Week 6 Hk Gruber Mahler

2018–19 season andris nelsons bostonmusic director symphony orchestra

week 6 hk gruber mahler

Season Sponsors seiji ozawa music director laureate bernard haitink conductor emeritus

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 6

7 bso news 1 5 on display in symphony hall 16 bso music director andris nelsons 18 the boston symphony orchestra 23 casts of character: the symphony statues by caroline taylor 3 2 this week’s program

Notes on the Program

34 The Program in Brief… 35 HK Gruber 43 Gustav Mahler 57 To Read and Hear More…

Guest Artist

61 Håkan Hardenberger

66 sponsors and donors 80 future programs 82 symphony hall exit plan 8 3 symphony hall information

the friday preview on november 16 is given by bso associate director of program publications robert kirzinger.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617) 266-1492 bso.org Now on view mfa.org/pastels

Supported by the Robert Lehman Foundation and Davis and Carol Noble. Edgar Degas, Dancers Resting (detail), 1881–85. Pastel on paper mounted on cardboard. Juliana Cheney Edwards Collection. andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner thomas wilkins, germeshausen youth and family concerts conductor 138th season, 2018–2019 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Joshua A. Lutzker, Treasurer

William F. Achtmeyer • Noubar Afeyan • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Todd R. Golub • Michael Gordon • Nathan Hayward, III • Ricki Tigert Helfer • Brent L. Henry • Susan Hockfield • Albert A. Holman, III • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Pamela L. Peedin • Steven R. Perles • Lina S. Plantilla, M.D. • Carol Reich • Arthur I. Segel • Wendy Shattuck • Theresa M. Stone • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Dr. Christoph Westphal • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • George D. Behrakis • Gabriella Beranek • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Deborah B. Davis • Nina L. Doggett • William R. Elfers • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • George Krupp • Richard P. Morse • David Mugar • Robert P. O’Block • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • John Reed • Edward I. Rudman • Roger T. Servison • Richard A. Smith • Ray Stata • John Hoyt Stookey • John L. Thorndike • Stephen R. Weber • Stephen R. Weiner • Robert C. Winters • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer • Evelyn Barnes, Jane B. and Robert J. Mayer, M.D., Chief Financial Officer • Bart Reidy, Clerk of the Board advisors of the boston symphony orchestra, inc.

Tom Kuo, Co-Chair • Sarah Rainwater Ward, Co-Chair

Nathaniel Adams • James E. Aisner • Maureen Alphonse-Charles • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Ted Berk • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Bihua Chen • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Peter Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Adaline H. Frelinghuysen • Stephen T. Gannon • Marion Gardner-Saxe • Levi A. Garraway • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Barbara Nan Grossman • Alexander D. Healy • James M. Herzog, M.D. • Stuart Hirshfield • Lawrence S. Horn • Jill Hornor • Valerie Hyman •

week 6 trustees and advisors 3 We are honored to support the Boston Symphony Orchestra

as Sponsor of Casual Fridays BSO Young Professionals BSO College Card and Youth and Family Concerts

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . photos by Michael Blanchard and Winslow Townson

George Jacobstein • Stephen J. Jerome • Giselle J. Joffre • Susan A. Johnston • Mark Jung • Steve Kidder • John L. Klinck, Jr. • Roy Liemer • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Irving H. Plotkin • Andrew S. Plump • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Blair Trippe • Jillian Tung, M.D. • Sandra A. Urie • Antoine van Agtmael • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • June K. Wu, M.D. • Patricia Plum Wylde • Gwill E. York • Marillyn Zacharis advisors emeriti

Helaine B. Allen • Marjorie Arons-Barron • Diane M. Austin • Sandra Bakalar • Lucille M. Batal • Linda J.L. Becker • James L. Bildner • William T. Burgin • Hon. Levin H. Campbell • Carol Feinberg Cohen • Mrs. James C. Collias • Charles L. Cooney • Ranny Cooper • Joan P. Curhan • James C. Curvey • Tamara P. Davis • Mrs. Miguel de Bragança • Paul F. Deninger • JoAnne Walton Dickinson • Phyllis Dohanian • Alan Dynner • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt † • Lola Jaffe • Everett L. Jassy • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky † • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins † • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Susan Rothenberg • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

Membership as of September 20, 2018

† Deceased

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For more information, contact John Morey at 617-292-6799 or [email protected] BSO News

Celebrating “Leipzig Week in Boston,” November 25-December 2, 2018 The week of November 25-December 2 is the BSO’s second “Leipzig Week in Boston” marking the multi-dimensional alliance between the Boston Symphony Orchestra and the Gewandhaus Orchestra (GHO) of Leipzig, of which BSO Music Director Andris Nelsons became Gewandhauskapellmeister last February. In addition to the BSO’s first complete performances of J.S. Bach’s Christmas Oratorio on Thursday, November 29, and Saturday, December 1 at 7:30 p.m., and Friday afternoon, November 30, at 1:30 p.m. under Andris Nelsons, there will be two presentations, free and open to the public, in Rabb Hall at the Boston Public Library, from 5:30-7 p.m. on Tuesday, November 27, and Wednesday, November 28. The first presentation at the BPL, on November 27—“Bach Traditions in Leipzig and Boston”— offers a multi-media exploration of Bach-related performance history and traditions with Harvard University Professor Emeritus Christoph Wolff, Leipzig Bach Archive Director Peter Wollny, and Emmanuel Music Artistic Director Ryan Turner. Their discussion will be preceded by selections from Bach’s Suite No. 3 in C for unaccompanied cello played by BSO cellist Oliver Aldort. The second presentation, on November 28—“Bach’s Christmas Oratorio in Context”—with Christoph Wolff, Peter Wollny, Yale Music History Professor Markus Rathey, and soprano Carolyn Sampson, offers a comprehensive view of Bach’s piece, which he composed originally for performance during the Christmas season of 1734 at Leipzig’s Thomaskirche and Nikolaikirche. This presentation begins with selections from Book II of Bach’s Well-Tempered Clavier played by harpsichordist Ian Watson and Bach’s Trio Sonata in G, BWV 1038, played by BSO principal flute Elizabeth Rowe, principal oboe John Ferrillo, Oliver Aldort, and Ian Watson. For more information, please visit bso.org. Emmanuel Music, Ryan Turner, artistic director, will also participate in this year’s “Leipzig Week in Boston,” with performances as part of the Sunday-morning service at Emmanuel Church, 15 Newbury Street, of Mendelssohn’s Psalm 95, Kommt, laßt uns anbeten, on November 25, and of Bach’s Cantata No. 1, Wie schön leuchtet der Morgenstern, on Decem- ber 2. The service begins at 10 a.m., the music at approximately 11:15. Violinist Dorothea Vogel and violist David Lau, Gewandhaus Orchestra members currently playing with the BSO as part of the BSO/GHO Musician Exchange program, will participate in the Mendelssohn performance on November 25.

BSO Community Chamber Concerts The BSO continues its free, hour-long Community Chamber Concerts featuring BSO musicians in communities throughout the greater Boston area on Sunday afternoons at

week 6 bso news 7

3 p.m., followed by a coffee-and-dessert reception for the audience and musicians. The next Community Chamber Concert—this Sunday afternoon, November 18, at Bunker Hill Community College—features BSO violinists Tatiana Dimitriades and Glen Cherry, violists Rebecca Gitter and Rachel Fagerburg, and cellist Adam Esbensen in Mozart’s C major string quintet, K.515, and Mendelssohn’s A minor string quartet, Op. 13. Admission is free, but reservations are required; please call 1-888-266-1200. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2018-19 Com- munity Concerts are sponsored by Takeda Pharmaceutical Company Limited.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Associate Director of Program Publications Robert Kirzinger, and occasional guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. The speakers for this fall are Marc Mandel (October 19, October 26, November 23), Robert Kirzinger (October 12, November 16, and November 30), and author/lecturer Harlow Robinson (November 9). individual tickets are on sale for all concerts in the bso’s 2018-2019 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 Deborah and William R. Elfers Guest Artist, Friday, November 16, 2018 Volunteers to involve people in the BSO’s Friday afternoon’s appearance by Håkan artistic, educational, and community out- Hardenberger is supported by a generous reach programs. In addition to her work with gift from Great Benefactors William and the orchestra’s board and volunteer corps, Deborah Elfers. The Boston Symphony Deborah sang with the Tanglewood Festival Orchestra gratefully acknowledges Bill and Chorus for several years. A graduate of New Deborah for their continuing and devoted England Conservatory of Music, where she support. Longtime subscribers and sup- studied voice, she now serves as chair of porters of the BSO, Bill and Deborah have NEC’s Board of Overseers. attended concerts together for more than Bill and Deborah continue to support the BSO twenty-five years. Bill was elected to the generously in many ways. In 2002, the couple BSO Board of Overseers in 1996, to the endowed the Elfers Fund for Performing Board of Trustees in 2002, and was elevated Artists, established in honor of Deborah, to Life Trustee in 2017. He has served on which has supported the appearance of one several board committees, including the BSO guest artist at Symphony Hall each Audit, Budget, and Investment committees. season. They have generously supported Deborah’s efforts on the BSO’s behalf include the Beyond Measure Campaign with an directing the Business Leadership Association’s additional commitment to the Elfers Fund for fundraising efforts as a member of the BSO Performing Artists, as well as a multi-year staff from 1992 to 1995. As a BSO volunteer, commitment to the Symphony Annual Fund. she served on the Annual Giving Committee, They have also endowed several seats in the chaired the Annual Fund’s Higginson Society first balcony of Symphony Hall. Additionally, dinner, hosted Higginson Society events, the couple has supported Opening Nights and, with other key volunteers, collaborated at Symphony for many years, and they have with the Boston Symphony Association of served on the gala’s benefactor committee.

week 6 bso news 9 9,977 GOT BACK IN THE GAME

AFTER A SHORT-TERM REHAB STAY

LCCA.COM You have a choice!

