2012–2013 Season | Week 6 Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate

2012–2013 season | Week 6 season sponsors Bernard Haitink | Conductor Emeritus Seiji Ozawa | Music Director Laureate

Table of Contents | Week 6

7 bso news 13 on display in symphony hall 14 the boston symphony orchestra 17 casts of character: the symphony statues by caroline taylor 24 this week’s program

Notes on the Program

26 The Program in Brief… 27 Kaija Saariaho 37 Benjamin Britten 41 Antonín Dvorákˇ 50 To Read and Hear More…

Guest Artists

55 Juanjo Mena 56 Gil Shaham

58 sponsors and donors 72 future programs 74 symphony hall exit plan 75 symphony hall information

the friday preview talk on november 2 is given by bso assistant director of program publications robert kirzinger.

BOSTON SYMPHONY ORCHESTRA Symphony Hall, 301 Massachusetts Avenue Boston, MA 02115-4511 (617)266-1492 bso.org

bernard haitink, lacroix family fund conductor emeritus, endowed in perpetuity seiji ozawa, music director laureate 132nd season, 2012–2013

trustees of the boston symphony orchestra, inc.

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

William F. Achtmeyer • George D. Behrakis • Alan Bressler† • Jan Brett • Susan Bredhoff Cohen, ex-officio • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • William R. Elfers • Thomas E. Faust, Jr. • Nancy J. Fitzpatrick • Michael Gordon • Brent L. Henry • Charlies W. Jack, ex-officio • Charles H. Jenkins, Jr. • Joyce G. Linde • John M. Loder • Nancy K. Lubin • Carmine A. Martignetti • Robert J. Mayer, M.D. • Susan W. Paine • Peter Palandjian, ex-officio • Carol Reich • Arthur I. Segel • Thomas G. Stemberg • Caroline Taylor • Stephen R. Weiner • Robert C. Winters life trustees

Vernon R. Alden • Harlan E. Anderson • David B. Arnold, Jr. • J.P. Barger • Leo L. Beranek • Deborah Davis Berman • Peter A. Brooke • Helene R. Cahners • John F. Cogan, Jr. • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Nina L. Doggett • Mrs. John H. Fitzpatrick • Dean W. Freed • Thelma E. Goldberg • Mrs. Béla T. Kalman • George Krupp • Mrs. Henrietta N. Meyer • Nathan R. Miller • Richard P. Morse • David Mugar • Mary S. Newman • Vincent M. O’Reilly • William J. Poorvu • Peter C. Read • Edward I. Rudman • Richard A. Smith • Ray Stata • John Hoyt Stookey • Wilmer J. Thomas, Jr. • John L. Thorndike • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Managing Director • Thomas D. May, Chief Financial Officer • Suzanne Page, Clerk of the Board board of overseers of the boston symphony orchestra, inc.

Susan Bredhoff Cohen, Co-Chair • Peter Palandjian, Co-Chair • Noubar Afeyan • David Altshuler • Diane M. Austin • Lloyd Axelrod, M.D. • Judith W. Barr • Lucille M. Batal • Linda J.L. Becker • Paul Berz • James L. Bildner • Mark G. Borden • Partha Bose • Anne F. Brooke • Stephen H. Brown • Gregory E. Bulger • Joanne M. Burke • Ronald G. Casty • Richard E. Cavanagh • Dr. Lawrence H. Cohn • Charles L. Cooney • William Curry, M.D. • James C. Curvey • Gene D. Dahmen • Jonathan G. Davis • Paul F. Deninger • Michelle A. Dipp, M.D., Ph.D. • Dr. Ronald F. Dixon • Ronald M. Druker • Alan Dynner • Philip J. Edmundson • Ursula Ehret-Dichter • John P. Eustis II • Joseph F. Fallon • Judy Moss Feingold • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Jennifer Mugar Flaherty • Robert Gallery • Levi A. Garraway • Cora H. Ginsberg • Robert R. Glauber • Stuart Hirshfield • Susan Hockfield • Lawrence S. Horn • Jill Hornor • William W. Hunt • Valerie Hyman • Everett L. Jassy • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Stephen R. Karp • John L. Klinck, Jr. •

week 6 trustees and overseers 3

photos by Michael J. Lutch

Peter E. Lacaillade • Charles Larkin • Robert J. Lepofsky • Jay Marks • Jeffrey E. Marshall • Robert D. Matthews, Jr. • Maureen Miskovic • Robert Mnookin • Paul M. Montrone • Sandra O. Moose • Robert J. Morrissey • J. Keith Motley, Ph.D. • Cecile Higginson Murphy • Joseph J. O’Donnell • Joseph Patton • Ann M. Philbin • Wendy Philbrick • Claudio Pincus • Lina S. Plantilla, M.D. • Irene Pollin • Jonathan Poorvu • Dr. John Thomas Potts, Jr. • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • John Reed • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Susan Rothenberg • Joseph D. Roxe • Kenan Sahin • Malcolm S. Salter • Diana Scott • Donald L. Shapiro • Wendy Shattuck • Christopher Smallhorn • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg • Patricia L. Tambone • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Diana Osgood Tottenham • Joseph M. Tucci • Robert A. Vogt • David C. Weinstein • Dr. Christoph Westphal • James Westra • June K. Wu, M.D. • Patricia Plum Wylde • Dr. Michael Zinner • D. Brooks Zug overseers emeriti

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

† Deceased

week 6 trustees and overseers 5

BSO News

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all BSO Friday- afternoon subscription concerts throughout the season. Given primarily by BSO Director of Program Publications Marc Mandel and Assistant Director of Program Publications Robert Kirzinger, these informative half-hour talks incorporate recorded examples from the music to be performed. The Friday Preview speakers for October and November are Marc Mandel (October 5 and 12; November 30), Robert Kirzinger (October 19; November 2 and 16), Harlow Robinson of Northeastern University (November 9), and Jan Swafford of The Boston Conservatory (November 23).

Boston Symphony Chamber Players 2012-13 Season at Jordan Hall: Four Sunday Afternoons at 3 p.m. The Boston Symphony Chamber Players perform four Sunday-afternoon concerts each season at Jordan Hall at the New England Conservatory, beginning this year on November 18, with guest pianists Thomas Adès and Kirill Gerstein. The program includes Beethoven’s own arrangement for piano four-hands of his Grosse Fuge, with Messrs. Adès and Gerstein; Elliott Carter’s Figment III for double bass, Carter’s Wind Quintet, and Brahms’s Piano Quintet in F minor, Opus 34, with Mr. Gerstein. The series continues on January 13 (music of Lutosławski, Frank, and Copland), March 10 (Dvoˇrák, Schulhoff, and Mozart), and April 28 (Janáˇcek, Martin˚u, and Brahms). Subscriptions for the four-concert series are available at $128, $92, and $72. Single tickets are $38, $29, and $22. To purchase the four-concert series, please call the Subscription Office at (617) 266-7575. Single tickets may be purchased through SymphonyCharge at (617) 266-1200, at the Symphony Hall box office, or online at bso.org. On the day of the concert, tickets are available only at the Jordan Hall box office, 30 Gainsborough Street.

Upcoming BSO 101 Sessions BSO 101 is an informative series of free adult education sessions on selected Tuesdays and Wednesdays, from 5:30-6:45 p.m. at Symphony Hall. The Wednesday sessions—“BSO 101: Are You Listening?,” with Director of Program Publications Marc Mandel and members of the BSO—are designed to enhance your listening abilities and appreciation of music by focusing on music from upcoming BSO programs. Since each session is self-contained, no prior musical training, or attendance at any previous session, is required. The next “Are You Listening?” session is on Wednesday, November 14—“The Orchestral Palette,” with BSO trumpet player Thomas Siders. The Tuesday sessions—“BSO 101: An Insider’s View”—focus

week 6 bso news 7 on behind-the-scenes activities at Symphony Hall. The next Tuesday session—a discussion with the BSO’s Department of Education and Community Engagement—is on November 20. All of these free sessions are followed by a complimentary reception offering beverages, hors d’oeuvres, and further time to share your thoughts with others. Though admission is free, we do ask that you please e-mail [email protected] or call (617) 638-9454 to reserve your place for the date or dates you’re planning to attend.

