2013–2014 Season | Week 5

bernard haitink conductor emeritus seiji ozawa music director laureate

andris nelsons music director designate

season sponsors

Table of Contents | Week 5

7 bso news 15 on display in symphony hall 16 the boston symphony orchestra 19 a brief history of symphony hall 23 andris nelsons becomes bso music director designate 27 this week’s program

Notes on the Program

28 The Program in Brief… 29 Richard Wagner 37 Wolfgang Amadè Mozart 43 Johannes Brahms 55 To Read and Hear More…

Artists

63 Andris Nelsons 64 Paul Lewis

66 sponsors and donors 80 future programs 82 symphony hall exit plan 84 symphony hall information

the friday preview talk on october 18 is given by bso assistant director of program publications robert kirzinger.

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 designate bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 133rd season, 2013–2014

trustees of the boston symphony orchestra, inc.

Edmund Kelly, Chair

William F. Achtmeyer • David Altshuler • George D. Behrakis • Jan Brett • Paul Buttenwieser • Ronald G. Casty • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Diddy Cullinane • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Michael Gordon • Brent L. Henry • Charles W. Jack, ex-officio • Stephen B. Kay • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Robert P. O’Block • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Roger T. Servison • Wendy Shattuck • Theresa M. Stone • Caroline Taylor • Stephen R. Weber • Roberta S. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Nancy J. Fitzpatrick • Thelma E. Goldberg • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller† • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • Thomas G. Stemberg • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Stephen R. Weiner • Dr. Nicholas T. Zervas board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair

Noubar Afeyan • Peter C. Andersen • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Karen Bressler • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • Ronald A. Crutcher • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • Joseph F. Fallon • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Alexandra J. Fuchs • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. • Peter E. Lacaillade • Charles Larkin • Joshua A. Lutzker • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Donald R. Peck • Steven R. Perles •

week 5 trustees and overseers 3

photos by Michael J. Lutch

Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Kurt W. Saraceno • Diana Scott • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

Helaine B. Allen • Marjorie Arons-Barron • Caroline Dwight Bain • Sandra Bakalar • George W. Berry • William T. Burgin • Mrs. Levin H. Campbell • Earle M. Chiles • Carol Feinberg Cohen • Mrs. James C. Collias • Ranny Cooper • Joan P. Curhan • Phyllis Curtin • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnneWalton Dickinson • Phyllis Dohanian • Harriett Eckstein • George Elvin • John P. Eustis II • Pamela D. Everhart • Judy Moss Feingold • Richard Fennell • 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 • Marilyn Brachman Hoffman† • Roger Hunt • Lola Jaffe • Martin S. Kaplan • Mrs. S. Charles Kasdon† • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Farla H. Krentzman • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Edwin N. London • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Albert Merck • Dr. Martin C. Mihm, Jr. • John A. Perkins • May H. Pierce • Dr. Tina Young Poussaint • Daphne Brooks Prout • Robert E. Remis • John Ex Rodgers • Alan W. Rottenberg • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Samuel Thorne • Diana Osgood Tottenham • Paul M. Verrochi • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

† Deceased

week 5 trustees and overseers 5

BSO News

BSO “Insights,” October 23-November 8: “Britten’s ‘War Requiem’: Music and Pacifism” The first of the BSO’s two “Insights” series this season—“Britten’s War Requiem: Music and Pacifism,” October 23-November 8, in connection with the BSO’s upcoming performances of the War Requiem on November 7, 8, and 9—offers a variety of lectures and additional concerts presented by the BSO in collaboration with the New England Conservatory and the John F. Kennedy Library and Museum. Events include an October 23 discussion by BSO Director of Program Publications Marc Mandel (as part of BSO 101) on Britten’s approach in the War Requiem to setting the Latin Requiem text and poetry of Wilfred Owen; a November 3 concert at the Kennedy Library and Museum by the Hawthorne String Quartet and BSO clarinetist Thomas Martin, celebrating the Britten centennial and music of the Kennedy era, to be repeated at Northeastern University’s Fenway Center on November 8; a November 4 lecture by Harlow Robinson on the Cold War context in which Britten wrote the War Requiem and the artistic rebuilding of Europe after World War II; a Novem- ber 6 discussion with BSO Artistic Administrator Anthony Fogg, tenor John Mark Ainsley, Tanglewood Festival Chorus conductor John Oliver, and Britten scholar Michael Foster (author of a new book on the War Requiem) about approaches to performing Britten’s great work, including filmed excerpts from past performances led by Britten himself, Erich Leinsdorf (the 1963 American premiere with the BSO at Tanglewood), and Andris Nelsons; pre-concert talks by Michael Foster before the BSO’s three War Requiem performances; and concerts including music of Britten on October 28, November 4, and November 8 at the New England Conservatory. For full details, please visit bso.org.

“Do You Hear What I Hear?”: A Series of New, Composer-Curated Prelude Concerts This season, in conjunction with its performances of newly commissioned works from Mark-Anthony Turnage, Marc Neikrug, and Bernard Rands, the BSO has teamed up with the New England Conservatory in creating Prelude Chamber Concerts curated by the composers themselves, to offer an intimate and revealing window into how these composers listen to music, and how what they hear informs their own compositional process. The concerts are prepared and presented by student artists at NEC, with each composer offering commentary on the chosen works in conversation with BSO Assistant Artistic Adminis- trator Benjamin Schwartz. These free, hour-long concerts, all at 6 p.m., take place in Williams Hall at the New England Conservatory prior to the initial BSO performances of the composers’ new symphonic works. The first of these concerts, featuring works by Mark-Anthony Turnage (whose BSO commission Speranza receives its American premiere next week) and Oliver Knussen, is scheduled for next Thursday, October 24. Further information on this

week 5 bso news 7 concert is available at necmusic.edu/bso-prelude-turnage. The upcoming Preludes curated by Marc Neikrug and Bernard Rands are scheduled for November 21 and April 3, respectively.

BSO 101—The Free Adult Education Series at Symphony Hall Again this season, BSO 101 offers informative sessions on seven Wednesdays throughout the season about upcoming BSO programming, and on four Tuesdays about behind-the- scenes activities at Symphony Hall. All sessions are from 5:30-6:45 p.m. at Symphony Hall, each being followed by a reception offering beverages and hors d’oeuvres. Admission to the BSO 101 sessions is free; please note, however, that as of this season, there is a nominal charge to attend the receptions. Specific topics and repertoire to be discussed are posted at bso.org. Since each session is self-contained, no prior musical training, or attendance at any previous session, is required. To reserve your place for the date or dates you’re planning to attend, please e-mail [email protected] or call (617) 638-9395. Designed to enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire, the next session, on Wednesday, October 23, will focus on “Words and Music in Benjamin Britten’s War Requiem” as part of the BSO’s “Insights” series surrounding the orchestra’s upcoming performances of that work.

Conducting Master Class with Thomas Wilkins Saturday, November 2 Middle and high school band and orchestra directors are invited to register for an engaging all-day workshop with the BSO’s Germeshausen Youth and Family Concerts conductor Thomas Wilkins, who will teach and discuss all aspects of conducting an instrumental ensemble. Topics will include the physicality of conducting and specific conducting exercises, as well as score study issues and rehearsal preparation techniques. A small group of appli- cants has already been selected to conduct a live chamber ensemble with Maestro Wilkins’s guidance; however, auditors are still welcome to apply before the October 25 deadline. More information about this program can be found at http://www.bso.org/brands/bso/ education-community/schools-educators/conducting-workshop-with-maestro-thomas- wilkins.aspx.

BSO Community Chamber Concerts For October and November The BSO is happy to continue offering free Community Chamber Concerts in locations across Massachusetts during the 2013-14 season. These Sunday-afternoon concerts offer engaging chamber music performances by BSO musicians for communities limited in access to the BSO by either distance or economics; they are designed to build personal connections to the BSO and orchestral music, allowing community members to become more deeply engaged with the BSO. Each program lasts approximately one hour and is followed by a coffee-and-dessert reception for the audience and musicians. In the next two months the BSO will host Community Chamber Concerts on October 13 at 3 p.m. at Milford Town Hall; on October 27 at 3 p.m. at Tuckerman Hall in Worcester; on November 3 at 3 p.m. at the JFK Presidential Library and Museum in Boston; on November 10 at 2:30 p.m. at Hibernian Hall in Roxbury; on November 17 at 3 p.m. at Cambridge Public Library; and on November 24 at 3 p.m. at First Church in Dedham. All of these concerts are free, but tickets are required and available by calling SymphonyCharge at 1-888-266-1200.

week 5 bso news 9 individual tickets are on sale for all concerts in the bso’s 2013-2014 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.

The Linde Family Concert In 1985, the Lindes bought a home in the Thursday, October 17, 2013 Berkshires near Tanglewood, and it was then that they fell in love with the BSO and began The concert on Thursday evening is named playing an active role by generously giving for Great Benefactors Joyce and Edward Linde, their time and resources. “Supporting the and their family, in recognition of their gener- Symphony is easy for us,” the Lindes have ous gift to the Symphony Annual Fund. The said. “We think about the personal pleasure family has been supporting the Boston Sym- we receive at each concert, the impact Sym- phony Orchestra since 1988. phony performances have on audiences at Ed Linde, a highly respected and admired Tanglewood, and around the world, and the leader within the Boston Symphony and organization’s importance to the cultural life throughout the city of Boston, began as an of Boston, a city we love greatly.” Overseer in 1996 and was elected a Trustee In 2000, together with their children Doug in 1999 and Chairman of the Board in 2005. and Karen and their spouses Carol and Jeff, Throughout Ed’s tenure as Chairman, he was Joyce and Ed established the Linde Family a passionate and tireless ambassador for Foundation, which supports numerous arts, the BSO until his death in 2010. He is greatly education, and youth initiatives in the Boston missed. Joyce, his partner of 47 years, carries area. The Lindes are significant contributors on his legacy of leadership and generosity. to the Symphony and Tanglewood Annual Joyce was elected a Trustee in September Funds as well as the BSO’s Beyond Measure 2010 and has been an active advocate for the Campaign, and they have generously given BSO in this capacity.

10 to the BSO’s educational and community Symphony Hall. Peter served as co-chair of engagement activities, believing that the arts the BSO 2OOO Campaign from 1998 to 2000, should be a part of every child’s life. Joyce helping to lead that effort to historic success Linde is a trustee of the Linde Family Founda- in raising more than $150 million for the tion; an honorary trustee of the Museum of orchestra’s endowment and operations. Peter Fine Arts, Boston; a governor of the School is known worldwide as a leader in the venture of the Museum of Fine Arts, Boston; an over- capital community, having pioneered business seer of the deCordova Sculpture Park and practices in that field for decades. He has Museum; and a member of the MIT Music brought wisdom to his tenure at the Boston and Theater Arts Visiting Committee and the Symphony, participating in a dozen Board Boston Public Schools Arts Advisory Board. committees, and currently serving on the Principal and Leadership Gifts Committee and the Strategic Planning Committee. The Peter and Anne Brooke Concert Friday, October 18, 2013 Anne has energetically matched her husband’s service to non-profits in the community. She The BSO concert on Friday has been named served as an honorary co-chair of the James with a gift from BSO Life Trustee and past Levine Inaugural Gala in the fall of 2004, Chairman of the Board of Trustees, Peter A. and she was elected to the BSO’s Board of Brooke, and his wife, BSO Overseer Anne Overseers in 2006. Anne served as chair of Brooke. As Great Benefactors, Peter and the Board of Trustees of the Concord Museum Anne Brooke have been generous supporters for many years, and she has also served on of the Boston Symphony Orchestra since the the board of the Boston Arts Academy, late 1970s. The Brookes are longtime Friday among others. She is currently president of afternoon subscribers who have been sub- the Friends of the Public Garden (Boston), an scribing for thirty-six consecutive years. honorary overseer of the Museum of Fine They are members of the Higginson Society Arts, Boston, and an honorary director of the at the Chairman’s level and the Walter Piston Massachusetts Audubon Society. Society. In addition to supporting the Sym- phony Annual Fund and Opening Night Galas, “We were both introduced to the Symphony Peter and Anne have named in perpetuity a as children,” they have said, “and after years chair in the percussion section of the orches- of exposure to its wonderful sound, we think tra, and they were instrumental in the con- it is appropriate to repay the BSO for all the struction of Ozawa Hall at Tanglewood in the pleasure it has given us.” early 1990s and renovations to Symphony Hall in the late 1980s. The Stephen and Dorothy Weber Peter joined the BSO’s Board of Overseers in Concert, Saturday, October 19, 2013 1981. He served as a member of the BSO’s The BSO performance on Saturday evening Board of Trustees from 1990 to 2005, was is supported by a generous gift from Great elected Chairman of the Board of Trustees in Benefactors Stephen R. and Dr. Dorothy 1999, retired from that position on August 31, Altman Weber. “The BSO is an important 2005, and became a Life Trustee on Septem- part of our lives, and the performances at ber 1, 2005. During his last year as Chair- Tanglewood and in Boston are a source of man, Peter, along with the Board of Trustees, great personal joy,” said Steve and Dottie. launched the Artistic Initiative, an endow- “We feel that we have a responsibility to sup- ment fundraising effort to support expanded port the orchestra so future generations will musical endeavors under Maestro James experience the extraordinary musical excel- Levine. Peter and Anne generously supported lence from which we have benefited.” the Artistic Initiative. The venture capital and private equity communities joined with other Steve Weber, an alumnus of the University of friends in honoring Peter and Anne by nam- Pennsylvania and Harvard Business School, ing the Peter and Anne Brooke Corridor at retired in 2005 as Managing Director of SG-