15 Massachusetts and 2 Rhode Island Facilities 14 Crosby Drive | Bedford, MA 01730 • 781.271.0500 Assisted Living at Life Care Center of Stoneham 781.662.2545 117900 117900 Planned Gifts for the BSO: phony No. 5, preceded by HK Gruber’s Aerial Orchestrate Your Legacy featuring trumpet soloist Håkan Harden- berger (November 17; encore November 26), There are many creative ways that you can and next week’s all-Beethoven program pair- support the BSO over the long term. Planned ing Beethoven’s Fourth and Fifth symphonies, gifts such as bequest intentions (through also led by Andris Nelsons (November 24; your will, personal trust, IRA, or insurance encore December 3). policy), charitable trusts, and gift annuities can generate significant benefits for you now while enabling you to make a larger gift Friday-afternoon Bus Service to the BSO than you may have otherwise to Symphony Hall thought possible. In many cases, you could If you’re tired of fighting traffic and searching realize significant tax savings and secure an for a parking space when you come to Friday- attractive income stream for yourself and/ afternoon Boston Symphony concerts, why or a loved one, all while providing valuable not consider taking the bus from your com- future support for the performances and munity directly to Symphony Hall? The programs you care about. When you estab- Boston Symphony Orchestra is pleased to lish and notify us of your planned gift for continue offering round-trip bus service on the Boston Symphony Orchestra, you will Friday afternoons at cost from the following become a member of the Walter Piston communities: Beverly, Canton, Cape Cod, Society, joining a group of the BSO’s most Concord, Framingham, Holyoke, Milton, loyal supporters who are helping to ensure the South Shore, Swampscott, Wellesley, the future of the BSO’s extraordinary perfor- Weston, and Worcester in Massachusetts; mances. Members of the Piston Society— Nashua, New Hampshire; and Rhode Island. named for Pulitzer Prize-winning composer In addition, we offer bus service for selected and noted musician Walter Piston, who concerts from the Holyoke/Amherst area. endowed the BSO’s principal flute chair with Taking advantage of your area’s bus service a bequest—are recognized in several of our not only helps keep this convenient service publications and offered a variety of exclu- operating, but also provides opportunities sive benefits, including invitations to various to spend time with your Symphony friends, events in Boston and at Tanglewood. If you meet new people, and conserve energy. For would like more information about planned further information about bus transportation gift options and how to join the Walter Pis- to Friday-afternoon Boston Symphony con- ton Society, please contact Jill Ng, Director certs, please call the Subscription Office at of Planned Giving and Senior Major Gifts (617) 266-7575. Officer, at (617) 638-9274 or [email protected]. We would be delighted to help you orchestrate your legacy with the BSO. BSO Members in Concert The Concord Chamber Music Society, found- BSO Broadcasts on WCRB ed by BSO violinist Wendy Putnam, performs Schubert’s String Trio in B-flat, D.581, Berg’s BSO concerts are heard on the radio at String Quartet, Opus 3, and Mozart’s String 99.5 WCRB. Saturday-night concerts are Quintet in C, K.515, on Sunday, November 18, broadcast live at 8 p.m. with host Ron Della at 3 p.m. at Concord Academy Performing Chiesa, and encore broadcasts are aired on Arts Center, 166 Main Street, Concord, MA. Monday nights at 8 p.m. In addition, inter- Joining Ms. Putnam are violinist Axel Strauss, views with guest conductors, soloists, and BSO principal viola Steven Ansell, BSO assis- BSO musicians are available online at clas- tant principal viola Cathy Basrak, and cellist sicalwcrb.org/bso. Current and upcoming Michael Reynolds. Members of the Boston broadcasts include this week’s program with Youth Symphony Orchestra will perform Andris Nelsons conducting Mahler’s Sym-

week 6 bso news 11 ONE PERFORMANCE ONLY Sunday, January 27, 2019 at 3pm Sanders Theatre at Harvard University

Boston Youth Symphony Federico Cortese, Conductor Edward Berkeley, Stage Director

Tickets $40–$60 www.BYSOweb.org or 617-496-2222 LaPuccini Bohème

12 before the concert. Tickets are $47 and $38, Those Electronic Devices… discounted for seniors and students. For As the presence of smartphones, tablets, and more information, call (978) 405-0130 or other electronic devices used for commu- visit concordchambermusic.org. nication, note-taking, and photography has Collage New Music, founded by former BSO increased, there have also been continuing percussionist Frank Epstein, performs works expressions of concern from concertgoers by Nick Omiccioli, John Harbison, Melinda and musicians who find themselves dis- Wagner, and Jeffrey Mumford under the tracted not only by the illuminated screens direction of David Hoose on Sunday, Novem- on these devices, but also by the physical ber 25, at 8 p.m. (pre-concert talk at 7 p.m.) movements that accompany their use. For at Edward M. Pickman Concert Hall at the this reason, and as a courtesy both to those Longy School of Music of Bard College, on stage and those around you, we respect- 27 Garden Street, Cambridge. Among the fully request that all such electronic devices performers are BSO members Catherine be completely turned off and kept from view French, violin, Oliver Aldort, cello; and Clint while BSO performances are in progress. Foreman, flute. General admission tickets at In addition, please also keep in mind that $30, discounted for seniors and students, taking pictures of the orchestra—whether are available at collagenewmusic.org. photographs or videos—is prohibited during The Walden Chamber Players, whose mem- concerts. Thank you very much for your bership includes BSO associate concertmas- cooperation. ter Alexander Velinzon and BSO violinist Tatiana Dimitriades, perform as part of the On Camera With the BSO Rhode Island Chamber Music Concerts in Providence’s McVinney Auditorium on The Boston Symphony Orchestra frequently Thursday, November 29, at 7:30. On the pro- records concerts or portions of concerts for archival and promotional purposes via gram are Martinu’s˚ Nonet No. 2; Nielsen’s Serenata in vano, for clarinet, bassoon, horn, our on-site video control room and robotic cello, and double bass; Till Eulenspiegel— cameras located throughout Symphony Hall. einmal anders!, Hasenöhrl’s arrangement of Please be aware that portions of this con- the Strauss work, and Spohr’s Nonet, Op. 31. cert may be filmed, and that your presence Tickets from $6 to $43.75 are available at acknowledges your consent to such photog- ricmc.org or by calling (401) 278-4588. raphy, filming, and recording for possible use in any and all media. Thank you, and enjoy Founded by former BSO cellist Jonathan the concert. Miller, the Boston Artists Ensemble performs a program entitled “Trio of Trios” on Friday, November 30, at 8 p.m. at Hamilton Hall in Comings and Goings... Salem and on Sunday, December 9, at 3 p.m. Please note that latecomers will be seated at St. Paul’s Episcopal Church, 15 St. Paul by the patron service staff during the first Street, Brookline. Violinist Sharan Leventhal convenient pause in the program. In addition, and pianist Randall Hodgkinson join Mr. Miller please also note that patrons who leave the for this program featuring Schubert’s Piano auditorium during the performance will not Trio in B-flat, D.898, Mendelssohn’s Piano be allowed to reenter until the next conve- Trio No. 1 in D minor, Op. 49, and Judith nientpause in the program, so as not to dis- Weir’s O Viridissima. Tickets are $30 (disturb the performers or other audience mem- counts for seniors and students), available bers while the music is in progress. We thank at the door. For more information, call (617) you for your cooperation in this matter. 964-6553 or visit bostonartistsensemble.org.

week 6 bso news 13 ASSISTING NEW ENGLAND FAMILIES WITH THE SALE OF THEIR FINE JEWELRY AND PAINTINGS SINCE 1987.

ALEXANDER CALDER Gold Brooch, ca. 1948

SOLD AT AUCTION: $79,300

GROGANCO.COM | 20 CHARLES STREET, BOSTON, MASSACHUSETTS 02114 | 617.720.2020 on display in symphony hall This year’s BSO Archives exhibit on the orchestra and first-balcony levels of Symphony Hall encompasses a widely varied array of materials, some of it newly acquired, from the Archives’ permanent collection. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • An exhibit case in the Brooke Corridor documenting grand musical events in Boston prior to the founding of the BSO • An exhibit case in the Brooke Corridor spotlighting BSO founder and sustainer Henry Lee Higginson • An exhibit case in the Brooke Corridor celebrating women composers whose music the BSO has performed • Two exhibit cases in the Hatch Corridor focusing on the construction and architecture of Symphony Hall in the first balcony corridors: • An exhibit case, audience-right, tracing the crucial role of the BSO’s orchestra librarian throughout the orchestra’s history • An exhibit case, also audience-right, highlighting a newly acquired collection of letters written between 1919 and 1924 by Georg Henschel, the BSO’s first conductor, to the French flutist Louis Fleury, as well as Henschel the composer • An exhibit case, audience-left, documenting Symphony Hall’s history as a venue for jazz concerts between 1938 and 1956 in the cabot-cahners room: • Two exhibit cases focusing on the life, career, and family history of the late Tanglewood Festival Chorus founder/conductor John Oliver, including personal and professional papers, photographs, and other memorabilia, all donated to the BSO Archives in 2018 by Mr. Oliver’s estate • An exhibit case drawn from materials acquired by the BSO Archives in 2017 documenting the life and musical career of former BSO violinist Einar Hansen, a member of the BSO from 1925 to 1965

TOP OF PAGE, LEFT TO RIGHT: Composer Amy Beach (1867-1944), c.1910 (Fraser Studios) An April 1947 program from a Symphony Hall concert featuring Billie Holiday and Louis Armstrong A young John Oliver at the keyboard, c.1960 (photographer unknown)

week 6 on display 15 Marco Borggreve

Andris Nelsons

The 2018-19 season is Andris Nelsons’ fifth as the Boston Symphony Orchestra’s Ray and Maria Stata Music Director. Named Musical America’s 2018 Artist of the Year, Mr. Nelsons will lead fourteen of the BSO’s twenty-six subscription programs in 2018-19, ranging from orchestral works by Haydn, Beethoven, Tchaikovsky, Stravinsky, and Copland to concerto collaborations with acclaimed soloists, as well as world and American premieres of pieces newly commissioned by the BSO from Thomas Adès, Sebastian Currier, Andris Dzenītis, and Mark-Anthony Turnage; the continuation of his complete Shostakovich symphony cycle with the orchestra, and concert performances of Puccini’s one-act opera Suor Angelica. In summer 2015, following his first season as music director, Andris Nelsons’ contract with the BSO was extended through the 2021-22 season. In November 2017, he and the orchestra toured Japan together for the first time. In February 2018, he became Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he brings both orchestras together for a unique multi-dimensional alliance. Immediately following the 2018 Tanglewood season, Maestro Nelsons and the BSO made their third European tour together, playing concerts in London, Hamburg, Berlin, Leipzig, Vienna, Lucerne, Paris, and Amsterdam. Their first European tour, following the 2015 Tanglewood season, took them to major European capitals and the Lucerne, Salzburg, and Grafenegg festivals; the second, in May 2016, took them to eight cities in Germany, Austria, and Luxembourg.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011, his Tangle- wood debut in July 2012, and his BSO subscription series debut in January 2013. His recordings with the BSO, all made live in concert at Symphony Hall, include the complete Brahms symphonies on BSO Classics; Grammy-winning recordings

16 on Deutsche Grammophon of Shostakovich’s symphonies 5, 8, 9, and 10, the initial releases in a complete Shostakovich symphony cycle for that label; and a new two-disc set pairing Shostakovich’s symphonies 4 and 11, The Year 1905. Under an exclusive contract with Deutsche Grammophon, Andris Nelsons is also recording the complete Bruckner symphonies with the Gewandhausorchester Leipzig and the complete Beethoven symphonies with the Vienna Philharmonic.

