2016–17 season andris nelsons music director
week 18 sibelius busoni
season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner Robert McCloskey, Drawing for Make Way for Ducklings (“There they “Make Way for Ducklings: The Art of Robert McCloskey” is organized by With support from the Jean S. and Frederic A. Sharf waded ashore and waddled along till they came to the highway.”), The Eric Carle Museum of Picture Book Art, Amherst, Massachusetts. Exhibition Fund and the Patricia B. Jacoby Exhibition Fund. 1941. Graphite on paper. Courtesy of The May Massee Collection, Emporia The Museum of Fine Arts, Boston, Media sponsor is State University Special Collections and Archives, Emporia State University. presentation is made possible by Table of Contents | Week 18
7 bso news 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 2 3 a brief history of the bso 2 8 this week’s program
Notes on the Program
30 The Program in Brief… 31 Jean Sibelius 39 Ferruccio Busoni 49 To Read and Hear More…
Guest Artists
53 Sakari Oramo 55 Kirill Gerstein 59 Tanglewood Festival Chorus 61 Lidiya Yankovskaya
66 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information
the friday preview on march 10 is given by composer/pianist jeremy gill.
program copyright ©2017 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Marco Borggreve cover design by BSO Marketing
BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org
andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner 136th season, 2016–2017
trustees of the boston symphony orchestra, inc.
William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer
David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Levi A. Garraway • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Susan W. Paine • Steven R. Perles • John Reed • Carol Reich • Arthur I. Segel • Wendy Shattuck • Caroline Taylor • Stephen R. Weber • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees
Vernon R. Alden • Harlan E. Anderson • J.P. Barger • Gabriella Beranek • Leo L. Beranek † • Deborah Davis Berman • Jan Brett • Peter A. Brooke • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • Mary S. Newman † • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation
Mark Volpe, Eunice and Julian Cohen Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc. Philip J. Edmundson, Chair
Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke † • Gregory E. Bulger • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • William Curry, M.D. • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Alexandra J. Fuchs • Robert Gallery • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy •
week 18 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael Blanchard and Winslow Townson
Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • Steve Kidder • John L. Klinck, Jr. • Tom Kuo • Sandra O. Moose • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Sarah Rainwater Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti
Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Harriett Eckstein • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London † • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Jeffrey E. Marshall • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.
† Deceased
week 18 trustees and overseers 5 “ First Republic shares our passion for innovation and world-class performance.”
ANDREA MILLER Founder, Artistic Director and Choreographer, Gallim Dance 2014 Guggenheim Fellow
(855) 886-4824 or visit www.firstrepublic.com New York Stock Exchange Symbol: FRC Member FDIC and Equal Housing Lender BSO News
Another Grammy for Andris Nelsons and the Boston Symphony Orchestra Music Director Andris Nelsons and the Boston Symphony Orchestra’s most recent Deutsche Grammophon recording in the series “Shostakovich Under Stalin’s Shadow”— a two-disc set including Shostakovich’s symphonies 5, 8, and 9, plus excerpts from the composer’s 1932 incidental music for Hamlet—won the Grammy Award for Best Orches- tral Performance at the 59th annual Grammy Awards on February 12, marking the second consecutive year in which the BSO has garnered a Grammy in this category. Released in May 2016, the two-disc set is part of an ongoing collaboration between the BSO, Andris Nelsons, and Deutsche Grammophon to record all fifteen of Shostakovich’s symphonies and his opera Lady Macbeth of Mtsensk. This year’s Grammy follows upon the success of the first album of the BSO/DG collaboration—pairing Shostakovich’s ymphonyS No. 10 with the Passacaglia from Lady Macbeth of Mtsensk—which won the Grammy for Best Orchestral Performance in February 2016. The next album in the series, to be taken from performances at Symphony Hall this season, will include Shostakovich’s symphonies 6 and 7 (Leningrad) plus excerpts from the composer’s incidental music for King Lear.
Changes in the BSO Cello Section Regular BSO attendees will recently have noticed a significant change within the BSO’s cello section in that Martha Babcock—who led the section as Acting Principal from the beginning of this season through the performances of Bach’s B minor Mass in early Feb- ruary, and who, as Associate Principal, occupied the principal’s chair for extended periods in recent years—has, at her own request, returned to sitting within the section, where she began her BSO career nearly forty-four years ago. For the remainder of this season, BSO cellist Mihail Jojatu will occupy the principal’s chair while his colleague Sato Knudsen is on sabbatical leave. Meanwhile, auditions for the position of principal cello—left vacant by the passing of Jules Eskin this past November after a long illness—will take place during the coming months, with the aim of appointing a new section leader by the end of the current season.
BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101” offers the opportunity to increase your enjoyment of Boston Symphony con- certs by focusing on upcoming BSO repertoire in sessions that examine the composers’ individual musical styles while also illuminating aspects of musical shape and form. These free sessions with BSO Director of Program Publications Marc Mandel and members of the Boston Symphony Orchestra take place on selected Wednesdays at Symphony Hall
week 18 bso news 7 We are honored to support the Boston Symphony Orchestra
as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts
H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . from 5:30-7 p.m. (followed by a free tour of Symphony Hall) and, thanks to the generosity of an anonymous donor, on selected Sunday afternoons from 2-3:30 p.m. at locations throughout the greater Boston area. Each session includes recorded musical examples and is self-contained, so no prior musical training, or attendance at any previous session, is required. Remaining sessions this season include “Berlioz & Dutilleux—Journeys in Sound” on Wednesday, March 15, in Higginson Hall and Sunday, March 19, at Belmont Public Library, with Marc Mandel and BSO associate principal trumpet Thomas Siders; and “Mozart & Mahler—Speaking to the Heart” on Sunday, April 9, at Waltham Public Library and Wednesday, April 12, in Higginson Hall, with Marc Mandel and BSO horn player Rachel Childers. For more information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.
Free Northeastern University Fenway Center Concerts and Community Chamber Concerts Featuring BSO Musicians The Boston Symphony Orchestra and Northeastern University are pleased to continue their collaboration offering free Friday-afternoon concerts by BSO members at the Fenway Center, at the corner of St. Stephen and Gainsborough streets, at 1:30 p.m. On Friday, March 17, BSO string players Sheila Fiekowsky, Bracha Malkin, Daniel Getz, Leah Ferguson, and Mickey Katz perform music of Charles Martin Loeffler and Beethoven—a program to be repeated in the Community Chamber Concert of Sunday, March 19, at 3 p.m. in Nevins Hall in Framingham. On Sunday, March 26, at 3 p.m. in the Community Chamber Concert at Hibernian Hall in Roxbury, BSO string players Victor Romanul, Si-Jing Huang, Michael Zaretsky, and Oliver Aldort perform music of Piston and Beethoven—a program
week 18 bso news 9 OYSTER PERPETUAL DATEJUST 41
rolex oyster perpetual and datejust are ® trademarks. to be repeated in the Fenway Center concert of Friday, March 31, at 1:30 p.m. Tickets for the Friday-afternoon Fenway Center concerts are available at tickets.neu.edu and at the door. For more information about the Fenway Center concerts, please visit northeastern. edu/camd/music. Admission to the Sunday-afternoon Community Chamber Concerts is also free, but reservations are required; please call 1-888-266-1200. For complete Com- munity Chamber Concert details, please visit bso.org and go to “Education & Community” on the home page.
Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on March 10 is given by composer/pianist Jeremy Gill. The speakers for the next several Friday Pre- views are Robert Kirzinger on March 24, Marc Mandel on April 14, and author/composer Jan Swafford on April 21. individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 83 of this program book.
BSO Broadcasts on WCRB broadcast of Monday, March 13, will be an BSO concerts are heard on the radio at all-Brahms program pairing Andris Nelsons’ 99.5 WCRB. Saturday-night concerts are performances of symphonies 1 and 3 from broadcast live at 8 p.m. with host Ron Della this past November. Chiesa, and encore broadcasts are aired on Monday nights at 8 p.m. In addition, Go Behind the Scenes: interviews with guest conductors, soloists, The Irving W. and Charlotte F. Rabb and BSO musicians are available online, along with a one-year archive of concert Symphony Hall Tours broadcasts. Listeners can also hear the BSO The Irving W. and Charlotte F. Rabb Sympho- Concert Channel, an online radio station ny Hall Tours, named in honor of the Rabbs’ consisting of BSO concert performances devotion to Symphony Hall through a gift from the previous twelve months. Visit from their children James and Melinda Rabb classicalwcrb.org/bso. Current and upcom- and Betty (Rabb) and Jack Schafer, provide ing broadcasts include this week’s program a rare opportunity to go behind the scenes of Sibelius and Busoni with conductor Sakari at Symphony Hall. In these free, guided Oramo and pianist Kirill Gerstein (March 11; tours, experienced members of the Boston encore March 20), next week’s program of Symphony Association of Volunteers unfold Haydn, Debussy, and Beethoven led by BSO the history and traditions of the Boston Sym- Conductor Laureate Bernard Haitink (March phony Orchestra—its musicians, conductors, 18; encore March 27), and music of Berlioz, and supporters—as well as offer in-depth Beethoven, and Matthias Pintscher—the information about the Hall itself. Tours are latter’s BSO-commissioned cello concerto offered on selected weekdays at 4 p.m. and un despertar (“an awakening”)—with con- some Saturdays during the BSO season. ductor François-Xavier Roth and cellist Alisa Please visit bso.org/tours for more informa- Weilerstein (March 25; encore April 3). The tion and to register.
