s Beaune Festival. In 2003 for the Boston Early Music Festival she sang the title role in Georg Conradi’s

40 opera Ariadne, a performance later released on a Grammy-nominated CPO recording. On New Year’s Day 2006, her performance in Mahler’s Symphony No. 2 with the WDR Sinfonieorchester Köln was broadcast on Eurovision. With more than thirty releases to her credit, Karina Gauvin has been nominated consistently for the Juno Award, and twice for the Grammy. She earned Juno awards for Handel’s Silete Venti/Apollo e Daphne and Mozart’s Requiem with Les Violons du Roy. Other recordings include “Fête galante” (French art songs with pianist Marc-André Hamelin) and Vivaldi’s opera Tito Manlio with the Accademia Bizantina and Ottavio Dantone (Naïve). She can be heard on Deutsche Grammophon recordings of Handel’s operas Tolomeo, Alcina, and Ezio with Alan Curtis and Complesso Barocco, on the Grammy-nominated recording of Jean-Baptiste Lully’s Psyché (CPO), and on Ariodante with Alan Curtis and Complesso Barocco (Virgin Classics). Her most recent solo album, arias from Nicola Porpora’s operas, is her sixth recording for Atma, and follows the recent Handel arias and Purcell CDs. Ms. Gauvin won First Prize at the CBC Young Performers Competition and received the Lieder and Public’s prize at the s’Hertogenbosch International Vocal Competition in the Netherlands. In 2000 she was honored with the Opus Award as “Performer of the Year.” Other awards include the Virginia Parker Prize and the Maggie Teyte Memorial Prize in London.

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

Vytas Baksys Pianist Vytas J. Baksys is an active freelance collaborator performing in a variety of recitals, competitions, and other musical settings employing various styles and genres throughout North America, Europe, and Asia. Since 1989 he has been the faculty pianist of the Fellowship Conducting Program at Tanglewood. He is a frequent keyboardist with the Boston Symphony and Boston Pops orchestras, has performed on several occasions with the Boston Symphony Chamber Play- ers, and works with such other area ensembles as the Boston Secession, Concord Chamber Music Society, and the Rivers School Conservatory. Of Lithuanian descent, Mr. Baksys is a graduate of the New England Conservatory of Music and State University of New York at Stony Brook. He has participated in recordings for RCA, CRI, Golden Crest, Sony Classical, Deutsche Grammophon, Warner Brothers, Nonesuch, Reference Recordings, and BSO Classics.

SEIJIOZAWAHALL ARTISTS 41

Tanglewood 75 SUMMER 2012

Sunday, August 26, 8pm Florence Gould Auditorium, Seiji Ozawa Hall

CHICK COREA and GARY BURTON HOT HOUSE TOUR with HARLEM STRING QUARTET

Selections to be announced from the stage

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

Guest Artists

Chick Corea An NEA Jazz Master, seventeen-time Grammy winner, prolific composer, and undisput- ed keyboard virtuoso, Chick Corea has attained living legend status after four decades of unparalleled creativity and artistic output. From straight ahead to avant-garde, bebop to fusion, children’s songs to chamber music, along with some far-reaching forays into symphonic works, he has worked in a variety of genres and continues to forge ahead, continually reinventing himself in the process. Since embarking on a solo career in 1966, Chick Corea has been at the forefront of jazz, both as a renowned pianist forging new ground with his acoustic jazz bands and as an innovative electric keyboardist with the ensembles Return to Forever and the Elektric Band. His extensive discography boasts numerous essential albums, beginning with his 1968 classic, “Now He Sings, Now He Sobs.” He continues to make a significant impact on the scene, as evidenced by 2007’s Grammy-winning “The Enchantment” (duets with banjo virtuoso Béla Fleck), 2008’s “The New Crystal Silence” (duets with longstanding collaborator Gary Burton), 2009’s “Returns” (documenting Return To Forever’s 2008 reunion tour), and 2009’s Grammy-winning “Five Peace Band Live” (with John McLaughlin, Christian McBride, Kenny Garrett, and Vinnie Colaiuta). 2011 demonstrated Chick Corea’s virtuosity in