The 2018-19 season is Maestro Nelsons’ final season as artist-in-residence at the Konzerthaus Dortmund and marks his first season as artist-in-residence at Hamburg’s Elbphilharmonie. In addition, he continues his regular collaborations with the Vienna Philharmonic and Berlin Philharmonic. Throughout his career, he has also established regular collaborations with Amsterdam’s Royal Concertgebouw Orchestra, the Bavarian Radio Symphony Orchestra, and the Philharmonia Orchestra, and has been a regular guest at the Bayreuth Festival and the Royal Opera House, Covent Garden.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Marco Borggreve

week 6 andris nelsons 17 Boston Symphony Orchestra 2018–2019

andris nelsons bernard haitink seiji ozawa thomas adès Ray and Maria Stata LaCroix Family Fund Music Director Laureate Deborah and Philip Edmundson Music Director Conductor Emeritus Artistic Partner endowed in perpetuity endowed in perpetuity thomas wilkins Germeshausen Youth and Family Concerts Conductor endowed in perpetuity

first violins Catherine French* violas Mickey Katz* Robert Bradford Newman chair, Stephen and Dorothy Weber Malcolm Lowe endowed in perpetuity Steven Ansell chair, endowed in perpetuity Concertmaster Principal Charles Munch chair, Jason Horowitz* Charles S. Dana chair, Alexandre Lecarme* Nancy and Richard Lubin chair endowed in perpetuity Ala Jojatu* endowed in perpetuity Adam Esbensen* Tamara Smirnova Bracha Malkin* Cathy Basrak First Associate Concertmaster Assistant Principal Richard C. and Ellen E. Paine Helen Horner McIntyre chair, Dorothea Vogel u Anne Stoneman chair, chair, endowed in perpetuity endowed in perpetuity endowed in perpetuity Oliver Aldort* Alexander Velinzon second violins Danny Kim u Associate Concertmaster Lois and Harlan Anderson chair, basses Robert L. Beal, Enid L., and Haldan Martinson endowed in perpetuity Bruce A. Beal chair, endowed Principal Edwin Barker Carl Schoenhof Family chair, Rebecca Gitter in perpetuity Principal endowed in perpetuity Harold D. Hodgkinson chair, Elita Kang u Michael Zaretsky* Julianne Lee° endowed in perpetuity Assistant Concertmaster Rachel Fagerburg* Edward and Bertha C. Rose chair, Assistant Principal Lawrence Wolfe Charlotte and Irving W. Rabb endowed in perpetuity Daniel Getz* Assistant Principal chair, endowed in perpetuity Maria Nistazos Stata chair, Yuncong Zhang Rebekah Edewards* endowed in perpetuity John and Dorothy Wilson chair, Sheila Fiekowsky Leah Ferguson*° endowed in perpetuity Shirley and J. Richard Fennell Benjamin Levy chair, endowed in perpetuity Kathryn Sievers* Leith Family chair, endowed Lucia Lin in perpetuity Dorothy Q. and David B. Arnold, Nicole Monahan David Lau u Jr., chair, endowed in perpetuity David H. and Edith C. Howie Dennis Roy chair, endowed in perpetuity Ikuko Mizuno cellos Joseph Hearne Ruth and Carl J. Shapiro chair, Ronan Lefkowitz Blaise Déjardin Todd Seeber* endowed in perpetuity Vyacheslav Uritsky* Principal Eleanor L. and Levin H. Campbell Bo Youp Hwang Jennie Shames* Philip R. Allen chair, chair, endowed in perpetuity Mary B. Saltonstall chair, endowed in perpetuity endowed in perpetuity Valeria Vilker Kuchment* John Stovall* Sato Knudsen Thomas Van Dyck* Aza Raykhtsaum* Tatiana Dimitriades* Mischa Nieland chair, Catherine and Paul Buttenwieser Si-Jing Huang* endowed in perpetuity chair flutes Wendy Putnam* Mihail Jojatu Bonnie Bewick* Sandra and David Bakalar chair Elizabeth Rowe Kristin and Roger Servison chair Xin Ding* Martha Babcock Principal Walter Piston chair, endowed James Cooke* Glen Cherry* Vernon and Marion Alden chair, in perpetuity Donald C. and Ruth Brooks endowed in perpetuity Heath chair, endowed Lisa Ji Eun Kim* Owen Young* Clint Foreman in perpetuity Myra and Robert Kraft chair, John F. Cogan, Jr., and Mary L. endowed in perpetuity Victor Romanul* Cornille chair, endowed Ronald G. and Ronni J. Casty in perpetuity Elizabeth Ostling chair Associate Principal Marian Gray Lewis chair, u BSO/GHO Musician Exchange participant: BSO members Elita Kang and Danny Kim endowed in perpetuity play with Leipzig’s Gewandhausorchester (GHO) for the first half of the season while GHO members Dorothea Vogel and David Lau play with the BSO.

18 photos by Winslow Townson and Michael Blanchard

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

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This essay is taken from “Symphony Hall: The First 100 Years,” a large-format book including photographs, commentary, and essays tracing the more than hundred-year history of Symphony Hall. Published by the Boston Symphony Orchestra, “Symphony Hall: The First 100 Years” is available in the Symphony Shop.

Stare out into the vastness of an empty Symphony Hall. Who stares back? A satyr—a dancing one—as well as Sophocles, Euripides, Demosthenes, and Apollo.

These “casts of character” are among the sixteen mythological deities and legendary figures of antiquity who continually survey Symphony Hall. Striking elegantly languid poses from their second-balcony niches, they surely have the best “seats” in the house. These statues—all plaster casts of Old World originals—have been ensconced in their niches since the early 1900s, when a generous group of Symphony Friends selected and donated them to the hall.

The idea for the statues originated with the hall’s architects, McKim, Mead & White, and its acoustical adviser, Wallace Clement Sabine. Sabine saw the statuary as the solu- tion to two problems confronting them at the time: the beautiful casts could embellish large wall surfaces in the hall while providing places where acoustical adjustments could be made. If the hall’s acoustics needed to be altered, fabric or felt could be placed behind the statues without disturbing the decor. As it turned out, Symphony Hall was so masterfully designed that it was never necessary to change the acoustics in a significant way.

Florence Wolsky, a former member of the Museum of Fine Arts Ancient Arts Department and one of the original Symphony Hall tour guides, has thoroughly researched the statues and their history. After more than thirty years of familiarity, her passion and affection for them remain undimmed.

Apollo Belvedere (Vatican City)

week 6 casts of character 23 Featuring a kaleidoscopic array of artists from the worlds of classical music, film, and Broadway, the gala 2018 Bernstein Centennial Celebration at Tanglewood encompasses selections from such brilliant Bernstein works as Candide, West Side Story, and his Serenade for violin and orchestra; a new work by John Williams written especially for the occasion, and music by Copland and Mahler particularly dear to Bernstein’s heart, closing with the stirring finale of Mahler’s Resurrection Symphony. Available for pre-sale now with a November 16 release date. DVD $29.99 and Blu-Ray $41.99 · 617-638-9412 · bso.org left, Apollo Citharoedus (Vatican City) right, Diana of Versailles (Paris)

The use of reproductions, explains Mrs. Wolsky, was extremely popular in the nine- teenth century. At the Paris Exposition of 1867, a resolution was passed that everyone in the world had the right to be exposed to quality reproductions of the great statues of Greece and Rome.

Mrs. Wolsky explains: “There were very strong feelings of cultural uplift at the time, much the same feeling that was behind Major Higginson’s impulse to found the Boston Symphony after he had traveled to Europe, had heard the great symphonies there, and seen the great art. People in Boston had a strong desire to bring great art to this country, since they believed it brought out the noblest instincts in man, and therefore created a better democracy.

“Since most Greek sculpture was rendered in bronze, not marble, most statuary was melted down. The Romans, however, adored Greek sculpture and made numerous cop- ies, in marble, of Greek statues, which have survived.”

Roman marbles, like their Greek predecessors, were rarely available for purchase. As a result, American specialists like Pietro Caproni and his brother—whose studios were at the corner of Washington and Newcomb streets in Roxbury—traveled to Europe, copy- ing the originals with precision, grace, and plaster.

According to Mrs. Wolsky, the actual selection of the Caproni plaster casts was entrusted to Mrs. John W. Elliot and a committee of about two hundred Friends of Symphony. The group pored over the Caproni brothers’ catalogues, eventually choosing the sixteen statues now in the hall.

These statues were an appropriate addition to the neoclassical design of Symphony Hall, since the ancient Romans often decorated their odeons or theaters with such objects of art. The Caproni casts were not in place for the hall’s opening concert, but were added one at a time as they emerged from the Caproni studios.

week 6 casts of character 25

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26 These statues, in Mrs. Wolsky’s opinion, may well have been chosen with an eye toward beauty, as well as for their relevance to music, art, literature, and oratory. Two of the statues depict Apollo, the god of music and poetry. The first—set second from the right as you face the stage—is known as Apollo Citharoedus (pictured on page 25). Copied from the Roman original in the Vatican Museums, it shows Apollo in the long robes of a musician. He is accompanying his songs and poetry on a cithara, an instrument similar to a lyre he is credited with inventing. On his head is a laurel wreath—the symbol of triumph in Greece and Rome—which was given to victors in the games and contests sacred to Apollo.

The second statue of Apollo—to the right, as you face the back of the hall—is the Apollo Belvedere (pictured on page 23), credited for generations as the highest ideal of male beauty. The original, in the Vatican Museums, is thought to be a Roman copy of a 4th- century B.C. work by Leochares, the court sculptor to Alexander the Great. Here, Apollo is shown as a divine hero, wearing a chlamys, or short cloak, and holding a bow in his left hand. A spray of the sacred laurel plant may once have rested in his other hand. A creature of earth and the underworld, the snake, is coiled around the tree stump, sym- bolizing Apollo’s role as a god of prophecy.

To the left of this statue stands Diana of Versailles (see page 25), currently in the Louvre and also a copy of a 4th-century B.C. work by Leochares. Diana—known to the Greeks as Artemis, goddess of the chase and the forests—is shown here in the woods, flanked by a small stag. Wearing her hunting costume, a short tunic, she once readied a bow in her left hand. Like her brother Apollo, Diana was a musician who often led her choir of muses and graces at Delphi on returning from the hunt.

Three statues represent satyrs, or fauns—mythological creatures human in form, with the ears and tail of a goat. Satyrs were followers of Dionysus, the god of drama and music. The first satyr—first to the right, as you face the stage—has the infant Bacchus, or Dionysus, riding on his shoulders, grasping a bunch of grapes. The satyr holds a pair of cymbals. On the stump beside him is a panther skin, sacred to Dionysus, as well as Pan-pipes, grapes, and vine leaves.

The second satyr—fourth on the right, facing the stage—is known as The Dancing Faun. The original is currently in the Villa Borghese in Rome. This satyr, older and bearded, plays the cymbals while dancing, as he would in a procession honoring Dionysus. Another panther skin is draped on the stump behind him, his body twisted in the vigor- ous “contrapposto” typical of late Hellenistic art.