week 18 bso news 11
BSO Members in Concert BSO principal bass Edwin Barker performs Former BSO principal trombone Ronald Bar- Estonian composer Eduard Tubin’s Concerto ron performs a benefit recital for Richmond’s for Double Bass and Orchestra with Francisco emergency fuel assistance fund on Sunday, Noya and the New Philharmonia Orchestra March 12, at 3 p.m. at Richmond Congrega- on Saturday, March 25, at 8 p.m. and Sun- tional Church, 1515 State Road (Route 41), day, March 26, at 3 p.m. at the First Baptist assisted by pianist Larry Wallach, soprano Church, 848 Beacon Street, Newton Centre. Pamela Wolfe, and BSO assistant principal Also on the program is Tchaikovsky’s Sym- bass Lawrence Wolfe. On the program are phony No. 6, Pathétique. Tickets are $48 works by Philip Wharton, Eric Ewazen, Otto and $37 (discounts for seniors, students, Luening, Roger Kellaway, Walter Ross, and and families). For more information, or to Tommy Dorsey. Tickets are not required order tickets, call (617) 527-9717 or visit (donations gratefully accepted). newphil.org. Members of the Concord Chamber Music Collage New Music, founded by former BSO Society, founded by BSO violinist Wendy percussionist Frank Epstein and whose mem- Putnam, are joined by violinist Glenn Dict- bership includes BSO violinist Catherine erow and violist Karen Dreyfus for music of French and former BSO cellist Joel Moer- Shostakovich, Fauré, and Franck on Sunday, schel, closes its season with a program March 19, at 3 p.m. (pre-concert lecture at entitled “Heroes and Anti-Heroes,” featuring 2 p.m.) at the Concord Academy Perform- works by Donald Sur, Eric Chasalow, Yi Yiing ing Arts Center, 166 Main Street, Concord, Chen, Peter Child, and Eric Moe, on Sunday, MA. Tickets are $42 and $33 (discounts for April 2, at 8 p.m. (pre-concert talk at 7 p.m.) seniors and students). For more information, at Edward M. Pickman Concert Hall at the visit concordchambermusic.org or call (978) Longy School of Music of Bard College, 27 371-9667. Garden Street, Cambridge. General admis-
Sunday, March 12, 2017 at 3:00pm ON BYSO Symphony Hall PARADE BRITTEN The Young Person’s Guide to the Orchestra Boston Youth Symphony Federico Cortese, Conductor
Featuring all BYSO Ensembles For tickets, call 617-266-1200 $20 Adults $5 children 18 and under
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Options shown. ©2016 Lexus sion is $30 (discounts for seniors and stu- and access to the BSO’s online newsletter dents), available at the door. InTune, as well as invitations to exclusive donor events such as BSO and Pops working The Muir String Quartet—BSO violinist Lucia rehearsals, and much more. Friends member- Lin and BSO principal violist Steven Ansell, ships start at just $100. To join our commu- violinist Peter Zazofsky, and cellist Michael nity of music lovers in the Friends of the BSO, Reynolds—performs Mendelssohn’s String contact the Friends Office at (617) 638-9276 Quartet No. 2 in A minor, Opus 13, selections or [email protected], or join online at from the Klezmer tradition, and, joined by bso.org/contribute. clarinetist Alexander Fiterstein, Weber’s Quintet in B-flat for Clarinet and Strings, Opus 34, on Monday, April 3, at 7:30 p.m. in Those Electronic Devices… the Nazarian Center at Rhode Island College, As the presence of smartphones, tablets, 600 Mt. Pleasant Avenue, Providence. Gen- and other electronic devices used for com- eral admission is $35 (discounts for seniors munication, note-taking, and photography and students). For more information, visit has increased, there have also been continu- ric.edu/pfa or call (401) 456-8144. ing expressions of concern from concertgoers and musicians who find themselves distracted Join Our Community of not only by the illuminated screens on these Music Lovers— devices, but also by the physical movements The Friends of the BSO that accompany their use. For this reason, and as a courtesy both to those on stage and Attending a BSO concert at Symphony Hall those around you, we respectfully request is a communal experience—thousands that all such electronic devices be completely of concertgoers join together to hear 100 turned off and kept from view while BSO per- musicians collaborate on each memorable formances are in progress. In addition, please performance. Without an orchestra, there is also keep in mind that taking pictures of the no performance, and without an audience, orchestra—whether photographs or videos— it is just a rehearsal. Every single person is is prohibited during concerts. Thank you very important to ensuring another great expe- much for your cooperation. rience at Symphony Hall. There’s another community that helps to make it all possible, one that you might not notice while enjoying Comings and Goings... a concert—the Friends of the BSO. Every $1 Please note that latecomers will be seated the BSO receives through ticket sales must by the patron service staff during the first be matched by an additional $1 of contribut- convenient pause in the program. In addition, ed support to cover annual expenses. Friends please also note that patrons who leave the of the BSO help bridge that gap, keeping the auditorium during the performance will not music playing to the delight of audiences all be allowed to reenter until the next conve- year long. In addition to joining a commu- nientpause in the program, so as not to dis- nity of like-minded music lovers, becoming turb the performers or other audience mem- a Friend of the BSO entitles you to benefits bers while the music is in progress. We thank that bring you closer to the music you cher- you for your cooperation in this matter. ish. Friends receive advance ticket ordering privileges, discounts at the Symphony Shop,
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on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO
exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh symphonies • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops
CABOT-CAHNERS ROOM EXHIBIT—THE HEINZ W. WEISSENSTEIN/WHITESTONE PHOTOGRAPH COLLECTION: 45 YEARS AT TANGLEWOOD An exhibit highlighting the acquisition by the BSO Archives of the Whitestone Photo- graph Collection, a collection of more than 90,000 negatives and prints documenting the rich musical life at Tanglewood, the BSO’s summer home
TOP OF PAGE, LEFT TO RIGHT: Photograph of a 19th-century serpent from the Casadesus Collection of Ancient Instruments, acquired by the BSO in 1926 (photographer unknown) Souvenir program for the U.S. and Canadian tour of the Orchestre National de France led by Charles Munch in 1948—the year before he became the BSO’s music director Photographer Heinz Weissenstein flanked by Leonard Bernstein, Gunther Schuller, and Seiji Ozawa at Tangle- wood, 1970 (photo by then BSO Assistant Manager Mary H. Smith, using Weissenstein’s Rolleiflex camera)
week 18 on display 17 Marco Borggreve
Andris Nelsons
In 2016-17, his third season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in fourteen wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in late February/early March, followed by two concerts in Montreal and Toronto. In the sum- mer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. In addition, in 2017 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, Maestro Nelsons and the BSO under- took a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany (including the BSO’s first performance in Leipzig’s famed Gewandhaus), ustria,A and Luxembourg, took place in May 2016.
The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’sTannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in col- laboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the opera Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including
18 symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet, and which won the 2017 Grammy for Best Orchestral Performance—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. In August 2016, their disc of Shostakovich’s Symphony No. 10 won Gramophone Magazine’s Orchestral Award.
From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertge- bouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philhar- monia Orchestra. A regular guest at the Royal Opera House, Vienna State Opera, and Metropolitan Opera, he returned to the Bayreuth Festival in summer 2014 to conduct Wagner’s Lohengrin, in a production directed by Hans Neuenfels, which he premiered at Bayreuth in 2010. Under a new, exclusive contract with Deutsche Grammophon, Mr. Nelsons will record the complete Beethoven symphonies with the Vienna Philharmonic and Bruckner symphonies with the Gewandhausorchester Leipzig.
Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film enti- tled “Andris Nelsons: Genius on Fire.” Marco Borggreve
week 18 andris nelsons 19 Boston Symphony Orchestra 2016–2017
andris nelsons bernard haitink seiji ozawa thomas adès Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Edmundson Music Director Conductor Emeritus Artistic Partner endowed in perpetuity endowed in perpetuity thomas wilkins Germeshausen Youth and Family Concerts Conductor endowed in perpetuity
first violins Catherine French* Cathy Basrak Adam Esbensen* Assistant Principal Richard C. and Ellen E. Paine Jason Horowitz* Malcolm Lowe Anne Stoneman chair, endowed chair, endowed in perpetuity Concertmaster Ala Jojatu* in perpetuity Charles Munch chair, Blaise Déjardin* endowed in perpetuity Bracha Malkin* Wesley Collins Lois and Harlan Anderson˚ chair, Oliver Aldort* Tamara Smirnova endowed in perpetuity Associate Concertmaster second violins Helen Horner McIntyre chair, Rebecca Gitter basses Haldan Martinson endowed in perpetuity Edwin Barker Principal Michael Zaretsky* Principal Alexander Velinzon Carl Schoenhof Family chair, Mark Ludwig* Harold D. Hodgkinson chair, Associate Concertmaster endowed in perpetuity endowed in perpetuity Robert L. Beal, Enid L., and Rachel Fagerburg* Julianne Lee Bruce A. Beal chair, endowed Lawrence Wolfe Assistant Principal Daniel Getz* in perpetuity Assistant Principal Charlotte and Irving W. Rabb Rebekah Edewards* Maria Nistazos Stata chair, Elita Kang chair, endowed in perpetuity endowed in perpetuity Assistant Concertmaster Danny Kim* Sheila Fiekowsky Edward and Bertha C. Rose chair, Benjamin Levy Shirley and J. Richard Fennell endowed in perpetuity Leah Ferguson* Leith Family chair, endowed chair, endowed in perpetuity Bo Youp Hwang in perpetuity Nicole Monahan John and DorothyWilson chair, cellos Dennis Roy endowed in perpetuity David H. and Edith C. Howie chair, endowed in perpetuity (position vacant) Joseph Hearne Lucia Lin Principal Dorothy Q. and David B. Arnold, Ronan Lefkowitz Philip R. Allen chair, endowed in James Orleans* perpetuity Jr., chair, endowed in perpetuity Vyacheslav Uritsky* Todd Seeber* § Eleanor L. and Levin H. Campbell Ikuko Mizuno Jennie Shames* Sato Knudsen Ruth and Carl J. Shapiro chair, Mischa Nieland chair, endowed chair, endowed in perpetuity Valeria Vilker Kuchment* in perpetuity endowed in perpetuity John Stovall* Tatiana Dimitriades* Mihail Jojatu Nancy Bracken* Thomas Van Dyck* Mary B. Saltonstall chair, Sandra and David Bakalar chair Si-Jing Huang* endowed in perpetuity Martha Babcock Wendy Putnam* flutes Aza Raykhtsaum* Vernon and Marion Alden chair, Robert Bradford Newman chair, Catherine and Paul Buttenwieser endowed in perpetuity Elizabeth Rowe endowed in perpetuity chair Principal Owen Young* Xin Ding* Walter Piston chair, endowed Bonnie Bewick* John F. Cogan, Jr., and Mary L. in perpetuity Kristin and Roger Servison chair Glen Cherry* Cornille chair, endowed in perpetuity Clint Foreman James Cooke* Yuncong Zhang* Myra and Robert Kraft chair, Donald C. and Ruth Brooks Mickey Katz* endowed in perpetuity Heath chair, endowed Stephen and Dorothy Weber in perpetuity violas chair, endowed in perpetuity Elizabeth Ostling Associate Principal Victor Romanul* Steven Ansell Alexandre Lecarme* Marian Gray Lewis chair, Ronald G. and Ronni J. Casty Principal Nancy and Richard Lubin chair endowed in perpetuity chair Charles S. Dana chair, endowed in perpetuity
20 photos by Winslow Townson and Michael Blanchard piccolo Suzanne Nelsen trombones voice and chorus John D. and Vera M. MacDonald Cynthia Meyers chair Toby Oft James Burton Evelyn and C. Charles Marran Principal BSO Choral Director and chair, endowed in perpetuity Richard Ranti J.P. and Mary B. Barger chair, Conductor of the Tanglewood Associate Principal endowed in perpetuity Festival Chorus Diana Osgood Tottenham/ Alan J. and Suzanne W. Dworsky oboes Hamilton Osgood chair, Stephen Lange chair, endowed in perpetuity endowed in perpetuity John Ferrillo John Oliver Principal bass trombone Tanglewood Festival Chorus Mildred B. Remis chair, contrabassoon Founder and Conductor endowed in perpetuity James Markey Gregg Henegar John Moors Cabot chair, Laureate Mark McEwen Helen Rand Thayer chair endowed in perpetuity James and Tina Collias chair librarians Keisuke Wakao horns tuba D. Wilson Ochoa Assistant Principal Principal Farla and Harvey Chet James Sommerville§ Mike Roylance Lia and William Poorvu chair, Krentzman chair, endowed Principal Principal endowed in perpetuity in perpetuity Helen Sagoff Slosberg/ Margaret and William C. Edna S. Kalman chair, Rousseau chair, endowed Mark Fabulich endowed in perpetuity in perpetuity english horn Richard Sebring assistant Robert Sheena Associate Principal timpani conductors Beranek chair, endowed Margaret Andersen Congleton Timothy Genis in perpetuity chair, endowed in perpetuity Moritz Gnann Sylvia Shippen Wells chair, Rachel Childers endowed in perpetuity Ken-David Masur clarinets John P. II and Nancy S. Eustis Anna E. Finnerty chair, chair, endowed in perpetuity endowed in perpetuity William R. Hudgins percussion Principal Michael Winter J. William Hudgins Ann S.M. Banks chair, Elizabeth B. Storer chair, orchestra Peter and Anne Brooke chair, endowed in perpetuity endowed in perpetuity manager and endowed in perpetuity director of Michael Wayne Jason Snider Daniel Bauch orchestra Thomas Martin Jonathan Menkis Assistant Timpanist personnel Associate Principal & Jean-Noël and Mona N. Tariot Mr. and Mrs. Edward H. Linde Lynn G. Larsen E-flat clarinet chair chair Stanton W. and Elisabeth K. Davis chair, endowed Kyle Brightwell assistant in perpetuity trumpets Peter Andrew Lurie chair, endowed in perpetuity personnel Thomas Rolfs managers Principal Matthew McKay bass clarinet Bruce M. Creditor Roger Louis Voisin chair, Craig Nordstrom endowed in perpetuity harp Andrew Tremblay Benjamin Wright bassoons Jessica Zhou Thomas Siders Nicholas and Thalia Zervas stage manager Richard Svoboda Associate Principal chair, endowed in perpetuity by John Demick Principal Kathryn H. and Edward M. Sophia and Bernard Gordon Edward A. Taft chair, endowed Lupean chair in perpetuity Michael Martin Ford H. Cooper chair, endowed * participating in a system in perpetuity of rotated seating § on sabbatical leave ˚ on leave
week 18 boston symphony orchestra 21
BSO Archives
The first photograph, actually a collage, of the Boston Symphony Orchestra under Georg Henschel, taken 1882
A Brief History of the BSO
Now in its 136th season, the Boston Symphony Orchestra gave its inaugural concert in 1881, realizing the dream of its founder, the Civil War veteran/businessman/philanthropist Henry Lee Higginson, who envisioned a great and permanent orchestra in his hometown of Boston. Today the BSO reaches millions of listeners, not only through its concert perfor- mances in Boston and at Tanglewood, but also via the internet, radio, television, education- al programs, recordings, and tours. It commissions works from today’s most important composers; its summer season at Tanglewood is among the world’s most important music festivals; it helps develop future audiences through BSO Youth Concerts and educational outreach programs involving the entire Boston community; and, during the Tanglewood season, it operates the Tanglewood Music Center, one of the world’s most important train- ing grounds for young professional-caliber musicians. The Boston Symphony Chamber Players, made up of BSO principals, are known worldwide, and the Boston Pops Orchestra sets an international standard for performances of lighter music.