The BSO on the Web At BSO.org/MediaCenter, patrons can find a centralized location for access to all of the Boston Symphony Orchestra’s media offerings. The free and paid media options include radio broadcast concert streams, audio concert previews, interviews with BSO musicians and guest artists, excerpts from upcoming programs, and self-produced recordings by the BSO, Boston Pops, Boston Symphony Chamber Players, Tanglewood Festival Chorus, and Tanglewood Music Center Fellows. In addition, there are complete program notes available for download, printing, or saving to an e-reader. The BSO kids website offers educational games and resources designed to be fun and help teach various aspects of music theory and musical concepts. The BSO is also on Facebook (facebook.com/bostonsymphony) and Twitter, and you can watch video content at youtube.com/boston symphony. New this fall is a BSO mobile site, which allows patrons to access performance schedules; download program notes; listen to concert previews, music clips, and broadcast concert streams; and view video podcasts. individual tickets are on sale for all concerts in the bso’s 2012-2013 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 75 of this program book.

The Walter Piston Society Concert he graduated from Harvard and became chair Friday, November 2, 2012 of Harvard’s School of Music. Mr. Piston played piano, violin, flute, saxophone, viola, The Walter Piston Society Concert honors and percussion. He wrote four books on those who have provided a gift for the future music theory that are acknowledged classics, of the Boston Symphony Orchestra, Boston and his notable students included Leonard Pops, or Tanglewood with a bequest intention Bernstein. Late in life, the French government (i.e., through one’s will, trust, IRA, or insur- bestowed on Mr. Piston the Officier de l’Ordre ance policy), or by establishing a charitable des Arts et des Lettres. trust or gift annuity that generates income for life or a term of years. Members of the The Boston Symphony Orchestra thanks and Walter Piston Society enjoy a variety of privi- recognizes the members of the Walter Piston leges, including invitations to special events, Society, whose gifts will help to preserve this lectures, and seminars in Boston and at great orchestra for future generations. Tanglewood. In addition, with a member’s approval, Walter Piston Society members are Planned Gifts for the BSO: recognized in program books and the BSO’s Orchestrate Your Legacy annual report. There are many creative ways that you can Walter Piston (1894-1976), who endowed the support the BSO over the long-term. Planned principal flute chair with a bequest, was a gifts such as bequest intentions (through Pulitzer Prize-winning composer and noted your will, personal trust, IRA, or insurance musician. After studying under Georges Longy,

week 6 bso news 9 policy), charitable trusts, and gift annuities BSO Business Partner of the Month can generate significant benefits for you now Did you know that there are more than 400 while enabling you to make a larger gift to businesses and corporations that support the the BSO than you had otherwise thought Boston Symphony Orchestra, Inc.? You can possible. In many cases, you could realize lend your support to the BSO by supporting significant tax savings and secure an attrac- the companies who support us. Each month, tive income stream for you and/or a loved we will spotlight one of our corporate sup- one, all while providing valuable future supporters as the BSO Business Partner of the port for the music and programs you care Month. This month’s partner is Natixis Global about. When you establish and notify us of Asset Management. Natixis Global Asset your planned gift for the Boston Symphony Management, S.A., manages $711 billion on Orchestra, you will become a member of the behalf of clients around the world, placing it Walter Piston Society, joining a group of the among the fifteen largest asset-management BSO’s most loyal supporters who are helping companies. Its Durable Portfolio Construction to ensure the future of the BSO’s extraordinary model helps clients navigate the investment performances. The Walter Piston Society is challenges posed by the fast-changing and named for the Pulitzer Prize-winning composer unpredictable global economy. Natixis Global and noted musician Walter Piston, who en- Asset Management calls its approach Better dowed the BSO’s principal flute chair with a Thinking. Together®. Natixis Global Asset bequest. Members of the Piston Society are Management is headquartered in Boston and recognized in several of our publications and a unit of Paris-based Group BPCE. Its twenty offered a variety of exclusive benefits, includ- global affiliates include Loomis Sayles and ing invitations to various events in Boston AEW Capital Management locally. For more and at Tanglewood. If you would like more information about becoming a BSO Business information about planned gift options and Partner, contact Rich Mahoney, Director of how to join the Walter Piston Society, please BSO Business Partners, at (617) 638-9277 contact John MacRae, Director of Principal or at [email protected]. and Planned Giving, at (617) 638-9268 or [email protected]. We would be delighted to help you orchestrate your legacy for the BSO.

10 BSO Members in Concert and Sunday, November 18, at 3 p.m. at the First Baptist Church, 848 Beacon Street, BSO violinist Tatiana Dimitriades and pianist Newton Centre. The program, entitled “Duo Jonathan Bass perform a recital of three violin of Threes,” includes Rachmaninoff’s Piano sonatas—Mozart’s F major sonata, K.376, Concerto No. 3 with soloist Abel Sanchez Debussy’s Sonata for Violin and Piano, and Aguilera, first prize-winner of the 2011 Boston Brahms’s Violin Sonata No. 3 in D minor, International Piano Competition, and Schu- Op. 108—on Sunday, November 4, at 2 p.m. mann’s Symphony No. 3, “Rhenish.” Tickets as part of the Fall Music Series at the Lawrence are $35-45, with discounts for seniors, stu- Public Library, 51 Lawrence Street. The con- dents, and families. For more information, or cert is free and open to the public. For more to order tickets, call (617) 527-9717 or visit information, visit lawrencefreelibrary.org or newphil.org. call (978) 620-3600. In residence at Boston University, the Muir String Quartet—BSO violinist Lucia Lin and The Information Table: BSO principal violist Steven Ansell, violinist Find Out What’s Happening Peter Zazofsky, and cellist Michael Reynolds— At the BSO performs Mozart’s D major quartet, K.575, Are you interested in upcoming BSO concert Bartók’s String Quartet No. 4, and Ravel’s information? Special events at Symphony String Quartet on Tuesday, November 13, at Hall? BSO youth activities? Stop by the infor- 8 p.m. at BU’s Tsai Performance Center, 685 mation table in the Brooke Corridor, on the Commonwealth Avenue. Admission is free. orchestra-level, Massachusetts Avenue side Visit bu.edu/tsai/calendar for more informa- of Symphony Hall. There you will find the tion. latest performance, membership, and Sym- Founded by BSO cellist Jonathan Miller, the phony Hall information provided by knowl- Boston Artists Ensemble performs Boccherini’s edgeable members of the Boston Symphony Quintet in C, G.349, Dvoˇrák’s String Sextet in Association of Volunteers. The BSO Informa- A, Opus 48, and Brahms’s String Sextet No. 2 tion Table is staffed before each concert and in G, Opus 36, on Friday, November 16, at 8 during intermission. p.m. at the Peabody Essex Museum in Salem, and on Sunday, November 18, at 2:30 p.m. Comings and Goings... at Trinity Church in Newton Centre. Joining Mr. Miller are violinists Yura Lee and Irina Please note that latecomers will be seated Muresanu, violists Roger Tapping and Lila by the patron service staff during the first Brown, and BSO cellist Blaise Déjardin. convenient pause in the program. In addition, Tickets are $27, with discounts for seniors please also note that patrons who leave the and students. For more information, visit hall during the performance will not be bostonartistsensemble.org or call (617) allowed to reenter until the next convenient 964-6553. pause in the program, so as not to disturb the performers or other audience members while Ronald Knudsen leads the New Philharmonia the concert is in progress. We thank you for Orchestra in their first “Classics” concerts of your cooperation in this matter. the season on Saturday, November 17, at 8 p.m.

week 6 bso news 11 on display in symphony hall This season’s BSO Archives exhibit, located throughout the orchestra and first-balcony levels of Symphony Hall, continues to display the breadth and depth of the Archives’ holdings, which document countless aspects of BSO history—music directors, players, instrument sections, guest conductors, and composers, as well as Symphony Hall’s world-famous acoustics, architectural features, and multi-faceted history. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor (the orchestra-level Massachusetts Avenue corridor) focusing on the influence of the Germania Society on musical life in 19th-century Boston prior to the founding of the BSO • also in the Brooke Corridor, a display case on the history of the BSO’s clarinet section, featuring a recent gift to the BSO Archives of two clarinets owned by Viktor Polatschek, the BSO’s principal clarinet from 1930 to 1948 • a pair of display cases, in the Huntington Avenue orchestra-level corridor adjacent to the O’Block/Kay Room, highlighting architectural features of Symphony Hall’s ceiling and clerestory windows exhibits on the first-balcony level of symphony hall include: • a display in the Cabot-Cahners Room of autographs and memorabilia donated to the Archives by legendary trumpet player Roger Voisin, a BSO member from 1935 to 1973 and principal trumpet from 1950 to 1965 • in the first-balcony corridor, audience-right, near the stage, a recently acquired sculpture by Rose Shechet Miller of Erich Leinsdorf, the BSO’s music director from 1962 to 1969 • also in the first-balcony corridor, audience-right, display cases documenting political events that took place in Symphony Hall, and in the first-balcony corridor, audience- left, documenting Duke Ellington’s Symphony Hall appearances in the 1940s