week 5 bso news 11 Cowen Securities Corp. Dottie Weber former- Paul’s interest in music began at a young age, ly taught at Northeastern University and was when he studied piano, violin, clarinet, and a research psychologist at Boston University conducting as a child and teenager. Paul and Medical Center. She is an alumna of Tufts Katie have together developed their lifelong University and Boston University, where she love of music; they have attended the earned her doctorate in education. BSO’s performances at Symphony Hall and Tanglewood for more than fifty years. The Longtime Saturday-evening subscribers, the Buttenwiesers have generously supported Webers have been supporters of the Boston numerous initiatives at the BSO, including Symphony Orchestra since 1979. They en- BSO commissions of new works, guest artist dowed the Stephen and Dorothy Weber Chair, appearances at Symphony Hall and Tangle- currently held by BSO cellist Mickey Katz. wood, fellowships at the Tanglewood Music Steve and Dottie’s love of Tanglewood led Center, and Opening Nights at Symphony them to support the campaign to build and Tanglewood. They also endowed a BSO Ozawa Hall, to endow two seats in the Shed, first violin chair, currently held by Tatiana to establish an endowed fellowship at the Dimitriades. Paul and Katie chaired Opening Tanglewood Music Center, and the first Night at Symphony for the 2008-09 sea- endowed artist-in-residence position at the son, and have served on many benefactor TMC. This summer the BSO dedicated the committees for the gala. Paul serves on Weber Gate at Tanglewood as an enduring the Executive Committee, Principal and tribute to the Webers’ extraordinary commit- Leadership Gifts Committee, and Trustees ment and generosity to the BSO and Tangle- Nominating Committee, and was a member wood. of the Search Committee recommending the In addition to their financial support of the appointment of Andris Nelsons as the BSO’s BSO, Steve and Dottie have also given gener- Ray and Maria Stata Music Director. ously of their time. Steve was elected a The Buttenwiesers support many arts organi- Trustee in 2002 and vice-chairman in 2010. zations in Boston. Paul is chairman of the He serves on the Executive Committee, the board of trustees of the Institute of Contem- Overseer Nominating Committee, and the porary Art, Boston; honorary trustee of the Principal and Leadership Gifts Committee, Museum of Fine Arts, Boston; founding which he co-chairs. Together, Steve and member of the board of trustees and former Dottie are members of the Annual Fund chairman of the advisory board of American Committee and the Tanglewood Task Force, Repertory Theater; member of the president’s and were Chairs of 2013 Opening Night at advisory council of Berklee College of Music; Tanglewood. The Boston Symphony Orches- and member of the Boston Public Schools tra extends heartfelt thanks to Steve and Arts Advisory Council. He has also served Dottie Weber for their generosity and com- on numerous boards and committees at his mitment to continuing the Symphony’s rich alma mater, Harvard University. musical tradition. In addition to supporting the arts, the Butten- wiesers are deeply involved with the commu- The Catherine and Paul nity and social justice. In 1988, Paul and Katie Buttenwieser Guest Artist, founded the Family-to-Family Project, an Thursday, October 17, 2013 agency that works with homeless families in Paul Lewis’s appearance this Thursday night Eastern Massachusetts. Katie, who is a social is supported by a generous gift from Great worker, spent most of her career in the area Benefactors Catherine and Paul Buttenwieser. of early child development before moving Paul served on the BSO Board of Overseers into hospice and bereavement work. She is from 1998 to 2000, when he was elected to a graduate of Mount Holyoke College and the Board of Trustees. In 2010 he was elected Boston University School of Social Work. Paul a Vice-Chairman of the Board of Trustees. is a psychiatrist who specializes in children

12 and adolescents, as well as a writer. He is a including Beethoven’s Symphony No. 7 and graduate of Harvard College and Harvard music of John Williams, Morricone, and J.S. Medical School. Bach. A pre-concert talk begins at 2:15. Tickets are $25 for adults (discounted for seniors, students, and groups), free for chil- Planned Gifts for the BSO: dren under twelve and those with a MassBay Orchestrate Your Legacy ID. For further information, call 781-235-0515 There are many creative ways that you can or visit www.wellesleysymphony.org. support the BSO over the long-term. Planned Collage New Music, founded by former BSO gifts such as bequest intentions (through percussionist Frank Epstein, and whose mem- your will, personal trust, IRA, or insurance bers include BSO violinist Catherine French policy), charitable trusts, and gift annuities and former BSO cellist Joel Moerschel, opens can generate significant benefits for you now its 43rd season on Sunday, October 27, at 8 while enabling you to make a larger gift to the p.m., at Edward Pickman Hall at the Longy BSO than you had otherwise thought possible. School of Music, 27 Garden Street, Cambridge. In many cases, you could realize significant Please visit collagenewmusic.org for more tax savings and secure an attractive income information. stream for you and/or a loved one, all while providing valuable future support for the music and programs you care about. When Those Electronic Devices… you establish and notify us of your planned As the presence of smartphones, tablets, and gift for the Boston Symphony Orchestra, you other electronic devices used for communica- will become a member of the Walter Piston tion, note-taking, and photography continues Society, named for Pulitzer Prize-winning to increase, there have also been increased composer and noted musician Walter Piston, expressions of concern from concertgoers who endowed the BSO’s principal flute chair and musicians who find themselves distracted with a bequest. Joining the Piston Society not only by the illuminated screens on these places you among the BSO’s most loyal sup- devices, but also by the physical movements porters, helping to ensure the future of the that accompany their use. For this reason, BSO’s extraordinary performances. Members and as a courtesy both to those on stage and are recognized in several of our publications those around you, we respectfully request and offered a variety of exclusive benefits, that all such electronic devices be turned including invitations to various events in off and kept from view while BSO perform- Boston and at Tanglewood. If you would like ances are in progress. In addition, please more information about planned gift options also keep in mind that taking pictures of the and how to join the Walter Piston Society, orchestra—whether photographs or videos— please contact John MacRae, Director of is prohibited during concerts. Thank you very Principal and Planned Giving, at (617) 638- much for your cooperation. 9268 or [email protected]. We would be delighted to help you orchestrate your legacy for the BSO. Comings and Goings... Please note that latecomers will be seated BSO Members in Concert by the patron service staff during the first convenient pause in the program. In addition, BSO violinist Victor Romanul and BSO princi- please also note that patrons who leave the pal oboe John Ferrillo are featured in Bach’s hall during the performance will not be Double Concerto for Oboe and Violin with allowed to reenter until the next convenient the Wellesley Symphony Orchestra, under pause in the program, so as not to disturb the the direction of former BSO violinist Max performers or other audience members while Hobart, on Sunday, October 20, at 3 p.m. at the concert is in progress. We thank you for MassBay Community College, 50 Oakland your cooperation in this matter. Street, Wellesley Hills, in a program also

week 5 bso news 13 on display in symphony hall This season’s BSO Archives exhibit once more displays the wide variety of the Archives’ holdings, which document countless aspects of BSO history—music directors, guest artists, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display in the Brooke Corridor celebrating the 50th anniversary this season of the Boston Symphony Chamber Players, with special emphasis on the ensemble’s early international tours to Europe and the Soviet Union in 1967, and to Colombia in 1972 • a display case also in the Brooke Corridor exploring the history of the famed Kneisel Quartet formed in 1885 by then BSO concertmaster Franz Kneisel and three of his BSO colleagues • marking the centennial of Benjamin Britten’s birth, a display case in the Huntington Avenue corridor highlighting the American premiere of the composer’s War Requiem, given by Erich Leinsdorf and the BSO at Tanglewood in July 1963 exhibits on the first-balcony level of symphony hall include: • anticipating the BSO’s tour next May to China and Japan, a display case in the first- balcony corridor, audience-right, of memorabilia from the BSO’s 1956 concerts marking the first performances in the Soviet Union by a Western orchestra • a display case, also audience-right, on the installation of the Symphony Hall statues in the period following the Hall’s opening • anticipating this season’s complete cycle in March of the Beethoven piano concertos, a display case, audience-left, spotlighting several of the pianists who have performed those works with the BSO • a display case in the Cabot-Cahners Room spotlighting artists and programs presented in Symphony Hall by the Celebrity Series, which celebrates its 75th anniversary this year

TOP OF PAGE, LEFT TO RIGHT: A Celebrity Series flyer for a 1939 Symphony Hall appearance by soprano Kirsten Flagstad Erich Leinsdorf in rehearsal with the BSO and soprano Phyllis Curtin for the American premiere of Britten’s “War Requiem” at Tanglewood (Heinz Weissenstein, Whitestone Photo) Album cover of the Boston Symphony Chamber Players’ 1966 Grammy-winning first commercial recording on RCA

week 5 on display 15 Boston Symphony Orchestra 2013–2014

andris nelsons bernard haitink seiji ozawa thomas wilkins Ray and Maria Stata LaCroix Family Fund Music Director Laureate Germeshausen Youth and Music Director Designate Conductor Emeritus Family Concerts Conductor endowed in perpetuity endowed in perpetuity

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

16 photos by Michael J. Lutch piccolo Suzanne Nelsen Michael Martin voice and chorus John D. and Vera M. MacDonald Ford H. Cooper chair, Cynthia Meyers chair endowed in perpetuity John Oliver Evelyn and C. Charles Marran Tanglewood Festival Chorus chair, endowed in perpetuity Richard Ranti Conductor Associate Principal trombones Alan J. and Suzanne W. Dworsky Diana Osgood Tottenham/ chair, endowed in perpetuity oboes Hamilton Osgood chair, Toby Oft endowed in perpetuity Principal John Ferrillo J.P. and Mary B. Barger chair, librarians Principal endowed in perpetuity Mildred B. Remis chair, contrabassoon Marshall Burlingame endowed in perpetuity Stephen Lange Principal Gregg Henegar Lia and William Poorvu chair, Mark McEwen Helen Rand Thayer chair endowed in perpetuity James and Tina Collias chair bass trombone William Shisler Keisuke Wakao horns James Markey Assistant Principal John Moors Cabot chair, John Perkel Farla and Harvey Chet Krentzman James Sommerville endowed in perpetuity chair, endowed in perpetuity Principal Helen Sagoff Slosberg/Edna S. associate Kalman chair, endowed in tuba conductor english horn perpetuity Mike Roylance Marcelo Lehninger Robert Sheena Richard Sebring Principal Anna E. Finnerty chair, Beranek chair, endowed in Associate Principal Margaret and William C. endowed in perpetuity perpetuity Margaret Andersen Congleton Rousseau chair, endowed in perpetuity chair, endowed in perpetuity assistant clarinets Rachel Childers conductor John P. II and Nancy S. Eustis timpani William R. Hudgins Andris Poga chair, endowed in perpetuity Principal Timothy Genis Ann S.M. Banks chair, Michael Winter Sylvia Shippen Wells chair, endowed in perpetuity Elizabeth B. Storer chair, endowed in perpetuity personnel endowed in perpetuity managers Michael Wayne Jason Snider percussion Lynn G. Larsen Thomas Martin Associate Principal & Jonathan Menkis J. William Hudgins Bruce M. Creditor E-ﬂat clarinet Jean-Noël and Mona N. Tariot Peter and Anne Brooke chair, Assistant Personnel Manager Stanton W. and Elisabeth K. chair endowed in perpetuity Davis chair, endowed in perpetuity Daniel Bauch stage manager Assistant Timpanist trumpets John Demick Mr. and Mrs. Edward H. Linde bass clarinet Thomas Rolfs chair Principal Craig Nordstrom Roger Louis Voisin chair, Kyle Brightwell endowed in perpetuity Peter Andrew Lurie chair, endowed in perpetuity bassoons Benjamin Wright Matthew McKay * participating in a system Richard Svoboda Thomas Siders of rotated seating Assistant Principal Principal § on sabbatical leave Edward A. Taft chair, Kathryn H. and Edward M. harp on leave endowed in perpetuity Lupean chair Jessica Zhou ˚ Nicholas and Thalia Zervas chair, endowed in perpetuity by Sophia and Bernard Gordon

week 5 boston symphony orchestra 17

S Archives BSO

A Brief History of Symphony Hall

The ﬁrst home of the Boston Symphony Orchestra was the old Boston Music Hall, which stood downtown where the Orpheum Theatre now stands, held about 2,400 seats, and was threatened in 1893 by the city’s road-building/rapid transit project. That summer, the BSO’s founder, Major Henry Lee Higginson, organized a corporation to ﬁnance a new and permanent home for the orchestra. On October 15, 1900—some seven years and $750,000 later—the new hall was opened. The inaugural gala concluded with a performance of Beethoven’s Missa Solemnis under the direction of then music director Wilhelm Gericke.

At Higginson’s insistence, the architects—McKim, Mead & White of New York—engaged Wallace Clement Sabine, a young assistant professor of physics at Harvard, as their acoustical consultant, and Symphony Hall became the ﬁrst auditorium designed in accor- dance with scientiﬁcally-derived acoustical principles. It is now ranked as one of the three best concert halls in the world, along with Amsterdam’s Concertgebouw and Vienna’s Musikverein. Bruno Walter called it “the most noble of American concert halls,” and Herbert von Karajan, comparing it to the Musikverein, noted that “for much music, it is even better... because of the slightly lower reverberation time.”

Symphony Hall is 61 feet high, 75 feet wide, and 125 feet long from the lower back wall to the front of the stage. The walls of the stage slope inward to help focus the sound. The side balconies are shallow so as not to trap any of the sound, and though the rear balconies are deeper, sound is properly reflected from the back walls. The recesses of the coffered ceiling help distribute the sound throughout the hall, as do the statue-filled niches along the three sides. The auditorium itself is centered within the building, with corridors and offices insulating it from noise outside. The leather seats are the ones installed for the hall’s opening in 1900. With the exception of the wood floors, the hall is built of brick, steel, and plaster, with only a moderate amount of decoration, the original, more ornate plans for the building’s exterior having been much simplified as a cost-reducing measure. But as architecture critic Robert Campbell has observed, upon penetrating the “outer car- ton” one discovers “the gift within—the lovely ornamented interior, with its delicate play

BSO conductor Wilhelm Gericke, who led the Symphony Hall inaugural concert

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Architect’s watercolor rendering of Symphony Hall prior to its construction

of grays, its statues, its hint of giltwork, and, at concert time, its sculptural glitter of instruments on stage.”