The third satyr—first on the left, as you face the stage—originated with Praxiteles, one of the three greatest sculptors of the fourth century B.C. As Mrs. Wolsky points out, Praxiteles was a virtuoso in stone sculpture and gave marble a translucent, soft surface that conveys the impression of human skin. A marvelous example of the characteristic grace of a Praxitelean statue, this one shows a languid, dreamy satyr leaning against a tree stump. It is often called The Marble Faun, from the book by Nathaniel Hawthorne it reportedly inspired.

week 6 casts of character 27 Also represented in Symphony Hall are Demosthenes (fifth from the right as you face the stage); two statues of the Greek poet Anacreon (sixth from the right and sixth from the left, the former—the “Seated Anacreon”—shown opposite); Euripides (seventh from the right); Hermes (third from the left); Athena (fourth from the left); Sophocles (fifth from the left); and the Greek orator Aeschines (seventh from the left).

One statue that has an indirect connection to the arts, at best, is that of the Amazon (second from the left), thought to be a copy of a work by Polycleitus from the fifth century B.C. The Amazon was probably chosen since it is one of the most famous statues of antiquity. Amazons were followers of the musician Diana. Mrs. Wolsky suspects that there may have been a desire to represent another woman in the statuary, in addition to Diana, Athena, and the so-called Woman from Herculaneum (third from the right), one of the statues buried by the eruption of Mount Vesuvius in 79 A.D. and listed in an old Caproni catalogue as Mnemosyne, Mother of the Muses.

As beautiful as they are, the statues of Symphony Hall have not always been hailed as noble additions to the architecture. Since their installation, letters and comments have been registered from concertgoers concerned with the statues’ state of dishabille. As late as 1947, one gentleman wrote to the former Board president Henry B. Cabot: I dare say no two cocktail bars in Boston are as seductive a medium and raise so much havoc with virgins as does Symphony Hall by means of its suggestive display of male privates.... Symphony Hall is one of the remaining symbols of Boston culture. Let us keep it serene. I do not know how art would be affected if the privates on the statues should be covered. All these figures have some sort of scarf about the shoulders, might it not be brought down lower?

Responded Mr. Cabot: I am afraid that were we to take your advice, somebody might quote to us a stanza from the old rhyme by Anthony Comstock which, as I remember, is: So keep your temper, Anthony. Don’t mind the people’s roars. We’ll drape the tables’ dainty legs In cotton flannel drawers. We’ll cover all those nudities That your pure nature fret, And put a bustle on the nag To hide her red rosette.

caroline taylor was on the staff of the Boston Symphony Orchestra for more than twenty-five years and is currently a BSO Trustee.

28 Seated Anacreon (Copenhagen)

list of casts in symphony hall

As you face the stage, the casts on the right, beginning with the one nearest the stage, are: Faun with Infant Bacchus (Naples) Apollo Citharoedus (Vatican City) Girl of Herculaneum (Dresden) Dancing Faun (Rome) Demosthenes (Vatican City) Seated Anacreon (Copenhagen) Euripedes (Vatican City) Diana of Versailles (Paris)

The casts on the left, beginning from nearest the stage, are: Resting Satyr of Praxiteles (Rome) Amazon (Berlin) Hermes Logios (Paris) Lemnian Athena (Dresden; head in Bologna) Sophocles (Rome) Standing Anacreon (Copenhagen) Aeschines (Naples) Apollo Belvedere (Vatican City)

week 6 casts of character 29

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 138th season, 2018–2019

Thursday, November 15, 8pm Friday, November 16, 1:30pm Saturday, November 17, 8pm

andris nelsons conducting

hk gruber “aerial,” concerto for trumpet and orchestra Done with the compass—Done with the chart! Gone Dancing håkan hardenberger

{intermission} Hilary Scott

Håkan Hardenberger performing with Andris Nelsons and the BSO at Tanglewood in August 2015

32 mahler symphony no. 5 Part I Funeral March: At a measured pace. Strict. Like a cortège Stormy, with utmost vehemence

Part II Scherzo: Energetic, not too fast

Part III Adagietto: Very slow Rondo-Finale: Allegro giocoso. Lively

friday afternoon’s appearance by håkan hardenberger is supported by a gift from deborah and william r. elfers. saturday evening’s performance of mahler’s symphony no. 5 is supported by a gift from raymond and joan green. bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2018-19 season. friday-afternoon concert series sponsored by the brooke family

The evening concerts will end about 10:15, the afternoon concert about 3:45. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. 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. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Transportation. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 6 program 33 The Program in Brief...

The Viennese composer, conductor, and “chansonnier” HK Gruber—famous worldwide for his own performances of his work Frankenstein!!—wrote his trumpet concerto Aerial for the formidable virtuoso Håkan Hardenberger, who is called upon to play two different types of trumpet, use a rackful of mutes, and even play the cow’s horn in this wildly colorful but occasionally melancholy piece. Hardenberger gave the world premiere of Aerial with the BBC Orchestra at the London Proms in 1999. A frequent collaborator of Andris Nelsons, he has previously been soloist with the BSO in concertos by Mark- Anthony Turnage, Rolf Martinsson, and Brett Dean.

Aerial’s title tells us that each of its two movements is meant to convey an aerial view of a landscape. The opening slow movement offers subtle and surprising flows of instrumental color. To the composer’s mind, the second movement suggests a planet whose inhabitants have disappeared and “Gone Dancing.”

Drawing on Mozart, Beethoven, and Brahms, Gustav Mahler felt it his artistic duty to push the symphony beyond established tradition and into new realms of expression. He completed his first, purely instrumental symphony in 1888 and followed it with the star- tlingly expansive Wunderhorn triptych, symphonies 2, 3, and 4, all of which incorporated voice and cross-pollination with the composer’s songs on texts from the folk poetry collection Des Knaben Wunderhorn (The Youth’s Magic Horn). The purely instrumental Fifth Symphony set off in a new direction that continued with the Sixth and Seventh, both also purely instrumental. Composed in 1901-02, the Fifth benefited from Mahler’s study of Bach’s and Beethoven’s counterpoint, and also reflected a new emotional presence in his life: that of his future wife, Alma.

The Fifth takes a unique approach to symphonic form. Mahler designates three large parts: Part I comprises the opening Funeral March and the stormy second movement, which is a kind of development of the first. Part II is a big, utterly Austrian, utterly Mahlerian scherzo. Part III encompasses the famously lovely Adagietto for harp and strings (sometimes heard alone, and suggested by some to be a declaration of Mahler’s love for Alma) and the Rondo-Finale, in which Mahler demonstrates his mastery of traditional counterpoint while providing a wide-ranging and delightful conclusion—including an idea that speeds up music from the Adagietto—to the work as a whole.

Robert Kirzinger

34 Jon Super

HK Gruber “Aerial,” Concerto for Trumpet and Orchestra (1999)

HK (Heinz Karl) GRUBER was born in Vienna on January 2, 1943, and lives there. His trumpet concerto “Aerial” was commissioned by the British Broadcasting Corporation for the 1999 BBC Proms at the request of trumpet soloist Håkan Hardenberger, who was soloist in the world premiere performance with the BBC Symphony Orchestra, Neeme Järvi conducting, at London’s Royal Albert Hall on July 29, 1999. The score is dedicated to Håkan Hardenberger. The present performances are the first Boston Symphony performances of any music by HK Gruber, though two of his works have been played at Tanglewood, as detailed below.

THE SCORE OF “AERIAL” calls for soloist playing standard C trumpet and B-flat piccolo trumpet as well as a cow’s horn, with an orchestra of three flutes (second and third doubling piccolo), two oboes, four clarinets (third doubling E-flat clarinet, fourth doubling bass clarinet), alto and tenor saxophones (both doubling soprano saxophone), two bassoons and contrabassoon, four horns, three trumpets, three trombones, tuba, percussion (tam-tam, crotales, pedal bass drum, bass drum, snare drum, two bongos, four tom-toms, floor tom-tom, hi-hat, sizzle cymbal, suspended cymbal, Chinese cymbal, cowbell, tambourine, glockenspiel, vibraphone, marimba, xylorimba), timpani, piano, and strings. The piece is about twenty-three minutes long.

HK Gruber’s reputation as a composer of craft and imagination and a performer of irreverent energy is based in a lifetime of immersion in the musically saturated city of Vienna. As a child, he was a member of the famous Vienna Boys Choir for several years before a mentor suggested, given the size of his hands, that he should also take up the double bass. His professional career as a bassist began with Frederic Cerha’s new music ensemble, die reihe, and he was principal bass of Vienna’s Tonkünstler Orchester before starting his long tenure in the bass section of the Austrian Radio Symphony Orchestra. Forty years as a professional double bassist gave him the financial security to compose without the added complications of seeking and fulfilling commissions beyond those projects that really appealed to him.

Gruber has said that playing in an orchestra was the best education a composer could

week 6 program notes 35 want, given that he could ask any of his accomplished colleagues about the nuances of their instruments, and could hear from within the ensemble the orchestral strategies employed by composers ranging from Haydn to Stravinsky. Gruber has also become a sought-after orchestral conductor, leading many of Europe’s important ensembles; in 2009 he was appointed composer/conductor of the BBC Philharmonic.

HK Gruber studied bass at the Vienna Hochschule für Musik along with composition and theory. His principal composition teachers included Alfred Uhl, the Schoenberg pupil Erwin Ratz, and Gottfried von Einem, and he was strongly drawn to Stravinsky’s music. Like many composers in the 1960s trying to find new avenues outside of the academy and traditional concert hall, in 1967 Gruber, Kurt Schwertsik, and others founded the MOB art & tone ART Group for performing their own work and that of the iconoclastic Argentine composer Mauricio Kagel. Much of its repertoire had strongly irreverent, theatrical leanings under the influence of older German melodrama (via such works as Schoenberg’s Pierrot lunaire) as well as the performance art of the 1960s-era Fluxus movement and John Cage’s “happenings.” Gruber’s compositional style was indelibly marked by the music of Hanns Eisler and the Kurt Weill/Bertolt Brecht collaborations, especially Die Dreigroschenoper (The Threepenny Opera).

By the late 1960s Gruber had achieved recognition as both a composer and as a cabaret- style actor and singer, parallel pursuits that led to such works as his Frankenstein-Suite (1970) and his “musical spectacle” Gomorra (1976). He rewrote the former in 1978 as the orchestral “Pan-Dämonium” Frankenstein!!, which was premiered by Simon Rattle (just twenty-three at the time) and the Royal Liverpool Philharmonic with the composer himself as “chansonnier.” Suddenly he found himself with an international hit on his hands. Frankenstein!! has been performed hundreds of times all over the world in both orchestral and chamber versions and has also been staged. Most performances, including one by the Tanglewood Music Center Orchestra led by Gunther Schuller in August 1980, have featured the composer as soloist.

For instrumental soloists seeking new concertos, Gruber’s penchant for theatricality in his music has been an irresistible draw. In the midst of fulfilling a commission for an ensemble work in the 1980s, Gruber received a message from Yo-Yo Ma, who told him that if the piece happened to be a cello concerto, he would be the soloist, and already had a premiere lined up—so how could the composer refuse? Ma gave that first performance of Gruber’s Cello Concerto with Boston Musica Viva, Richard Pittman conducting, at Tanglewood in August 1989. Gruber wrote his percussion concerto into the open... for Colin Currie and the BBC Philharmonic; his Piano Concerto was commissioned for Emanuel Ax by the New York Philharmonic, who premiered it under Alan Gilbert’s direction in January 2017.