SEIJIOZAWAHALL PROGRAM 43 all its forms: he mounted a hugely successful world tour with Return To Forever IV, received a Latin Grammy for the Corea, Clarke & White album “Forever,” released the acclaimed piano duet album “Orvieto” with Stefano Bollani, recorded his second concerto, The Continents, with a thirty-piece orchestra (released on Deutsche Gram- mophon), and capped the year with a month-long, career-spanning residency at New York’s Blue Note, featuring ten bands, including those of John McLaughlin, Herbie Hancock, and Bobby McFerrin.

Gary Burton The musical kinship of Chick Corea and Gary Burton might never have come togeth- er had it not been for a jam session during a festival in 1972, where the pianist and vibraphonist happened to be the only participants. Later that year they recorded the memorable duet album “Crystal Silence” for ECM. Self-taught on vibes, Gary Burton developed a remarkable four-mallet technique that brought the vibes into a new era following the swinging contributions of such two-mallet pioneers as Lionel Hampton, Red Norvo, and Milt Jackson. Burton broke in with country guitarist Hank Garland when he was seventeen, appearing along- side drummer Joe Morello and bassist Joe Benjamin on Garland’s groundbreak- ing 1961 RCA recording “Jazz Winds From a New Direction.” He toured with pianist George Shearing’s quintet in 1963 and later gained notoriety with tenor saxophonist Stan Getz’s piano-less quartet from 1964 to 1966 (appearing on “Getz Au Go Go with Astrud Gilberto” and “Getz/Gilberto #2”). Though his own recording debut came in 1961 (“New Vibe Man in Town”), Burton began distinguish- ing himself with several genre-defying dates as a leader during the mid-1960s, beginning with 1966’s “Tennessee Firebird,” an innovative country-bluegrass-jazz outing, and including 1967’s seminal fusion recording “Duster,” featuring guitarist Larry Coryell, bassist Steve Swallow, and drummer Roy Haynes, and his intriguing collaboration with Carla Bley on 1967’s “A Genuine Tong Funeral.” There followed collaborations with violin legend Stephane Grappelli (1969’s “Paris Encounter”), pianist Keith Jarrett (1971’s “Gary Burton & Keith Jarrett”), and pianist Chick Corea (1972’s “Crystal Silence,” the first of their duet collaborations). Corea and Burton followed “Crystal Silence” with “Duet” (1978), “In Concert, Zurich, October 28, 1979” (1979) and 1982’s “Lyric Suite for Sextet,” which found the duo augmented by a string quartet. In 1997, Burton and Corea turned out “Native Sense: The New Duets.” Their 2007 world tour, marking the 35th anniversary of their first recording, resulted in the unprecedented double-album “The New Crystal Silence.” One half captured the latest iteration of their duet dialogue; the other found the pair fronting the Sydney Symphony Orchestra, for full-band takes of “Crystal Silence” classics. At the 2008 Grammy Awards, “The New Crystal Silence” earned Corea and Burton the honor for Best Jazz Instrumental Album, the fourth Grammy Award for their collaborative works. In January 2010, Burton participated in a celebration of Chick Corea’s music at a Chamber Music America-sponsored concert at Symphony Space, performing such Chick staples as “Windows,” “Crystal Silence,” “Litha,” and “Matrix.” Throughout his illustrious career, the accomplished vibist-composer-bandleader has also collaborated with such artists as Eddie Daniels, Ahmad Jamal, Pat Metheny, Richard Stoltzman, Astor Piazzolla, Fred Hersch, and Nancy Wilson. His most recent recording as a leader is 2009’s “Quartet Live,” a reunion of his early ’70s group with guitarist Pat Metheny and drummer Steve Swallow and featuring drummer Antonio Sanchez.