Symphony Hall was designed so that the rows of seats could be replaced by tables for Pops concerts. For BSO concerts, the hall seats 2,625. For Pops concerts, the capacity is 2,371, including 241 small tables on the main floor. To accommodate this flexible system—an innovation in 1900—an elevator, still in use, was built into the Symphony Hall floor. Once a year the five Symphony Hall chandeliers are lowered to the floor and all 394 lightbulbs are changed. The sixteen replicas of Greek and Roman statues—ten of mythical subjects, six of actual historical figures—are related to music, art, and literature. The statues were donated by a committee of 200 Symphony-goers and cast by P.P. Caproni and Brother, Boston, makers of plaster reproductions for public buildings and art schools. They were not ready for the opening concert, but appeared one by one during the first two seasons.

The Symphony Hall organ, an Aeolian-Skinner designed by G. Donald Harrison and installed in 1949, is considered one of the finest concert hall organs in the world. The console was autographed by Albert Schweitzer, who expressed his best wishes for the organ’s tone. There are more than 4,800 pipes, ranging in size from 32 feet to less than six inches and located behind the organ pipe facade visible to the audience. The organ was commissioned to honor two milestones in 1950: the ﬁftieth anniversary of the hall’s opening, and the 200th anniversary of the death of Johann Sebastian Bach. The 2004- 2005 season brought the return to use of the Symphony Hall organ following a two-year renovation process by the ﬁrm of Foley-Baker, Inc., based in Tolland, CT.

Two radio booths used for the taping and broadcasting of concerts overlook the stage at audience-left. For recording sessions, equipment is installed in an area of the basement. The hall was completely air-conditioned during the summer of 1973, and in 1975 a six- passenger elevator was installed in the Massachusetts Avenue stairwell. The Massachu- setts Avenue lobby and box ofﬁce were completely renovated in 2005.

Symphony Hall has been the scene of more than 250 world premieres, including major works by Samuel Barber, Béla Bartók, Elliott Carter, Aaron Copland, Henri Dutilleux, George Gershwin, Soﬁa Gubaidulina, John Harbison, Walter Piston, Sergei Prokoﬁev, Roger Sessions, Igor Stravinsky, Michael Tippett, John Williams, and Ellen Taaffe Zwilich. For many years the biggest civic building in Boston, it has also been used for many purposes other than concerts, among them the First Annual Automobile Show of the Boston Auto-

20 S Archives BSO

Symphony Hall in the early 1940s, with the main entrance still on Huntington Avenue, before the intersection of Massachusetts and Huntington avenues was reconstructed so the Green Line could run underground

mobile Dealers’ Association (1903), the Boston premiere of Cecil B. DeMille’s ﬁlm version of Carmen starring Geraldine Farrar (1915), the Boston Shoe Style Show (1919), a debate on American participation in the League of Nations (1919), a lecture/demonstration by Harry Houdini debunking spiritualism (1925), a spelling bee sponsored by the Boston Herald (1935), Communist Party meetings (1938-40; 1945), Jordan Marsh-sponsored fashion shows “dedicated to the working woman” (1940s), and all the inaugurations of former longtime Boston mayor James Michael Curley.

A couple of interesting points for observant concertgoers: The plaques on the proscenium arch were meant to be inscribed with the names of great composers, but the hall’s original directors were able to agree unanimously only on Beethoven, so his remains the only name above the stage. The ornamental initials “BMH” in the staircase railings on the Huntington Avenue side (originally the main entrance) reﬂect the original idea to name the building Boston Music Hall, but the old Boston Music Hall, where the BSO had performed since its founding in 1881, was not demolished as planned, and a decision on a substitute name was not reached until Symphony Hall’s opening.

In 1999, Symphony Hall was designated and registered by the United States Department of the Interior as a National Historic Landmark, a distinction marked in a special ceremony at the start of the 2000-01 season. In 2000-01, the Boston Symphony Orchestra marked the centennial of its home, renewing Symphony Hall’s role as a crucible for new music activity, as a civic resource, and as a place of public gathering. The programming and celebratory events included world premieres of works commissioned by the BSO, the ﬁrst steps of a new master plan to strengthen Symphony Hall’s public presence, and the launching of an initiative to extend the sights and sounds of Symphony Hall via the internet. Recent renovations have included new electrical, lighting, and fire safety systems; an expanded main lobby with a new marble floor; and, in 2006, a new hardwood stage floor matching the specifications of the original. For the start of the 2008-09 season, Symphony Hall’s clerestory windows (the semi-circular windows in the upper side walls of the auditorium) were reopened, allowing natural light into the auditorium for the first time since the 1940s. Now more than a century old, Symphony Hall continues to serve the purpose for which it was built, fostering the presence of music familiar and unfamiliar, old and new—a mission the BSO continues to carry forward into the world of tomorrow.

week 5 a brief history of symphony hall 21

t Rosner Stu

Andris Nelsons Becomes BSO Music Director Designate

On May 16, 2013, the Boston Symphony Orchestra announced the appointment of Andris Nelsons as the BSO’s fifteenth music director since its founding in 1881. Born in Riga in 1978 into a family of musicians, he becomes the youngest music director to lead the orchestra in more than 100 years, and the first Latvian-born conductor to assume that post. Mr. Nelsons will serve as BSO Music Director Designate for the 2013-14 season and become the Ray and Maria Stata Music Director beginning in the fall of 2014. At thirty-four, he is the third- youngest conductor to be appointed music director since the BSO’s founding in 1881: Georg Henschel was thirty-one when he became the orchestra’s first music director in 1881, and Arthur Nikisch was thirty-three when he opened his first season with the BSO in 1889.

Andris Nelsons is one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony, Vienna State Opera, Metropolitan Opera, Bayreuth Festival, and the Royal Opera House, Covent Garden. Since 2008 he has been music director of the City of Birmingham Symphony Orchestra (CBSO), with which he has toured worldwide. He made his debut in Japan on tour with the Vienna Philharmonic and returns to the Far East on tour with the CBSO in November 2013. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He is married to the soprano Kristīne Opolais, who was recently acclaimed for her Metropolitan Opera debut as Magda in Puccini’s La rondine. They live in Riga with their nearly two-year-old daughter Adriana. Andris Nelsons made his Boston Symphony Orchestra debut in March 2011, leading Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. Last summer he conducted both the BSO and the Tanglewood Music Center

Andris Nelsons conducting the BSO at Symphony Hall, January 2013

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MroBorggreve ©Marco

Orchestra as part of Tanglewood’s 75th Anniversary Celebration, following that the next afternoon with a BSO program of Stravinsky and Brahms. He made his BSO subscription series debut in January 2013 and, as BSO Music Director Designate this coming season, he will lead a program of Wagner, Mozart, and Brahms at Symphony Hall in October, followed by a one-night-only concert performance of Richard Strauss’s Salome in March. “I am deeply honored and touched that the Boston Symphony Orchestra has appointed me its next music director, as it is one of the highest achievements a conductor could hope for in his lifetime,” said Maestro Nelsons. “Each time I have worked with the BSO I have been inspired by how effectively it gets to the heart of the music, always leaving its audience with a great wealth of emotions. So it is with great joy that I truly look forward to joining this wonderful musical family and getting to know the beautiful city of Boston and the community that so clearly loves its great orchestra. As I consider my future with the Boston Symphony, I imagine us working closely together to bring the deepest passion and love that we all share for music to ever greater numbers of music fans in Boston, at Tanglewood, and throughout the world.” iayScott Hilary

Andris Nelsons conducting the BSO at Tanglewood, July 2012

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andris nelsons, ray and maria stata music director designate bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 133rd season, 2013–2014

Thursday, October 17, 8pm | the linde family concert Friday, October 18, 1:30pm | the peter and anne brooke concert Saturday, October 19, 8pm | the stephen and dorothy weber concert andris nelsons conducting wagner “siegfried idyll” mozart piano concerto no. 25 in c, k.503 Allegro maestoso Andante [Allegretto] paul lewis

{intermission} brahms symphony no. 3 in f, opus 90 Allegro con brio Andante Poco Allegretto Allegro—Un poco sostenuto thursday evening’s appearance by paul lewis is supported by a generous gift from catherine and paul buttenwieser. friday afternoon’s appearance by paul lewis is supported by a generous gift in memory of hamilton osgood. bank of america and emc corporation are proud to sponsor the bso’s 2013-2014 season.

The evening concerts will end about 10:05, the afternoon concert about 3:35. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. 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. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please note that taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 5 program 27 The Program in Brief...

When one thinks of Richard Wagner, the first music that comes to mind necessarily includes such demanding, plus-sized stage works as Tristan und Isolde, Die Meistersinger von Nürnberg, and his massive, seventeen-hour, four-opera tetralogy Der Ring des Nibelungen. But the Siegfried Idyll is another story altogether. This chamber-musical, seventeen-minute piece was composed by Wagner as a birthday gift for his wife Cosima. The first performance took place on her birthday, Christmas morning, December 25, 1870, at Tribschen, the Wagners’ country villa near Lake Lucerne in Switzerland. The original title, “Tribschen Idyll,” became “Siegfried Idyll” eight years later, when Wagner sent it to his publisher, also prefacing it at that time with a dedicatory poem in praise of Cosima and their son Siegfried, who was not yet two years old when the Idyll was composed.

So the name of the piece refers not to the title character of Siegfried, Wagner’s third Ring opera, but to Richard and Cosima’s infant son. In fact, at least one of the themes shared between the two works actually originated years earlier, when Wagner was planning a string quartet that he never finished. But the specific sentiments attached to the shared themes as heard in the final act of Siegfried—where they give rise to expressions of everlasting devotion between Siegfried and Brünnhilde—should not be ignored, given Wagner’s use of these themes in a musical gift intended for Cosima in so intimate and personal a domestic setting.

Mozart’s Piano Concerto No. 25, completed in 1786, was the last in a series of fifteen concertos he wrote beginning in 1782, most of them for himself to play, at the height of his popularity, for appreciative Viennese audiences. Of these, this C major concerto is among the biggest and most symphonic in conception and sound, and arguably the most contrapuntally intricate. The first movement, at almost fifteen minutes, lasts nearly half the entire length of the piece. Trumpets and drums are silent for the slow movement, which blends lyricism and emotional depth. The inventive, dancelike finale is filled with further subtleties of detail, ending the concerto with a Mozartean smile.

Brahms’s Third Symphony represents a composer at the peak of his mastery. He had solidified his position as the most important German composer in the symphonic tradition with the premiere of his Symphony No. 1 in 1876, three years after his fortieth birthday. As with his first two symphonies, he wrote his Third and Fourth as a contrasting pair, in successive years, completing the Third in the summer of 1883. Following performances in Vienna and around Germany, he was somewhat taken aback by its nearly unleavened success, and soon described it (not altogether in jest) as “too famous.” It is the most compact and concise of Brahms’s symphonies, somewhat of a throwback in the era of Bruckner and Tchaikovsky. The Third is also unique among his four symphonies in that themes from its first two movement recur, transformed, in the finale, which ends with a wistful reminiscence of the work’s beginning.

Marc Mandel/Robert Kirzinger

28 Richard Wagner “Siegfried Idyll”

WILHELM RICHARD WAGNER was born in Leipzig, Saxony, on May 22, 1813, and died in Venice on February 13, 1883. He wrote the “Siegfried Idyll” as a birthday gift for his second wife, Cosima, and conducted its premiere on the staircase of the Wagner home at Tribschen, near Lake Lucerne in Switzerland, on Christmas morning, December 25, 1870, Cosima’s thirty-third birthday. (Hans Richter, soon to emerge as one of the great conductors of his generation and already a valuable assistant to Wagner, learned the trumpet for the occasion so he could play the twelve- measure part assigned to that instrument.) The first public performance was given at Mannheim on December 20, 1871, Wagner again conducting. Pressed for money, Wagner reluctantly consented to the publication of the “Idyll” in 1878.

THE “SIEGFRIED IDYLL” is scored for flute, oboe, two clarinets, bassoon, two horns, trumpet, and strings.

“When I woke up I heard a sound, it grew ever louder, I could no longer imagine myself in a dream, music was sounding, and what music! After it had died away, R. came in to me with the five children and put into my hands the score of his ‘symphonic birthday greet- ing.’ I was in tears, but so, too, was the whole household; R. had set up his orchestra on the stairs and thus consecrated our Tribschen forever! The Tribschen Idyll—so the work is called....”

Thus Cosima Wagner’s diary entry for Sunday, December 25, 1870. “R.” is of course Richard, Richard Wagner; “the five children” are ten-year-old Daniela and seven-year-old Blandine, daughters of Cosima and Hans von Bülow; five-year-old Isolde and three-year- old Eva, daughters of Cosima von Bülow and Richard Wagner; and Siegfried, Wagner’s only son, born to Cosima on June 6, 1869, fourteen months before her marriage to Wagner on August 25, 1870. Tribschen was the country villa near Lucerne, rented for him by King Ludwig II of Bavaria, into which Wagner had moved in April 1866—he had taken his hasty leave of the Munich court the preceding December and had lived for a short while near Geneva—and where Cosima had joined him the following month; and

week 5 program notes 29 Program page for the first Boston Symphony performance of Wagner's "Siegfried Idyll" on February 17, 1883, part of an (almost) all-Wagner program led by Georg Henschel (who was also one of three vocal soloists) four days after the composer's death (BSO Archives)

30 “Tribschen Idyll” was the original name of that chamber-musical, intimate Wagnerian composition sent off to the publisher Schott eight years later, prefaced by a dedicatory poem in praise of Cosima and the infant Siegfried (see page 32), and made public property as the Siegfried Idyll.*

No easy task, this sorting out of names, dates, places, relationships in the life of Richard Wagner. No easy task, either, coming to grips with the character of this individual about whom more has probably been written than any other composer. In December 1865, the Bavarian Minister of State, Ludwig Freiherr von der Pfordten, wrote to Ludwig II of “Wagner’s unparalleled presumption and undisguised meddling in other than artistic spheres,” of his being “despised, not for the democratic views he airs... but for his ingrat- itude and betrayal of patrons and friends, for his wanton and dissolute self-indulgence and squandering, for the shameless way he exploits the undeserved favor he has received from Your Majesty....”