Launched in 1996, the BSO’s website, bso.org, is the largest and most-visited orchestral website in the United States, receiving approximately 7 million visitors annually on its full site as well as its smart phone-/mobile device-friendly web format. The BSO is also on Facebook and Twitter, and video content from the BSO is available on YouTube. An expan- sion of the BSO’s educational activities has also played a key role in strengthening the orchestra’s commitment to, and presence within, its surrounding communities. Through its Education and Community Engagement programs, the BSO provides individuals of all back- grounds the opportunity to develop and build relationships with the BSO and orchestral music. In addition, the BSO offers a variety of free educational programs at Symphony Hall and Tanglewood, as well as special initiatives aimed at attracting young audience members.
The Boston Symphony Orchestra gave its inaugural concert on October 22, 1881, under Georg Henschel, who remained as conductor until 1884. For nearly twenty years, BSO concerts were held in the old Boston Music Hall; Symphony Hall, one of the world’s most
week 18 a brief history of the bso 23 revered concert halls, opened on October 15, 1900. Henschel was BSO Archives succeeded by the German-born and -trained conductors Wilhelm Gericke, Arthur Nikisch, Emil Paur, and Max Fiedler, culminating in the appointment of the legendary Karl Muck, who served two tenures, 1906-08 and 1912-18. In 1915 the orchestra made its first transcontinental trip, playing thirteen concerts at the Panama- Pacific International Exposition in San Francisco. Henri Rabaud, engaged as conductor in 1918, was succeeded a year later by Pierre Monteux. These appointments marked the beginning of a French tradition maintained, even during the Russian-born Serge Koussevitzky’s tenure (1924-49), with the employment of many French-trained musicians.
It was in 1936 that Koussevitzky led the orchestra’s first concerts Major Henry Lee Higginson, founder in the Berkshires; he and the players took up annual summer of the Boston Symphony Orchestra residence at Tanglewood a year later. Koussevitzky passionately shared Major Higginson’s dream of “a good honest school for musicians,” and in 1940 that dream was realized with the founding of the Berkshire Music Center (now called the Tanglewood Music Center).
Koussevitzky was succeeded in 1949 by Charles Munch, who continued supporting con- temporary composers, introduced much French music to the repertoire, and led the BSO on its first international tours. In 1956, the BSO, under the direction of Charles Munch, was the first American orchestra to tour the Soviet Union. Erich Leinsdorf began his term as music director in 1962, to be followed in 1969 by William Steinberg. Seiji Ozawa became the BSO’s thirteenth music director in 1973. His historic twenty-nine-year tenure extended until 2002, when he was named
Music Director Laureate. In BSO Archives 1979, the BSO, under the direction of Seiji Ozawa, was the first American orchestra to tour mainland China after the normalization of relations.
Bernard Haitink, named prin- cipal guest conductor in 1995 and Conductor Emeritus in 2004, has led the BSO in Boston, New York, at Tangle- wood, and on tour in Europe, as well as recording with the Three BSO music directors of the past: Pierre Monteux (music director, orchestra. Previous principal 1919-24), Serge Koussevitzky (1924-49), and Charles Munch (1949-62) guest conductors of the orches tra included Michael Tilson Thomas, from 1972 to 1974, and the late Sir Colin Davis, from 1972 to 1984.
24 The first American-born conductor to hold the position, James Levine was the BSO’s music director from 2004 to 2011. Levine led the orchestra in wide-ranging programs that includ- ed works newly commissioned for the orchestra’s 125th anniversary, particularly from sig- nificant American composers; issued a number
BSO Archives of live concert performances on the orchestra’s own label, BSO Classics; taught at the Tangle- wood Music Center; and in 2007 led the BSO in an acclaimed tour of European music festivals. In May 2013, a new chapter in the history of the Boston Symphony Orchestra was initiated when the internationally acclaimed young Latvian conductor Andris Nelsons was announced as the BSO’s next music director, a position he took up in the 2014-15 season, following a year as music director designate.
Rush ticket line at Symphony Hall, probably in the 1930s Today, the Boston Symphony Orchestra con- tinues to fulfill and expand upon the vision of its founder Henry Lee Higginson, not only through its concert performances, educational offerings, and internet presence, but also through its expanding use of virtual and elec- tronic media in a manner reflecting the BSO’s continuing awareness of today’s modern, ever-changing, 21st-century world.
YOU LOVE A GREAT ENCORE. Compose the future you imagine at the Harvard Institute for Learning in Retirement. Explore intellectually stimulating subjects with a dynamic community of post-career professionals. Our academic curriculum allows you to choose from over 60 peer-led seminars each semester— spanning history, literature, social theory, science and technology, and more. HARVARD INSTITUTE FOR LEARNING IN RETIREMENT. YOU BELONG HERE. Learn more: hilr.dce.harvard.edu/bso
week 18 a brief history of the bso 25 Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. In a city renowned for its passionate embrace of the arts, there is a hotel that sits at its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of the world’s greatest orchestras, the Boston Symphony and the Boston Pops.
For reservations or more information, call 1 800 441 1414 or visit www.fairmont.com/copley-plaza-boston Mahler’s No. 4 or Mozart’s No. 40? At Fairmont Copley Plaza, we appreciate all our guests’ preferences. its center. Fairmont Copley Plaza is honored to be the Official Hotel of two of www.fairmont.com/copley-plaza-boston andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 136th season, 2016–2017
Friday, March 10, 1:30pm Saturday, March 11, 8pm
sakari oramo conducting
sibelius symphony no. 3 in c, opus 52 Allegro moderato Andantino con moto, quasi allegretto Moderato—Allegro (ma non tanto)
{intermission} Peter Vanderwarker
From the BSO library in Symphony Hall
28 busoni concerto in c for piano and orchestra with men’s chorus, opus 39 I. Prologo e Introito: Allegro, dolce e solenne II. Pezzo giocoso: Vivacemente, ma senza fretta III. Pezzo serioso: Introductio: Andante sostenuto, pensoso Prima Pars: Andante, quasi adagio Altera Pars: Sommessamente Ultima Pars: A tempo IV. All’ Italiana (Tarantella): Vivace (in un tempo) V. Cantico: Largamente kirill gerstein, piano men of the tanglewood festival chorus, lidiya yankovskaya, guest chorus conductor Text and translation are on page 47.
this week’s performances by the tanglewood festival chorus are supported by the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.
The afternoon concert will end about 3:45, the evening concert about 10:15. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Two members of the violin section perform on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.
week 18 program 29 The Program in Brief...
Jean Sibelius was innately and intimately attuned to the history, folklore, and geography of his native Finland; his symphonies and tone poems, the latter frequently based on Finnish legend, display a musical style that remains immediately identifiable as his own, particularly in the way he contrasts and combines the instrumental ranges and colors of the orchestra as his musical themes and structures evolve. Sibelius once remarked to a biographer, regarding the reddish cliffs on Finland’s Baltic coast, that “when we see those granite rocks, we know why we are able to treat the orchestra as we do!” One of the great mysteries of music history is why, after completing his Seventh Symphony in 1924, he produced only one more important orchestral work, the tone poem Tapiola, in 1926—though he lived until 1957. An Eighth Symphony, perhaps intended for Serge Koussevitzky and the BSO, never materialized. His three-movement Symphony No. 3, composed several years after the familiar Violin Concerto, is little-known in comparison to the more frequently programmed Second, Fifth, and Seventh, yet every bit as convinc- ing and appealing, with an overall character by turns sunny, folk-like, elemental, brooding, and even wondrous, while also exhibiting ingeniously varied combinations of these traits.