44 The Harlem Quartet The mission of the Harlem Quartet—Ilmar Gavilán, violin, Melissa White, violin, Juan- Miguel Hernandez, viola, and Paul Wiancko, cello—is to advance diversity in classical music, engaging young and new audiences through the discovery and presentation of varied repertoire that includes works by minority composers. Since its public debut in 2006 at Carnegie Hall, the New York-based ensemble has performed throughout the United States as well as in France, the United Kingdom, Belgium, Panama, Canada, and recently in South Africa, where, under the auspices of the U.S. State Department, they spent two weeks in May 2012 performing concerts and participating in outreach activities. They also completed their second year in the Professional String Quartet Residency Program at New England Conservatory and participated in NEC’s string quartet exchange program in Paris, working with violinist Günter Pichler in a masterclass setting. The quartet has collaborated with such distinguished performers as Itzhak Perlman, Carter Brey, Paquito D’Rivera, and Misha Dichter, with whom they will make their Kennedy Center debut in February 2013; and jazz legends Chick Corea and Gary Burton, whom they are joining for their six-month Hot House Tour, which begins at Tanglewood. Later this year the quartet will make their performance debut with the British saxophonist, clarinetist, and composer Tim Garland. Each member of the Harlem Quartet is a seasoned solo artist. As an ensemble they perform not only in chamber music settings but also with orchestra. Their most recent such collaboration was the June 2012 world premiere of music from Bernstein’s West Side Story arranged for string quartet and orchestra by Randall Craig Fleischer, which they performed with the Chicago Sinfonietta under Mei-Ann Chen (also recording it, along with works by Michael Abels and Benjamin Lees, for future release on Cedille Records). Upcoming are performances of the work with the Anchorage Symphony Orchestra under Fleischer’s direction and with the Santa Fe Concert Association. The Harlem Quartet has performed for President and Mrs. Obama at the White House and has been featured on WNBC, CNN, the Today Show, WQXR-FM, and the News Hour with Jim Lehrer. They made their European debut in October 2009 performing at the residence of the U.S. ambassador to the UK, and returned to Europe for Belgium’s Musica Mundi International Festival. They have also appeared at the Panama Jazz Festival in Panama City and the Montreal Jazz Festival. Their recordings include 2007’s “Take the ‘A’ Train,” featuring the string quartet version of Billy Strayhorn’s jazz standard, works of Walter Piston, released in 2010, and a 2011 collaboration with pianist Awadagin Pratt showcasing works by American composer Judith Lang Zaimont. In addition, two recording projects with Chick Corea were completed at the end of the 2010-11 season. The Harlem Quartet was founded in 2006 by The Sphinx Organization, a national nonprofit organization dedicated to building diversity in classical music and providing access to music education in under- served communities.

SEIJIOZAWAHALL GUESTARTISTS 45 Tanglewood Major Corporate Sponsors 2012 Season

Tanglewood major corporate sponsorships reflect the increasing importance of alliance between business and the arts. We are honored to be associated with the following companies and gratefully acknowledge their partnerships. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

At Bank of America, we celebrate the arts as a way to honor history, inspire innovation and creativity, and stimulate local economies.

Here at Tanglewood, our philanthropy funds scholar- ships for hundreds of youth to participate in “Days in the Arts at Tanglewood,” providing access to this Bob Gallery Massachusetts President, wonderful program for children from every corner Bank of America of the Commonwealth.

Bank of America offers customers free access to more than 150 of the nation’s finest cultural institutions on the first full weekend of every month through its acclaimed Museums on Us ® program. In fact, Massachu- setts Museum of Contemporary Art in North Adams is our most recent addition to this program, joining the other five participating Massachusetts museums in Boston, Cambridge, Cape Cod, Lincoln and Worcester. Visit www.bankofamerica.com/museums to learn more.

The arts, in all its forms, lend vitality to a community. At its best, art inspires, transcending socio-economic barriers and celebrating diversity – it represents what is best about the Berkshires. We are honored to continue our longstanding partnership with the Boston Symphony Orchestra – both during summers at Tangle- wood, and the remainder of the year in Boston – and regard them with the deepest admiration for enriching our communities, educating our families, celebrating the past and inspiring the future.