TOP OF PAGE, LEFT TO RIGHT: Serge Koussevitzky costumed as Joseph Haydn for a 1939 Pension Fund performance of the composer’s “Farewell” Symphony (photo by John B. Sanromá) A January 1937 autograph greeting, including a musical quote from Debussy’s “La Mer,” inscribed by guest conductor Dimitri Mitropoulos to BSO trumpet player Roger Voisin Program for a January 1943 Symphony Hall appearance by Duke Ellington

week 6 on display 13 Boston Symphony Orchestra 2012–2013

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

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

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

week 6 boston symphony orchestra 15

Casts of Character: The Symphony Statues by Caroline Taylor

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 ﬁg- ures 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 solution 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 (Rome)

week 6 casts of character 17 18 left, Apollo Citharoedus (Rome) right, Diana of Versailles (Paris)

The use of reproductions, explains Mrs. Wolsky, was extremely popular in the nineteenth 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 copies, 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, copying 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 19

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 31). Copied from the original in the Palazzo dei Conservatori in Rome and based on a Greek statue from about 430 B.C., 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 invent- ing. 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 17), credited for generations as the highest ideal of male beauty. The original, in the Vatican Museum, 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 crea- ture of earth and the underworld, the snake, is coiled around the tree stump, symbolizing Apollo’s role as a god of prophecy.

To the left of this statue stands Diana of Versailles (see page 19), 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 vigorous “con- trapposto” 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 21 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.

22 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 (Rome) Girl of Herculaneum (Dresden) Dancing Faun (Rome) Demosthenes (Rome) Seated Anacreon (Copenhagen) Euripedes (Rome) 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 (Rome)

week 6 casts of character 23 bernard haitink, conductor emeritus seiji ozawa, music director laureate Boston Symphony Orchestra 132nd season, 2012–2013

Thursday, November 1, 8pm Friday, November 2, 1:30pm | the walter piston society concert Saturday, November 3, 8pm Tuesday, November 6, 8pm

juanjo mena conducting

saariaho “circle map” for orchestra and electronics (american premiere; co-commissioned by the boston symphony orchestra through the generous support of the arthur p. contas fund for the commissioning of new works) I. Morning Wind II. Walls closing III. Circles IV. Days are Sieves V. Dialogue VI. Day and Night, Music timo kurkikangas, sound design The poems used in the electronics part of Saariaho’s “Circle Map” are printed on page 28. ee Vanderwarker Peter

From the BSO library in Symphony Hall

24 britten concerto for violin and orchestra, opus 15 Moderato con moto Vivace— Passacaglia. Andante lento (un poco meno mosso) gil shaham

{intermission} dvoˇrák symphony no. 7 in d minor, opus 70 Allegro maestoso Poco adagio Scherzo: Vivace Finale: Allegro

bank of america and emc corporation are proud to sponsor the bso’s 2012-2013 season.

The evening concerts will end about 10:15, the Friday 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. Steinway and Sons Pianos, selected exclusively for Symphony Hall. Special thanks to The Fairmont Copley Plaza and Fairmont Hotels & Resorts, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. In consideration of the performers and those around you, please turn off all electronic devices during the concert, including tablets, cellular phones, pagers, watch alarms, and texting devices of any kind. Thank you for your cooperation. Please do not take pictures during the concert. Flashes, in particular, are distracting to the performers and to other audience members.

week 6 program 25 The Program in Brief...

Receiving its American premiere performances this week, the Finnish composer Kaija Saariaho’s Circle Map for orchestra and electronics was co-commissioned by the Boston Symphony Orchestra and was premiered by Amsterdam’s Royal Concertgebouw Orchestra at the Holland Festival this past June. This is the second Saariaho piece commissioned by the BSO, following 2007’s cello concerto Notes on Light. Circle Map’s electronics part is based on a reading in Persian of six quatrains by the 13th-century mystical poet Rumi, which correspond to the work’s six movements. Saariaho’s characteristically colorful orchestral music is based on both the poetic imagery and the acoustic profile of these readings. The electronics tracks are projected from speakers above and at the rear of the stage, as well as around the perimeter of the auditorium.

As a young man, Benjamin Britten was one of the most bracingly talented composers in music history, early developing a strong personal voice that remained remarkably consis- tent over the course of his life. In the mid-1930s he became friends with the eminent Spanish-born violinist Antonio Brosa, and with him made a trip to Spain during the Civil War. Brosa advised Britten on aspects of violin technique for the composer’s Violin Concerto, Opus 15, which Britten began in 1938 in England before leaving on an extended trip to North America. He completed the piece in Quebec the following year, and Brosa gave the premiere with the New York Philharmonic under John Barbirolli at Carnegie Hall in March 1940. The piece is in three movements, but the traditional fast-slow-fast pattern is inverted, with the faster movement in the middle. Lyrical, technically brilliant, and musically assured, the Violin Concerto is the work of a composer mature beyond his years.

Antonín Dvoˇrák wrote his Seventh Symphony at the request of the Royal Philharmonic Society in London, following the reverent response there to his Symphony No. 6. He was spurred on by the example of his mentor Johannes Brahms, who had just introduced his own Symphony No. 3. Dvoˇrák himself conducted the first performance of his Seventh Symphony in London in April 1885. Among Dvoˇrák’s symphonies, the Seventh is closest to the German tradition; the great musical essayist Donald Francis Tovey ranked it with Schubert’s Great C major and the four Brahms symphonies as the purest examples of the genre since Beethoven.

Robert Kirzinger

26 Kaija Saariaho “Circle Map” for orchestra and electronics (2012)

KAIJA SAARIAHO was born in Helsinki, Finland, on October 14, 1952, and has lived in Paris since 1982. The instigation for “Circle Map” came from the Royal Concertgebouw Orchestra, which enlisted the Boston Symphony Orchestra, Gothenburg (Sweden) Symphony Orchestra, Orchestre National de France, Royal Scottish National Orchestra, and Stavanger (Norway) Symphony Orches- tra in a consortium to commission the work. Saariaho began writing the piece at the end of 2010, completed the orchestral score before Christmas 2011, and finalized the electronics part in May 2012. The Royal Concertgebouw Orchestra under the direction of Susanna Mälkki gave the first performances of “Circle Map” during the Holland Festival on June 22 and 23, 2012, in Amster- dam’s industrial Westergasfabriek Gashouder building. This week’s BSO performances mark the work’s American premiere.

THE SCORE OF “CIRCLE MAP” calls for a large orchestra with electronics. The orchestra consists of three flutes (second doubling piccolo, third doubling alto flute), two oboes, three clarinets (third doubling bass clarinet), three bassoons (third doubling contrabassoon), four horns, two trumpets,

week 6 program notes 27 KAIJA SAARIAHO “Circle Map” Poems by Rumi (read by Arshia Cont in Persian for the electronics part)

I. Morning Wind The morning wind spread its fresh smell. Sobh ast o sabâ moshk feshân migozarad We must get up and take that in, Daryâb ke az kooye folan migozarad that wind that lets us live. Barkhiz—ché khosbi? ke jahân migozarad Breathe, before it’s gone. Booyi besetân ke kârevân migozarad

II. Walls closing Seeing you heals me. Déltangano didaré to darmâne manast Not seeing you, I feel the walls closing. birange rokhat, zamâné zendâne manast I would not wish for anyone else bar hich déli mabâd o bar hich tani such absence. ânche az ghame héjrâne to bar jâne manast

III. Circles Walk to the well. Dar noh ghadami ke cheshmé heyvânast Turn as the earth and the moon turn, migard cho charkh tâ gérânast circling what they love. jânist tora bégard hazrat gardân Whatever circles comes from the center. in jâne gardân ze gardéshé ân jânast

IV. Days are Sieves Days are sieves to filter spirit, In rouzé cho gharbâl be beyzan jân râ reveal impurities, and too, Peydâ ârad ghorâzeye penhân râ show the light of some who throw jâni ke konad khiré mahé tâbân râ their own shining into the universe. bi pardé shavad, noor dahad keyvân râ