However colored by political intrigues, however shaded by the Wagner-Bülow scandal which had become the talk of the Munich court, one cannot avoid a certain ring of truth in this assessment: if one needed to choose a single word summing up Wagner’s character and world-view, it might very well be “self-serving.” In his attitude toward friends, rela- tives, creditors, landlords, and publishers, in his views on art, politics, and religion, he was a man with a mission, with a goal so important that everyone around him was expected to recognize it. And it says something of his faith in that mission, and of the power he exerted on those around him, that the “illustrious benefactor” upon whom he called in his preface to the 1863 edition of his Ring poem did appear, in the person of Bavaria’s Ludwig II, to make possible the productions of Tristan, Die Meistersinger von

* As inscribed on the manuscript, the full title was “Tribschen Idyll with Fidi-birdsong and Orange Sunrise”—”Fidi” being a pet name for the infant Siegfried, and “orange sunrise” apparently referring to the brightly reflective color of the wallpaper in Cosima’s bedroom.

week 5 program notes 31 Richard Wagner’s dedicatory poem, written as preface to the score of the “Siegfried Idyll”

Es war Dein opfermuthig hehrer Wille, Thy noble sacriﬁce, thy fearless faith divine, der meinem Werk die Werdestätte fand, Found sanctuary for this work of mine. von Dir geweiht zu weltentrückter Stille, ’Tis thou, who love-lit calm on me bestows wo nun es wuchs und kräftig uns Wherein the wondrous hero-world in erstand, spirit grows, die Heldenwelt uns zaubernd zum Shining with magic beauty like a star Idylle, uraltes Fern zu trautem Heimathland. Born in some ancient home of heaven afar: Erscholl ein Ruf da froh in meine Sudden upon my ears a joyous message Weisen: came— “Ein Sohn ist da!”—der musste A son is thine, Siegfried shall be his Siegfried heissen. name. Für ihn und Dich durft’ ich in Tönen And now for both my loved ones happy danken,— songs awake, wie gäb’ es Liebesthaten hold’ren Lohn? My soul in music as thy love gift take, Sie hegten wir in uns’res Heimes The joy of memory in secret shrine Schranken, enclose, die stille Freude, die hier ward zum Soft as the folded sweetness of a rose. Ton. Die sich uns treu erwiesen ohne Reveal thy grace, let friendship watch Wanken, above, so Siegfried hold, wie freundlich Siegfried, our son, the guerdon of our uns’rem Sohn, love, mit Deiner Huld sei ihnen jetzt And all the faithful hearts in steadfast erschlossen, band was sonst als tönend Glück wir still The message of this song will under- genossen. stand. Trans. H.N. BANTOCK

32 Cosima, Siegfried, and Richard Wagner

Nürnberg, and, ultimately, Der Ring des Nibelungen; and that so talented a musician as Hans von Bülow, whose career was so closely tied to Wagner’s success and yet whose personal life was so severely altered by the figure he idolized and had first met in Dresden in 1846, could write to his wife Cosima from Munich on June 17, 1869, in response to her request for a divorce: “You have preferred to devote your life and the treasures of your mind and affection to one who is my superior, and, far from blaming you, I approve your action from every point of view and admit that you are perfectly right.”

Wagner first met Cosima, the second illegitimate child of Franz Liszt’s liaison with the Countess Marie d’Agoult, in Paris, late in 1853, shortly after experiencing the seemingly visionary trance in which he conceived the E-flat opening for the music of Das Rheingold. Cosima and Hans von Bülow, who was a student of Liszt’s, were married on August 18, 1857, and, eleven days later, arrived for a three-week stay with Wagner at the Asyl, the Wagner cottage on the estate near Zurich of the wealthy German merchant Otto Wesen- donck and his wife Mathilde. On another visit to the Asyl a year later, the von Bülows were witness to the disintegration of the atmosphere in which Wagner had been com- posing his Tristan und Isolde, and to a crucial stage in the collapse of his marriage to his first wife, Minna, in the face of his relationship with Mathilde Wesendonck.

Cosima’s attitude toward Wagner, twenty-four years her senior, had been cool; but repeated encounters and visits by Wagner to the von Bülows’ Berlin home changed this: in the course of one of these visits, on November 28, 1863, they acknowledged their love for each other. Cosima developed a sense of purpose as strong as Wagner’s own, and, as Richard saw it, writing from Lucerne a year before their marriage, “she knew what would help me once and for all, and knew how it might be achieved, and did not hesitate for a moment to offer me that help in the possession of herself.”

The intimacy and warmth of the Siegfried Idyll are a measure of Wagner’s love for Cosima— making the thematic relationship between the Idyll’s music and the final duet from

week 5 program notes 33 34 Siegfried (the third opera of the Ring tetralogy), in a general sense, incidental—even though Cosima will have recognized much from the already completed Siegfried in the Idyll. In fact, one comes to realize that the “Siegfried” of the published Idyll’s title is not the opera’s title character, but the Wagners’ infant son. So the point is not one of “which came first?” but of understanding that both the Idyll and the Siegfried duet are manifesta- tions of the same emotional impulse on the composer’s part. In fact, Wagner conceived the Idyll’s principal musical idea some years earlier as the theme for a projected string quartet in the summer of 1864, following a visit to him by Cosima at the Villa Pellet near Lake Starnberg in Bavaria; their first child, Isolde, was born less than a year later, on April 10, 1865. The lullaby that is the basis for the Idyll’s second episode appears among sketches for both Siegfried and Tristan dating from the late 1850s. And the horn call heard in the Idyll along with other motives familiar from Siegfried first came to Wagner during his work on the third act of Tristan, though he immediately recognized it as more appropriate to the hero of the Ring.

But the specific sentiments attached to the Idyll’s themes as they are heard in the final act of Siegfried should not be altogether ignored. The Idyll’s third main idea, introduced after the lullaby episode, is allied in the opera with the words “O Siegfried! Herrlicher! Hort der Welt!” (“O glorious Siegfried, treasure of the world!”), and the principal theme and horn call mentioned earlier give rise in the opera to expressions of everlasting devotion between Siegfried and Brünnhilde. So we have in both the opera Siegfried and the Siegfried Idyll an overflowing of Wagner’s personal emotions into, on the one hand, a comparatively small segment in an overall musical project—Der Ring des Nibelungen—of mammoth pro- portion and significance, and, on the other hand, into music intended for the most intimate of domestic situations. But where so much of Wagner’s music cannot achieve its intended effect when transferred from the opera house to the concert hall, the Siegfried Idyll not only survives the change from its original setting, but tells us something very special about Wagner the man, and in a way so much else of his music does not.

Marc Mandel marc mandel is Director of Program Publications of the Boston Symphony Orchestra.

THEFIRSTAMERICANPERFORMANCE of the “Siegfried Idyll” was given by Theodore Thomas with his orchestra on February 28, 1878; the program on that occasion carried the notation “received from Europe only this week.”

THEFIRSTBOSTONSYMPHONYPERFORMANCE of the “Siegfried Idyll” was given by Georg Henschel on February 16, 1883, just a few days after the composer’s death (see page 30), subsequent BSO performances being given by Wilhelm Gericke, Arthur Nikisch, Emil Paur, Karl Muck, Max Fiedler, Otto Urack, Ernst Schmidt, Pierre Monteux, Serge Koussevitzky, Bruno Walter, Charles Munch, Erich Leinsdorf, Michael Tilson Thomas, Klaus Tennstedt, Gunther Herbig, Christof Perick, Jeffrey Tate, Ilan Volkov, Robert Spano (the most recent subscription performances, in February 2005), Asher Fisch, and Kazushi Ono (the most recent Tanglewood performance, on July 12, 2013).

week 5 program notes 35

Wolfgang Amadè Mozart Piano Concerto No. 25 in C, K.503

JOANNES CHRISOSTOMUS WOLFGANG GOTTLIEB MOZART, who began calling himself Wolfgango Amadeo around 1770 during his first trip to Italy and switched to Wolfgang Amadè in 1777, but who never used Amadeus except in jest, was born in Salzburg, Austria, on January 27, 1756, and died in Vienna on December 5, 1791. He completed the C major piano concerto, K.503, on December 4, 1786, and played it in Vienna later that month. Mozart left no cadenzas for this concerto; at these performances, Paul Lewis plays a first-movement cadenza by Alfred Brendel.

IN ADDITION TO THE SOLO PIANIST, the score of this concerto calls for an orchestra of one flute, two oboes, two bassoons, two horns, two trumpets, timpani, and strings.

In just under three years, Mozart wrote twelve piano concertos. It is the genre that absolutely dominates his work schedule in 1784, 1785, and 1786, and what he poured out—almost all of it for his own use at his own concerts—is a series of masterpieces that delight the mind, charm and seduce the ear, and pierce the heart. They are the ideal real- ization of what might be done with the piano concerto. Beethoven a couple of times reaches to where Mozart is, and perhaps Brahms, too, but still, in this realm Mozart scarcely knows peers. K.503 is the end of that run. It comes at the end of an amazing year, amazing even for Mozart, that had begun with work on The Impresario and Figaro, and whose achievements include the A major piano concerto, K.488, and the C minor, K.491; the E-flat piano quartet; the last of his horn concertos; the trios in G and B-flat for piano, violin, and cello, as well as the one in E-flat with viola and clarinet; and the sonata in F for piano duet, K.497. Together with the present concerto he worked on the Prague Symphony, finishing it two days later, and before the year was out he wrote one of the most personal and in every way special of his masterpieces, the concert aria for soprano with piano obbligato and orchestra, “Ch’io mi scordi di te,” K.505.

Such a list does not reﬂect how Mozart’s life had begun to change. On March 3, 1784, for example, he could report to his father that he had twenty-two concerts in thirty-eight

week 5 program notes 37 Program page for the first Boston Symphony Orchestra performance of Mozart’s C major piano concerto, K.503, on March 24, 1883, with soloist Carl Baermann under the direction of Georg Henschel (BSO Archives)

38 days: “I don’t think that this way I can possibly get out of practice.” A few weeks later, he wrote that for his own series of concerts he had a bigger subscription list than two other performers put together, and that for his most recent appearance the hall had been “full to overflowing.” In 1786, the fiscal catastrophes of 1788, the year of the last three symphonies, were probably unforeseeable, and one surpassing triumph still lay ahead of him, the delirious reception by the Prague public of Don Giovanni in 1787. Figaro was popular in Vienna, but not more than other operas by lesser men, and certainly not enough to buoy up his fortunes for long. Perhaps it is even indicative that we know nothing about the first performance of K.503. Mozart had planned some concerts for December 1786, and they were presumably the occasion for writing this concerto, but we have no evidence that these appearances actually came off.

What has changed, too, is Mozart’s approach to the concerto. It seems less operatic than before, and more symphonic. The immediately preceding one, the C minor, K.491, completed March 24, 1786, foreshadows this, but even so, K.503 impresses as a move into something new. Its very manner is all its own. For years, and until not so long ago, it was one of the least played of the series; it was as though pianists were reluctant to risk dis- concerting their audiences by offering them Olympian grandeur and an unprecedented compositional richness where the expectation was chieﬂy of charm, operatic lyricism, and humor.

This is one of Mozart’s big trumpets-and-drums concertos, and the ﬁrst massive gestures make its full and grand sonority known. But even so formal an exordium becomes a personal statement in Mozart’s hands—“cliché becomes event,” as Adorno says about Mahler—and across the seventh measure there falls for just a moment the shadow of the minor mode. And when the formal proclamations are ﬁnished, the music does indeed take off in C minor. Such harmonic—and expressive—ambiguities inform the whole movement. Mozart always likes those shadows, but new here are the unmodulated tran- sitions from major to minor and back, the hardness of his chiaroscuro. The first solo entrance is one of Mozart’s most subtle and gently winsome. The greatest marvel of all

week 5 program notes 39 40 is the development, which is brief but dense, with a breathtaking harmonic range and an incredible intricacy of canonic writing. The piano has a delightful function during these pages, proposing ideas and new directions, but then settling back and turning into an accompanist who listens to the woodwinds execute what he has imagined. (And how keenly one senses Mozart’s own presence at the keyboard here!)

The Andante is subdued, formal and a little mysterious at the same time, like a knot garden by moonlight, and remarkable too for the great span from its slowest notes to its fastest. For the finale, Mozart goes back to adapt a gavotte from his then five-year-old opera Idomeneo. In its courtly and witty measures, there is nothing to prepare us for the epiphany of the episode in which the piano, accompanied by cellos and basses alone (a sound that occurs nowhere else in Mozart), begins a smiling and melancholy song that is continued by the oboe, the flute, the bassoon, and in which the cellos cannot resist joining. Lovely in itself, the melody grows into a music whose richness of texture and whose poignancy and passion astonish us even in the context of the mature Mozart. From that joy and pain Mozart redeems us by leading us back to his gavotte and from there into an exuberantly inventive, brilliant ending.