46 Commonwealth Worldwide Chauffeured Transportation is Dawson Rutter proud to be the Official Chauffeured Transportation of the President and CEO Boston Symphony Orchestra and Boston Pops. The BSO has delighted and enriched the Boston community for over a century and we are excited to be a part of such a rich heritage. We look forward to celebrating our relationship with the BSO, Boston Pops, and Tanglewood for many years to come.

Harvard’s Division of Continuing Education is pleased to sponsor the Boston Symphony Orchestra at Tanglewood. Michael Shinagel, Through Harvard Extension School, Harvard Summer School, PhD Dean of Continuing and the Institute for Learning in Retirement, the Division Education and University offers more than 900 liberal arts and professional courses to Extension the public, educating more than 20,000 students each year. The BSO and Harvard Extension School have enriched the community for more than a century, and share the important tradition of bringing arts and education to the community.

Steinway & Sons is proud to be the exclusive provider of pianos to Symphony Hall and Tanglewood. Since 1853, Ron Losby President - Americas Steinway pianos have set an uncompromising standard for sound, touch, beauty, and investment value. Steinway remains the choice of 9 out of 10 concert artists, and it is the preferred piano of countless musicians, professional and amateur, throughout the world.

SEIJIOZAWAHALL MAJORCORPORATESPONSORS 47

August at Tanglewood

Thursday, August 2, 8pm Friday, August 10, 8:30pm GERALD FINLEY, baritone BSO—PINCHAS ZUKERMAN, conductor JULIUS DRAKE, piano and violin Songs by Loewe, Schubert, Ravel, and Britten ELIZABETH ROWE, flute JOHN FERRILLO, oboe Friday, August 3, 6pm (Prelude Concert) MALCOLM LOWE, violin BSO BRASS, TIMPANI, AND PERCUSSION JOHN GIBBONS, harpsichord Music of Britten, Tippett, Stravinsky, ALL-J.S. BACH PROGRAM Bach/Kreines, Vierdanck, and Tomasi Brandenburg Concertos Nos. 3 and 5 Concerto in C minor for violin, oboe, and Friday, August 3, 8:30pm strings, BWV 1060 BSO—LORIN MAAZEL, conductor Concerto in D minor for two violins and GERALD FINLEY, baritone strings, BWV 1043 Violin Concerto No. 1 in A minor, BWV 1041 MOZART Symphony No. 38, Prague; Arias from Così fan tutte, Le nozze di Figaro, and Saturday, August 11, 10:30am Don Giovanni RAVEL Alborada del gracioso; Don Quichotte à Open Rehearsal (Pre-Rehearsal Talk, 9:30am) Dulcinée, for baritone and orchestra; Daphnis BSO program of Sunday, August 12 et Chloé, Suite No. 2 Saturday, August 11, 8:30pm Saturday, August 4, 10:30am BOSTON SYMPHONY ORCHESTRA Open Rehearsal (Pre-Rehearsal Talk, 9:30am) STÉPHANE DENÈVE, conductor BSO program of Sunday, August 5 YO-YO MA, cello PREVIN Music for Boston (world premiere; Saturday, August 4, 8:30pm BSO commission) BSO—CHRISTOPH VON DOHNÁNYI, ELGAR Cello Concerto conductor SHOSTAKOVICH Symphony No. 5 YEFIM BRONFMAN, piano SCHUMANN Symphony No. 4 Sunday, August 12, 2:30pm BRAHMS Piano Concerto No. 2 BSO—CHRISTOPH VON DOHNÁNYI, conductor Sunday, August 5, 2:30pm PAUL LEWIS, piano BSO—LORIN MAAZEL, conductor BEETHOVEN Symphony No. 4 JEAN-YVES THIBAUDET, piano MOZART Piano Concerto No. 23 in A, K.488 GANDOLFI Night Train to Perugia (world