V. Dialogue I am so small I can barely be seen. Goftam ke ze khordi délé man nist padid How can this great love be inside me? Ghamhâye bozorgé to dar oo chon gonjid Look at your eyes. They are small, Goftâ ké zé del bédidé bâyad négarid but they see enormous things. Khord ast o dar oo boroghâ bet-vân did

IV. Day and Night, Music All day and night, music, Âvâzé torâ tab’é délé mâ bâdâ a quiet, bright Andar shab-o-rouz shâdo gouyâ bâdâ reedsong. If it âvâze khaste-ye to gar khaste shavad khaste chavim fades, we fade. âvâzé to chon nâye shékar-khâ bâdâ

Translations from Unseen Rain: Quatrains of Rumi, by John Moyne and Coleman Barks Threshold Books, Putney, Vermont 1986

28 three trombones, tuba, timpani (with cymbal), percussion (four players suggested: I. crotales, xylophone, glockenspiel, small suspended cymbal, metal plate, log drum, bass drum, guiro, wood block, sand blocks, large cowbell, wood chimes, bamboo chimes; II. vibraphone, medium suspended cymbal, light swish cymbal, two Chinese cymbals; III. marimba, medium and large suspended cymbals, tam-tam, sizzle cymbal, finger cymbals, slit drum, tubular bells, wind gong; IV. temple block, small bongo, tom-tom, large tambourine, small and large suspended cymbals, mark tree, glass chimes, shell chimes, wood block, small triangle), harp, piano, celesta, and strings. The electronics part is to be triggered via an electronic keyboard and amplified and spatialized through speakers deployed around the stage and the hall (see below for more detail). “Circle Map” is twenty-seven minutes long.

The use of electrics/electronics with orchestra is a phenomenon less than a century old— or, thinking of it from the opposite perspective, the use of sound-sources of electrical origin has already been around for almost a century.* Which of these angles places the practice in its most relevant light, for a concert of the Boston Symphony Orchestra? Well, in spite of its being virtually unavoidable in pop music, the use of electronics in an orchestral concert is still very much a novelty for traditional classical-music ensembles. There are lots of reasons for this, but the most important one is tradition itself. Composers know that the symphony orchestra is already marvelously flexible and infinitely variable, and taking on the challenge of applying one’s personal style to the ensemble developed by Berlioz and Mahler can be immensely satisfying—sort of like artists still finding ways of using oils on canvas instead of working in, say, video.

Realism and practicality figure into it, too. Only a relatively few composers reach the status of being able to write regularly for a major symphony orchestra, so the instinct is to make every concession to straightforwardness of execution, which means adding to the basic resource only when it’s conceptually unavoidable. Calling for a second harp or a third percussionist costs a little money, after all. An orchestra is, for the same reasons, less likely to commission a piece calling for extra forces. Also, ease of rehearsal and a graspable concept make performance preparation go smoothly, maximizing the time

* Ottorino Respighi’s use of a gramophone to play pre-recorded birdsong in the “Pines of the Janiculum” movement of Pines of Rome (1924) is probably the earliest mainstream example of “electro-acoustic” music in tandem with an acoustic ensemble (although that gramophone could just as easily have been hand-cranked as plugged in). Instruments producing sound electronically were already in development by the 1920s, the most famous and successful being the Theremin. With the advent of tape recording, the musical manipulation of pre-recorded sounds—“musique concrete”—became a concern in the late 1940s and onward. The practice of creating musical sounds produced and/or manipulated via computer began in the mid-1950s, gradually evolving to its current ubiquitous state in pop/rock/hip-hop, television and movie soundtracks, and video games. Circle Map’s electronics part essentially takes a computer-modified musique concrete approach, adding the further dimension of sound spatialization—the creation of a surround-sound type musical environment, which is a focus of much cutting-edge research and activity.

week 6 program notes 29

ihe .Lutch J. Michael

Kaija Saariaho with cellist Anssi Karttunen (left) and conductor Jukka-Pekka Saraste backstage at Symphony Hall following the Boston Symphony's world premiere of Saariaho's cello concerto “Notes on Light” in February 2007

needed to finesse a piece to a more perfect state, and added elements like electronics or video complicate matters on lots of levels.

In the case of Kaija Saariaho’s new piece, an electronic sound element was always part of the conception. Saariaho has been a major contributor to the electro-acoustic repertoire for almost thirty years, since her work in the early 1980s at IRCAM, a premier institution of research and development into musical acoustics. She had arrived at IRCAM following studies at the Sibelius Academy in Helsinki, where she had been part of a group of composers and musicians that included Magnus Lindberg and Esa-Pekka Salonen, the two best-known of a number of peers who went on to achieve remarkable international reputations. Saariaho’s interest in unusual sounds had begun in her childhood, but it took time for her to understand how to create those sounds, for which there was little prece- dent in the mainstream repertoire. During her formal music studies she simultaneously pursued visual art; the gestural approach and use of colors in that medium provided an analogy for what she was trying to create in music. Visual ideas have carried over into her music as evocative titles for many of her works, such as Lichtbogen (“Light bows”), Nymphéa (“Water Lilies”), or Lanterna Magica (“Magic Lantern,” taking its title from filmmaker Ingmar Bergman’s autobiography). Nonetheless, music has always been her primary focus.

Saariaho’s pursuit of her own musical language led her to explore ways of analyzing the physical properties of sound using technologies that were being developed at IRCAM and elsewhere. Every sound has its own unique spectrum of frequencies, and most natural and musical sounds—such as a human voice or a violin—change over time, from the onset of a sound to its end. This acoustic “shape” can then be used as the basis for formal and orchestrational ideas. The benefit of this kind of thinking is that the elements of a piece are derived from the natural, physical properties of sound itself, lending an organic cohesiveness to the whole. The surfaces and details of such works may seem exotic or strange, because they frequently employ materials outside the twelve-note chromatic

week 6 program notes 31 scale and tonal chord progressions with which we’re so familiar. (In Circle Map, Saariaho calls for microtonal articulations of certain pitches, notated as quarter tones—intervals half the size of the semitone division of the piano’s keyboard.)

Saariaho’s predecessors in this approach to musical sound included Gérard Grisey and Tristan Murail, whose music has been labeled (simplistically, it must be said) musique spectrale. Just as with any approach, the spectrale idea provides set of tools a composer might use to achieve what she or he is aiming for musically; although there are certain similarities among composers who have used spectral analysis of sound to expand and refine their composition, each has a distinct voice. In Saariaho’s case, that voice has undergone many changes over the years, the most significant happening during her immersion in works for the human voice, particularly in her operas L’Amour de loin (2000), Adriana Mater (2006), and the monodrama Émilie (2010), as well as the big

32 oratorio La Passion de Simone. The most audible outcome of this vocal immersion was the composer’s re-examination of the role of melody in her music. More subtly, the role of harmonic motion, analogous in many ways to that of tonal music, has become an added source of architectural solidity in her recent work.

The success and international impact of her stage works (L’Amour de loin won the prestigious Grawemeyer Award in 2003) might lead one to believe that Saariaho is, at heart, a dramatic composer, an accurate view in some ways. Her sense of musical drama, though, has its roots in the inner life of sound itself, in details that we hear and process but that are far more subtle than what can be represented by notes and articulations on a page. Sound as sensual and tactile experience leads to works of dramaturgical force and physical presence that impart to an audience a fresh way of hearing, a new way of encounter- ing beauty. This fall, events and festivals centered on Saariaho’s music celebrate the composer’s 60th birthday, including the MITO SettembreMusica Festival in Italy and performances at her alma mater, the Sibelius Academy in Helsinki.

Following the composer’s cello concerto Notes on Light, a BSO 125th anniversary commission given its premiere here in 2007, Circle Map is the second Saariaho work commissioned (in this case co-commissioned) by the BSO. The orchestra has also performed her voice-and-orchestra work Chateau de l’âme at Symphony Hall in October 2000 and at Tanglewood in 2002, and her orchestral work Nymphéa Reflection in April 2006. Circle Map was composed at the request of Amsterdam’s Royal Concertgebouw Orchestra for performance in a big former industrial space, the Westergasfabriek Gashouder building,

week 6 program notes 33 a large, squat cylinder with peculiar acoustic properties. (Gashouders—“gas holders”— were used to store coal gas in the early twentieth century; natural gas is these days stored in similar tanks, like Boston’s famous, painted National Grid tank visible from I-93 south of Boston.)