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, concertos, and the great works for chorus and orchestra.

the first american performance of this concerto took place on November 4, 1865; Sebastian Bach Mills was soloist, with Carl Bergman conducting the Philharmonic Society at the Academy of Music in New York. the first boston symphony performances of Mozart’s Piano Concerto No. 25 in C, K.503, took place in March 1883 with soloist Carl Baermann and Georg Henschel conducting. It was not played again by the orchestra until July 13, 1962, at Tanglewood, when Claude Frank was soloist with Charles Munch conducting, subsequent BSO performances featuring Claude Frank again (with Erich Leinsdorf), Stephen Bishop (with Colin Davis), Malcolm Frager (Andrew Davis), Rudolf Firkušný (Herbert Blomstedt), Garrick Ohlsson (James Conlon), Radu Lupu (Kurt Masur), Alicia de Larrocha (Pascal Verrot and Kurt Sanderling), Emanuel Ax (Mariss Jansons and James Conlon), Christian Zacharias (Bruno Weil), Richard Goode (Bernard Haitink), Imogen Cooper (Sir Colin Davis), David Fray (Kurt Masur), Orion Weiss (the most recent Tanglewood performance, with Hans Graf on July 29, 2011), and Richard Goode again (the most recent subscription performances, with Ludovic Morlot in November 2011, followed by tour performances in San Francisco, Santa Barbara, and Palm Desert, CA).

week 5 program notes 41

Johannes Brahms Symphony No. 3 in F, Opus 90

JOHANNES BRAHMS was born in the free city of Hamburg on May 7, 1833, and died in Vienna on April 3, 1897. He completed his Third Symphony during a stay at Wiesbaden in the summer of 1883; the second and third movements may date back to a never-completed “Faust” project on which Brahms was working in 1880-81. Hans Richter led the Vienna Philharmonic in the first performance of the F major symphony on December 2, 1883.

BRAHMS’S SYMPHONY NO. 3 is scored for two ﬂutes, two oboes, two clarinets, two bassoons and contrabassoon, four horns, two trumpets, three trombones, timpani, and strings.

Elisabet von Herzogenberg writing to Brahms from Leipzig on February 11, 1884: Ah, the bitter, bitter parting! We are in the act of sending away our dear, dear symphony. Yesterday was Sunday, when the parcel should have been taken to post before 11 o’clock, but I couldn’t bear it!... I have managed to commit the two middle movements to memory most beautifully, and the first one very nearly. So I can amuse myself endlessly with the treasure I have stored, though the remainder bothers me sadly. It is now my very best friend—the symphony—and the giver of it a real benefactor.

In November 1883 his close friends the Herzogenbergs had asked Brahms for a look at the new symphony so they could study it in advance of its ﬁrst Leipzig performance on February 7, 1884. On January 11 the composer wrote that they would soon have the score in a two-piano arrangement, already referring to it as “the too, too famous F major” and noting that “the reputation it has acquired makes me want to cancel all my engagements.”

Another more famous respondent to Brahms’s new symphony (likewise in its two- piano version) was Clara Schumann, who wrote on February 11, 1884, from Frankfurt:

week 5 program notes 43 Program page for the first Boston Symphony performance of Brahms's Symphony No. 3 on November 8, 1884, with Wilhelm Gericke conducting (BSO Archives)

44 I don’t know where this letter will find you, but I can’t refrain from writing it because my heart is so full. I have spent such happy hours with your wonderful creation... that I should like at least to tell you so. What a work! What a poem! What a har- monious mood pervades the whole! All the movements seem to be of one piece, one beat of the heart, each one a jewel! From start to finish one is wrapped about with the mysterious charm of the woods and forests. I could not tell you which movement I loved most. In the first I was charmed straight away by the gleams of dawning day, as if the rays of the sun were shining through the trees. Everything springs to life, everything breathes good cheer, it is really exquisite! The second is a pure idyll; I can see the worshippers kneeling about the little forest shrine, I hear the babbling brook and the buzz of the insects. There is such a fluttering and a humming all around that one feels oneself snatched up into the joyous web of Nature. The third movement is a pearl, but it is a grey one dipped in a tear of woe, and at the end the modulation is quite wonderful. How gloriously the last movement follows with its passionate upward surge! But one’s beating heart is soon calmed down again for the final transfiguration which begins with such beauty in the development motif that words fail me! How sorry I am that I cannot hear the symphony now that I know it so well and could enjoy it so much better. This is a real sorrow for me....

The symphony had its ﬁrst performance on December 2, 1883, in Vienna, under Hans Richter, and was successful despite the presence in the audience of a vocal

week 5 program notes 45

Elisabet von Herzogenberg

Wagner-Bruckner faction which held against Brahms both his fame as a composer and his friendship with the critic Eduard Hanslick. Hanslick had heard the symphony already in one of two two-piano readings Brahms arranged for his friends before the actual premiere. In his review Hanslick pronounced the F major “a feast for the music lover and musician” and, of Brahms’s symphonies to that time, “artistically the most perfect. It is more compactly made, more transparent in detail, more plastic in the main themes.”*

An incredible succession of performances followed: Joseph Joachim, who had led the English premiere of the Brahms First in Cambridge, England, in 1877, introduced the Third to Berlin at the Academy of Music on January 4, 1884. At the end of the month Berlin heard the symphony again, twice in succession, with the Berlin Philharmonic under FranzWüllner on the 28th—on which occasion Brahms performed his B-ﬂat piano concerto—and then under Brahms himself the next night. By mid-February the composer had led performances also in Wiesbaden, at the Gewandhaus in Leipzig, and at a Gürzenich concert in Cologne. At Meiningen, where his friend Hans von Bülow had three years earlier offered Brahms the renowned court orchestra as a “rehearsal orchestra” to try out his new works (providing the composer a sense of security that may have been a factor in his turning later to the creation of the Fourth Symphony), Bülow actually programmed the Third twice on a single concert!†

* According to Hanslick, Richter christened the F major symphony as “Brahms’s Eroica” shortly before the premiere. And like Beethoven in his Third Symphony, Brahms marks his first movement “Allegro con brio.” † When Bülow celebrated his sixtieth birthday on January 8, 1890, Brahms sent him as a gift the autograph manuscript of the Third Symphony.

week 5 program notes 47 48 Clara Schumann

Brahms had already secured his reputation as an orchestral composer with the premiere of hisVariations on a Theme by Haydn inVienna in November 1873. Already behind him were his First Piano Concerto, the D major Serenade, Opus 11, and the A major Serenade, Opus 16, all dating from the late 1850s. Some material for the First Symphony also dates back to that time, but that work had to wait for its completion until 1876, by which time Brahms was able ﬁnally to overcome his strong reservations about following in Beethoven’s footsteps. The Second Symphony followed without hesitation a year later, and the Violin Concerto came a year after that, both being products of Brahms’s particularly productive summer work habits. Likewise the Third Symphony in 1883: having been occupied with thoughts for the symphony for some time, he interrupted a trip to the Rhine, renting accommoda- tions in Wiesbaden so that he could complete the work and apparently writing it out without pause.

When Brahms conducted his Third Symphony at a Hamburg Philharmonic concert in December 1884, one critic reported that Brahms’s interpretation of his works frequently differs so inconceivably in delicate rhythmic and harmonic accents from anything to which one is accustomed, that the apprehension of his intentions could only be entirely possible to another man possessed of exactly similar sound-susceptibility or inspired by the power of divination.

Writing about his Fourth Symphony in a letter of January 20, 1886, to Joseph Joachim, Brahms had this to say: I have marked a few tempo modifications in the score with pencil. They may be useful, even necessary, for the first performance. Unfortunately they often find their way into print (with me as well as with others) where, for the most part, they do not belong. Such exaggerations are only necessary when a composition is unfa-

week 5 program notes 49 miliar to an orchestra or a soloist. In such a case I often cannot do enough pushing or slowing down to produce even approximately the passionate or serene effect I want. Once a work has become part of the flesh and blood, then in my opinion nothing of that sort is justifiable any more. In fact, the more one deviates from the original, the less artistic the performance becomes. With my older works I frequently find that everything falls into place without much ado and that many marks of the above-mentioned type become entirely superfluous. But how often does not someone try to make an impression nowadays with this so-called free artistic ren- dition—and how easy this is, even with the poorest orchestra and but a single rehearsal! An orchestra like that of Meiningen ought to take special pride in show- ing just the opposite.

These observations seem particularly relevant to a consideration of the Third Symphony, the most difficult of the four for a conductor to bring off successfully, and not just because all four movements end quietly. Early in the 20th century, Tovey described the F major as “technically by far the most difficult [of Brahms’s symphonies], the difficulties being mainly matters of rhythm, phrasing, and tone.” One might expand upon this by mentioning the swift alternation of sharply con- trasted materials during the course of the first movement, and the need to make both clear and persuasive the thematic connections that bind together the first, second, and last movements, a procedure Brahms does not attempt in his other symphonies.* And as the least often performed of the four, the Third remains, in a sense, almost “new” insofar as audiences are concerned, and especially since its tight thematic and architectural structure, and its lean orchestration, stand in sharp contrast to the other three.

The symphony begins Allegro con brio, with a rising motto for winds and brass whose broad 6/4 meter seems almost to hold back forward progress; it is only with the introduction of the main theme, taking the initial motto as its bass line, that the music begins really to move:

The three-note motto, F–A-ﬂat–F, is Brahms’s shorthand for “frei aber froh,” “free but glad,” musical symbolism he had already used in his A minor string quartet, Opus 51, No. 2, as rejoinder to Joseph Joachim’s F-A-E, “frei aber einsam,” “free but lone-

* One can look to the Schumann Fourth as an important precursor for this procedure in a symphony. And one might also note that the main theme of Brahms’s first movement echoes a phrase that occurs midway through the slow movement of Schumann’s First Symphony.

50 ly,” many years before. But the F–A-flat–F motto here serves still another, purely musical purpose: the A-flat suggests F minor rather than F major, an ambiguity to be exploited elsewhere in the symphony. The sweeping main theme gives way to a new idea, tentative in its progress, clinging tenuously to nearly each note before moving to the next, but soon opening out and leading to a graceful theme given first to solo clarinet, then to solo oboe and violas in combination. This theme, in darker colorations, will be prominent in the development section of the movement. Now, however, an increase in activity leads to the close of the exposition, a forceful passage built from stabbing downward thrusts in the strings and a swirling wave of energy beginning in the winds and then encompassing the entire orchestra before grinding to a sudden halt for a repeat of the exposition.

This is a particularly difﬁcult moment rhythmically since the return to the nearly static opening of the movement comes virtually without warning, but there is something about the tight, classical architecture of this shortest of Brahms’s symphonies that makes the exposition-repeat an appropriate practice here, and not just a bow to convention. Hearing the beginning twice also helps us recognize the masterstroke that starts the recapitulation, where the motto idea, introduced by a roll on the kettledrum, broadens out both rhythmically and harmonically to propel the music forward in a way the opening of the symphony did not attempt. The motto and main theme will come back in yet another forceful guise to begin the coda, the theme transforming itself there to a chain of descending thirds—Brahms’s

week 5 program notes 51 musical signature in so many of his works—before subsiding to pianissimo for one further, quiet return in the closing measures.

The second and third movements are marked by a contained lyricism, subdued and only rarely rising above piano. Hanslick describes the opening pages of the C major Andante as “a very simple song dialogue between the winds and the deeper strings.” The entry of the violins brings emphatic embellishment and the appearance of a new idea, sweetly expressive within a narrow compass, clearly characterized by the repeated pitch at its beginning and the triplet rhythm that stirs its otherwise halting progress:

Brahms will use the repeated-note motive to mysterious effect in this movement, but the entire theme will return to extraordinarily signiﬁcant purpose later in the symphony.

The third movement is a gentle interlude in C minor, its pregnant melody heard first in the cellos and then in a succession of other instruments, among them combined flute, oboe, and horn; solo horn, solo oboe, and, finally, violins and cellos together. Before the statement by the solo horn, an interlude plays upon a yearning three-note motive again characterized by a simple repeated-pitch idea. As in the preceding movement, trumpets and drums are silent throughout.

The finale begins with a mysterious dark rustling of strings and bassoons that seems hardly a theme at all, and it takes a moment for us to realize that, contrary to all expectation, this last movement is in the minor mode. A pianissimo statement of the second-movement theme quoted earlier steals in so quietly that we barely have time to make the connection. Then, without warning, a fortissimo

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52 explosion alerts us already to how ripe for development is Brahms’s “non-theme,” as in the space of just a few pages it is fragmented and reinterpreted both rhythmically and melodically. This leads to the finale’s second theme, a proud and heroic one proclaimed in the richly romantic combined timbres of cellos and horns; this is the music that suggested to Joachim the story of Hero and Leander.* After playing with further muted transformations of the opening idea, the development builds to a climax on overlapping statements of the second-movement theme proclaimed by the orchestra at full volume and hurtling the music into the recapitulation. Only with a quiet transformation in the violas of the opening idea does the energy level finally subside. The symphony’s final pages return to the soft serenity of F major with the reemergence in a newly restrained guise of the second-movement theme, followed by allusion to and the return of the F–A-flat–F motto, and, at the end, one last, mist-enshrouded recollection of the symphony’s beginning.

Marc Mandel

the first american performance of Brahms’s Symphony No. 3 was given at one of Frank Van der Stucken’s “Novelty Concerts” at New York’s Steinway Hall on October 24, 1884.

the first boston symphony orchestra performance of Brahms’s Symphony No. 3 was given by Wilhelm Gericke on November 8, 1884, on which occasion the reviewer for the Boston Gazette commented that, “like the great mass of the composer’s music, it is painfully dry, deliberate and ungenial; and like that, too, it is free from all effect of seeming spontaneity.” Subsequent BSO performances of the Brahms Third were given by Gericke, Arthur Nikisch, Emil Paur, Max Fiedler, Otto Urack, Karl Muck, Pierre Monteux, Serge Koussevitzky, Richard Burgin, Charles Munch, Guido Cantelli, Erich Leinsdorf, Colin Davis, Charles Wilson, Seiji Ozawa, Bernard Haitink, Jeffrey Tate, Marek Janowski, James Levine, David Zinman (the most recent Tanglewood performance, on July 25, 2008), and Kurt Masur (the most recent subscription performances, in October 2011).