Gruber knew Håkan Hardenberger from a number of occasions when the trumpeter was soloist with the Austrian Radio Symphony Orchestra, but Hardenberger’s request for a commission seemed to come out of the blue. Hardenberger relates that when the two got together to discuss the piece, “Nali [Gruber’s nickname] was...particularly curious

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38 Priska Ketterer

HK Gruber conducting in Lucerne

about deconstruction and alienation combined with beauty and poetry” in the trumpet’s sonic vocabulary. Gruber also asked if he’d be willing to play multiphonics—specifically singing and playing a note at the same time—and whether he’d play a cow’s horn, which Hardenberger had identified as the origin of the trumpet in Sweden (Hardenberger’s homeland). Hardenberger balked at the cow’s horn, but months later Gruber found a recording on his answering machine of Hardenberger playing that limited, raw-sounding instrument. Its archaic and unstable sound thus became part of the soloist’s arsenal in Aerial. It also lends further visual novelty to the live concert experience. Along with cow’s horn and standard trumpet (sometimes played in non-standard ways), Gruber also called for piccolo trumpet in B-flat.

Over four decades, Hardenberger, a frequent collaborator of BSO Music Director Andris Nelsons (himself a trumpet player), has been one of the most prolific commissioners of new works for his instrument, requesting concertos from such composers as Harrison Birtwistle, Toru Takemitsu, Mark-Anthony Turnage, Arvo Pärt, and many others. In addition to Aerial, Gruber also wrote Busking (2008), a concerto for trumpets, accordion, banjo, and string orchestra, for Hardenberger.

Aerial’s title comes from the idea that both movements are aerial views of a landscape. The first is the far north, a nod to Hardenberger’s homeland of Sweden. “Done with the compass—Done with the Chart!,” from Emily Dickinson’s poem “Wild nights—Wild nights!” (no. 269), suggests something unfettered and brilliant, but Gruber surprises us with a slow movement that lets the listener focus on the subtle and surprising flows of instrumental color, especially within the solo part. At the start of the concerto, the solo trumpet’s first sounds are multiphonics: the player plays a note while singing another pitch; by changing the sung pitch, yet another note emerges (via the magic of acoustics). Gruber asks for other actions seemingly designed to discomfit the virtuoso. Pitch bend- ing and pulling slides to destabilize pitch and timber foreshadow the inevitably out-of-tune, raw sound of the cow’s horn. The delicate harmonic backdrop often has an almost jazzy,

week 6 program notes 39 Knowledge shouldn’t have a character limit.

wgbhnews.org bluesy quality, unexpectedly heightened with the move to the cow’s horn, which is given a long, lyrical line, although its range is necessarily narrow. Moving from cow’s horn to piccolo trumpet, the solo part ratchets up in virtuosity, and the orchestra too becomes more active to the end of the movement.

The aerial view depicted in “Gone Dancing,” in Gruber’s mind, shows a planet from which all inhabitants have disappeared, leaving only a sign reading “Gone Dancing.” We’re asked to imagine Fred and Ginger for the lush but pointillized version of dance music from Hollywood’s golden era that begins the movement. The soloist leaps continually through an enormous pitch range while toggling rapidly between open and stopped notes with a plunger mute and negotiating a wide and subtle array of dynamics. This precision and accuracy are matched in the glittering, occasionally overpowering orchestral music.

The second half of the movement is marked Prestissimo, the trumpet (initially muted) and orchestra exchanging phrases of a clearly Middle Eastern melodic flavor. Shifting among several meters (7/8, 8/8, 10/8, etc.), the rhythm evokes the region’s dance music, and the vast orchestra calls forth an amazing array of color and texture. The soloist runs through a variety of mutes and plays the last several pages on piccolo trumpet. The solo part is marked ffff almost throughout these last pages, but the orchestra gradually dissipates and a final sustained note leaves the subdued trumpet entirely alone.

Robert Kirzinger

Composer/annotator robert kirzinger is the BSO’s Associate Director of Program Publications.

THE FIRST UNITED STATES PERFORMANCE OF “AERIAL” was given by soloist Håkan Harden- berger with the Los Angeles Philharmonic, Daniel Harding conducting, on March 8, 2002, in Los Angeles.

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GUSTAV MAHLER was born at Kalischt (Kaliˇste)ˇ near the Moravian border of Bohemia on July 7, 1860, and died in Vienna on May 18, 1911. He began writing his Fifth Symphony in 1901 and completed it in 1902. Mahler himself conducted the premiere, on October 18, 1904, with the Gürzenich Orchestra in Cologne, having already led the Vienna Philharmonic in a read-through earlier that same year. He continued to revise details of the orchestration until 1907, and perhaps as late as 1909.

THE SCORE OF MAHLER’S SYMPHONY NO. 5 calls for four flutes (two doubling piccolo), three oboes and English horn, three clarinets, clarinet in D, and bass clarinet, three bassoons and contrabassoon, six horns, four trumpets, three trombones, tuba, timpani, cymbals, bass drum, bass drum with cymbals attached, snare drum, triangle, glockenspiel, tam-tam, slapstick, harp, and strings.

Mahler finished his “first period” with his Fourth Symphony right at the end of the 19th century. The music he wrote at the beginning of the new century pointed in a new direction. The first four symphonies were all inspired by or based upon songs, especially the songs he composed on texts from the German folk-poetry collection Des Knaben Wunderhorn (The Youth’s Magic Horn). By the turn of the century, Mahler had stopped drawing upon that source for good, though with perhaps one last glimpse in the Fifth Sym phony. His next songs were settings of the poet Rückert, including his cycle Kindertotenlieder (Songs on the Death of Children), three songs of which were completed before he began work on the symphony. Mahler’s songs make themselves felt here and there in the Fifth by way of brief reminiscences, but the symphony as a whole—like its two successors—is a purely orchestral work with no vocal parts and no hint of musical shapes dictated by song.

The group of three instrumental symphonies—Nos. 5, 6, and 7—belongs together in another respect. Mahler’s orchestration is notably different from that of the earlier works. The parts are now often more independent of one another in a highly contrapuntal texture,

week 6 program notes 43 Program page for the first BSO performance of Mahler’s Symphony No. 5, led by Wilhelm Gericke in February 1906, on a program with Beethoven’s “Egmont” Overture and Schumann’s Piano Concerto, with just a ten-minute intermission! (BSO Archives)

44 and he more frequently uses small subsections of the orchestra—as if the entire ensemble consisted of an immensely varied series of chamber groups. At first the novelty of this approach gave Mahler considerable trouble. At a reading rehearsal in Vienna before the Cologne premiere of the Fifth, he was horrified to discover that he had seriously over-orchestrated large sections of the score. He took a red pencil to his manuscript and crossed out many parts. Still unsatisfied after the official premiere, Mahler continued touching up the scoring of the Fifth Symphony almost until the day he died.

The distinction between works written before and after the turn of the century is not cut-and-dried, to be sure. The Fourth Symphony already shows more independent in strumental writing, and the scoring of the Kindertotenlieder and other Rückert songs grows out of it. It leads as naturally into the instrumental style of the Fifth. The novelty is more a matter of degree than of kind. Still, the Fifth marks a perceptible turning point in Mahler’s output, a determination to avoid programmatic elements (at least those of the kind inherent in the setting of a text or proclaimed to the public in a printed program note) and let the music speak for itself.

Mahler anticipated the contrapuntal character of the Fifth in some conversations with his friend Natalie Bauer-Lechner while recuperating, in March 1901, from surgery for an intestinal hemorrhage that very nearly killed him. He talked to Natalie about the late Beethoven string quartets, describing them as “far more polyphonic than his symphonies.” He was obsessed with the idea of different themes that would combine and “de velop freely, side by side, each with its own impetus and purpose, so that people will always be able to distinguish them one from another.” And he plunged into hours of study of the Bachgesellschaft edition of Bach’s works.

His illness, he decided, had been caused in large part by the strains of conducting the rebellious Vienna Philharmonic, with many of whose members he had deep-rooted differences of opinion on matters of musical interpretation, and by the need to withstand the endless attacks of an anti-Semitic press. On returning from a holiday on the Istrian peninsula, he submitted his resignation to the committee of the Philharmonic, retaining the music directorship of the opera, which brought him quite enough headaches.

But as summer approached, Mahler was able to look forward to a summer vacation dedicated largely to composing in a newly built retreat all his own, a large chalet at Maiernigg, a resort town in Carinthia on Lake Wörth. He had selected the site before the season of 1899-1900 and followed the construction of the house whenever he was not actually working on the Fourth Symphony in the summer of 1900. By 1901 it was ready for occupancy. Villa Mahler was situated between the forest and the water, arranged so that all the rooms had panoramic lake views. He worked several hours a day in a “Häuschen” (“little house”) not far away but completely isolated, to give himself total silence while composing.

He brought the Bach edition with him and spent hours studying in particular one of the eight-part motets. “The way the eight voices are led along in a polyphony which he

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alone masters is unbelievable!” In addition to Bach he studied some songs of Schumann, whom he regarded as second only to Schubert in that genre, and he arranged evening musicales in the house. At first he didn’t worry about composition. By July he started composing a few songs—the last of the Wunderhorn group (Tamboursg’sell) and the first of his Rückert songs. He determined to give himself two weeks of complete rest, and ironically, just at that point, he found himself immersed in a large project that was to become the Fifth Symphony.

There were others in the household—his sister Justine; the violinist Arnold Rose, with whom Justine was having an affair and whom she later married; and Natalie Bauer- Lechner, a musician friend who kept an informative journal of her encounters with Mahler and who clearly suffered pangs of unrequited love (she disappeared from his life within days of his engagement to Alma Schindler). To them he said nothing about the new work. But as he spent more and more hours in the Häuschen, no one doubted that he was involved in something extensive. In fact, he was composing two movements of the symphony (one of them the scherzo, which gave him an enormous amount of trouble) and turning now and then to further songs, including the finest of all,Ich bin der Welt abhanden gekommen. All too soon the summer was over, and the symphony had to remain unfinished as he took up his operatic duties in Vienna.

Mahler was not able to return to work on the symphony until the following summer, but in the meantime a casual encounter at a dinner on November 7 changed his life. Seated opposite him at the table was a young woman of spectacular beauty and considerable self-assurance. Her name was Alma Schindler, and she had been studying composition with Alexander Zemlinsky. After dinner Alma and Mahler got into a heated argument about a ballet score that Zemlinsky had submitted to Mahler for possible production. Mahler had never replied to the submission, and she taxed him with rudeness. Before the evening was over Mahler was clearly enchanted with the woman’s beauty, but also

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48 by her wit and her fiery disposition. He made her promise to bring samples of her own work to the Opera. In less than two weeks it was clear to all concerned that something serious was in the wind. By November 27 Mahler was already talking of marriage, and almost against her will Alma was realizing that “He’s the only man who can give meaning to my life, for he far surpasses all the men I’ve ever met.” Yet she was still confused, having recently been convinced that she was in love with Zemlinsky. But by December 9, when Mahler left for ten days in Berlin to conduct his Second and Fourth symphonies, she had made up her mind.