Saariaho worked with Finnish sound designer Timo Kurkikangas in developing the acoustic environment of Circle Map’s electronic music; that environment, imagined for the Gashouder building, requires technical tweaking and rethinking for each new venue. The central sound source is the reading by the sound artist Arshia Cont of six quatrains by the 13th-century Persian poet Rumi in the original language; this is the first time the composer has worked with a language she doesn't speak herself. As used in the piece, stored as computer files and triggered by an electronic keyboard, these recordings are highly modified and processed, a “composed” and complex musical signal by no means dominating the texture. The readings are “centered” in the array of speakers above the

34 stage, while overtones, modulating tones, sustained and delayed elements, and other artifacts of the transformed recording create a kind of sonic “halo” broadcast via speakers placed around the auditorium. The orchestra is, to some degree, another manifestation of that transformation. The poems work as a two-fold source for the piece: a traditional one of providing emotional imagery triggering musical response, and as raw acoustic material that can be echoed, expanded, or commented on by the orchestra and altered electronically.

Each movement has a particular character defined by details of orchestration and gesture, with reference to the poetic image. (The composer recommends reading the poems, which are printed on page 28 of this program book, before listening to the piece.) The first is rhythmically free and constantly changing in texture and timbre, beginning with the flute/piccolo duet that suggests the “Morning Wind” of the title. The second movement, “Walls closing,” brings the clearest audible correspondence between the sound of the recorded track and the orchestra. Within a fabric woven by strings and high woodwinds, a melody played by the trumpet, then piano, then cellos and basses, reflects the contour of the reading that begins about two minutes into the movement. The piano clarifies the relationship further by doubling, as closely as possible, the baritone voice of the speaker. (This is, incidentally, the least modified of the poetic readings.) Given its similarity to other harmonic figures in the piece (for example at the start of the first movement), this is a clue to the source of the work’s harmonic world throughout.

The most explicit echo of the poetic imagery is the classic word-painting of the third movement, “Circles,” in which musical “footsteps” clearly illustrate the first line of Rumi’s poem: “Walk to the well.” The “sieve” image of the fourth movement is suggested subtly with sifting sounds of guiro (rasp), wood chimes, sizzle cymbal, and sand blocks.

The “circle” idea is reflected in repeating small figures and other gestures in the music, characteristic of the entire piece, and also in the work’s harmonic cycles. A clear large- scale recursion or circling-back can be heard at the start of the fifth movement (“Dialogue”), which begins with the first movement’s opening sonority. This movement is of special interest, because Saariaho manipulates the male-voice recording here to give the first couplet a higher, feminine quality, and takes it deeper than a human voice for the second couplet, the reply to the first couplet’s question. The sound of the voice in the second couplet is meant to suggest the voice of God.

“Day and Night, Music” gives us, in a sense, a key to the whole piece, speaking of music as life-force. The movement is a series of exotic, melodic solos beginning in the woodwinds (initially bassoon) and moving throughout the orchestra, a phrase or two at a time, pierc- ing the dark, shifting colors of the orchestral backdrop. The melodies are rich, complex, and constant: Rumi’s “quiet, bright reedsong.”

Robert Kirzinger robert kirzinger, a composer and annotator, is Assistant Director of Program Publications of the Boston Symphony Orchestra.

week 6 program notes 35

Benjamin Britten Concerto for Violin and Orchestra, Opus 15

EDWARD BENJAMIN BRITTEN was born in Lowestoft, Suffolk, England, on November 22, 1913, and died in Aldeburgh, Suffolk, on December 4, 1976. He began work on his Violin Concerto in November 1938, in England. The following May, he left for England, and he completed the score in St. Jovite, Quebec, on September 29, 1939. He made small revisions to the score in 1950, resulting in the definitive version. Antonio Brosa was soloist in the first performance on March 27, 1940, at Carnegie Hall, with John Barbirolli conducting the New York Philharmonic.

IN ADDITION TO THE SOLO VIOLIN, the score of Britten’s Violin Concerto calls for an orchestra of three flutes (second and third doubling piccolo), two oboes (second doubling English horn), two clarinets, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, snare drum, tenor drum, bass drum, cymbals, suspended cymbal, glockenspiel, harp, and strings.

Years after playing the first performance of Britten’s Violin Concerto, the Spanish soloist in that event, Antonio Brosa, told a radio interviewer that the attention-getting rhythm first heard in the timpani in the opening bars and recurring throughout the work was of Spanish origin. Britten and Brosa had visited Spain in 1936, and later on the composer’s friend and poetic collaborator W.H. Auden decided that he had to go enlist in the Republican army opposing Franco. (The enlistment only lasted a few months, but Britten was distraught at the thought that his friend’s service to Spain as a soldier would be miniscule at best, while his potential service to the English-speaking world as a poet was thereby put at great risk.) Already Britten’s conviction that war is inevitably the ultimate folly of mankind was showing itself in his music, for the Violin Concerto, though bristling with technical difficulties to such a degree that Jascha Heifetz declared it “unplayable,” also hints at a profound melancholy at human activity. This element was to recur again and again in his work, most notably in the War Requiem of 1962.

The concerto is cast in the normal three movements, but the character of those movements is anything but normal. They resemble nothing so much as the slightly later Sinfonia

week 6 program notes 37 da Requiem, with a fast central movement surrounded by two movements at slower tempi, the ﬁnale in particular having a valedictory character. The concerto is ostensibly in D major, but it is a major key that is at every moment shot through with doubt and uncertainty. D major is colored by constant suggestions of the minor through an emphasis on F-natural rather than the F-sharp that is the third degree of a D major chord. Indeed, the concerto opens somewhere in the vicinity of F and gradually works its way around to D.

A composer who begins a violin concerto with a motto rhythm on the timpani followed by a high, flowing lyrical melody in the solo violin inevitably attracts comparison with Beethoven, and this is a mark of Britten’s seriousness of intent. The soloist’s theme appears in or around the key of F over the timpani’s “Spanish” rhythm, now played by the bassoon. The soloist tries to move the discussion to the official home key, but the orchestra insists on moving in the other direction. The second theme, also introduced by the soloist, is more rhythmically defined, mock-military in character, and asserted on A, the dominant of the home key that was never really established. During the course of his development, Britten manages to assimilate the two principal themes, contrasting as they are, into one another, and to bring the harmony around to a broad D major return to the opening theme, making this moment the emotional highlight of the movement— though even here he fluctuates between the major and a form of the minor key.

The second movement launches itself in E minor with a Vivace of strongly “driven” character. The bassoons set up a regular accompaniment figure over which the solo violin begins a rising theme made up of scale fragments, both chromatic and diatonic. The speed of the movement requires that the musical material be of the simplest possible kind for intelligibility, and it is worked out with grotesque energy. A contrasting Trio is more subdued but continues the basic mood of the “dance of death.” The scherzo returns with remarkable orchestral colors (two piccolos and tuba over strings tremolando). An extended tutti for the orchestra leads into a brilliant cadenza that forms the link between the middle movement and the ﬁnale (among other things, it brings back the drum-rhythm motto from the ﬁrst movement).

In the finale, for the first of many times in his output (including the opera Peter Grimes), Britten chose to write a passacaglia, a kind of variation form in which a persistent, repeated melodic pattern is played again and again (usually in the bass of the orchestra) while ever-changing countermelodies are superimposed on top. Traditionally a movement cast in this form expresses a serious, even somber single-mindedness of mood, whether it is Dido’s great lament “When I am laid in earth” (at the end of Purcell’s Dido and Aeneas) or the intense finale of Brahms’s Fourth Symphony.

Britten withheld his trombones until this moment in the piece, so that they could make their ﬁrst appearance sounding forth the passacaglia theme—based primarily on alter- nating whole-steps and half-steps—to interrupt that last, rhapsodic stage of the soloist’s cadenza. There follow nine variations (in the sixth, Britten inverts the melody), laid out not as a series of individual character pieces, but as a connected and shapely movement of serious expression, already colored with the most characteristic sounds of Britten’s

38 Program from the first performance of Britten’s Violin Concerto

orchestral technique, the shrill clarity of the woodwinds, strong yet rich brass, and the lamenting, soaring violin. The ﬁnal pages move toward a resting place in D major, but even at the very end of the work, doubt and ambiguity remain. There is no facile conclu- sion, and the expressive power of this ambiguous close is very high indeed. Already, at the age of twenty-ﬁve, Britten has achieved an astonishing mastery of the orchestra and of his materials, and already he has become, in large measure, recognizably the composer who would later write Peter Grimes, the War Requiem, and the Cello Symphony.