STRAUSS Till Eulenspiegel’s Merry Pranks premiere; BSO commission) SAINT-SAËNS Piano Concerto No. 5, Egyptian Thursday, August 16, 8pm BERLIOZ Symphonie fantastique ÉBÈNE STRING QUARTET String quartets of Mozart and Tchaikovsky, Sunday, August 5, 8pm plus jazz improvisations CHRIS BOTTI, trumpet, and his band Friday, August 17, 6pm (Prelude Concert) Tuesday, August 7, 8:30pm (Gala Concert) MEMBERS OF THE BSO Tanglewood on Parade VYTAS BAKSYS, piano (Grounds open at 2pm for music and activities Music of John Williams throughout the afternoon.) BSO, BOSTON POPS ORCHESTRA, and Friday, August 17, 8:30pm TMC ORCHESTRA BSO—BRAMWELL TOVEY, conductor STÉPHANE DENÈVE, CHRISTOPH VON AUGUSTIN HADELICH, violin DOHNÁNYI, KEITH LOCKHART, LORIN MAAZEL, and JOHN WILLIAMS, conductors COPLAND Suite from Appalachian Spring BARBER Violin Concerto Music of Beethoven, Stravinsky, Grofé, BEETHOVEN Symphony No. 7 Williams, and Tchaikovsky Saturday, August 18, 10:30am Friday, August 10, 6pm (Prelude Concert) Open Rehearsal (Pre-Rehearsal Talk, 9:30am) MEMBERS OF THE BSO Boston Pops program of Saturday, August 18 VYTAS BAKSYS, piano Music of Previn and Harbison Saturday, August 18, 8:30pm Saturday, August 25, 10:30am John Williams’ 80th Birthday Celebration Open Rehearsal (Pre-Rehearsal Talk, 9:30am) BOSTON POPS ORCHESTRA BSO program of Sunday, August 26 KEITH LOCKHART, LEONARD SLATKIN, and SHI-YEON SUNG, conductors Saturday, August 25, 8:30pm, Shed YO-YO MA, cello BSO—RAFAEL FRÜHBECK DE BURGOS, ANTHONY MCGILL, clarinet conductor GABRIELA MONTERO, piano NANCY FABIOLA HERRERA, CRISTINA JESSYE NORMAN, soprano FAUS, CÁTIA MORESO, VICENTE GIL SHAHAM, violin OMBUENA, GUSTAVO PEÑA, ALFREDO U.S. ARMY HERALD TRUMPETS GARCÍA HUERGA, JOSEP MIQUEL RAMÓN, MIKE ROYLANCE, tuba and PEDRO SANZ, vocal soloists JAMES SOMMERVILLE, horn NÚRIA POMARES ROJAS, Flamenco dancer KEISUKE WAKAO, oboe PABLO SÁINZ VILLEGAS, guitar Plus surprise guests ALBÉNIZ Suite española (orch. Frühbeck) FALLA La vida breve (concert performance; Sunday, August 19, 2:30pm, Shed sung in Spanish with English supertitles) The Leonard Bernstein Memorial Concert TMC ORCHESTRA—RAFAEL FRÜHBECK Sunday, August 26, 2:30pm, Shed DE BURGOS, conductor BSO—RAFAEL FRÜHBECK DE BURGOS, GIL SHAHAM, violin conductor BEETHOVEN Violin Concerto LEAH CROCETTO, MEREDITH ARWADY, FRANK LOPARDO, and JOHN RELYEA, BARTÓK Concerto for Orchestra vocal soloists TANGLEWOOD FESTIVAL CHORUS, Monday, August 20, 8pm JOHN OLIVER, conductor WYNTON MARSALIS QUINTET HARBISON Koussevitzky Said: for chorus and CHRISTIAN MCBRIDE TRIO orchestra (world premiere; BSO commission) with CHRISTIAN SANDS & BEETHOVEN Symphony No. 9 ULYSSES OWENS, JR. Sunday, August 26, 8pm Wednesday, August 22, 8pm CHICK COREA AND GARY BURTON BOSTON SYMPHONY CHAMBER PLAYERS HOT HOUSE TOUR KARINA GAUVIN, soprano with HARLEM STRING QUARTET JOHN GIBBONS, harpsichord VYTAS BAKSYS, piano Friday, August 31, 7pm Music of Foss, J.S. Bach, Hindemith, Bruch, TRAIN and Mozart MATT KEARNEY and ANDY GRAMMER, special guests Friday, August 24, 6pm (Prelude Concert) BOSTON CELLO QUARTET Saturday, September 1, 7pm Music of Mozart, J. Strauss II, Verdi, Prokofiev, EVANESCENCE Popper, Gimenez, Corea, Hoshii, Anderson, and Déjardin CHEVELLE