Before Christmas they officially celebrated their engagement. When they married on March 9, Alma was already pregnant. It was only the least of the complications in their life together. In some respects two people can hardly have been less well suited to each other, whether by age, temperament, character, or interests. Mahler was passionately in love with her but was overbearing in his demands that she entirely devote her attention to him, even to the point of giving up her study of composition. Alma was capricious, flirtatious, and conceited, though she was also very intelligent and witty, musical, capable of great generosity and petty meanness. Yet virtually everything Mahler wrote for the rest of his life was composed for her, beginning with the conclusion of the Fifth Symphony. And whatever difficulties they may have experienced in their life together, there is little question that she inspired him to vast compositional achievements—seven enormous symphonies (counting Das Lied von der Erde and the unfinished Tenth) in less than a decade, during the first five years of which he was also in charge of the Vienna Opera and later of the New York Philharmonic.

It is possible that Mahler wrote the famous Adagietto movement of the Fifth during the period before his marriage. At any rate, the conductor Willem Mengelberg wrote this note in his score: NB: This Adagietto was Gustav Mahler’s declaration of love to Alma! Instead of a letter he confided it in this manuscript without a word of explanation. She under- stood it and replied: He should come!!! (I have this from both of them!) W.M.

Though Alma’s diary fails to mention such a musical missive, it is possible that the movement served in fact as a love letter (Mahler wrote her plenty of other letters, too, especially when he was away in Berlin). Since she was a musician and composition student herself, she could be expected to be able to read the music and sense its emotional import, especially since its scoring—just strings and harp—is the sparest of any symphonic movement Mahler ever wrote.

After their wedding Mahler and Alma took their honeymoon in Russia, where he conducted some performances in St. Petersburg. Then, after a short time in their Vienna apartment, they went to Krefeld, where Mahler conducted the first complete performance of his Third Symphony on June 9. This performance, a great success, was the beginning of Mahler’s fame outside of Vienna. Elated, he and Alma went to Maiernigg for the summer, where they enjoyed swims and long walks. He worked on completing the Fifth in the seclusion of his Häuschen, while she remained in the house preparing a fair copy of

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50 Alma Mahler

the finished pages of score. The work was completed in short score by autumn. Mahler wrote out the detailed orchestration during the winter by rising before breakfast and working on it until it was time to go to the opera house.

One unusual aspect of the Fifth—the complete absence of a text or descriptive expla - nation from the composer—seems to have been motivated by the unhappy reaction of the audience at the premiere of the Fourth Symphony in November 1901, when Mahler conducted it in Munich to almost universal ridicule and misunderstanding. The success he had achieved with the Second so recently was completely undone. He attributed the critics’ lack of perception to their inability to follow an abstract musical argument. It was all the fault of Berlioz and Liszt, he said, who began writing program music (though theirs had genius, he admitted, unlike the music of some later composers) so that the “plot” of the score had become a necessary crutch to listening.

One result of this experience was Mahler’s determination to avoid giving any explanation of the “meaning” or “program” of his next symphony. Even when supportive musicians asked him for some guidance, he remained silent. He expressed himself with far greater vigor on the subject at a dinner in Munich following a performance of the Second Symphony. When someone mentioned program books, Mahler is reported to have leaped upon the table and exclaimed: Down with program books, which spread false ideas! The audience should be left to its own thoughts over the work that is performed; it should not be forced to read during the performance; it should not be prejudiced in any manner. If a composer by his music forces on his hearers the sensations which streamed through his mind, then he reaches his goal. The speech of tones has then approached the language of words, but it is far more capable of expression and declaration. He is then reported to have raised his glass, emptied it, and cried, “Pereat den Programmen! ”— “Let the programs perish!” (When the Boston Symphony performed the Fifth for the first

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Following such an outburst, the annotator proceeds with trepidation. Still, Mahler’s pique was aimed at first-time listeners whose reaction might be prejudiced one way or another by an explanation. Eventually listeners may desire some consideration of the music, especially because Mahler’s music is no less expressive for all his eschewing of programs, and in some respects it is a good deal more complicated.

The symphony is laid out in five movements, though Mahler grouped the first two and the last two together so that there are, in all, three “parts” tracing a progression from tragedy to an exuberant display of contrapuntal mastery and a harmonic progression from the opening C-sharp minor to D major. The keys of the intervening movements (A minor, D, and F) also outline a chord on D, which would therefore seem to be a more reasonable designation for the key of the symphony, with the opening C-sharp con- ceived as a leading tone. Nonetheless the Fifth is customarily described as being in the key of C-sharp minor.

The opening movement has the character of a funeral march, rather martial in character, given the opening trumpet fanfare (derived from the first movement of the Fourth Symphony*) and the drumlike tattoo of the strings and winds in the introductory passage. The main march theme is darkly somber, a melody related to the recently composed song Der Tamboursg’sell (a last echo of Des Knaben Wunderhorn). The Trio is a wild, almost hysterical outcry in B-flat minor gradually returning to the tempo and the rhyth- mic tattoo of the opening. The basic march returns and closes with a recollection of the first song fromKindertotenlieder , which Mahler was almost certainly composing while he worked on this movement as well. The second Trio, in A minor, is more subdued and given largely to the strings. Last echoes of the trumpet fanfare bring the movement to an end.

The second movement, marked “Stormy, with utmost vehemence,” has a number of links to the first. It takes the frenetic outbursts of the first movement as its basic character and contrasts them with a sorrowful march melody in the cellos and clarinets. They take turns three times (each varied and somewhat briefer than the one before). A pre- mature shout of triumph is cut off, and the main material returns. The shout of triumph

* Much has been written about the numerous internal references between one work and another in Mahler’s output, and the Fifth Symphony is very much a case in point. It is worth recalling that Mahler was frequently conducting one work while finishing the scoring of another and planning the composition of yet a third. It would be very surprising, under the circumstances, if the musical world of one such piece did not make itself felt in his imagination when he was working out the details of a new piece. A composer who either did not conduct at all or could rely on others to introduce his music and give most of the performances would be more easily able to put a finished work entirely behind him.

week 6 program notes 53 comes back briefly as a chorale in D (the key that will ultimately prevail), but for now the movement ends in hushed mystery.

According to Natalie Bauer-Lechner, Mahler had an idea for the character of the scherzo, though he chose not to reveal it to the public. Following the dark and emotional character of Part I, the second part was to represent “a human being in the full light of day, in the prime of his life.” The scherzo is on an unusually large scale, but it moves with great energy and speed, much of it as a lilting and whirling waltz with a featured solo horn. There are sardonic twists here and there, boisterous passages, even brutal ones, and some that have the lilt and verve of The Merry Widow.

The last part begins with the famous Adagietto, once almost the only movement of Mahler’s music that was heard with any frequency. When Mahler wrote it he was recall-

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54 ing the musical worlds created for the second song of Kindertotenlieder and Ich bin der Welt abhanden gekommen, though he is not using either song to shape this exquisitely restrained movement. The melody grows in sweeping arches to a climactic peak that is not hammered with fortissimos but whispered as if with bated breath.

Mahler builds his finale as a grand rondo in which, after an opening horn call, a bas soon quotes a phrase from one of Mahler’s Wunderhorn songs, Lob des hohen Verstandes, which describes a singing contest the outcome of which is controlled by a donkey. Good-natured satire of academic pedantry is the point of the song, and Mahler here undertakes his own cheerful demonstration of counterpoint, the academic subject par excellence in music theory, treated in a wonderfully exuberant and freewheeling way. He is concerned to build up a symphonic structure, alluding to the theme of the Adagietto with music of very different spirit. The climax of the symphony brings back the chorale theme from the second movement, the one earlier passage in all that tragic realm that hinted at the extroversion of D major, now finally achieved and celebrated with tremen- dous zest.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998

THE FIRST AMERICAN PERFORMANCE OF MAHLER’S SYMPHONY NO. 5 was given by the Cincinnati Symphony Orchestra under the direction of Frank van der Stucken on March 25, 1905.

THE FIRST BOSTON SYMPHONY PERFORMANCES of Mahler’s Fifth Symphony—the BSO’s first of any Mahler symphony—took place on February 2 and 3, 1906, with Wilhelm Gericke conducting, followed later that same month by performances in Philadelphia, New York, and an additional pair of performances in Boston. Since then, the Mahler Fifth has been performed in BSO concerts under the direction of Karl Muck (April 1913; then in Boston, Philadelphia, New York, and Boston again during the 1913-14 season), Serge Koussevitzky (in October 1937, then again that same season in Boston and New York in March 1938, twenty-four years after Muck’s multiple performances in 1913-14, as well as a later subscription pair in March 1940), Richard Burgin, Erich Leinsdorf (who recorded the Mahler Fifth with the BSO in November 1963, and whose 1964 Tanglewood performance of the work, its first at Tanglewood, was played “in memory of Serge Koussevitzky”), Michael Tilson Thomas, Joseph Silverstein, Seiji Ozawa (on numerous occasions between 1975 and 1997, the last time as part of the Serge and Olga Koussevitzky Memorial Concert in August 1997), Christoph Eschenbach, Daniele Gatti. James Levine, Hans Graf, Charles Dutoit (the most recent subscription performances, in April 2014, followed that May by tour performances in Beijing and Tokyo), and Michael Tilson Thomas again (the most recent Tanglewood performance, on July 25, 2015).

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The publisher of HK Gruber’s music is Boosey & Hawkes, whose website features a wealth of information about the composer (boosey.com/composer/hk+gruber), including a short video interview/documentary, “HK Gruber on HK Gruber,” illuminating his vibrant personality. The site also includes up-to-date biographical information and a list of works. Though out of date, a 2001 article on Gruber by David Murray and Sigrid Wiesmann in The New Grove Dictionary includes useful information.

Video footage of a 2015 rehearsal of Gruber’s trumpet concerto Aerial by Håkan Harden- berger and the Philharmonia Orchestra led by Andris Nelsons, interspersed with a conversation between Hardenberger and Nelsons, can be found at the Philharmonia’s website (philharmonia.co.uk/hakanhardenberger). Two audio recordings of the piece are available, both featuring soloist Håkan Hardenberger: with the Gothenburg Symphony led by Peter Eötvös (Deutsche Grammophon), and with the New York Philharmonic led by Alan Gilbert (on the Philharmonic’s own label—download or streaming only). Hardenberger has also recorded the composer’s Three MOB Pieces and Busking with the Swedish Chamber Ensemble under Gruber’s direction, and on a separate CD release, the solo work Exposed Throat (both BIS). Recordings of Gruber’s famous Frankenstein!! featuring the composer as chansonnier include those by the Salzburg Camerata Academica led by Franz Welser-Möst (EMI) and by the BBC Philharmonic, with Gruber as both vocalist and conductor (Chandos).