Steven Ledbetter steven ledbetter was program annotator of the Boston Symphony Orchestra from 1979 to 1998 and now writes program notes for other orchestras and ensembles throughout the country.

THEFIRSTAMERICANPERFORMANCE of Britten’s Violin Concerto was (as stated above) the world premiere performance, given by John Barbirolli and the New York Philharmonic on March 27, 1940, with soloist Antonio Brosa.

THEBOSTONSYMPHONYORCHESTRA has performed Britten’s Violin Concerto on just two previous occasions: with concertmaster Malcolm Lowe as soloist in November 1993, with James Conlon conducting; and with Frank Peter Zimmermann as soloist in March 2004, with Paavo Berglund conducting.

week 6 program notes 39

Antonín Dvorákˇ Symphony No. 7 in D minor, Opus 70

ANTONÍN DVORÁKˇ was born at Mühlhausen (Nelahozeves), Bohemia, on September 8, 1841, and died in Prague on May 1, 1904. He began to sketch this symphony on December 13, 1884, and completed the score on March 17, 1885. Dvoˇrák himself conducted the premiere on April 22, 1885, at Saint James’s Hall, London, at a concert of the Royal Philharmonic Society. The score as we now know it incorporates a few revisions made in June 1885.

THE SCORE OF DVORÁK’Sˇ SYMPHONY NO. 7 calls for two flutes and piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, timpani, and strings.

When Volume II of Donald Francis Tovey’s Essays in Musical Analysis appeared in 1935, many of his readers must have been startled to come across this sentence: “I have no hesitation in setting Dvoˇrák’s [Seventh] Symphony along with the C major Symphony of Schubert and the four symphonies of Brahms, as among the greatest and purest examples of this art-form since Beethoven.”* For one thing, hardly any of Tovey’s readers were likely ever to have heard the D minor symphony. Performances of any of Dvoˇrák’s symphonies other than the New World were extremely rare, at least outside Czechoslovakia. Václav Talich’s wonderful recording of No. 7 with the Czech Philharmonic came out in 1938, but record buyers in those days were also relatively few and had smaller collec- tions, to say nothing of the fact that during the Second World War, with the ingredients of shellac needed for a more urgent cause, there was a huge and frustrating discrepancy between what manufacturers listed in their catalogues and what one could actually ﬁnd in stores. In sum, for most people the “other” Dvoˇrák symphonies were a discovery of the years after the war.

* Actually what Tovey wrote was “Second Symphony.” Only ﬁve of Dvoˇrák’s nine symphonies were published during the composer’s lifetime, and only after 1955, as the complete critical edition of his works began to come out of Prague, did people adopt the present numbering that takes all nine symphonies into account and places them in their correct chronological order. The old numbering reﬂects the order of publication.

week 6 program notes 41 42 If a reader half a century ago found Tovey’s assessment of the D minor symphony surpris- ing, that was also because neither professional musicians nor listeners—again, outside Czechoslovakia—were inclined to take Dvoˇrák terribly seriously. He was the composer of the Symphony From the New World, the Carnival Overture, and the Slavonic Dances— a composer for popular concerts, a genre- and landscape-artist, friendly, colorful, but not a plausible person to have written one of the “greatest and purest” symphonies since Beethoven and hardly to be mentioned in the same breath as so secure a tenant in the pantheon as Johannes Brahms. The ﬁrst to disagree with that judgment would have been the redoubtable Dr. Brahms himself, he who had used his prestige to set his younger col- league up with an important publisher, who helped him to get a series of government grants, and was ever available to him with kindness and advice.

Dvoˇrák’s problematic estate fifty, sixty, seventy years ago was a drastic change from the enormous esteem in which he was held from the 1880s on. His fame at home had begun with the performance in 1873 of a patriotic cantata called The Heirs of the White Moun- tain.* In 1878, at the urging of Brahms, the Berlin firm of Simrock added Dvoˇrák to its list. Simrock began by issuing the Moravian Duets (for soprano and mezzo-soprano) that had so impressed Brahms in the first place, following this with the first set of Slavonic Dances for piano four-hands. The success of the latter work was enough in itself to make an international reputation for Dvoˇrák. The first performance of the Stabat Mater in Prague in 1880 made an immense impression; meanwhile, the Joachim Quartet took on his chamber music, and his work was also coming to be known in America, especially in New York as well as in Cincinnati and Saint Louis, with their big settlements of music- loving Germans.

The success of the Stabat Mater was nothing less than sensational when Joseph Barnby introduced it in London in 1883, and in that peculiarly English world of choir festivals Dvoˇrák became beloved and revered like no composer since Mendelssohn. The Royal Philharmonic Society invited him to conduct concerts in London in 1884. It was in response to the success of the Symphony No. 6 in D major, then known as “No. 1,” that he was immediately invited to write a new symphony for performance the following year. That would be the present work.

The invitation set him aﬁre with ambition. “Just now,” he wrote to his friend Judge Antonín Rus on December 22, 1884, “a new symphony (for London) occupies me, and wherever I go I think of nothing but my work, which must be capable of stirring the world, and God grant me that it will!” He had been excited by Brahms’s newest symphony, the Third, which he had gone to Berlin to hear in January 1884 and which gave him a new standard to shoot for. Moreover, as a letter to Simrock in February 1885 tells us, he was spurred by Brahms’s verbal exhortations as well as by his direct musical example. “I have been

* It was the defeat of the Bohemians by the Austrians at the battle of the White Mountain just outside Prague in 1620 that led to the absorption of Bohemia into the Hapsburg Empire, a condi- tion that obtained until October 28, 1918.

week 6 program notes 43 Program page from the first Boston Symphony performance of Dvoˇrák’s Symphony No. 7—listed as “No. 2” because the composer’s first five symphonies had not yet been published—on October 23, 1886, under the direction of Wilhelm Gericke (BSO Archives)

44 engaged on a new symphony for a long, long time; after all it must be something really worthwhile, for I don’t want Brahms’s words to me, ‘I imagine your symphony quite different from this one [No. 6 in D],’ to remain unfulﬁlled.”

A scan of the Brahms correspondence has failed to uncover any comment on the Seventh Symphony, but it is impossible to believe that Brahms was disappointed. The new work could hardly have been more different from its sunshine-and-blue-skies predecessor. For in the early 1880s, Dvoˇrák was at a point of crisis. His mother, to whom he was close, had died in December 1882, and he was in distress over the steady deterioration of the mental health of Bedˇrich Smetana, the founding father of modern Czech music. (Smetana was released by death in May 1884.) Not least, Dvoˇrák was perplexed about his own life. Being swept along on waves of success also meant being under growing pressure, inter- nal and external, to consolidate his position and turn from a provincial composer into an international one. But “international” really meant Austro-German, and the idea was for him to move to Vienna, to write operas on German texts, and to quit pestering Simrock about having his ﬁrst name appear as “Ant.,” if not actually “Antonín,” rather than the German “Anton.” It was hard for him to say “no” to the well-intended advice of people like Brahms and the critic Eduard Hanslick; on the other hand, to deny his own ethnic and linguistic heritage was impossible for someone who identiﬁed himself so closely as did Dvoˇrák with the rising tide of Bohemian nationalism. It added up to a troubled time for him. It was during this period and in this mood that he wrote his two masterpieces in tragedy, the F minor piano trio, Opus 65, and the D minor symphony.

Dvoˇrák makes his way into the music with a theme as dark and under cover as it is deter- mined. And before the violas and cellos even articulate that idea, a low D pedal (horns, drums, and basses) has already done its work in deﬁning the atmosphere. Dvoˇrák’s biog- rapher John Clapham has published a fascinating account of the sketches of the D minor symphony in which he points out that it took Dvoˇrák several attempts before he arrived at the details that contribute so powerfully to the oppressive atmosphere, sharpening the

week 6 program notes 45

First page of the autograph score of the Dvoˇrák Seventh Symphony; at the bottom Dvoˇrák has written: “This main theme occurred to me when the festival train from Pest arrived at the State Station in 1884.”

rhythm of the upbeats, for example, and adding the shuddering halt on the diminished- seventh chord in the theme’s sixth measure.