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

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

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

TICKETS FOR ALL TMC PERFORMANCES are available through Tanglewood Box Office, SymphonyCharge, or online at bso.org. For TMC concerts other than TMC Orchestra concerts, tickets at $11 are available one hour before concert time at the Gate closest to Ozawa Hall (cash or check only). Tickets at $53, $43, and $34 (or lawn admission at $11) for the TMC Orchestra concerts of July 8, 16, 23, and 30 can be purchased in advance at the Tanglewood box office, by calling SymphonyCharge at 1-888-266-1200, or online at bso.org. Please note that availability of seats inside Ozawa Hall is limited and concerts may sell out. FRIENDS OF TANGLEWOOD at the $75 level receive one free admission and Friends at the $150 level or higher receive two free admissions to all TMC Fellow recital, chamber, and Festival of Contemporary Music performances (excluding Mark Morris, the Fromm Concert, and TMC Orchestra concerts) by presenting their membership cards at the Bernstein Gate one hour before concert time. Additional and non-member tickets for chamber music or Festival of Contemporary Music Concerts are available for $11. FOR INFORMATION ABOUT BECOMING A FRIEND OF TANGLEWOOD, please call (617) 638-9267 of visit tanglewood.org. Monday, July 23, 6pm Thursday, August 9—Monday, August 13 Vocal Prelude 2012 FESTIVAL OF CONTEMPORARY Monday, July 23, 8pm * MUSIC TMC ORCHESTRA—STEFAN ASBURY and Oliver Knussen, Festival Director TMC CONDUCTING FELLOWS, conductors Directed by composer/conductor/TMC EMANUEL AX, piano alumnus Oliver Knussen, the 2012 Festival Music of IVES, SCHOENBERG, and highlights the work of Niccolò Castiglioni, STRAVINSKY a 20th century composer almost unknown in this country, and four rising stars: Saturday, July 28, 6pm English composers Luke Bedford and Prelude Concert Helen Grime, and Americans Sean Sunday, July 29, 10am Shepherd and Marti Epstein. Knussen's Chamber Music own work is represented by his one-act opera Higglety Pigglety Pop!, written in col- Monday, July 30, 8pm * laboration with the late Maurice Sendak. TMC ORCHESTRA—CHARLES DUTOIT and TMC CONDUCTING FELLOWS, conductors The 2012 Festival of Contemporary Music TANGLEWOOD FESTIVAL CHORUS is made possible by grants from the Aaron Copland Fund for Music, the Fromm Music Music of LINDBERG, VARÉSE, MESSIAEN, Foundation, the National Endowment for the and STRAVINSKY Arts, the Ernst von Siemens Music Founda- Wednesday, August 1, 7pm tion, the Helen F. Whitaker Fund, and by Vocal Concert the generous support of Dr. Raymond and Hannah H. Schneider. Saturday, August 4, 6pm Prelude Concert Thursday, August 9, 8pm Music of BIRTWISTLE, CARTER, BED- Sunday, August 5, 10am FORD, CASTIGLIONI, and SHEPHERD Chamber Music Friday, August 10, 2:30pm Tuesday, August 7 * GLORIA CHENG, piano TANGLEWOOD ON PARADE Music of BIRTWISTLE, BENJAMIN, 2:30pm: TMC Chamber Music KNUSSEN, HARBISON, RANDS, and 3:30pm: TMC Piano Music SALONEN 5pm: TMC Vocal Music 8pm: TMC Brass Fanfares (Shed) Saturday, August 11, 6pm 8:30pm: Gala Concert (Shed) (Prelude Concert) TMC ORCHESTRA, BSO, and BOSTON POPS An all-CHARLES IVES program, pre- ORCHESTRA pared and conducted by GUNTHER STÉPHANE DENÈVE, CHRISTOPH VON SCHULLER DOHNÁNYI, KEITH LOCKHART, LORIN Sunday, August 12, 10am MAAZEL, and JOHN WILLIAMS, conductors The Fromm Concert at Tanglewood Wednesday, August 15, 8pm STEFAN ASBURY and OLIVER Vocal Concert—Stephanie Blythe and TMC KNUSSEN, conductors Fellows (songs on Emily Dickinson texts) Music of BENJAMIN, BIRTWISTLE, Saturday, August 18, 11am CASTIGLIONI, EPSTEIN(world pre- COMPOSER PIECE-A-DAY PERFORMANCE miere; TMC commission), DEL TREDICI, Free admission GRIME, and SHEPHERD Sunday, August 12, 8pm Saturday, August 18, 6pm Prelude Concert CASTIGLIONI Inverno In-Ver KNUSSEN Higglety Pigglety Pop! (concert Sunday, August 19, 10am performance, including live video with Chamber Music images from the Sendak book by video Sunday, August 19, 1pm artist Netia Jones) Vocal Prelude Concert Monday, August 13, 8pm Sunday, August 19, 2:30pm (Shed) The Margaret Lee Crofts Concert The Leonard Bernstein Memorial Concert