* Joachim writing in a letter to Brahms dated January 27, 1884: “I ﬁnd the last movement of your symphony deep and original in conception....It is strange that, little as I like reading poetic meanings into music, I have here formed a clear picture of ‘Hero and Leander’ and this has rarely happened to me in the whole range of music. The second subject in C major recalls to me involuntarily the picture of the intrepid swimmer ﬁghting his way towards the promised goal, in the face of wind and storm. Is that something like your own conception?”

week 5 program notes 53

To Read and Hear More...

The most useful books on Wagner remain generally available, either new or used, even as they go in and out of print. Ernest Newman’s The Wagner Operas offers detailed historical and musical analysis of the operas from The Flying Dutchman through Parsifal (Princeton University paperback). Newman’s equally indispensable Life of Richard Wagner has been reprinted in paperback (Cambridge University Press; four volumes). Wagner’s autobiog- raphy, My Life, was for a while available in a modern English translation by Mary Whittall (also Cambridge paperback). Biographies of more recent vintage include Robert W. Gutman’s Richard Wagner: The Man, his Mind, and his Music (Harvest paperback) and Curt von Westernhagen’s Wagner: A Biography, translated by Mary Whittall (another Cambridge paperback). Several intriguing, shorter—and strongly recommended—books may be more readily digestible for many readers: Thomas May’s Decoding Wagner: An Invitation to his World of Music Drama (Amadeus paperback, including two CDs of excerpts from the operas, beginning with The Flying Dutchman); Michael Tanner’s Wagner (Prince- ton University paperback), and Bryan Magee’s Aspects of Wagner (Oxford paperback). Other useful resources include Richard Wagner and his World (Princeton paperback, in the Bard Music Festival series) and The Cambridge Companion to Wagner (Cambridge), both edited by Thomas S. Grey; and The Wagner Compendium: A Guide to Wagner’s Life and Music, edited by Barry Millington (Schirmer). Millington’s Wagner article from the 2001 Grove Dictionary of Music and Musicians has been published separately as The New Grove Wagner (Oxford paperback), superseding the previous New Grove Wagner derived from the Wagner entry in the 1980 Grove (Norton paperback). Wagner: A Documentary Study, compiled and edited by Herbert Barth, Dietrich Mack, and Egon Voss, is an absorb- ing and fascinating collection of pictures, facsimiles, and prose, the latter drawn from the writings and correspondence of Wagner and his contemporaries (Oxford University Press; out of print, but well worth seeking).

Recordings of the Siegfried Idyll range widely in vintage; accounts worth considering include Herbert von Karajan’s with the Berlin Philharmonic (Deutsche Grammophon), Daniel Barenboim’s with the Chicago Symphony Orchestra (Teldec), Thomas Dausgaard’s with the Swedish Chamber Orchestra (Bis), Iván Fischer’s with the Budapest Festival Orchestra (Channel Classics), Bernard Haitink’s with the Concertgebouw Orchestra of Amsterdam (Philips), and Marek Janowski’s with the French National Radio Orchestra (Virgin Classics). Classic, much older accounts include Guido Cantelli’s with the Phil- harmonia Orchestra (Testament) and Wilhelm Furtwängler’s with the Vienna Philharmonic

week 5 read and hear more 55 ZAREH THOMAJAN ~ GREG THOMAJAN

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New England’s Largest Oxxford Dealer Visit us at ZarehBoston.com (also Testament). Of special interest is Erich Leinsdorf’s warm BSO account of October 1965 in the twelve-disc box “Boston Symphony Orchestra: Symphony Hall Centennial Celebration–From the Broadcast Archives, 1943-2000” (available at the Symphony Shop or at bso.org), or on DVD in a live telecast from later that same month (VAI).

The important modern biography of Mozart is Maynard Solomon’s Mozart: A Life (Harper- Perennial paperback). Peter Gay’s Mozart is a concise, straightforward introduction to the composer’s life, reputation, and artistry (Penguin paperback). John Rosselli’s The life of Mozart is one of the readable, compact composer biographies in the series “Musical Lives” (Cambridge paperback). For deeper delving, there are Stanley Sadie’s Mozart: The Early Years, 1756-1781 (Oxford); Volkmar Braunbehrens’s Mozart in Vienna, 1781-1791, which provides a full picture of the composer’s final decade (HarperPerennial paperback); Julian Rushton’s Mozart: His Life and Work, in the “Master Musicians” series (Oxford),

week 5 read and hear more 57 and Robert Gutman’s Mozart: A Cultural Biography (Harcourt Brace Jovanovich/Harvest paperback). Peter Clive’s Mozart and his Circle: A Biographical Dictionary is a handy refer- ence work with entries on virtually anyone you can think of who figured in Mozart’s life (Yale University Press). The Mozart Compendium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon, includes an entry by Robert Levin on the concertos (Schirmer). A Guide to the Concerto, edited by Robert Layton, includes a chapter by Denis Matthews on “Mozart and the Concerto” (Oxford paperback). Alfred Einstein’s Mozart: The Man, the Music is a classic older study (Oxford paperback). Other older books that remain worth knowing are Cuthbert Girdlestone’s Mozart and his Piano Concertos (Dover paperback) and Arthur Hutchings’s A Companion to Mozart’s Piano Concertos (Oxford paperback). Michael Steinberg’s program note on Mozart’s C major piano concerto, K.503, is in his compilation volume The Concerto–A Listener’s Guide (Oxford paperback).

58 Recordings of Mozart’s C major piano concerto, K.503, include—listed alphabetically by soloist—Géza Anda’s with the Camerata Academica of Salzburg Mozarteum (Deutsche Grammophon), Daniel Barenboim’s with the English Chamber Orchestra (EMI), Alfred Brendel’s with Sir Charles Mackerras and the Scottish Chamber Orchestra (Philips), Leon Fleisher’s with George Szell and the Cleveland Orchestra (Sony), Richard Goode’s with the Orpheus Chamber Orchestra (Nonesuch), Jen˝o Jandó’s with Mátyás Antal and the Concentus Hungaricus (Naxos), Murray Perahia’s with the English Chamber Orchestra (Sony), and Mitsuko Uchida’s with Jeffrey Tate and the English Chamber Orchestra (Philips).

Important, relatively recent additions to the Brahms bibliography include Jan Swafford’s Johannes Brahms: A Biography (Vintage paperback); Johannes Brahms: Life and Letters as selected and annotated by Styra Avins (Oxford); The Compleat Brahms, edited by conductor/scholar Leon Botstein, a compendium of essays on Brahms’s music by a wide variety of scholars, composers, and performers, including Botstein himself (Norton); Walter Frisch’s Brahms: The Four Symphonies (Yale paperback), and Peter Clive’s Brahms and his World: A Biographical Dictionary, which includes a chronology of the composer’s life and works followed by alphabetical entries on just about anyone you might think of who figured in Brahms’s life (Scarecrow Press). Important older biographies include Karl Geiringer’s Brahms (Oxford paperback) and The Life of Johannes Brahms by Florence May, who knew Brahms personally (published originally in 1905 but periodically available in reprint editions). Malcolm MacDonald’s Brahms is a very good life-and-works volume in the

week 5 read and hear more 59

“Master Musicians” series (Schirmer). John Horton’s Brahms Orchestral Music in the series of BBC Music Guides includes discussion of the composer’s symphonies, concertos, serenades, Haydn Variations, and overtures (University of Washington paperback); for more detailed analysis, go to Michael Musgrave’s The Music of Brahms (Oxford paperback) or Bernard Jacobson’s The Music of Johannes Brahms (originally Fairleigh Dickinson). Michael Steinberg’s notes on the four Brahms symphonies are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Donald Francis Tovey’s notes on the Brahms symphonies are among his Essays in Musical Analysis (also Oxford).

The Boston Symphony Orchestra recorded the four Brahms symphonies between 1990 and 1994 with then principal guest conductor Bernard Haitink (Philips). Earlier Boston Symphony accounts of the Brahms Third were recorded by Erich Leinsdorf in 1966 (as part of a complete Brahms symphony cycle in the mid-’60s for RCA) and by Serge Koussevitzky in 1945 (originally RCA; reissued on a Pearl compact disc with Koussevitzky’s 1938/39 BSO Brahms Fourth). Other noteworthy cycles of the four symphonies include Daniel Barenboim’s with the Chicago Symphony Orchestra (Warner Classics), Christoph von Dohnányi’s with the Philharmonia Orchestra (live performances on Signum Classics) and Cleveland Orchestra (EMI), Herbert von Karajan’s early-1960s cycle with the Berlin Philharmonic (Deutsche Grammophon), James Levine’s, first with the Chicago Symphony Orchestra (RCA) and, later, live with the Vienna Philharmonic (Deutsche Grammophon), George Szell’s with the Cleveland Orchestra (Sony), Nikolaus Harnoncourt’s with the Berlin Philharmonic (Teldec), and Charles Mackerras’s with the Scottish Chamber Orches- tra, in “period style” as suggested by documentation from Meiningen, Germany, where Brahms himself frequently led the orchestra (Telarc).

For those interested enough in historic recordings to listen through dated sound, there are recordings of the Brahms Third by Wilhelm Furtwängler with the Berlin Philharmonic (Music & Arts), Guido Cantelli with the Philharmonia Orchestra (Testament), and Arturo Toscanini with both the NBC Symphony (notably the February 1941 concert performance available for a while on Naxos) and the Philharmonia Orchestra of London (from his 1952 Brahms cycle with that orchestra, on Testament). The Brahms recordings of Willem Mengelberg with the Concertgebouw Orchestra of Amsterdam (Naxos Historical) and of Felix Weingartner with the London Philharmonic and London Symphony Orchestra (EMI or Living Era, with varying availability) will be important to anyone interested in the recorded history and performance practice of these works. Mengelberg’s Brahms Third is from 1931; Weingartner’s, with the London Philharmonic, is from 1938.

Marc Mandel

week 5 read and hear more 61

Artists

Andris Nelsons

Making his first appearances with the Boston Symphony Orchestra since becoming its Ray and Maria Stata Music Director Designate this season, Andris Nelsons will become the BSO’s fifteenth music director starting with the 2014-15 season. Mr. Nelsons made his Boston Symphony Orchestra debut in March 2011, leading Mahler’s Symphony No. 9 at Carnegie Hall in place of James Levine, whom he succeeds as music director. In summer 2012 he made his Tanglewood debut, conducting both the Boston Symphony Orchestra (in Ravel’s La Valse) and the Tanglewood Music Center Orchestra (in Sarasate’s Carmen Fantasy with Anne-Sophie Mutter) as part of Tanglewood’s 75th Anniversary Gala (a concert recently issued on DVD and Blu-ray), following that the next day with a BSO program of Stravinsky and Brahms. He made his Symphony Hall and BSO subscription debut in January 2013 and in the current season leads, in addition to this week’s program, a one-night-only concert performance of Richard Strauss’s Salome in March. Maestro Nelsons’ new appointment affirms his reputation as one of the most sought-after conductors on the international scene today, acclaimed for his work in both concert and opera with such distinguished institutions as the Berlin Philharmonic, Vienna Philharmonic, the Royal Concertgebouw Orchestra of Amsterdam, the Gewandhaus Orchestra of Leipzig, the Bavarian Radio Symphony, Philharmonia Orchestra, Vienna State Opera, Metropolitan Opera, Bayreuth Festival, and the Royal Opera House–Covent Garden. In summer 2013 he returned to the Bayreuth Festival for Lohengrin, in a production directed by Hans Neuenfels, which Mr. Nelsons premiered at Bayreuth in 2010. His tenure since 2008 as music director of the City of Birmingham Symphony Orchestra has garnered critical acclaim. With the CBSO he undertakes major tours worldwide, including an upcoming tour of Japan

week 5 artists 63 and the Far East, and regular appearances at such summer festivals as the Lucerne Festival, BBC Proms, and Berliner Festspiele, as well as an ongoing project to record the complete orchestral works of Tchaikovsky and Richard Strauss for Orfeo International. The first Strauss disc, featuring Ein Heldenleben, garnered critical praise. The majority of Mr. Nelsons’ recordings have been recognized with a Preis der Deutschen Schallplattenkritik; in October 2011 he received the prestigious ECHO Klassik of the German Phono Academy in the category “Conductor of the Year” for his 2010 recording with the CBSO of Stravinsky’s Firebird and Symphony of Psalms. For audiovisual recordings, he has an exclusive agreement with Unitel GmbH, the most recent release, released on DVD and Blu-ray in June 2013, being a disc entitled From The New World with the Bavarian Radio Symphony. He is also the subject of a recent DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” 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. Prior to his position as the CBSO’s music director, he served as principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany from 2006 to 2009, and was music director of the Latvian National Opera from 2003 to 2007.