The clarinets continue the thought plaintively. The harmony is as unyielding as in the first phrase, but the tough tonic pedal has given way to the question mark of the ever- ambiguous diminished seventh. Characteristically, Dvoˇrák includes a wealth of thematic ideas. Quickly he builds to a climax, withdraws for a moment into a pastoral conversation of horn and oboe, then works up to an even more intense crisis (always with the new, sharper version of the upbeat as motor) before settling into a new key, B-flat major, and delighting us with a wonderfully spacious melody. It is one from the house of Brahms: specifically, it reminds us of the cello solo in the Piano Concerto No. 2, first performed in 1881 and published in 1882, and of the song “Immer leiser wird mein Schlummer,” yet to come.

This is expanded magniﬁcently until the rich exposition comes to a close poised on the dominant of D minor, just as though there were going to be a formal repeat. Instead, the music plunges—pianissimo but with great intensity—into the development. This moves swiftly and masterfully, covering much territory. The recapitulation is tautly condensed— it even begins in mid-paragraph—and only in the dying-away coda does the music draw more leisurely breaths. D minor is a key that has a special sound, partly because all the string instruments have open strings tuned to D and A. It also has a special set of sonorous and expressive associations, defined by a whole series of works including Mozart’s D minor piano concerto and Don Giovanni, Beethoven’s and Bruckner’s Ninth symphonies, and Brahms’s Piano Concerto No. 1 and Tragic Overture. This ﬁrst movement is very much and very consciously part of this D minor tradition.

The Adagio is, with those in his F minor trio and G major string quartet, Opus 106, one of

week 6 program notes 47

Dvoˇrák’s most searching. Here, too, there is astonishing richness and variety of material, presented lucidly, with a profoundly original sense of order, and gloriously scored. The most personal paragraph is one in which a reiterated phrase with a melancholy falling seventh in pianissimo strings is punctuated by pairs of soft chords for woodwinds and pizzicato strings. This I take to be an obeisance to a similar moment in the Brahms Third Symphony, a piece that, as mentioned earlier, was a signiﬁcant inspiration to Dvoˇrák.

The scherzo moves in ﬂavorful cross-rhythms, the swinging theme in violins and violas falling into three broad beats per measure, while the cello-and-bassoon tune is in two. It is all force and energy, after which the Trio brings contrast in every aspect, by being in a major key, by its gentleness, and by the skillful and evocative blurring of outlines and tex- tures. The Trios in Dvoˇrák’s scherzos are usually picturesque in a folksy sort of way; this one is out of the ordinary not merely for its cunningly clouded sound but also in being so richly developed and extended. In most ways this scherzo is a moment of relaxation after the densely composed, attention-demanding two movements that precede it, but the coda reminds us that the context is one of tragedy.

The finale also presents a wealth of themes, from the first impassioned gesture, through the dark that follows immediately, to the confidently striding A major tune for the cellos. The development is ample and rises to a tempestuous climax. The taut recapitulation leads to a solemn peroration in D major, the remarkable harmonies at the end suggesting that Dvoˇrák was invoking the close of Schubert’s great F minor Fantasy for piano four-hands.

Michael Steinberg michael steinberg was program annotator of the Boston Symphony Orchestra from 1976 to 1979, and after that of the San Francisco Symphony and New York Philharmonic. Oxford University Press has published three compilation volumes of his program notes, devoted to symphonies, concertos, and the great works for chorus and orchestra.

THEFIRSTAMERICANPERFORMANCE of Dvoˇrák’s Symphony No. 7 was given by Theodore Thomas with the New York Philharmonic on January 8, 1886.

THEFIRSTBOSTONSYMPHONYORCHESTRAPERFORMANCES of Dvoˇrák’s Symphony No. 7 were given by Wilhelm Gericke on October 22 and 23, 1886, since which time the orchestra has also played it under the direction of Arthur Nikisch, Emil Paur, Pierre Monteux—then, after a gap of forty years from 1923 to 1963—Erich Leinsdorf, Colin Davis, Stanislaw Skrowaczewski, Donald Johanos, Joseph Silverstein, Jeffrey Tate, André Previn, Bernard Haitink, Franz Welser-Möst, Seiji Ozawa, Ilan Volkov, James Conlon, Iván Fischer, Hans Graf (the most recent Tanglewood performance, on July 23, 2004), James Levine, Julian Kuerti, and Christoph von Dohnányi (the most recent subscription performances, in January/February 2011).

week 6 program notes 49 To Read and Hear More...

Readily available sources of information on Kaija Saariaho can be found on the internet, the best of these being the composer’s pages on the website of the Finnish Music Information Center (www.fimic.fi) and on the website of Saariaho’s publisher, Chester Music (www.chestermusic.com), both of which are updated regularly and include biographical information, work lists, and other useful stuff. Saariaho has her own website, www.saariaho.org, which is a smaller part of www.petals.org, the portal of a music col- lective that includes Saariaho, the composer Jean-Baptiste Barrière, the cellist Anssi Karttunen (for whom Saariaho wrote Notes on Light), and others. The article on Saariaho in the New Grove II (2001) is by Kimmo Korhonen with Risto Nieminen. There are two books on Saariaho and her music, both academic in origin: Pirkko Moisala’s 142-page Kaija Saariaho (University of Illinois, 2009), and the more comprehensive Kaija Saariaho: Visions, Narratives, Dialogues (Ashgate).

The BSO-commissioned cello concerto Notes on Light was ultimately recorded by the Orchestre de Paris with soloist Anssi Karttunen (who gave the premiere with the BSO), led by Christoph Eschenbach. This year a four-disc box set of recordings of Saariaho’s orchestral works, compiled from earlier releases, was issued by the Finnish label Ondine. This includes works ranging from the important early Lichtbogen, composed in the mid- 1980s, through Mirage (2007) for cello, soprano, and ensemble. Her opera L’Amour de loin is available both on CD, featuring soloists Marie-Ange Todorovitch, Ekaterina

50 Lekhina, and Daniel Belcher with the Deutsches Symphonie-Orchester Berlin under Kent Nagano (Harmonia Mundi), and on DVD, featuring Dawn Upshaw, Monica Groop, and Gerald Finley with the Finnish National Opera under Esa-Pekka Salonen in the production directed by Peter Sellars (Deutsche Grammophon). Many other excellent recordings of her music are also available, on disc or via download.

Robert Kirzinger

A good place to start reading about Benjamin Britten is Michael Kennedy’s Britten in the Master Musicians series (Oxford University paperback). The big biographical account of the composer’s life is Humphrey Carpenter’s Benjamin Britten (Scribners). Michael Oliver’s Benjamin Britten in the series “20th-Century Composers” is a nicely detailed biography with plenty of illustrations (Phaidon paperback). David Matthews’s Britten is another good, nicely illustrated, compact biography, in a series entitled “Life&Times” (Haus Publishing, Great Britain). Peter Evans’s The Music of Benjamin Britten, a thorough study of the composer’s music, was revised for a 1996 paperback edition (Clarendon Press). Letters From a Life: Selected Letters and Diaries of Benjamin Britten is a 1400-page compilation edited by Donald Mitchell and Philip Reed (University of California). Other good sources of information include The Cambridge Companion to Benjamin Britten, edited by Mervyn Cook (Cambridge University paperback); Britten’s Musical Language by Philip Rupprecht, which concentrates mainly on the larger works (also Cambridge); The Britten Companion, edited by Christopher Palmer, dating from the mid-1980s (Cambridge again), and Benjamin Britten: A Commentary on his Work by a Group of Specialists, a symposium volume edited by Donald Mitchell and Hans Keller which discusses the composer and his work through the early 1950s (Greenwood Press). Out of print but well worth seeking is the indispensable photographic survey Benjamin Britten: Pictures From a Life, 1913-1976, by Donald Mitchell and John Evans (Scribners).

Britten himself led a recording of the Violin Concerto with violinist Mark Lubotsky and the English Chamber Orchestra in 1970 (Decca, with Britten’s Piano Concerto featuring

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

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week 6 read and hear more 51 52 Sviatoslav Richter, also under the composer’s direction). More recent recordings of the Violin Concerto (listed alphabetically by soloist) feature Rebecca Hirsch with Takuo Yuasa and the BBC Scottish Symphony Orchestra (Naxos), Daniel Hope with Paul Watkins and the BBC Symphony Orchestra (Warner Classics), Anthony Marwood with Ilan Volkov and the BBC Scottish Symphony Orchestra (Hyperion), Lorraine McAslan with Steuart Bedford and the English Chamber Orchestra (Naxos), Maxim Vengerov with Mstislav Rostropovich and the London Symphony Orchestra (EMI), and Frank Peter Zimmermann with Antoni Wit and the Warsaw Philharmonic (Sony).