Known more to students of the piano than to modern concert audiences, the music of Ferruccio Busoni remains very much on the outskirts of today’s repertoire. In the case of his massive, five-movement, 75-minute Piano Concerto—which adds men’s chorus in the finale—there is also the fact that the wide-ranging and virtually unrelenting solo part requires such daunting virtuosity and stamina that few pianists have ever chosen to attempt it. That Busoni himself played the premiere reminds us he was one of the great pianists of his time. (The record of his solo appearances with the BSO between 1891 and 1911 is reproduced on pages 40-41 of this program.) In Baker’s Biographical Dictionary of Musicians, Nicolas Slonimsky describes Busoni as “a philosopher of music who tried to formulate a universe of related arts; he issued grandiloquent manifestos urging a return to classical ideals in modern forms; he sought to establish a unifying link between archi- tecture and composition; in his editions of Bach’s works he included drawings illustrating the architectonic plan of Bach’s fugues....” (Busoni’s own visual depiction of his Piano Concerto appears on page 43.) Central to his philosophical-theoretical writings was his essay Proposal for a New Aesthetic of Music.
The text of the Piano Concerto’s final movement is from the Danish writer Adam Oehlenschläger’s play Aladdin, which Busoni once planned to use as basis for a “Gesamt- kunstwerk [‘collective-art-work,’ a term we know from Wagner] with acting, music, dance, magic”; its placement at the end of the piece and the chorale-like setting may recall the final choruses of Liszt’sFaust-Symphony or Mahler’s Symphony No. 8. The concerto’s scope may suggest Mahler or Wagner; the writing for piano unquestionably harks back to Liszt. Overall, the work’s colors and harmonic language recall Wagner, Mahler, and other composers of the late 19th and early 20th centuries—all placing Busoni not only as one of the great experimentalists of his day, but one whose assimila- tion and rethinking of past and current trends produced a uniquely compelling voice.
Marc Mandel
30 Jean Sibelius Symphony No. 3 in C, Opus 52
JEAN (JOHAN JULIUS CHRISTIAN) SIBELIUS was born at Hämeenlinna (Tavestehus in Swedish), Finland, on December 8, 1865, and died at Järvenpää, at his country home near Helsingfors (Helsinki), on September 20, 1957. (He took the Gallicized form of his first name in emulation of an uncle.) A letter from Sibelius dated September 21, 1904, closes with the remark, “Have begun my third symphony.” He promised the premiere to the Royal Philharmonic Society of London for March 17, 1907, but the score was not ready. Sibelius finished it that summer and conducted it in Helsingfors on September 26 (with “Pohjola’s Daughter” and the incidental music to Hjalmar Procopé’s play “Belshazzar’s Feast” on the same program—these works, the incidental music for Maeterlinck’s “Pelléas et Mélisande,” and the revised version of the Violin Concerto being the chief projects that occupied him during the three-year period in which he worked on the symphony). Sibelius dedicated the Symphony No. 3 to the composer-conductor Granville Bantock, one of his first and most effective champions in England.
THE SCORE OF SIBELIUS’S SYMPHONY NO. 3 calls for two each of flutes, oboes, clarinet, and bassoons, four horns, two trumpets, three trombones, timpani, and strings.
Salome and the Symphonia domestica of Richard Strauss, Ravel’s Alborada del gracioso and his Introduction and Allegro, Schoenberg’s Pelleas und Melisande, Scriabin’s Divine Poem, Debussy’s La Mer and first book ofImages for piano, Mahler’s Sixth Sym phony and Kindertotenlieder, the first books ofIberia by Albéniz, Rimsky-Korsakov’s The Invisible City of Kitezh, Rachmaninoff’s Opus 23 Preludes, Elgar’s Introduction and Allegro for Strings, The Kingdom, and the fourth of his Pomp and Circumstance marches, Puccini’s Madama Butterfly—that was new and recent music in 1907. How fascinating the stub- born anti-Romanticism of the new Sibelius symphony must have been to the audi- ences that first heard it in Helsingfors, St. Petersburg, Birmingham, and Lon don. To many it must have been puzzling and annoying. After all, even Sibelius’s own recent music—the Symphony No. 2, first heard in 1902 and now beginning to make a repu- tation for its composer throughout Europe; the Violin Concerto, launched in its final form in Berlin, 1905, with Carl Halir as soloist and Richard Strauss conducting; Pohjola’s
week 18 program notes 31 Program page for the first Boston Symphony performances of Sibelius’s Symphony No. 3 on November 9 and 10, 1928, with Serge Koussevitzky conducting (BSO Archives)
32 Ferruccio Busoni and Jean Sibelius—who first met in 1888 when Busoni was teaching piano at the Helsinki Music Institute while Sibelius was a student, leading to a lifelong friendship—in London, 1921
Daughter, first played in Saint Petersburg in 1906—had been lush in sound and grand in rhetoric.
During the next decade, many composers would hear a voice summoning them to a leaner life. Sibelius heard it sooner. Twenty years later he would heed whatever voice told him to spend what turned out to be the last third of his life not composing at all. In any event, in 1904, at the age of thirty-nine, he began work on a classical symphony. He wrote: Since Beethoven’s time, all so-called symphonies, with the exception of those by Brahms, have been symphonic poems. In some cases the composers have given us a program or have at least suggested what they had in mind; in other cases it is evident that they have been concerned with describing or illustrating something, be it a landscape or a series of pictures. That does not correspond to my symphonic idea. My symphonies are music—conceived and worked out as musical expression, without any literary basis. I am not a literary musician: for me, music begins where words leave off. A symphony should be music first and last.... I am particularly pleased to see it explicitly stressed that my [symphonies] are founded on classical symphonic form, and also that wholly misleading speculations about descriptions of nature and about folklore are being gotten rid of.
Sibelius’s principal target would have been his slightly older contemporary Gustav Mahler. The two composers spent some time together in Helsinki in 1907, and it was in response to Sibelius’s saying that what he valued in “the essence of symphony [was] severity of style and the profound logic that created an inner connection among all the motifs” that Mahler pronounced his oft-quoted creed, “No, a symphony must be like the world. It must embrace everything.”
Sibelius once wrote: “Homer and Horace had a significance in my development I cannot
week 18 program notes 33 value highly enough.” He may have meant the two names to stand together for what he got out of his Greek and Latin studies at the University of Helsinki, but actually his music is often and interestingly nourished by the tension between the Homeric and the Horatian, the epic and the classical sides of his temperament. Nor are those tensions always resolved. His symphonic poems, he maintained, were quite different from his symphonies. Yet, at its Stockholm premiere in 1924, the Seventh Symphony was billed as “Fantasia sinfonica,” and it took Sibelius another year to make up his mind to acknowl- edge the work as a real symphony.
Horace said of himself that it was his special delight “to enclose words in feet.” In that spirit, the Third Symphony is the work in which we meet Sibelius at his most Horatian. It is about the pleasure of making music. Certain pieces by Beethoven are tours de force in composing interestingly, even dramatically, with the most neutral materials imagin- able: the Triple Concerto and the Consecration of the House Overture are two unpopular examples and the Emperor Concerto is a popular one. The Sibelius Third is part of this tradition. Its chief traits are modesty and energy. The orchestration, for 1907, is unas- suming. The basic, very “classical” sonority is that of strings and woodwinds, and one seems to hear more of the soft-edged flutes and clarinets than of the sharper double reeds. The horns and drums are busy, but the trumpets and trombones intervene rarely and economically. The first movement has not a half-dozen measures offortissimo , the second none at all, and the third only two measures before the last minute of peroration.
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34 The boy Sibelius at eleven
The first movement throws a heap of material at you in rapid succession, the subterra- nean march of cellos and basses, the swingingly syncopated contribution of the violins, and the jaunty woodwind tune whose sixteenth-notes will dominate the movement more than any other single element. In his program note on this symphony, Donald Francis Tovey writes that “a very typical feature of Sibelius’s style is the emergence of a long-drawn melody from a sustained note that began no one can say exactly when.” Such a melody soon provides contrast after the propulsive vigor of the first half-dozen pages and it offers, as well, fascinating tension between its expansiveness (it unfolds for fifteen measures before dissolving into scurrying sixteenths) and the rigorous economy that keeps it circulating about just four notes through most of its length. The coda is a surprise, and I shall not describe it except to comment that the final “Amen” cadence—plain forte, not emphatic enough for fortissimo, nor ready for the pathos of piano—is especially characteristic of this symphony.
There is no real slow movement, though the second movement functions as a place of contrast and repose. Its key, G-sharp minor, is fresh, and remote from any of the plac- es the first movement has visited. In character, the music suggests one of those wistful Schumann or Brahms intermezzi that are neither slow nor quick. Sibelius plays enchant- ingly with the metrical ambiguity of his melody. After the two-note upbeat, are the six beats in each measure to be heard as 3x2 (ONE two THREE four FIVE six) or as 2x3 (ONE two three FOUR five six)? As so often with what seem to be either/or questions, the answer is both. Not only can you reverse your own hearing of the melody much as
week 18 program notes 35 you can make the tick-tock of a clock change step, but Sibelius also calls in the basses ever so softly to contradict the flutes and clarinets or the violins in their rhythmic eadr - ing. And those basses, though they hardly ever rise above mezzoforte, want very much to be heard.
Which brings me to another aspect of Sibelius’s classical symphonic style. There is no imagery and no drama for you to lose yourself in except that of the musical events themselves. This is like Haydn: you can’t do anything with it except listen to it, and it is meant for people who really listen. Just before the end of this second movement, and just for a moment, the conflict of two-against-three becomes troubling rather than charm ing, and this ambiguous, discreetly mysterious movement ends on a curiously inconclusive note.
The finale is restless. The tempo changes all the time, sometimes abruptly, sometimes gradually. At certain moments, Sibelius can hardly crowd as many notes as he would like into each measure; at others he will take time to stand still on a single note, or a pair, or a trill, or an intricately figured chord. Fragments whisk by, some so fast we can hardly apprehend them. Bits of the first two movements whir across the landscape. Sha owd becomes substance. Again I quote Tovey: “Then comes the one and all sufficing climax. All threads are gathered up in one tune that pounds its way to the end with the strokes of Thor’s hammer.”
Michael Steinberg michael steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, con- certos, and the great works for chorus and orchestra.
THE AMERICAN PREMIERE OF SIBELIUS’S SYMPHONY NO. 3 took place on January 16, 1908, in New York, with the Russian Symphony Society under the direction of Modest Altschuler.
THE FIRST BOSTON SYMPHONY PERFORMANCES of Sibelius’s Symphony No. 3 were on November 9 and 10, 1928, under Serge Koussevitzky, who also programmed it in Boston the fol- lowing month and later that season in Baltimore and New York, also giving performances here in December 1932 and February 1939. (Prior to Koussevitzky’s performances in 1928, Pierre Monteux had announced BSO performances of the Sibelius Third for April 1921 but then, the week of the concerts, substituted Kallinikov’s Symphony No. 1 in G minor instead.) Since Koussevitzky’s per- formances, the BSO has played it only under Colin Davis (in October, February, and March of the 1972-73 season; then in November 1976, when he and the orchestra also recorded it as part of their Sibelius cycle for Philips) and Robert Spano (subscription concerts in January/February 1999 and again in April 2006).