Paul Lewis

Internationally recognized as one of the leading pianists of his generation, Paul Lewis enjoys a busy international schedule of engagements at the world’s most prestigious concert venues and festivals. His numerous awards have included the Royal Philharmonic Society’s Instrumenta- list of the Year, the South Bank Show Classical Music Award, the Diapason d’or de l’année, two successive Edison awards, the 25th Premio Internazionale Accademia Musicale Chigiana in Siena, the Preis Der Deutschen Schallplattenkritik, a Limelight Award in Australia, and three Gramophone awards, including Record of the Year in 2008. In 2009 he was awarded an honorary doctorate by the University of Southampton. His complete cycles of core works by Beethoven and Schubert have earned him unanimous critical acclaim from all over the world. He completed his two-year Schubert project at the close of the 2012-13 season with performances of the last three sonatas in more than forty musical centers worldwide. Mr. Lewis is a regular guest with many of the world’s great orchestras, among them the Royal Concertgebouw Orchestra, London Symphony, Boston Symphony, Chicago Symphony, Los Angeles Philharmonic,

64 New York Philharmonic, Philharmonia, London Philharmonic, NHK Symphony, Bavarian Radio Symphony, Oslo Philharmonic, Leipzig Gewandhaus, Czech Philharmonic, Tonhalle-Orchester Zürich, and the Mahler Chamber Orchestra, collaborating with such conductors as Sir Colin Davis, Bernard Haitink, Christoph von Dohnányi, Sir Mark Elder, Sir Charles Mackerras, Wolfgang Sawallisch, Daniel Harding, Andris Nelsons, Paavo Järvi, Jiˇrí Bˇelohlávek, Pablo Heras-Casado, and Stéphane Denève. Recital engagements have taken him to such venues as London’s Royal Festival Hall, Carnegie Hall and Alice Tully Hall in New York, Vienna’s Musikverein and Konzer- thaus, Berlin’s Philharmonie and Konzerthaus, Toppan Hall and Oji Hall in Tokyo, Chicago’s Orchestra Hall, the Concertgebouw in Amsterdam, Tonhalle Zurich, Festspielhaus Baden Baden, Palau de Musica Barcelona, and the Sydney Opera House. Worldwide festival appearances include the Lucerne Piano Festival, Lincoln Center’s Mostly Mozart Festival, Tanglewood, the Schubertiade Schwarzenberg, the Salzburg Festival, the Edinburgh International Festival, Roque d’Antheron Piano Festival in France, Rheingau Festival, Klavier Festival Ruhr, and London’s BBC Proms, where in 2010 he became the first pianist to perform a complete Beethoven piano concerto cycle in one Proms season. His extensive award-winning discography for Harmonia Mundi includes the complete Beethoven piano sonatas, concertos, and Diabelli Variations, Liszt’s Sonata in B minor and other works, all the major piano works from the last six years of Schubert’s life, and the three Schubert song cycles with tenor Mark Padmore. He has also recorded Mozart’s piano quartets, Schubert’s Trout Quintet, and a Schubert duet disc with pianist Steven Osborne for Hyperion Records. Future recording plans for Harmonia Mundi include Brahms’s Piano Concerto No. 1 with the Swedish Radio Symphony Orchestra and Daniel Harding, and solo works by Schumann and Mussorgsky. Paul Lewis studied with Joan Havill at the Guildhall School of Music and Drama before going on to study privately with Alfred Brendel. Along with his wife, the Norwegian cellist Bjørg Lewis, he is artistic director of Midsummer Music, an annual chamber music festival held in Buckinghamshire, UK. Paul Lewis makes his BSO subscription series debut with this week’s concerts. He made his only previous BSO appearance in August 2012 at Tanglewood, performing Mozart’s A major piano concerto, K.488, and returned to Tanglewood this past July for an Ozawa Hall recital of Schubert’s last three piano sonatas.

week 5 artists 65 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

five million

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

two and one half million

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

66 one million

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

‡ Deceased

week 5 the great benefactors 67 The Higginson Society

john m. loder, chair, boston symphony orchestra annual funds judith w. barr, co-chair, symphony annual fund gene d. dahmen, co-chair, symphony annual fund

The Higginson Society embodies a deep commitment to supporting musical excellence, which builds on the legacy of the Boston Symphony Orchestra’s founder and ﬁrst benefactor, Henry Lee Higginson. The BSO is grateful to current Higginson Society members whose gifts of $3,000 or more to the Symphony Annual Fund provide more than $4 million in essential funding to sustain our mission. The BSO acknowledges the generosity of the donors listed below, whose contributions were received by October 1, 2013. For more information about joining the Higginson Society, contact Allison Cooley, Associate Director of Society Giving, at (617) 638-9254 or [email protected]. ‡ This symbol denotes a deceased donor.

founders $100,000+ Peter and Anne Brooke • Alan J. and Suzanne W. Dworsky • Ted and Debbie Kelly • Kate and Al Merck • Mr. and Mrs. Richard A. Smith

virtuoso $50,000 to $99,999 Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Sarah Chapin Columbia and Stephen Columbia • Mr. and Mrs. Steven S. Fischman • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Carmine A. and Beth V. Martignetti • Megan and Robert O’Block • William and Lia Poorvu • John S. and Cynthia Reed • Susan and Dan ‡ Rothenberg • Kristin and Roger Servison • Stephen and Dorothy Weber • Linda M. and D. Brooks Zug • Anonymous

encore $25,000 to $49,999 Joan and John Bok • Mr. and Mrs. John M. Bradley • William David Brohn • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Catherine and Paul Buttenwieser • Donna and Don Comstock • Diddy and John Cullinane • Cynthia and Oliver Curme • Alan and Lisa Dynner • William and Deborah Elfers • Thomas and Winifred Faust • Joy S. Gilbert • Mr. and Mrs. Amos B. Hostetter, Jr. • Joyce Linde • Henrietta N. Meyer • Sandra Moose and Eric Birch • Drs. Joseph and Deborah Plaud • Louise C. Riemer • Wendy Shattuck and Samuel Plimpton • Theresa M. and Charles F. Stone III • Roberta and Stephen R. Weiner • Anonymous (4)

maestro $15,000 to $24,999 Alli and Bill Achtmeyer • Lois and Harlan Anderson • Dorothy and David Arnold • Ronald and Ronni Casty • Dr. Lawrence H. and Roberta Cohn • Mr. and Mrs. Miguel de Bragança • Thelma and Ray Goldberg • Mrs. Francis W. Hatch •

68 Mr. and Mrs. Brent L. Henry • Paul L. King • Lizbeth and George Krupp • Dr. and Mrs. Frederick H. Lovejoy, Jr. • Jane and Robert J. Mayer, M.D. • Ann Merriﬁeld and Wayne Davis • Dr. Martin C. Mihm, Jr. • Maureen Miskovic • Mr. and Mrs. Daniel Pierce • William and Helen Pounds • Sharon Mishkin and Mark Rosenzweig • Benjamin Schore • Katherine Chapman and Thomas Stemberg • Mr. and Mrs. David Weinstein • Drs. Christoph and Sylvia Westphal • Joan D. Wheeler • Robert and Roberta Winters • Rhonda and Michael J. Zinner, M.D. • Anonymous (2) patron $10,000 to $14,999 Amy and David Abrams • Noubar and Anna Afeyan • Jim and Virginia Aisner • Mr. and Mrs. Peter Andersen • Lloyd Axelrod, M.D. • Lucille Batal • Gabriella and Leo Beranek • Roberta and George Berry • Ann Bitetti and Doug Lober • Joanne and Timothy Burke • Mrs. Winifred B. Bush • Eleanor L. and Levin H. Campbell • Joseph M. Cohen • Dr. William T. Curry, Jr. and Ms. Rebecca Nordhaus • Eve and Philip D. Cutter • Edith L. and Lewis S. Dabney • Happy and Bob Doran • Deborah and Philip Edmundson • Laurel E. Friedman • Barbara and Robert Glauber • Mr. and Mrs. Ulf B. Heide • Mr. and Mrs. Richard D. Hill • John Hitchcock • Dr. Susan Hockﬁeld and Dr. Thomas Byrne • Prof. Paul L. Joskow and Dr. Barbara Chasen Joskow • Stephen B. Kay and Lisbeth L. Tarlow • Dr. Nancy Koehn • Anne R. Lovett and Stephen G. Woodsum • Josh and Jessica Lutzker • John Magee • Mr. and Mrs. Jeffrey E. Marshall • Dr. and Mrs. Joseph B. Martin • Mr. and Mrs. Robert D. Matthews, Jr. • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse • Jerry and Mary ‡ Nelson • Mary S. Newman • Annette and Vincent O’Reilly • Peter and Minou Palandjian • Jane and Neil Pappalardo • Dr. and Mrs. Irving H. Plotkin • Susanne and John Potts • James and Melinda Rabb • The Gerald Flaxer Charitable Foundation, Nancy S. Raphael and Asher Waldfogel, Trustees • Linda H. Reineman • Debora and Alan Rottenberg • Norma and Roger A. Saunders • Ms. Eileen C. Shapiro and Dr. Reuben Eaves • Christopher and Cary Smallhorn • Maria and Ray Stata • Tazewell Foundation • Ronney and Stephen Traynor • Eric and Sarah Ward • Elizabeth and James Westra • June Wu • Drs. Richard and Judith Wurtman • Anonymous (2) sponsor $5,000 to $9,999 Helaine B. Allen • Joel and Lisa Alvord • Shirley and Walter Amory • Dr. Ronald Arky • Marjorie Arons-Barron and James H. Barron • Diane M. Austin and Aaron J. Nurick • Mrs. Hope Lincoln Baker • Mr. and Mrs. Eugene F. Barnes III • Judith and Harry Barr • John and Molly Beard • Roz and Wally Bernheimer • Mrs. Linda Cabot Black • Brad and Terrie Bloom • Mark G. and Linda Borden • Drs. Andrea and Brad Buchbinder • Julie and Kevin Callaghan • The Cavanagh Family • Ronald and Judy Clark • Mr. and Mrs. Frederic M. Clifford • Marjorie B. and Martin Cohn • Mrs. Abram Collier • Victor Constantiner • Dr. Charles L. Cooney and Ms. Peggy Reiser • Albert and Hilary Creighton • Mrs. Bigelow Crocker • Mr. and Mrs. David D. Croll • Prudence and William Crozier • Joan P. and Ronald C. Curhan • Gene and Lloyd Dahmen • Robert and Sara Danziger • Jonathan and Margot Davis • Tamara P. and Charles H. Davis II • Charles and JoAnne Dickinson • Michelle Dipp • Mrs. Richard S. Emmet • Priscilla Endicott • Pamela Everhart and Karl Coiscou • Roger and Judith Feingold • Shirley and Richard Fennell • Mr. and Mrs. Andrew J. Ferrara • Larry and Atsuko Fish • Ms. Jennifer Mugar Flaherty and Mr. Peter Flaherty • Beth and John Gamel • Dozier and Sandy Gardner • Dr. and Mrs. Levi A. Garraway •

week 5 the higginson society 69 Jane and Jim Garrett • Jordan and Sandy Golding • Mr. and Mrs. Mark Goldweitz • Jack Gorman • Raymond and Joan Green • Vivian and Sherwin Greenblatt • Marjorie and Nicholas Greville • The Grossman Family Charitable Foundation • Grousbeck Family Foundation • John and Ellen Harris • Carol and Robert Henderson • Patricia and Galen Ho • Mr. and Mrs. Charles Hood • Timothy P. Horne • Mr. and Mrs. Roger Hunt • Joanie V. Ingraham • Mimi and George Jigarjian • Holly and Bruce Johnstone • Susan B. Kaplan • Joan Bennett Kennedy • Mrs. Thomas P. King • Mr. and Mrs. Gordon F. Kingsley • Seth A. and Beth S. Klarman • Mr. and Mrs. Jack Klinck • The Krapels Family • Barbara N. Kravitz • Farla Krentzman • Pamela S. Kunkemueller • Rosemarie and Alexander Levine • Nancy Lurie Marks Family Foundation • Kurt and Therese Melden • Dale and Robert Mnookin • Kyra and Jean Montagu • Kristin A. Mortimer • Mr. and Mrs. Joseph M. Paresky • Donald and Laurie Peck • Slocumb H. and E. Lee Perry • Ann M. Philbin • Josephine A. Pomeroy ‡ • Jonathan and Amy Poorvu • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Peter and Suzanne Read • Rita and Norton Reamer • Dr. and Mrs. George B. Reservitz • Dr. Robin S. Richman and Dr. Bruce Auerbach • Mr. Graham Robinson and Dr. Jeanne Yu • Mr. Daniel L. Romanow and Mr. B. Andrew Zelermyer • Lisa and Jonathan Rourke • William and Kathleen Rousseau • Sean Rush and Carol C. McMullen • Cynthia and Grant Schaumburg • Ms. Lynda Anne Schubert • Arthur and Linda Schwartz • Ron and Diana Scott • Robert and Rosmarie Scully • Anne and Douglas H. Sears • Marshall Sirvetz • Gilda and Alfred Slifka • Ms. Nancy F. Smith • Mrs. Fredrick J. Stare ‡ • John and Katherine Stookey • Patricia L. Tambone • Charlotte and Theodore Teplow • Mr. and Mrs. Mark D. Thompson • John Lowell Thorndike • Marian and Dick Thornton • Magdalena Tosteson • John Travis • Blair Trippe • Marc and Nadia Ullman • Robert A. Vogt • Gail and Ernst von Metzsch • Harvey and Joëlle Wartosky • Mrs. Charles H. Watts II • Ruth and Harry Wechsler • Frank Wisneski and Lynn Dale • Rosalyn Kempton Wood • Patricia Plum Wylde • Marillyn Zacharis • Dr. and Mrs. Nicholas T. Zervas • Anonymous (5)

member $3,000 to $4,999 Mrs. Sonia Abrams • Mrs. Mary R. Anderson • Lisa G. Arrowood and Philip D. O’Neill, Jr. • Mr. and Mrs. Laurence Asquith • Carol and Sherwood Bain • Sandy and David Bakalar • Naomi and Peter Banks • Donald P. Barker, M.D. • Hanna and James Bartlett • Deborah Davis Berman and William H. Berman • Leonard and Jane Bernstein • Marion and Philip Bianchi • Annabelle and Benjamin Bierbaum • Mrs. Stanton L. Black • Mr. and Mrs. Partha P. Bose • Mr. and Mrs. Stephen P. Bradley • Catherine Brigham • John and Gail Brooks • Ellen and Ronald Brown • Matthew Budd and Rosalind Gorin • Jane Carr and Andy Hertig • James Catterton and Lois Wasoff • Yi-Hsin Chang and Eliot Morgan • Mr. and Mrs. Dan Ciampa • Chris and Keena Clifford • Mr. Stephen Coit and Ms. Susan Napier • Mrs. I.W. Colburn • Alice Libby and Mark Costanzo • Ernest Cravalho and Ruth Tuomala • Joanna Inches Cunningham • Drs. Anna L. and Peter B. Davol • Ashley Denton • Pat and John Deutch • Relly and Brent Dibner • Richard Dixon and Douglas Rendell • Nina L. and Eugene B. Doggett • Phyllis Dohanian • Robert Donaldson and Judith Ober • Mr. David L. Driscoll • Mrs. William V. Ellis • Elizabeth and Frederic Eustis • Ziggy Ezekiel and Suzanne Courtright Ezekiel • Mr. and Mrs. Peter Fiedler • Velma Frank • Myrna H. and Eugene M. Freedman • Martin Gantshar • Rose and Spyros Gavris • Arthur and Linda Gelb • Mr. and Mrs. Paul B. Gilbert • Stephen A. Goldberger • Roberta Goldman • Adele C. Goldstein • Phyllis and Robert Green •