TMC ORCHESTRA Supported by generous endowments established in OLIVER KNUSSEN and STEFAN perpetuity by Dr. Raymond and Hannah H. ASBURY, conductors Schneider, and Diane Lupean PETER SERKIN, piano TMC ORCHESTRA—RAFAEL FRÜHBECK Music of BIRTWISTLE, GRIME, DE BURGOS, conductor SCHULLER (TMC commission), GIL SHAHAM, violin BENJAMIN, BEDFORD, and Music of BEETHOVEN and BARTÓK DEL TREDICI The Boston University Tanglewood Institute (BUTI) In 1965, Erich Leinsdorf, then music director of the Boston Symphony Orchestra, invited the Boston University College of Fine Arts to create a summer training program for high school musicians as a counterpart to the BSO’s Tanglewood Music Center. Envisioned as an educational outreach initiative for the University, this new program would provide young advanced musicians with unprecedented opportunity for access to the Tanglewood Festival. Since then, the students of the Boston University Tanglewood Institute have participated in the unique environment of Tanglewood, sharing rehearsal and performance spaces; attending a selection of BSO master classes, rehearsals, and activities; and enjoying unlimited access to all performances of the Boston Sym- phony Orchestra and the Tanglewood Music Center. Now in its 47th season, the Boston University Tanglewood Institute continues to offer aspiring young artists an unparalleled, inspiring, and transforming musical experience. Its interaction (photo: Michael J. Lutch) with the Boston Symphony Orchestra and the Tanglewood Music Center makes BUTI unique among summer music programs for high school musicians. BUTI alumni are prominent in the world of music as performers, composers, conductors, educators, and administra- tors. The Institute includes Young Artists Programs for students age fourteen to nineteen (Instrumental, Vocal, Piano, Harp, and Composition) as well as Institute Workshops (Clari- net, Flute, Oboe, Bassoon, Saxophone, Trumpet, Horn, Trombone, Tuba/Euphonium, Percussion, Double Bass, and String Quartet). Many of the Institute’s students receive financial assistance from funds contributed by individuals, foundations, and corporations to the Boston University Tanglewood Institute Scholarship Fund. If you would like further information about the Boston University Tanglewood Institute, please stop by our office on the Leonard Bernstein Campus on the Tanglewood grounds, or call (413) 637-1430 or (617) 353-3386.

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

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

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

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

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

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

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

Administrative Staff/Artistic

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

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

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

Business Office

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

Development

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

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

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

Human Resources

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

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

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

Public Relations

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

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

Sales, Subscription, and Marketing

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

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

Tanglewood Music Center

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

Tanglewood Summer Management Staff

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

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

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

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

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

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

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

Koussevitzky Music Shed

Seiji Ozawa Hall