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FERRUCCIO BUSONI was born in Empoli, near Florence, on April 1, 1866, and died in Berlin on July 27, 1924. He composed his Piano Concerto between 1901 and 1904, and it was first performed on November 10, 1904, with the composer as soloist, in the Beethovensaal, Berlin; Karl Muck conducted the Berlin Philharmonic Orchestra, and the choir (which participates only in the last movement) was the choir of the Kaiser-Wilhelm-Gedächtniskirche, Berlin. Fritz Reiner led the first American performance on March 14, 1930, with the Cincinnati Symphony Orchestra, soloist Karin Dayas, and the Orpheus Club Male Chorus. The present performances are the first by the Boston Symphony Orchestra.
IN ADDITION TO THE SOLO PIANO, the score of Busoni’s concerto calls for two piccolos, three flutes, three oboes and English horn, three clarinets and bass clarinet, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, glockenspiel, triangle, tambourine, snare drum, bass drum, cymbals, tam-tam, strings, and, in the last movement, six-part male chorus.
Busoni’s father was a virtuoso clarinetist and his mother was a pianist, so his early talent as a pianist was well nourished; he also composed from an early age. With no particular reason to stay in Italy, his parents toured to Paris, Trieste, and Vienna, where the ten- year-old Ferruccio gave his first recital. Since his mother was half-German, the boy was bilingual in Italian and German and perhaps destined to spend nearly all his life in Germany, though he never completely lost his Italian identity.
Busoni became one of the great pianists among a generation of formidable pianists, many of whom were pupils of Liszt; some great pianists also came out of Russia at this time. He toured and gave concerts all his life from his base in Berlin, where he lived from 1894 for thirty years until his death, apart from a period spent in Switzerland during World War I. As the years went by he began to see himself as principally a com- poser and less a pianist, rather than the other way round, and his later compositions were ambitious, deeply thoughtful works that have remained to this day a challenge to interpreters and critics.
week 18 program notes 39 BSO performance file card showing Ferruccio Busoni’s appearances as solo pianist with the orchestra between November 1891 and February 1911 (BSO Program Office)
40 His four most important works are the Piano Concerto of 1904; the opera Brautwahl, based on E.T.A. Hoffmann (1910); the Fantasia contrappuntistica for piano (1912), and his opera Doktor Faust, which was unfinished at his death. There are smaller piano and orchestra works that are heard occasionally, and his transcriptions of Bach were taken up by pianists everywhere, but his achievement as a whole has been overshadowed by the profusion of great figures who, like him, were doing their best and most momentous work during the first years of the century. Furthermore, he has never been fully adopted either by Italy or by Germany as a national figure.
Busoni thought deeply about the nature of music and wrote some trenchant essays on aesthetics and modernism. His leading message was to ignore categories such as Classicism, program music, Romanticism, Wagnerism, and just be original! Break out of Routine and go in quest of Infinite Music! Although he admired Bach and Mozart more than Wagner and Brahms, his music has all the weightiness of late Romantic music and might be compared with that of Rachmaninoff, but without Rachmaninoff’s easy tune- fulness. The scale of the Piano Concerto recalls Mahler, but his orchestration is not as transparent. His hero was always Liszt, rivaled in his later years only by Bach. In sum he remained on the sidelines of modern music during his lifetime and has depended on a devoted group of admirers, usually virtuoso pianists, to keep his music before the pub- lic. Stage productions of Doktor Faust are always events of major interest.
He visited America five times, the first time for a period of three years, 1891 to 1894, for the first year of which he was in Boston teaching piano at the New England Conserva- tory. He was not happy then, largely because NEC was taking in so many students that their lessons lasted only fifteen minutes! Later he came to talk about “dear old Boston” as “almost a second Vienna.” Busoni came again on tour in 1904, 1910, 1911, and 1915, during the last year of which Italy entered the war. He took refuge in Switzerland before returning to Berlin in 1918.
The American tour of 1904 interrupted the last phase of his work on the Piano Concer- to, which he completed on August 3, 1904, soon after his return. He had begun to plan
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45 School Street, Old City Hall, Boston, MA 02108 T: 617.557.9800 | www.welchforbes.com Engraving by Heinrich Vogeler on the title page of the score, based on Busoni’s depiction of the concerto “through architecture, landscape, and symbolism,” the first, third, and fifth movements being represented by the three edifices; the second-movement scherzo “as the nature-play of a magic flower and a magic bird”; the fourth-movement tarantella “by Vesuvius and cypresses”; and “the nature-mysticism of Oehlenschläger’s chorus” by “the winged being at the close”
it in 1901, feeling the need for a concerto of his own to play along with all the Classical and Romantic concertos that made up his concert repertoire. It came into his mind at the same time as his interest in a drama, Aladdin and his Wonderful Lamp, by the Danish poet Adam Oehlenschläger (1779-1850). This story of a quest for riches and power has been compared to Goethe’s Faust, which it preceded by three years, being published in 1805. Busoni’s plan was for a spoken drama with music, dance, and magic, “some- thing like the Magic Flute.” Aladdin itself was never composed, but some of its ideas ended up in Doktor Faust, and a setting of some of Oehlenschläger’s words, translated into German by Oehlenschläger himself, was transferred to the Piano Concerto, where their mystical obscurity is intended to give a sense of serenity to the work’s close. Many themes and ideas from Aladdin are certainly found in the Piano Concerto. Busoni also had as a model the men’s chorus, singing lines by Goethe, that closes Liszt’s Faust Symphony.
Of the seven movements originally planned, Busoni telescoped two of the shorter ones into adjoining movements, reducing the number to five. He composed during the sum- mer months since his concerts left him no time in the winter. A drawing that he made to represent the work was later adapted as the title page of the score, illustrating the mystic-symbolical nature of the five movements (see above). A Doric temple with a sunburst behind represents the first movement; half a pyramid with a sphinx stretched out in front of it stands for the wide-ranging middle movement, and a tomb in front of a distant Vesuvius represents the final movement with the chorus. All of this imagery perhaps connects with the invocation to Allah in the final movement.
week 18 program notes 43
Friedrich Carl Groeger
Portrait by Friedrich Carl Gröger of Danish poet Adam Gottlob Oehlenschläger (1779-1850), whose “Aladdin” provided text for the final movement of Busoni’s Piano Concerto
Performances of the concerto have always been rare, since its demands on the fingers, hands, and arms are superhuman. Busoni once called it his “skyscraper” concerto. He only ever played it a handful of times; in fact he preferred to conduct it and leave the solo part to others. He intended to dedicate the concerto to his friend William Dayas, an American pupil of Liszt whom he had known in Leipzig, but Dayas died in 1903 before the concerto was finished. The first American performance was given by yas’sDa daughter, Karin Dayas, in Cincinnati in 1930. The conductor of the Piano Concerto’s first performance, in Berlin in 1904, was the great Wagnerian conductor Karl Muck, who later became conductor of the Boston Symphony Orchestra, serving in that capacity from 1906 to 1908 and from 1912 to 1918, when he resigned amid bitter controversy.
The Prologo introduces the first movement as steady, sober music in a calm 3/4 and with chorale-like melodies that stay close to the first note. The piano eventually enters (Introito) with the plain announcement that the full range of the instrument and of the player’s stamina is going to be required; the elaborate activity of the soloist is main- tained almost to the end of the movement, while the orchestra on the whole maintains its quiet dignity in taking care of the themes. Themes do creep into the piano texture, but usually dressed in elaborate Lisztian decoration.
In the scherzo that follows (Pezzo giocoso) the humor is only one of many facets. It is as if Busoni set out to include every aspect a scherzo has ever displayed: the comic, the serious, the sinister, the spectral, the mocking, the brilliant, the easygoing, the broad, the swift. Among all this the piano maintains a cascade of notes reaching from one end of the keyboard to the other. A strange episode gives a melody to a low clarinet, repeated with a solo viola, and also repeated again with a trumpet. The tambourine has a short, surprising moment in the limelight.
The central slow movement (Pezzo serioso) is the heart of the concerto. This is divid- ed by Busoni into an introduction and three parts, but maintaining a stern character
week 18 program notes 45 throughout, brooding and subdued, often rumbling in the bass. The climax in the Altera Pars, marked by a mighty blow on the tam-tam, is the peak of the whole work.
The fourth movement, All’Italiana, has the orchestra playing at speeds to rival the piano itself, and the bright spirit of Neapolitan tunes makes a welcome contrast with the pre- vious movement. The brilliant C major fanfares at the end are a false announcement of the end, for a link of three quiet chords leads directly into the final movement Cantico( ). This is unexpectedly shorter, devoted mostly to the solemn entry of the men’s chorus with its hymnlike incantation of Oehlenschläger’s text. Nicolas Slominsky, with his char- acteristic use of English, called this movement “gravid with Lisztian fustian.” The piano is in the background but always busy. Some themes are resumed from the first move- ment, and suddenly it’s all over.
Hugh Macdonald
hugh macdonald was for many years Avis Blewett Professor of Music at Washington University in St. Louis. A frequent guest annotator for the BSO, he has written extensively on music from Mozart to Shostakovich and is currently writing a book on the operas of Saint-Saëns.
PREVIOUS BSO PERFORMANCES OF BUSONI’S MUSIC took place occasionally in the late 19th and early 20th centuries under Wilhelm Gericke, Arthur Nikisch, Karl Muck, and Max Fiedler, but in the past half-century were given only by Aaron Copland (Busoni’s “Rondo Arlecchinesco” in April 1965 and at Tanglewood in July 1970), Seiji Ozawa (the “Comedy Overture” in April/May 1982), and Oliver Knussen (“Berceuse élégiaque” in January 1992, that work having also been performed here under Guido Cantelli in February 1953).