Robert Kirzinger

Deryck Cooke’s Gustav Mahler: An Introduction to his Music is a first-rate brief guide to the composer’s works (Cambridge University paperback). Other good starting points include Jonathan Carr’s Mahler (Overlook Press), Peter Franklin’s The life of Mahler in the series “Musical lives” (Cambridge paperback), and Michael Kennedy’s Mahler in the “Master Musicians” series (Oxford paperback). There are two big, multi-volume biogra- phies of the composer, one by Henry-Louis de La Grange (Oxford), the other by Donald Mitchell (University of California). A good single-volume biography—though still by no means small—is Gustav Mahler by Jens Malte Fischer, translated by Stewart Spencer (Yale University paperback). Useful essay collections devoted to Mahler’s life, works, and milieu include The Mahler Companion, edited by Donald Mitchell and Andrew Nichol- son (Oxford), Mahler and his World, edited by Karen Painter (Princeton University paperback), and The Cambridge Companion to Mahler, edited by Jeffrey Barham (Cambridge

week 6 read and hear more 57 paperback). A Guide to the Symphony, edited by Robert Layton, includes a chapter on Mahler by Stephen Johnson (Oxford paperback). The late Mahler enthusiast and conductor Gilbert Kaplan saw to the publication of The Mahler Album with the aim of bringing together every known photograph of the composer (The Kaplan Foundation with Thames and Hudson). Also published by The Kaplan Foundation are Mahler’s Concerts by Knud Martner, which offers a detailed history of Mahler on the podium, including music performed, soloists, concert halls, etc., for each of more than 300 concerts (co-published with Overlook Press), and Mahler Discography, edited by Péter Fülöp, which remains valuable to anyone interested in Mahler recordings, despite its 1995 publication date. Michael Steinberg’s program notes on Mahler’s symphonies 1 through 10 are in his compilation volume The Symphony–A Listener’s Guide (Oxford paperback). Alma Mahler’s autobiography And the Bridge is Love (Harcourt Brace Jovanovich) and her Gustav Mahler: Memories and Letters (University of Washington paperback) provide important if necessarily subjective source materials. Knud Martner’s Gustav Mahler: Selected Letters offers a useful volume of correspondence, including all of the letters published in Alma’s earlier collection (Farrar, Straus and Giroux). Though now more than forty years old, Kurt Blaukopf’s extensively illustrated Mahler: A Documentary Study remains well worth seeking from second-hand sources (Oxford University Press).

The Boston Symphony Orchestra recorded Mahler’s Symphony No. 5 in 1963 with Erich Leinsdorf conducting (RCA) and in 1990 as part of its complete Mahler symphony cycle led by Seiji Ozawa (Philips). An August 2015 performance with Andris Nelsons conducting the Lucerne Festival Orchestra is available on DVD and Blu-Ray (Accentus). Noteworthy among the many other recordings are (alphabetically by conductor) Claudio Abbado’s with the Chicago Symphony Orchestra (Deutsche Grammophon), Daniel Barenboim’s also with the Chicago Symphony Orchestra (Teldec), Leonard Bernstein’s with the New York Philharmonic (Sony) or Vienna Philharmonic (Deutsche Grammo- phon), Pierre Boulez’s with the Vienna Philharmonic (Deutsche Grammophon), Daniele Gatti’s with the Royal Philharmonic Orchestra (Conifer), Manfred Honeck’s with the Pittsburgh Symphony Orchestra (Exton), James Levine’s with the Philadelphia Orchestra (RCA), Georg Solti’s with the Chicago Symphony (Decca), Michael Tilson Thomas’s live from 2005 with the San Francisco Symphony (on the orchestra’s own label), Bruno Walter’s with the New York Philharmonic (Sony, monaural, the work’s first complete recording, from 1947), and Benjamin Zander’s with the Philharmonia Orchestra (Telarc). Bruno Walter’s 1938 recording of the Adagietto alone, with the Vienna Philharmonic, is in the excellent “Great Conductors of the 20th Century” volume devoted to that conductor (EMI/IMG Artists). At just eight minutes long, Walter’s approach to the Adagietto stands in sharp contrast to the much slower tempos so often favored today. Equally interesting—fascinating, even, given the difference in string-playing style from that of modern orchestras—is the recording of the Adagietto that Willem Mengelberg made with the Concertgebouw Orchestra of Amsterdam in 1926 (for a while available on budget-priced Naxos, with additional selections by Strauss, Wagner, and Humperdinck).

Marc Mandel

week 6 read and hear more 59

Guest Artist

Håkan Hardenberger

Håkan Hardenberger is esteemed for his performances of the classical repertoire and as a pioneer of noteworthy and virtuosic new trumpet works. Conducting has also become an integral part of his music-making. His close collaborations with such composers as Mark-Anthony Turnage and HK Gruber led him to explore both their works and related repertoire. Stravinsky became a key composer in Mr. Hardenberger’s evolution as a conductor. Having worked with his students in smaller formations, such as that of Stravinsky’s Soldier’s Tale, he took on projects with the brass sections of the BBC Philharmonic and Helsinki Philharmonic, leading programs featuring Stravinsky’s Symphonies of Wind Instru- ments, as well as concerts of orchestral works with the Swedish and Lapland chamber orchestras. Mr. Hardenberger enjoys creating programs inspired by his solo repertoire, spinning musical threads from Haydn to Prokofiev, Hummel to Beethoven to Brett Dean, Stravinsky to Gruber, and Takemitsu to Lutosławski. This new aspect of his craft is pre- sented in his latest recording with the Academy of St. Martin in the Fields, “Both Sides Now,” which features new arrangements for trumpet and strings of music from films. Residencies with the Philharmonia Orchestra, WDR Sinfonieorchester, and Dresden Philharmonic have encompassed both solo performances and conducting opportunities. Recent conducting engagements have included concerts as part of his residency with the Orchestre Philharmonique de Radio France that featured him leading Lindberg’s Ottoni for brass ensemble and Mussorgsky’s Pictures at an Exhibition arranged for brass ensemble; he also led the orchestra in Prokofiev’sClassical Symphony and Ravel’s Le Tombeau de Couperin and performed popular works for trumpet. He has led the Orquesta Sinfónica de

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62 Euskadi on tour in Spain, the RTÉ National Symphony Dublin with soloist Roland Pöntinen, and the Malmö Symphony Orchestra with soloist Baiba Skride. He has also conducted the brass sections of the Boston Symphony Orchestra, the Orchestra dell’Accademia di Santa Cecilia Roma, and the Gothenburg Symphony Orchestra. Spring 2019 brings his debut with the Slovenian Philharmonic Orchestra. Håkan Hardenberger is artistic director of the Malmö Chamber Music Festival. Born in Malmö, Sweden, he began studying the trumpet at age eight with Bo Nilsson in Malmö and continued his studies at the Paris Conservatoire with Pierre Thibaud, and in Los Angeles with Thomas Stevens. He is a professor at the Malmö Conservatoire. Håkan Hardenberger made his BSO debut in January 2012 as soloist in the American premiere of Mark-Anthony Turnage’s From the Wreckage with Marcelo Lehninger conducting, subsequently appearing with Andris Nelsons and the BSO as soloist in Rolf Martinsson’s Bridge (at Tanglewood in 2014) and the American premiere of Brett Dean’s Dramatis Personae (subscription performances in November 2014, followed by a 2015 Tanglewood performance and tour performances in London, Lucerne, and Cologne). In July 2017 at Tanglewood he was soloist with Andris Nelsons and the Tanglewood Music Center Orchestra in Turnage’s From the Wreckage and, joined by BSO principal trumpet Thomas Rolfs, Turnage’s Dispelling the Fears for two trumpets and orchestra.

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week 6 guest artist 63 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. THE GREAT BACH A BAROQUE BEETHOVEN CONCERTOS AND CHRISTMAS SYMPHONY NO. 5 CANTATAS Dec 13 + 16 Mar 8 + 10 Sep 28 + 30 NEC’s Jordan Hall Symphony Hall Symphony Hall

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Give the gift of an exciting musical experience!

Gift Certificates may be used toward the purchase of tickets, Symphony Shop merchandise, or at the Symphony Café. To purchase, visit bso.org, the Symphony Hall Box Office, or call SymphonyCharge at 617-266-1200. 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 Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation • Sally ‡ and Michael Gordon five million Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber two and one half million Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ • Eaton Vance • Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Charlie and Dorothy Jenkins/The Ting Tsung and Wei Fong Chao Foundation • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Kate and Al ‡ Merck • Mr. and Mrs. Paul M. Montrone • National Endowment for the Arts • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

66 one million Helaine B. Allen • American Airlines • Lois ‡ and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. Arnold, Jr. ‡ • AT&T • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger & Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Executive Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Hermine Drezner and Jan ‡ Winkler • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Thomas and Winifred Faust • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Nathan and Marilyn Hayward • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial • Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • Joseph C. McNay, The New England Foundation • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • Drs. Christoph and Sylvia Westphal • The Helen F. Whitaker Fund • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

‡ Deceased

week 6 the great benefactors 67 BSO Major Corporate Sponsors 2018–19 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2018-2019 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is diverse and global, supporting nonprofit arts institutions that Miceal Chamberlain deliver the visual and performing arts, provide inspirational and educational Massachusetts President, sustenance, anchor communities, create jobs, augment and complement existing Bank of America school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

BSO SEASON SUPPORTING SPONSOR For more than 235 years, Takeda Pharmaceutical Company Limited has Andrew Plump, brought the hope of Better Health and a Brighter Future to people around the M.D., Ph.D. Chief Medical and world through our empathetic and people-centered approach to science and Scientific Officer medicine. Takeda’s Boston campus is the home of one of our world-class R&D sites, as well as our oncology and vaccine business units. We are pleased to support the Boston Symphony Orchestra in its efforts to bring artistic excellence to the local community and across the globe.

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO.

Boston Symphony Orchestra major corporate sponsorships reflect the importance of the alliance between business and arts. We are honored to be associated with organizations above. For information regarding BSO, Boston Pops, and/or Tanglewood please contact Joan Jolley, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected]. OFFICIAL LUXURY VEHICLE OF THE BSO New England Audi Dealers are proud to partner with the Boston Symphony Orchestra as their Official Luxury Vehicle. Together we look forward to providing quality and excellence for audiences in Boston and beyond. We are proud to be celebrating the first year of our partnership.

OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing arts and arts Charlie Schewe education programs continues to delight and enrich Massachusetts and beyond Director of Sales- with each passing season. As the BSO continues to help classical music soar, New England Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

OFFICIAL HOTEL OF THE BSO Fairmont Copley Plaza has had the honor of being the official hotel of the BSO George Terpilowski for more than 15 years. Located less than a mile from Symphony Hall, we are Regional Vice President, North East U.S. and proud to offer luxury accommodations for the talented artists and conductors General Manager, that captivate Boston audiences. Together our historic institutions are a symbol Fairmont Copley Plaza of the city’s rich tradition and elegance. We look forward to celebrating another season of remarkable BSO performances.