70 Harriet and George Greenﬁeld • Madeline L. Gregory • The Rt. Rev. and Mrs. J. Clark Grew • David and Harriet Griesinger • Janice Guilbault • Mr. and Mrs. Graham Gund • Anne Blair Hagan • Elizabeth M. Hagopian • Nancy Hall • John and Kathryn Hamill • Jan Nyquist and David Harding • Daphne and George Hatsopoulos • Deborah Hauser • Dr. Edward Heller, Jr. • Mr. Gardner C. Hendrie and Ms. Karen J. Johansen • Mrs. Nancy R. Herndon • Mr. James G. Hinkle and Mr. Roy Hammer • Pat and Paul Hogan • Albert A. Holman III and Susan P. Stickells • G. Lee and Diana Y. Humphrey • Anne and Blake Ireland • Cerise Lim Jacobs, for Charles • Katherine Kallis • Barbara and Leo Karas • Elizabeth Kent • Mary S. Kingsbery • Marcia Marcus Klein and J. Richard Klein • Mason J. O. Klinck • Susan G. Kohn • Anna and Peter Kolchinsky • Mr. Andrew Kotsatos and Ms. Heather Parsons • Melvin Kutchin • Mr. and Mrs. ‡ Benjamin H. Lacy • Robert A. and Patricia P. Lawrence • Mr. and Mrs. David S. Lee • Cynthia and Robert J. Lepofsky • Emily Lewis • Christopher and Laura Lindop • Thomas and Adrienne Linnell • Takako Masamune • Janice Harrington and John Matthews • Michael and Rosemary McElroy • Margaret and Brian McMenimen • Betty Morningstar and Jeanette Kruger • Robert and Jane Morse • Anne J. Neilson • Avi Nelson • Cornelia G. Nichols • George and Connie Noble • Kathleen and Richard Norman • Mr. and Mrs. Geoffrey Nunes • Bob and Kathryn O’Connell • Mr. and Mrs. Gerald F. O’Neil • Martin and Helene Oppenheimer • Drs. Roslyn W. and Stuart H. Orkin • Sally Currier and Saul Pannell • Jon and Deborah Papps • Kitty Pechet • Dr. Alan Penzias • Drs. James and Ellen Perrin • Mr. Edward Perry and Ms. Cynthia Wood • Mr. and Mrs. Nicholas J. Philopoulos • Calvin Pierce • Elizabeth F. Potter and Joseph Bower • Dr. Tina Young Poussaint and Dr. Alvin Poussaint • Michael C.J. Putnam • Jane M. Rabb • Helen and Peter Randolph • Douglas Reeves and Amy Feind Reeves • John S. Reidy • Robert and Ruth Remis • Sharon and Howard Rich • Kennedy P. and Susan M. Richardson • Dorothy B. and Owen W. Robbins • Judy and David Rosenthal • Mr. and Mrs. Henry Rosovsky • Maureen and Joe Roxe/The Roxe Foundation • Arnold Roy • Arlene Rubin • Jordan S. Ruboy, M.D. ‡ and Richard S. Milstein, Esq. • Marjorie and Walter Salmon • The Sattley Family • Betty and Pieter Schiller • Mr. and Mrs. William Schmidt • Mr. and Mrs. Marvin G. Schorr • David and Marie Louise Scudder • Eleanor and Richard Seamans • Carol Searle and Andrew Ley • The Shane Foundation • Maggie and Jack Skenyon • Mr. and Mrs. Joseph D. Spound • George and Lee Sprague • Sharon and David Steadman • Maximilian and Nancy Steinmann • Valerie and John Stelling • Mr. and Mrs. Edward A. Stettner • Fredericka and Howard Stevenson • Mr. and Mrs. David Stokkink • Galen and Anne Stone • Henry S. Stone ‡ • Louise and Joseph Swiniarski • Jeanne and John Talbourdet • Richard S. Taylor • Nick and Joan Thorndike • Mr. and Mrs. Richard K. Thorndike III • Mr. and Mrs. Samuel Thorne • Diana O. Tottenham • Mr. and Mrs. John H. Valentine • Mr. and Mrs. Mark Volpe • Matthew and Susan Weatherbie • Sally and Dudley Willis • Mr. Albert O. Wilson, Jr. • Elizabeth H. Wilson • J. David Wimberly • Jay A. Winsten and Penelope J. Greene • Chip and Jean Wood • Dr. and Mrs. Bernard S. Yudowitz • Anonymous (10)

week 5 the higginson society 71

Administration

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

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

Jennifer Chen, Audition Coordinator/Assistant to the Orchestra Personnel Manager • H.R. Costa, Technical Director • Vicky Dominguez, Operations Manager • Erik Johnson, Chorus Manager • Jake Moerschel, Assistant Stage Manager • Julie Giattina Moerschel, Concert Operations Administrator • Leah Monder, Production Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician boston pops Dennis Alves, Director of Artistic Planning 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 • Pam Wells†, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Senior Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant

week 5 administration 73 74 development

Joseph Chart, Director of Major Gifts • 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 • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Allison Cooley, Associate Director of Society Giving • Catherine Cushing, Donor Relations Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Christine Glowacki, Annual Funds Coordinator, Friends Program • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Senior Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Major Gifts and Corporate Initiatives • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Campaign Gift Officer • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Carly Reed, Donor Acknowledgment Coordinator • Emily Reeves, Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Alexandria Sieja, Manager of Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Szeman Tse, Assistant Director of Development Research • Nicholas Vincent, Donor Ticketing Associate education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

Claire Carr, Manager of Education Programs • Anne Gregory, Assistant Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Curriculum Research and Development • Darlene White, Manager of Berkshire Education and Community Programs facilities C. Mark Cataudella, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager • Tyrone Tyrell, Security and Environmental Services Manager

Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Judith Melly, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Paul Giaimo, Electrician • Steven Harper, HVAC Technician • Sandra Lemerise, Painter environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian • Claudia Ramirez Calmo, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Tanglewood Facilities Manager

Bruce Peeples, Grounds Supervisor • Peter Socha, Buildings Supervisor • Fallyn Girard, Tanglewood Facilities Coordinator • Robert Casey, Painter • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 5 administration 75 76 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Ana Costagliola, Database Business Analyst • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist • Richard Yung, IT Services Manager public relations

Samuel Brewer, Public Relations Associate • Taryn Lott, Senior Public Relations Associate • David McCadden, Senior Publicist publications Marc Mandel, Director of Program Publications

Robert Kirzinger, Assistant Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Amy Aldrich, Ticket Operations Manager • Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Sid Guidicianne, Front of House Manager • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing

Elizabeth Battey, Subscriptions Representative • Gretchen Borzi, Associate Director of Marketing • Rich Bradway, Associate Director of E-Commerce and New Media • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Coordinator and Administrator of Visiting Ensemble Events • Susan Coombs, SymphonyCharge Coordinator • Peter Danilchuk, Subscriptions Representative • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Randie Harmon, Senior Manager of Customer Service and Special Projects • George Lovejoy, SymphonyCharge Representative • Jason Lyon, Director of Tanglewood Tourism/ Associate Director of Group Sales • Ronnie McKinley, Ticket Exchange Coordinator • Jeffrey Meyer, Senior Manager, Corporate Partnerships • Michael Moore, Manager of Internet Marketing • Allegra Murray, Manager, Business Partners • Laurence E. Oberwager, Director of Tanglewood Business Partners • Doreen Reis, Advertising Manager • Laura Schneider, Web Content Editor • Robert Sistare, Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Web Application and Security Lead • Amanda Warren, Junior Graphic Designer • Stacy Whalen-Kelley, Senior Manager, Corporate Sponsor Relations box ofﬁce David Chandler Winn, Manager • Megan E. Sullivan, Assistant Manager/Subscriptions Coordinator box ofﬁce representatives Mary J. Broussard • John Lawless • Arthur Ryan event services Kyle Ronayne, Director of Event Administration • Sean Lewis, Manager of Venue Rentals and Events Administration • Luciano Silva, Events Administrative Assistant tanglewood music center

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

week 5 administration 77

Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Audley H. Fuller Vice-Chair, Tanglewood, Martin Levine Secretary, Susan Price Co-Chairs, Boston Suzanne Baum • Leah Driska • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • David Galpern Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2013-14

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Beverly Pieper • Mailings, George Mellman • Membership Table/Hall Greeters, Melissa Riesgo • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 5 administration 79 Next Program…

Thursday, October 24, 8pm Friday, October 25, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) Saturday, October 26, 8pm

daniel harding conducting

turnage “speranza” (2012) (american premiere; bso co-commission) Amal Hoffen Dochas Tikvah

{intermission}

mahler “das lied von der erde” (“the song of the earth”), a symphony for tenor, alto, and orchestra (after hans bethge’s “the chinese flute”) The Drinking Song of the Earth’s Despair The Lonely One in Autumn Of Youth Of Beauty The Drunkard in Springtime The Parting christianne stotijn, mezzo-soprano michael schade, tenor

English conductor Daniel Harding makes his BSO debut in a program featuring the first of several BSO-commissioned works for the 2013-14 season, Mark-Anthony Turnage’s Speranza, which the composer calls “upbeat, extrovert, and optimistic.” “Speranza” and the four movement-titles (in Italian, Arabic, German, Gaelic, and Hebrew, respectively) all translate as “hope.” Harding led the premiere of his compatriot’s piece with the London Symphony Orchestra, the work’s co- commissioner, in February 2013. Mahler’s hour-long song-symphony Das Lied von der Erde (“The Song of the Earth”) is a group of wide-ranging settings of Chinese poetry translated into German; the composer responds with music tinged by Eastern exoticism. Dutch mezzo-soprano Christianne Stotijn and Canadian tenor Michael Schade are the soloists.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org, 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. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

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 ‘B’ October 24, 8-10:10 Thursday ‘D’ November 7, 8-9:40 Friday ‘A’ October 25, 1:30-3:40 UnderScore Friday November 8, 8-9:50 Saturday ‘A’ October 26, 8-10:10 (includes comments from the stage) DANIELHARDING, conductor Saturday ‘B’ November 9, 8-9:40 CHRISTIANNESTOTIJN, mezzo-soprano CHARLESDUTOIT, conductor MICHAELSCHADE, tenor TATIANA PAVLOVSKAYA, soprano JOHNMARKAINSLEY TURNAGE Speranza (American premiere; , tenor BSO co-commission) MATTHIAS GOERNE, baritone MAHLER Das Lied von der Erde TANGLEWOOD FESTIVAL CHORUS, JOHNOLIVER, conductor THEAMERICANBOYCHOIR, Thursday ‘A’ October 31, 8-10:05 FERNANDO MALVAR-RUIZ, music director Friday ‘B’ November 1, 1:30-3:35 BRITTEN War Requiem (marking the Saturday ‘B’ November 2, 8-10:05 centennial of the composer’s Tuesday ‘B’ November 5, 8-10:05 birth) CHARLESDUTOIT, conductor GAUTIERCAPUÇON,DANIELMÜLLER-SCHOTT, Thursday ‘C’ November 14, 8-9:55 and ARTONORAS, cellos Friday ‘A’ November 15, 1:30-3:25 RAVEL Le Tombeau de Couperin Saturday ‘A’ November 16, 8-9:55 PENDERECKI Concerto Grosso No. 1 for Tuesday ‘C’ November 19, 8-9:55 three cellos and orchestra LEONIDAS KAVAKOS, violin and conductor (marking the composer’s 80th birthday) MOZART Violin Concerto No. 4 in D, ELGAR Enigma Variations K.218 PROKOFIEV Symphony No. 1, Classical SCHUMANN Symphony No. 2

Thursday ‘A’ November 21, 8-10:05 Friday ‘B’ November 22, 1:30-3:35 Saturday ‘A’ November 23, 8-10:05 RAFAELFRÜHBECKDEBURGOS, conductor RICHARDSVOBODA, bassoon BEETHOVEN Symphony No. 6, Pastoral NEIKRUG Concerto for Bassoon and Orchestra (world premiere; BSO co-commission) FALLA The Three-cornered Hat, Suites 1 and 2

Programs and artists subject to change.

week 5 coming concerts 81 Symphony Hall Exit PlanPlanSymphony

82 Symphony Hall InformationInformationSymphony

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 information 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 (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 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 $6.25 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 available 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.

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 5 symphony hall information 83 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 program pieces in order not to disturb other patrons. 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, Thursday, and Friday 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, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for 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 concerts. 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 balcony, 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 $75 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 information, 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 Thursday 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.