46 BUSONI Concerto for Piano and Orchestra with Men’s Chorus Finale
Die Felsensäulen fangen an tief Pillars of rock begin to make deep, und leise zu ertönen soft music Hebt zu der ewigen Kraft eure Herzen; Lift your hearts to the eternal power; Fühlet euch Allah nah’, schaut seine Tat! Feel Allah near, see his deeds! Wechseln im Erdenlicht Freuden und Joys and griefs interchange in the light Schmerzen; of earth; Ruhig hier stehen die Pfeiler der Welt. The pillars of the world stand peacefully here. Tausend und Tausend und abermals A thousand, another thousand, and yet tausende more thousands Jahre so ruhig wie jetzt in der Kraft, Of years, calm in their strength, as now Blitzen gediegen mit Glanz und mit Festigkeit, Flash by, forever bright and firm. Die Unverwüstlichkeit stellen sie dar. Indestructability is what they reveal. Herzen erglüheten, Herzen erkalteten, Hearts began to warm up, then to cool down, Spielend umwechselten Leben und Tod. Life and death are playfully exchanged. Aber in ruhigen Harren sie dehnten sich But quietly awaiting they stretch out, Herrlich, kräftiglich, früh so wie spät. Fine, strong, both early and late. Hebt zu der ewigen Kraft eure Herzen Lift your hearts to the eternal power; Fühlet euch Allah nah’, schaut seine Tat! Feel Allah near, see his deeds! Vollends belebet ist jetzo die tote Welt. Fully alive now is the dead world. Preisend die Göttlichkeit, schweigt das Gedicht! Praising the divinity, the poem falls silent. ADAM GOTTLOB OEHLENSCHLÄGER Trans. HUGH MACDONALD
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• lectures take place in ozawa hall • performance of Beethoven’s Ninth Symphony. 9:30–9:35 am Introduction 9:35–10:35 am LOUIS MASUR, Understanding America Through Three Remarkable Photographs Rutgers University Louis Masur, Distinguished Professor of American Studies and History Rutgers University 10:35–10:45 am Break From its introduction in 1839, photography has transformed the ways in 10:45–11:45 am JEFFREY ROSEN, which we see the world. Photographs capture events and also transform them; George Washington they depict reality but tell a story. Professor Masur will examine the historical University context and content of three powerful images that have shaped American Break society and culture: Joe Rosenthal’s Flag Raising on Mt. Suribachi (1945); 11:45 am–12 pm Stanley Forman’s Pulitzer Prize-winning The Soiling of Old Glory (1976) and 12 pm–1 pm CRAIG WRIGHT, Thomas Franklin’s Raising the Flag at Ground Zero (2001). Yale University The Supreme Court: An Inside View • koussevitzky music shed • Jeffrey Rosen, Professor of Law, George Washington University 2:30 pm President, National Constitution Center Boston Symphony Orchestra Beginning in 1802 with the Landmark case with Marbury v. Madison, the Andris Nelsons, conductor Supreme Court has ruled on groundbreaking cases that have altered the course Katie Van Kooten, soprano of American history. Professor Rosen, one of the top experts on Constitutional Tamara Mumford, mezzo-soprano issues, will take us inside the Supreme Court, exposing little known facts and Russell Thomas, tenor covering the Court’s history, structure, and operation. Professor Rosen will John Relyea, bass-baritone also highlight major cases, where the Court might be headed next, and how IVES “The Housatonic at Stockbridge” from the interactions and personalities of the individual justices have created the Three Places in New England institution that we know today. BEETHOVEN Symphony No. 9
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Robert Layton’s Sibelius in the Master Musicians series is a useful life-and-works study (Schirmer). The major biography of Sibelius, in Finnish, is by Erik Tawaststjerna. All three volumes have been translated into English by Robert Layton, but only the first two were published in this country (University of California; the third volume was published by Faber & Faber in London); Symphony No. 3 is discussed in volume 2. Also useful are Andrew Barnett’s Sibelius, a detailed, single-volume study of the composer’s life and music (Yale University Press), and The Sibelius Companion, edited by Glenda Dawn Ross, a compendium of essays by a variety of Sibelius specialists (Greenwood Press). Lionel Pike’s collection of essays, Beethoven, Sibelius, and “the Profound Logic,” is recommended to readers with a strong technical knowledge of music (Athlone Press, London). Michael Steinberg’s program notes on all seven Sibelius symphonies are in his compilation vol- ume The Symphony–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s note on the Symphony No. 3 is among his Essays in Musical Analysis (Oxford). Philip Coad discusses the composer’s symphonies in his chapter “Sibelius” in A Guide to the Symphony, edited by Robert Layton (Oxford).
Colin Davis recorded Sibelius’s Symphony No. 3 with the Boston Symphony Orchestra in 1976 as part of his complete Sibelius symphony cycle with the orchestra (Philips). Sakari Oramo has recorded the complete Sibelius symphonies with the City of Birming-
week 18 read and hear more 49 ©2016 Bose Corporation. CC018258 P We invite you to experience what our passion brings to t to brings passion our what experience to you invite We what inspires all we do at Bose. Bose. at do we all inspires what To learn more or to order: to or Tomore learn ht rae mc o wa w lv aot ui. n it’s And music. about love we what of much creates that Each musician reads from the same score, but each brings brings each but score, same the from reads musician Each including how you can hear Bose hear can youhow including performance of our products. Visit our website to learn mor learn to website our Visit products. our of performance his or her own artistry to the performance. It’s their passion passion their It’s performance. the to artistry own her or his assion Bose.com It’s at the heart heart the at hearttheat It’s
performanc ® sound for yourself. of their their of And our And s. e— he he e . ham Symphony Orchestra (Erato). Other recordings of the Sibelius Third (listed alpha- betically by conductor) include Paavo Berglund’s with the Bournemouth Symphony Orchestra (Warner Classics), John Storgårds’s with the BBC Philharmonic (Chandos), and Osmo Vänskä’s with the Minnesota Orchestra (Bis) and the Lahti Symphony Orchestra (also Bis). The historic 1932 recording led by Sibelius’s contemporary and champion Robert Kajanus with the London Symphony Orchestra is included in the seven- disc set “Jean Sibelius: Historical Recordings and Rarities, 1928-1948,” which also includes (among other things) orchestral works led by Sir Thomas Beecham, Sir Adrian Boult, Serge Koussevitzky, and the composer himself (Warner Classics).
Antony Beaumont’s Busoni–The Composer is the important English-language biography (Indiana University Press, 1985); Beaumont is also the author of the Busoni entry in the 2001 New Grove Dictionary of Music and Musicians. The entry in the previous edition of Grove (1980) was by Helmut Wirth. A much older (from 1933) but still useful biography is Ferruccio Busoni by the English musicologist Edward J. Dent (reprinted by Eulenberg Books/Oxford University Press). A new addition to the Busoni bibliography is due this July: Ferruccio Busoni and his Legacy by Erinn E. Knyt (Indiana Univeresity Press). Recol- lections by Gerda Busoni, the composer’s wife, have appeared in German; Busoni’s let- ters to his wife have appeared in both German and English. The composer’s theoretical treatise Sketch of a New Aesthetic of Music was included along with writings by Charles Ives and Claude Debussy in Three Classics in the Aesthetics of Music (Dover paperback); other selections from Busoni’s writings on music were included in The Essence of Music and Other Essays (also Dover paperback). Sketch of a New Aesthetic of Music has also appeared more recently in a paperback edition of its own (Forgotten Books). Two arti- cles well worth seeking are readily available online: Alex Ross’s “The Monster Concerto,” on Busoni’s Piano Concerto (written originally for The New Yorker in 2012), and Jeremy Eichler’s “The Man Who Knew Too Much–The Great, Unknown Ferruccio Busoni” (written originally for The New Republic in 2001).
Noteworthy recordings of Busoni’s Piano Concerto (listed alphabetically by soloist) are pianist Peter Donohoe’s live from the 1988 London Proms with Mark Elder conducting the BBC Symphony Orchestra and BBC Singers (EMI); Marc-André Hamelin’s from 1999 with Mark Elder conducting the City of Birmingham Symphony Orchestra and the men of the CBSO Chorus (Hyperion); John Ogdon’s from 1967 with Daniell Ravenaugh conducting the Royal Philharmonic Orchestra and the men of the John Alldis Choir (orig- inally EMI, now Warner Classics); and Garrick Ohlsson’s from 1989 with Christoph von Dohnányi conducting the Cleveland Orchestra and Men’s Chorus (Telarc).
Marc Mandel
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goulstonstorrs.com Guest Artists
Sakari Oramo
Winner of the 2015 Royal Philharmonic Society Conductor of the Year award, Sakari Oramo is chief conductor of both the BBC Symphony Orchestra and the Royal Stockholm Philhar- monic, and principal conductor of the West Coast Kokkola Opera and Ostrobothnian Chamber Orchestra. Between 1998 and 2008 he was music director of the City of Birmingham Symphony Orchestra, and after a decade as chief conductor of the Finnish Radio Symphony Orchestra, he has now served as its Honorary Conductor since 2012. Highlights of his 2016-17 season include numerous concerts with the BBC Symphony Orchestra, with which he champions the promotion of new and rarely performed works, this season conducting the world premiere of Michael Zev Gordon’s Violin Concerto and the UK premiere of Detlev Glanert’s Megaris, as well as Schmitt’s Antony and Cleopatra joined by actors from Shakespeare’s Globe, and an immersion day devoted to the life and work of French-American composer Edgar Varèse. Further highlights include touring the Baltics with the Royal Stockholm Philharmonic and Janine Jansen, and concerts with the Boston Symphony Orchestra, Vienna Philharmonic, and Czech Philharmonic Orchestra. Highlights of previous seasons have included performances with the New York Philhar- monic, a European tour with the Royal Stockholm Philharmonic and Lisa Batiashvili, and a Sibelius cycle with the Chamber Orchestra of Europe at the Turku Festival, as well as concerts with the Finnish Radio Symphony Orchestra, NDR Elbphilharmonie Orchester, the Accademia Nazionale di Santa Cecilia, Vienna Philharmonic, and Deutsches Sym- phonie-Orchester Berlin. During the summer of 2016 he also conducted several Proms performances with the BBC Symphony Orchestra, including the First and Last Nights at
week 18 guest artists 53 54 the Royal Albert Hall, having previously conducted the Last Night in 2014. An accom- plished violinist, Mr. Oramo was originally concertmaster of the Finnish Radio Symphony Orchestra. In 2014 he made his debut in the BBC Proms Chamber Music series, perform- ing Prokofiev’s Sonata for Two Violins with Janine Jansen. Recent recording successes include BBC Music Magazine’s Orchestra Award for his recording of Nielsen’s symphonies 1 and 3 with the Royal Stockholm Philharmonic, which completes their highly acclaimed Nielsen cycle. Other highlights include Grieg’s Piano Concerto with the BBC Symphony Orchestra and Javier Perianes and Nørgård’s symphonies 1 and 8 with the Vienna Phil- harmonic. Sakari Oramo’s only previous appearances with the Boston Symphony Orchestra were in February 2011, when he led a subscription program of Mussorgsky, Beethoven, and Prokofiev for his BSO debut.