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

week 6 bso major corporate sponsors 69 KEITH LOCKHART CONDUCTOR Join conductor Keith Lockhart and the Boston Pops in a performance filled with holiday music favorites, the traditional Pops sing-along, and TICKETS ON SALE NOW! a visit from Santa Claus himself! DECEMBER 6–31 #HolidayPops

HOME ALONE IN CONCERT December 29 at 3pm, 7:30pm December 30 at 3pm Experience this true holiday favorite as never before, on the big screen with live orchestral accompaniment and members of the Wellesley High School chorus! Featuring a charming and delightful score by John Williams, Home Alone is holiday fun for the entire family. © 1990 Twentieth Century Fox

NEW YEAR’S EVE WITH SETH MacFARLANE December 31, 10:15pm Ring in the New Year with the Boston Pops on December 31 at 10:15pm. Party the night away with the Boston Pops and very special guest, Seth MacFarlane! There will be a cash bar and several dining options will be available. Doors open at 8:30pm.

617-266-1200 bostonpops.org season sponsor more time in the garden

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boston symphony children’s choir

The Boston Symphony Children’s Choir was founded in spring 2018, making its official debut with the BSO during the 2018 Tanglewood season in a staged production of Puccini’s La bohème. Later in the summer, the BSCC performed Mahler’s Symphony No. 3 with the BSO at Tanglewood. This season in Symphony Hall, the BSCC will be featured alongside the Boston Pops and Keith Lockhart in all Holiday Pops Kids Matinee performances, as well as with the BSO for Puccini’s Suor Angelica and Britten’s Friday Afternoons under the direction of Andris Nelsons. Auditions for the BSCC take place year-round for children in grades 5–9. For more information on upcoming auditions, please visit bso.org/bscc.

Season Sponsors

bso.org/bscc sponsor supporting sponsorlead OUR NEW BOSTON SHOWROOM IS NOW OPEN.

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We are pleased to welcome customers to our elegantly appointed new showroom in the Park Plaza building in Boston. You are invited to view our selection of Steinway, Boston, Essex and Roland pianos in a comfortable new setting. Or visit our showroom at the Natick Mall. Administration

Mark Volpe, Eunice and Julian Cohen President and Chief Executive Officer, endowed in perpetuity Evelyn Barnes, Jane B. and Robert J. Mayer, M.D. Chief Financial Officer Sue Elliott, Judith and Steward Colton Tanglewood Learning Institute Director Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Alexandra J. Fuchs, Thomas G. Stemberg Chief Operating Officer Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Director of Development Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood Kathleen Sambuco, Director of Human Resources administrative staff/artistic

Colin Bunnell, Library Administrative Assistant • Bridget P. Carr, Blanche and George Jones Director of Archives and Digital Collections • Jennifer Dilzell, Chorus Manager • Sarah Funke Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the President and Chief Executive Officer • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

Brandon Cardwell, Video Engineer • Kristie Chan, Orchestra Personnel Administrator • Tuaha Khan, Assistant Stage Manager • Jake Moerschel, Technical Director • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Helen N.H. Brady, Director of Boston Pops Sales and Business Director • Leah Monder, Operations Manager • Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services • Thomas Vigna, Group Sales and Marketing Associate business office

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance • Bruce Taylor, Director of Financial Planning and Analysis James Daley, Accounting Manager • Jennifer Dingley, Senior Accountant • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Business Office Administrator • Erik Johnson, Senior Financial Analyst • Evan Mehler, Financial Analyst • Nia Patterson, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 6 administration 73 Your Relaxing Companion

A service of WGBH A SERVICE OF WGBH • CLASSICALWCRB.ORG

Download the App corporate partnerships Joan Jolley, Director of Corporate Partnerships Hester C.G. Breen, Corporate Partnerships Coordinator • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Laurence E. Oberwager, Director of Tanglewood Business Partners • Claudia Veitch, Director, BSO Business Partners development

Nina Jung Gasparrini, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • Pam Malumphy, Individual Giving Advisor • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kaitlyn Arsenault, Graphic Designer • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Shirley Barkai, Manager, Friends Program and Direct Fundraising • Laine Carlucci, Assistant Manager, Donor Relations • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Assistant Manager of Donor Relations and Ticketing • Sarah Chin, Donor Acknowledgment and Research Coordinator • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Senior Executive Assistant, Development and Board Relations • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Assistant Manager, Annual Funds Friends Program • Michelle Houle, Major Gifts Coordinator • James Jackson, Associate Director, Telephone Outreach • Heather Laplante, Assistant Director of Development Information Systems • Anne McGuire, Manager, Corporate Initiatives and Development Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Associate • Francis Rogers, Major Gifts Officer • Laura Sancken, Assistant Director of Board Engagement • Jenny Schulte, Assistant Manager of Development Communications • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Leslie Wu Foley, Interim Director of Education and Community Engagement Deron Hall, Associate Director of Strategic Education Partnerships • Cassandra Ling, Head of Strategic Program Development, Education • Beth Mullins, Manager of Education and Community Engagement • Sarah Saenz, Assistant Manager of Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Samuel Darragh, Painter • Thomas Davenport, Carpenter • Steven Harper, HVAC Technician • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez-Calmo, Custodian • Garfield Cunningham,Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer

week 6 administration 75 Listen. The future of music, made here.

Exceptional music, every day. See musicians of tomorrow, today.

76 human resources

Michelle Bourbeau, Payroll Administrator • John Davis, Associate Director of Human Resources • Kevin Golden, Payroll Manager • Susan Olson, Human Resources Recruiter information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscriptions, and marketing Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding Amy Aldrich, Associate Director of Subscriptions and Patron Services • Patrick Alves, Front of House Associate Manager • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Diane Gawron, Executive Assistant to the Chief Operating Officer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Roberta Kennedy, Director of Retail Operations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Miller, Director of Ticketing and Customer Experience • Michael Moore, Manager of Digital Marketing and Analytics • Meaghan O’Rourke, Digital Media Manager • Ellen Rogoz, Marketing Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Emma Staudacher, Subscriptions Associate • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services Kyle Ronayne, Director of Events Administration • James Gribaudo, Function Manager • John Stanton, Venue and Events Manager • Jessica Voutsinas, Events Administrative Assistant tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Matthew Szymanski, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 6 administration 77 GRIEG GOUNOD GERSHWIN

ANY WAY YOU PLAY IT, THE BSO IS ALWAYS GOURMET

Boston Gourmet is proud to be the exclusive caterer of the Boston Symphony Orchestra

GOURMETCATERERS.COM/BSO • BSO.ORG Boston Symphony Association of Volunteers executive committee Chair, Gerald L. Dreher Vice-Chair, Boston, Ellen Mayo Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Scott Camirand • Nancy Finn • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2018-19

Café Flowers, Virginia Grant, Stephanie Henry, and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Stephanie Henry and Wendy Laurich • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Elizabeth Michalak • Mailings, Steve Butera • Membership Table/Hall Greeters, Judy Albee • Newsletter, Cassandra Gordon • Volunteer Applications, Suzanne Baum • Symphony Shop, Karen Brown • Tour Guides, Greg Chetel

week 6 administration 79 Next Program…

Friday, November 23, 1:30pm (Friday Preview from 12:15-12:45pm in Symphony Hall) Saturday, November 24, 8pm Tuesday, November 27, 8pm

andris nelsons conducting

all-beethoven program

symphony no. 4 in b-flat, opus 60 Adagio—Allegro vivace Adagio Allegro vivace Allegro ma non troppo

{intermission}

symphony no. 5 in c minor, opus 67 Allegro con brio Andante con moto Allegro— Allegro

Beethoven often composed several major works at the same time, each a distinctly different expressive outlet. He began sketching his Fifth Symphony in 1804 but didn’t complete it until four years later. The innovative construction of that piece and its unprecedented intensity are embodied in the opening four notes, the most famous theme in classical music. In the interim between the Fifth’s first sketches and its completion, Beethoven wrote some of his most lyrical music—for the opera Leonore (which would become Fidelio), as well as the Violin Concerto and the Fourth Symphony. The latter’s consistent high spirits contrast starkly with the struggle against fate embodied in the Fifth.

80 Coming Concerts… friday previews and pre-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.

Friday ‘B’ November 23, 1:30-2:55 Thursday ‘B’ January 3, 8-9:45 Saturday ‘A’ November 24, 8-9:25 Friday ‘A’ January 4, 1:30-3:15 Tuesday ‘B’ November 27, 8-9:25 Saturday ‘A’ January 5, 8-9:45 ANDRIS NELSONS, conductor SHI-YEON SUNG, conductor ALL-BEETHOVEN Symphony No. 4 MENDELSSOHN- Overture in C PROGRAM Symphony No. 5 HENSEL MENDELSSOHN Piano Concerto No. 1 DVORÁˇ K Symphony No. 8

Thursday ‘D’ November 29, 7:30-10:30 Friday ‘A’ November 30, 1:30-4:30 Thursday, January 10, 10:30am (Open Rehearsal) Saturday ‘A’ December 1, 7:30-10:30 Thursday ‘C’ January 10, 8-10 Friday Evening January 11, 8-9:15 ANDRIS NELSONS, conductor (Casual Friday, with introductory comments CAROLYN SAMPSON, soprano by a BSO member and no intermission) CHRISTINE RICE, mezzo-soprano Saturday ‘B’ January 12, 8-10 SEBASTIAN KOHLHEPP, tenor SIR ANDREW DAVIS, conductor ANDRÈ SCHUEN, baritone ALESSIO BAX, piano TANGLEWOOD FESTIVAL CHORUS and BOSTON SYMPHONY CHILDREN’S CHOIR, JOHN HARBISON Symphony No. 2 JAMES BURTON, conductor (January 10 and 12 only) “Leipzig Week in Boston” MOZART Piano Concerto No. 24 in C minor, K.491 BACH Christmas Oratorio VAUGHAN Symphony No. 5 WILLIAMS

The BSO’s 2018-19 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

Single tickets for all Boston Symphony concerts throughout the season are available online at bso.org via a secure credit card order; by calling Symphony Charge at (617) 266-1200 or toll-free at (888) 266-1200; or at the Symphony Hall box office, Monday through Friday from 10 a.m. to 6 p.m. (Saturdays from 4:30-8:30 p.m. when there is a concert). Please note that there is a $6.50 handling fee for each ticket ordered by phone or online.

week 6 coming concerts 81 Symphony Hall Exit Plan

82 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For 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, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4:30 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children under age five will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between program pieces in order not to disturb other patrons.

Each ticket purchased from the Boston Symphony Orchestra constitutes a license from the BSO to the pur- chaser. The purchase price of a ticket is printed on its face. No ticket may be transferred or resold for any price above its face value. By accepting a ticket, you are agreeing to the terms of this license. If these terms are not acceptable, please promptly contact the Box Office at (617) 266-1200 or [email protected] in order to arrange for the return of the ticket(s).

week 6 symphony hall information 83 Subscriber 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) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage (after 2 p.m.) 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. 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 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further 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 Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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