Kirill Gerstein
Since receiving the 2010 Gilmore Artist Award, Kirill Gerstein has commissioned works by Timo Andres, Chick Corea, Alexander Goehr, Oliver Knussen, and Brad Mehldau, with additional commissions scheduled for future seasons. Highlighting his current season is the New York premiere of a new Urtext edition of Tchaikovsky’s Piano Concerto No. 1 (in the composer’s own 1879 version of the score) with the New York Philharmonic under Semyon Bychkov; he also performs this version of the piece with the Atlanta Symphony, Detroit Symphony, Grant Park Orchestra (the U.S. premiere), and Naples Philharmonic. Mr. Gerstein’s ECHO Klassik Award-winning world premiere recording of this version of the work, paired with Prokofiev’s Piano Concerto No. 2, with the Deutsches Symphonie- Orchester Berlin and James Gaffigan, was released by Myrios Classics in 2015. Inter- nationally he has performed this version of the score with the BBC Scottish Symphony Orchestra at the BBC Proms in London, as well as with the St. Petersburg Philharmonic and the Gewandhaus Orchestra. Also this season, Mr. Gerstein performs Busoni’s epic Piano Concerto with the Boston Symphony Orchestra led by Sakari Oramo; Gershwin’s Rhapsody in Blue in the original jazz band version and Schoenberg’s Piano Concerto with the Cleveland Orchestra led by James Gaffigan; and both Gershwin’s Piano Concerto in
week 18 guest artists 55
F and Rhapsody in Blue with the St. Louis Symphony conducted by David Robertson, to be recorded for future release. He also returns to the New Jersey, San Diego, and Vancou- ver symphonies, performs recitals in Washington, D.C., Chicago, and Seattle, and joins the Hagen Quartet for chamber music concerts in New York and at Duke University. In Europe, Mr. Gerstein performs Tchaikovsky’s piano concertos 2 and 3 as part of Semyon Bychkov’s Tchaikovsky festival with the BBC Symphony Orchestra, and appears with the Brno Philharmonic, Deutsches Symphonie-Orchester Berlin, Göttinger Symphonie Orchester, Hamburg Symphony, Helsinki Philharmonic, and Lucerne Symphony Orchestra. Recent engagements have included performances with the orchestras of Los Angeles, New York, Philadelphia, Minnesota, Atlanta, Baltimore, Boston, Chicago, Cincinnati, Dallas, Detroit, Houston, Indianapolis, Montreal, St. Louis, San Francisco, and Toronto. Born in 1979 in Voronezh, in southwestern Russia, Kirill Gerstein attended a special music school for gifted children and taught himself to play jazz by listening to his parents’ extensive record collection. At fourteen he studied jazz piano as the youngest student ever to attend Boston’s Berklee College of Music. Subsequently deciding to focus on classical music, he moved to New York to attend the Manhattan School of Music, then continued his studies in Madrid. An American citizen since 2003, Mr. Gerstein now divides his time between the United States and Germany. Kirill Gerstein has appeared with the BSO on four previous occasions: as soloist in Tchaikovsky’s Piano Concerto No. 1 at Tanglewood for his BSO debut in July 2010; in both Thomas Adès’s In Seven Days and Prokofiev’s Piano Concerto No. 1 for his November 2012 subscription series debut with Adès on the podium; at Tanglewood in August 2014 in Rachmaninoff’s Rhapsody on a Theme of Paganini; and on Opening Night of the 2015 Tanglewood season in Gershwin’s Piano Concerto in F. In the 2018-19 season he will return to Symphony Hall for the world premiere of a BSO-commissioned piano concerto by BSO Artistic Partner Thomas Adès.
week 18 guest artists 57
Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate Lidiya Yankovskaya, Guest Chorus Conductor
This season at Symphony Hall, the Tanglewood Festival Chorus joins the Boston Symphony Orchestra for performances of Richard Strauss’s Der Rosenkavalier, Brahms’s Ein deutsches Requiem, Bach’s B minor Mass, and Mozart’s Requiem under BSO Music Director Andris Nel- sons, Holst’s The Planets under Charles Dutoit, Busoni’s Piano Concerto under Sakari Oramo, and Debussy’s Nocturnes under BSO Conductor Emeritus Bernard Haitink. Originally formed under the joint sponsorship of Boston University and the Boston Symphony Orchestra, the all-volunteer Tanglewood Festival Chorus was established in 1970 by its founding conductor John Oliver, who stepped down from his leadership position with the TFC at the end of the 2014 Tanglewood season. Awarded the Tanglewood Medal by the BSO to honor his forty-five years of service to the ensemble, Mr. Oliver now holds the lifetime title of Founder and Conductor Laureate and occupies the Donald and Laurie Peck Master Teacher Chair at the Tanglewood Music Center. In February 2017, the British-born James Burton was named the new Conductor of the Tanglewood Festival Chorus, also being appointed to the new position of BSO Choral Director.
Though first established for performances at the BSO’s summer home, the Tanglewood Festival Chorus was soon playing a major role in the BSO’s subscription season as well as BSO concerts at Carnegie Hall. Now numbering more than 300 members, the ensemble performs year-round with the Boston Symphony and Boston Pops. It has performed with Seiji Ozawa and the BSO in Hong Kong and Japan, and with the BSO in Europe under James Levine and Bernard Haitink, also giving a cappella concerts of its own on the two latter occa- sions. The TFC made its debut in April 1970, in a BSO performance of Beethoven’s Ninth Symphony with Leonard Bernstein conducting. Its first recording with the orchestra, Berlioz’s La Damnation of Faust with Seiji Ozawa, received a Grammy nomination for Best Choral Performance of 1975. The TFC has since made dozens of recordings with the BSO and Boston Pops, with James Levine, Seiji Ozawa, Bernard Haitink, Sir Colin Davis, Leonard Bernstein, Keith Lockhart, and John Williams. In August 2011, with John Oliver conducting and soloist
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60 Stephanie Blythe, the TFC gave the world premiere of Alan Smith’s An Unknown Sphere for mezzo-soprano and chorus, commissioned by the BSO for the ensemble’s 40th anniversary. Its most recent recordings on BSO Classics, all drawn from live performances, include a disc of a cappella music led by John Oliver and released to mark the TFC’s 40th anniversary; and, with James Levine conducting, Ravel’s complete Daphnis and Chloé (a Grammy-winner for Best Orchestral Performance of 2009), Brahms’s German Requiem, and William Bolcom’s Eighth Symphony for chorus and orchestra (a BSO 125th Anniversary Commission). Besides their work with the Boston Symphony, members of the Tanglewood Festival Chorus have performed Beethoven’s Ninth Symphony with Zubin Mehta and the Israel Philharmonic; participated in a Saito Kinen Festival production of Britten’s Peter Grimes under Seiji Ozawa in Japan, and sang Verdi’s Requiem with Charles Dutoit to help close a month-long Inter- national Choral Festival given in and around Toronto. The ensemble had the honor of sing- ing at Sen. Edward Kennedy’s funeral; has performed with the Boston Pops for the Boston Red Sox and Boston Celtics; and can also be heard on the soundtracks of Clint Eastwood’s Mystic River, John Sayles’s Silver City, and Steven Spielberg’s Saving Private Ryan. TFC mem- bers regularly commute from the greater Boston area, western Massachusetts, Connecticut, Rhode Island, New Hampshire, Vermont, and Maine, and TFC alumni frequently return each summer from as far away as Florida and California to sing with the chorus at Tanglewood. Throughout its history, the TFC has established itself as a favorite of conductors, soloists, critics, and audiences alike.
Lidiya Yankovskaya
Russian-born conductor Lidiya Yankovskaya’s engagements this season include Beth Mor- rison Projects, American Lyric Theater, New Opera NYC, MetroWest Opera, Marin Alsop’s Cabrillo Festival, the Center for Contemporary Opera in NYC, and the Flagstaff Symphony Orchestra. She also participates in Dallas Opera’s Inaugural Institute for Women Con- ductors and Marin Alsop’s Taki Concordia Fellowship. Ms. Yankovskaya serves as artistic director of Juventas New Music Ensemble and as a conductor with the Boston Youth Symphony Orchestras. She was previously music director/conductor of Commonwealth
week 18 guest artists 61 Lyric Theater, music director of Harvard’s Lowell House Opera, and assistant conductor and chorus master with Opera Boston, Odyssey Opera, and Gotham Chamber Opera. As a Conducting Fellow under Lorin Maazel at his Castleton Festival, she assisted Mr. Maazel and regularly filled in for him in rehearsal and performance. Lidiya Yankovskaya’s choral, symphonic, and operatic work has garnered critical acclaim and numerous awards. Recent projects include San Francisco productions of Boris Godunov and Iolanta with New Opera NYC; performances with National Sawdust’s Composer in Residence program; Tchaikovsky’s Queen of Spades and Britten’s A Midsummer Night’s Dream (first place, The American Prize) with Lowell House Opera; Juventas New Music’s NEA-funded puppetry collaboration entitled Music in Motion; the world premiere performances and recording of the ballet HackPolitik; Rachmaninoff’s Aleko with Commonwealth Lyric Theater (winner of the National Opera Association Award for Best Production in the Professional Category), Rimsky-Korsakov’s Snegurochka (the first fully staged, Russian-language production of
2016-17
Our upcoming MARCH concerts Salem Czech Masters Friday Evenings at 8:00 Salem 3/10 8:00 Brookline 3/12 3:00 In Historic Hamilton Hall Janácˇek Pohádka — “A Tale” Mar 10 | Apr 21
Piano Quartet No. 1 in D, Brookline Dvorˇák Opus 23 Sunday Afternoons at 3:00 ° In Beautiful Piano Quintet Martinu St. Paul’s Church Mar 12 | Apr 23 Saul Bitran, Jae Cosmos Lee – violins, Lila Brown – viola, Jonathan Miller – cello, Marc Ryser – piano You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org
62 the opera in the U.S. and the work’s New England premiere); and the world premiere of Isaac Schankler’s Light and Power with Juventas (winner of the National Opera Association Award and The American Prize for best professional production). Ms. Yankovskaya holds degrees from Vassar College and Boston University. Visit LidiyaYankovskaya.com for more information. This past fall, Ms. Yankovskaya prepared the Tanglewood Festival Chorus for October’s performances under Andris Nelsons of Brahms’s Ein deutsches Requiem. She has also prepared the chorus for this month’s BSO performances of Busoni’s Piano Concerto and Debussy’s Nocturnes.
Men of the Tanglewood Festival Chorus James Burton, BSO Choral Director and Conductor of the Tanglewood Festival Chorus John Oliver, Founder and Conductor Laureate Lidiya Yankovskaya, Guest Chorus Conductor In the following list, § denotes membership of 40 years or more, * denotes membership of 35-39 years, and # denotes membership of 25-34 years. tenors
John C. Barr # • Stephen Chrzan • John Cunningham • Tom Dinger • Ron Efromson • Carey D. Erdman • Keith Erskine • Len Giambrone • James E. Gleason • Leon Grande • J. Stephen Groff* • John W. Hickman # • Timothy O. Jarrett • Thomas Kenney • Carl Kraenzel • Michael Levin • Lance Levine • Justin Lundberg • Henry Lussier § • Ronald J. Martin • Mark Mulligan • Kevin Parker • Dwight E. Porter* • Peter Pulsifer • Tom Regan • David Roth • Arend Sluis • Peter L. Smith • Don P. Sturdy # • Martin S. Thomson • Stephen J. Twiraga • Adam Van der Sluis • Hyun Yong Woo basses Nicholas Altenbernd • Scott Barton • Daniel E. Brooks* • Eric Chan • Matthew Collins • Arthur M. Dunlap • Jeff Foley • Jim Gordon • Jay S. Gregory # • Mark L. Haberman* • Jeramie D. Hammond • Marc J. Kaufman • David M. Kilroy • Paul A. Knaplund • Bruce Kozuma # • Timothy Lanagan # • Daniel Lichtenfeld • David K. Lones* • Christopher T. Loschen • Martin F. Mahoney II • Greg Mancusi-Ungaro • Richard Oedel • Stephen H. Owades § • Michael Prichard # • Bradley Putnam • Steven Rogers • Peter Rothstein § • Jonathan Saxton • Charles F. Schmidt • Stephen Tinkham • Bradley Turner # • Thomas C. Wang # • Peter J. Wender § • Lawson L.S. Wong • Carl T. Wrubel • Channing Yu
Karen Harvey, Rehearsal Pianist Jennifer Dilzell, Chorus Manager
week 18 guest artists 63
Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”
Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. The Great Benefactors
In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Bart Reidy, Director of Development, at 617-638-9469 or [email protected].
ten million and above Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous
seven and one half million Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation
five million Alli and Bill Achtmeyer • Bank of America • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber
two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ •
Fairmont Copley Plaza • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)
66 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane •
Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ •
Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ •
Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan ‡ Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (11)
‡ Deceased
week 18 the great benefactors 67 NEWS. INTERVIEWS. BLOGS. PODCASTS.
A perspective you can’t get anywhere else. YOUR WORLD. IN A NEW LIGHT. The Maestro Circle Annual gifts to the Boston Symphony Orchestra provide essential funding to the support of ongoing operations and to sustain our mission of extraordinary music-making. The BSO is grateful for the philanthropic leadership of our Maestro Circle members whose current contributions to the Orchestra’s Symphony, Pops and Tanglewood annual funds, gala events, and special projects have totaled $100,000 or more during the 2016-17 season. ‡ This symbol denotes a deceased donor.
Alli and Bill Achtmeyer • Roberta and George ‡ Berry • Catherine and Paul Buttenwieser • Cynthia and Oliver Curme • Michael L. Gordon • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • Barbara and Amos Hostetter • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Ted and Debbie Kelly • Joyce Linde • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Mrs. Irene Pollin • John S. and Cynthia Reed • Carol and Joe Reich • Sue Rothenberg • Wendy Shattuck and Samuel Plimpton • Caroline and James Taylor • Stephen and Dorothy Weber • Anonymous
LOCAL EXPERTS, GLOBAL REACH Our Post-War & Contemporary Art specialist will be visiting the Boston area in early March to provide complimentary auction estimates with a view to selling in our May 16th auction in New York.
For inquiries or to schedule an appointment, please contact: Amy Corcoran Director, New England 121 Mt. Vernon Street Boston, MA 02108 +1 (617) 742 0909 [email protected]
HELEN FRANKENTHALER (1928-2011) Summer Angel, 1984 acrylic on canvas 91 1/8 x 114 1/2 in. $700,000 - 900,000 © 2017 Helen Frankenthaler Foundation, Inc. / Artists Rights Society (ARS), New York
International Auctioneers and Appraisers – bonhams.com/boston
© 2017 Bonhams & Butterfields Auctioneers Corp. All rights reserved. Principal Auctioneer: Patrick Meade. NYC License No. 1183066-DCA
week 18 the maestro circle 69
Redefining Retirement
Carleton-Willard Village is a place to truly call home. The grounds connect our residents to a rich sense of heritage, while social activities foster a deep sense of connection. Interested in connecting with our community while staying in your own home? Carleton- Willard At Home offers a membership with many of the benefits of Village life. Contact us today to learn more.
781.275.8700 www.cwvillage.org
71 All in the Family Fox Hill Village opened in1990 and is experiencing Memory Care the excitement of hosting the next generation! White Oak Cottages at Fox Hill Village offers 25 years ago Mom and Dad moved a unique alternative for those who can to Fox Hill Village. The friendly no longer live at home due to memory residents and vibrant lifestyle have impairment. With our specially designed cottages, philosophy of care, and unique made their home special for many staffing model, we provide the very years. When I was planning to move, best living options for our residents with Dad asked, “‘Why don’t you come dementia and Alzheimer’s disease. We here?’ There’s so much to do and the food is incredible. I know you’d fit are a proud partner of The Green House® right in. You’d love living here. We’re close to Boston in a beautiful setting Project, a national movement to transform long-term care. with everything right at your fingertips.” To learn more, call 781-320-1999 You were so right, as usual, Dad. or visit WhiteOakCottages.com —Marie Puffer WHITE OAK Call us to schedule your private tour 781-329-4433. COTTAGES AT FOX HILL VILLAGE Visit us at FoxHillVillage.com 10 Longwood Drive, Westwood, MA 02090
Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Administration
Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood 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 Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Thomas D. May, Chief Financial Officer Kim Noltemy, Chief Operating and Communications Officer Bart Reidy, Director of Development Ray F. Wellbaum, Advisor to the Managing Director administrative staff/artistic
Bridget P. Carr, Director of Archives and Digital Collections • Sarah Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Orchestra Management Assistant • Jennifer Dilzell, Chorus Manager • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops
Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office
Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Finance and Marketing Administrator • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Kwan Pak, Payroll Specialist • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant
week 18 administration 73 2016-2017 Season | Subscription Series: Classics II
Francisco Noya, TUBIN & Music Director TCHAIKOVSKY
Saturday Sunday March 25 March 26 Vignieri 8:00pm 3:00pm An American Hymn First Baptist Church Tubin in Newton Center Double Bass Concerto Adult tickets from $37 Edwin Barker, double bass Senior tickets from $34 Student tickets $10 Tchaikovsky Symphony No. 6 newphil.org 617-527-9717
New Philharmonia Orchestra is a member of the Newton Cultural Alliance. www.newtonculture.org
74 development
Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Allison Kunze, Major Gifts Coordinator • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • 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
week 18 administration 75 on the campus of Lasell College, Newton, MA www.Lasellvillage.org 617-663-7053 Where the REAL FACEBOOK can be found
REAL FACES REAL BOOKS REAL FRIENDS
You will like us A retirement community that offers an engaging academic lifestyle combined with a full continuum of care.
Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!
necmusic.edu/orchestras
76 information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist public relations
Samuel Brewer, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing
Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Dan Kaplan, Director of Boston Pops Business Development • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Senior Graphic Designer • Ellery Weiss, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Neal Goldman, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center
Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling
week 18 administration 77 EXPERIENCE THE 2016–2017 SEASON
BACH MAGNIFICAT BACH CHRISTMAS McGEGAN Sept 23 + 25, 2016 Dec 15 + 18, 2016 AND MOZART Symphony Hall NEC’s Jordan Hall Mar 3 + 5, 2017 Symphony Hall BEETHOVEN EROICA MOZART Oct 28 + 30, 2016 AND HAYDN MONTEVERDI Symphony Hall Jan 27 + 29, 2017 VESPERS Symphony Hall Apr 7, 2017 HANDEL MESSIAH NEC’s Jordan Hall Nov 25-27, 2016 GLORIES OF THE Apr 9, 2017 Symphony Hall ITALIAN BAROQUE Sanders Theatre Feb 10 + 12, 2017 NEC’s Jordan Hall HANDEL SEMELE May 5 + 7, 2017 Symphony Hall
HANDELANDHAYDN.ORG 617.266.3605
under 40? bso tickets $20! $20 tickets are available for most BSO concerts for patrons under 40 years of age. Proof of age required. Tickets are available on a first-come, first-served basis on both the orchestra and balcony levels.
Follow us on Twitter, Facebook, Instagram, and YouTube, or download the new BSO app. #BSO1617 bso.org • 617-266-1200
78 Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Mary Gregorio • Trish Lavoie • George Mellman Co-Chairs, Tanglewood Bob Braun • David Galpern • Gabriel Kosakoff Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2016-17
Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support,Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, Steve Butera • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza
Great kids. Great music. Listen to the future.
Tune in to NPR’s From the Top with Host Christopher O’Riley at www.fromthetop.org/podcast
week 18 administration 79 Next Program…
Thursday, March 16, 8pm Friday, March 17, 8pm Saturday, March 18, 8pm Tuesday, March 21, 8pm
bernard haitink conducting
haydn symphony no. 60 in c, “il distratto” Adagio—Allegro di molto Andante Menuetto; Trio Presto Adagio (di Lamentatione) Finale. Prestissimo
debussy “nocturnes” Nuages. Modéré Fêtes. Animé et très rythmé Sirènes. Modérément animé women of the tanglewood festival chorus, lidiya yankovskaya, guest chorus conductor
{intermission}
beethoven symphony no. 7 in a, opus 92 Poco sostenuto—Vivace Allegretto Presto Allegro con brio
BSO Conductor Emeritus Bernard Haitink leads the first BSO performances in thirty years of Joseph Haydn’s 1774 Symphony No. 60, Il distratto (“The Scatterbrain”), which was fashioned in six movements from music Haydn wrote for a play by that name. The women of the Tanglewood Festival Chorus are a provocative, wordless presence in the “Sirens” movement of Debussy’s three-movement orchestral suite Nocturnes. Beethoven’s Symphony No. 7, premiered at the end of 1813, has been an audience favorite ever since. Wagner called it “the apotheosis of the dance”; its entrancing second-movement Allegretto, one of the most familiar movements in Beethoven’s symphonies, was encored in its first performances.
80 Coming Concerts… friday previews and rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.
Thursday ‘A’ March 16, 8-10 Wednesday March 29, 8-10:10 Friday Evening March 17, 8-10 (replacing the Thursday 'B' concert of February 9 Saturday ‘A’ March 18, 8-10 postponed due to snow) Tuesday ‘C’ March 21, 8-10 Thursday ‘A’ March 30, 8-10:10 Friday Evening March 31, 8-9:20 BERNARD HAITINK, conductor (Casual Friday, with introductory comments WOMEN OF THE TANGLEWOOD FESTIVAL by a BSO member and no intermission) CHORUS, LIDIYA YANKOVSKAYA, guest chorus conductor Saturday ‘A’ April 1, 8-10:10 ALAIN ALTINOGLU, conductor HAYDN Symphony No. 60, Il distratto RENAUD CAPUÇON, violin DEBUSSY Nocturnes BEETHOVEN Symphony No. 7 BERLIOZ Roman Carnival Overture LALO Symphonie espagnole for violin and orchestra Thursday, March 23, 10:30am (Open Rehearsal) DUTILLEUX Symphony No. 2, Le Double Thursday ‘C’ March 23, 8-9:55 (March 29, 30 & April 1 only) Friday ‘B’ March 24, 1:30-3:25 ROUSSEL Bacchus et Ariane, Suite No. 2 Saturday ‘B’ March 25, 8-9:55 FRANÇOIS-XAVIER ROTH, conductor Sunday, April 2, 3pm ALISA WEILERSTEIN, cello Jordan Hall, New England Conservatory BERLIOZ Le Corsaire Overture BOSTON SYMPHONY CHAMBER PLAYERS PINTSCHER un despertar, for cello and with ELIZABETH FISCHBORN, soprano orchestra (world premiere; and DAVID DEVEAU, piano BSO co-commission) BEETHOVEN Symphony No. 6, Pastoral JOLIVET Pastorales de Noël, for flute, bassoon, and harp LERDAHL Fire and Ice, for soprano and double bass PROKOFIEV Quintet for oboe, clarinet, violin, viola, and double bass, Op. 39 CROZIER Masque, for oboe and string trio BRAHMS Piano Quartet No. 1 in G minor, Op. 25
The BSO’s 2016-17 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.
Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200; or at the Symphony Hall box office, Monday through Friday from 10 a.m. to 6 p.m. (Saturdays from 4-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.
week 18 coming concerts 81 Symphony Hall Exit Plan
82 Symphony Hall Information
For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons.
Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Office at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).
week 18 symphony hall information 83 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balco- ny, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.
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