John Clapham’s Dvoˇrák article from the 1980 edition of The New Grove Dictionary of Music and Musicians was reprinted in The New Grove Late Romantic Masters: Bruckner, Brahms, Dvoˇrák, Wolf (Norton paperback). Clapham is also the author of two books about the composer: Antonín Dvoˇrák: Musician and Craftsman (St. Martin’s) and the more purely biographical Antonín Dvoˇrák (Norton). The article on the composer in the 2001 edition of The New Grove is by Klaus Döge. Also of interest are Alec Robertson’s Dvoˇrák in the Master Musicians series (Littlefield paperback) and Robert Layton’s BBC Music Guide on Dvoˇrák Symphonies & Concertos (University of Washington paperback). Dvoˇrák and his World, a collection of essays and documentary material edited by Michael Beckerman, draws upon recent research and also includes translations from important Czech sources (Princeton). Otakar Šourek published important source material on Dvoˇrák’s life in Antonín Dvoˇrák: Letters and Reminiscences (Artia). All of Dvoˇrák’s symphonies are discussed by Jan Smaczny in his chapter on “The Czech Symphony” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Michael Steinberg’s The Symphony–A Listener’s Guide includes his program notes on Dvoˇrák’s Sixth through Ninth symphonies (Oxford paperback). Donald Francis Tovey’s note on the Symphony No. 7 is among his Essays in Musical Analysis, where it is called (according to the now long-outdated numbering that preceded the publication of Dvoˇrák’s first five symphonies) the Symphony No. 2 (Oxford paperback).

Recordings, among many others, of Dvoˇrák’s Symphony No. 7 include (listed alphabetically by conductor) Colin Davis’s with the Concertgebouw Orchestra of Amsterdam (Philips) and the London Symphony Orchestra (LSO Live), Christoph von Dohnányi’s with the Cleveland Orchestra (London/Decca), Antal Doráti’s with the London Symphony Orchestra (Mercury Living Presence), Iván Fischer’s with the Budapest Festival Orchestra (Channel Classics), Carlo Maria Giulini’s with the London Philharmonic (EMI; there are also live Giulini performances with the New Philharmonia from 1975, on BBC Legends, and with the Berlin Philharmonic from 1973, on Testament), István Kertesz’s with the London Symphony Orchestra (London), Rafael Kubelik’s with the Berlin Philharmonic (Deutsche Grammophon), Sir Charles Mackerras’s with the Philharmonia Orchestra (Signum), and George Szell’s with the Cleveland Orchestra (Sony Classical).

Marc Mandel

week 6 read and hear more 53

Guest Artists

Juanjo Mena

Renowned Spanish conductor Juanjo Mena currently serves as principal guest conductor of the Bergen Philharmonic (2007-13) and since 2011-12 as principal conductor of the BBC Phil- harmonic Orchestra. His previous positions include principal conductor and artistic director of the Bilbao Symphony Orchestra (1999-2008) and principal guest conductor of the Teatro Carlo Felice in Genoa (2007-10). He has conducted prestigious orchestras in Europe and Asia, among them the Oslo Philharmonic, Orchestre National de France, Orchestra Filarmonica della Scala, BBC Scottish Symphony, RAI Torino, Orchestra Sinfonica di Milano/Giuseppe Verdi, and Tokyo Metropolitan Symphony Orchestra, as well as the important Spanish orchestras. Engagements in the United States have brought him to the symphony orchestras of Chicago, Philadelphia, Boston, Houston, Indianapolis, and Baltimore, among others. He has collaborated with such distinguished artists as Frank Peter Zimmermann, Lang Lang, Fazil Say, Joshua Bell, Mischa Maisky, Till Fellner, Julian Rachlin, Steven Isserlis, Elisabeth Leonskaja, Rudolf Buchbinder, Viktoria Mullova, and Truls Mørk. Recent and future engagements include appearances with the Los Angeles Philharmonic and Cincinnati Symphony Orchestra. He has also been invited to conduct the Denmark Radio Orchestra, Dresdner Philharmonie, Orchestre National de Lyon, Orchestre National du Capitole de Toulouse, Orquesta Nacional de España, Prague Symphony, São Paulo Symphony, and Orquestra Simfònica de Barcelona I Nacional de Catalunya. Also active in opera, Mr. Mena has led productions of Der fliegende Holländer, Salome, Elektra, Ariadne auf Naxos, Bluebeard’s Castle, and Erwartung. Recent productions include Eugene Onegin in Genoa, Le nozze di Figaro in Lausanne, and Billy Budd in Bilbao. He has recorded for such labels as Naxos and Chandos. Born in Vitoria, Juanjo Mena began his musical

week 6 guest artists 55 training at the Vitoria-Gasteiz Conservatory, studying composition and orchestration with Carmelo Bernaola. He studied conducting at the Royal Higher Conservatory of Music in Madrid with Enrique Garcia-Asensio, receiving the Prize of Honor, and continued his studies in Munich with Sergiu Celibidache on a Guridi-Bernaolo Scholarship. In 2002 he received the Ojo Critico Prize from Radio Nacional de España in recognition of his career and dedication to contemporary music. For more information, please visit www.juanjomena.com. Juanjo Mena has appeared with the Boston Symphony Orchestra on two previous occasions: for his Tangle- wood debut with music of Berg, Strauss, and Mahler in July 2010, and his subscription series debut with music of Dvoˇrák and Bartók in October 2011.

Gil Shaham

Violinist Gil Shaham is sought after throughout the world for concerto appearances with cele- brated orchestras and conductors, as well as for recital and ensemble appearances on the great concert stages and at the most prestigious festivals. In the 2012-13 season, he continues his long-term exploration of “Violin Concertos of the 1930s,” including those by Barber, Bartók (No. 2), Berg, Britten, Prokofiev (No. 2), and Stravinsky in performances with the New York Philharmonic, Boston Symphony, Chicago Symphony, San Francisco Symphony, Kansas City Symphony, and abroad with the Orchestre de Paris and the NHK Symphony. In addition, he will perform with the Los Angeles Philharmonic, Philadelphia Orchestra, Pittsburgh Symphony, St. Louis Symphony, and Seattle Symphony in romantic and classical repertoire for which he is also acclaimed. His recital appearances include tours in the United States, Europe, and Japan with pianist Akira Eguchi, as well as solo violin performances. Highlighting these tours are two new works recently written for him, a solo suite by William Bolcom and a duo by Avner Dorman. Mr. Shaham has more than two dozen concerto and solo CDs to his name, including bestsellers that have appeared on record charts in the United States and abroad, winning him multiple Grammy awards, a Grand Prix du Disque, Diapason d’Or, and Gramophone Editor’s Choice. His recent recordings are produced on the Canary Classics label, which he founded in 2004; they include “Sarasate: Virtuoso Violin Works,” Elgar’s Violin Concerto with the Chicago Symphony, “The Butterfly Lovers” and Tchaikovsky’s Violin Concerto with the Singapore

56 Symphony, Tchaikovsky’s Piano Trio in A with Yefim Bronfman and Truls Mørk, “The Prokofiev Album,” “The Fauré Album,” “Mozart in Paris,” and works by Haydn and Mendelssohn. The current season brings the release of the first in a series of the 1930s concertos, as well as a recording of “Hebrew Melodies” with his sister, pianist Orli Shaham, which includes the new Dorman work written for the artists. Gil Shaham was born in Champaign-Urbana, Illinois, in 1971. He moved with his parents to Israel, where he began violin studies with Samuel Bernstein of the Rubin Academy of Music at seven and was granted annual scholarships by the America- Israel Cultural Foundation. In 1981, while studying with Haim Taub in Jerusalem, he made debuts with the Jerusalem Symphony and the Israel Philharmonic. That same year he began his studies with Dorothy DeLay and Jens Ellerman at Aspen. In 1982, after taking first prize in Israel’s Claremont Competition, he became a scholarship student at Juilliard, where he worked with Ms. DeLay and Hyo Kang. He has also studied at Columbia University. Gil Shaham was awarded an Avery Fisher Career Grant in 1990; in 2008 he received the coveted Avery Fisher Award. He plays the 1699 Countess Polignac Stradivarius and lives in New York City with his wife, violinist Adele Anthony, and their three children. Gil Shaham has appeared frequently with the Boston Symphony Orchestra, both at Tanglewood and in Symphony Hall. He made his BSO debut at Tanglewood in August 1993 and his BSO subscription series debut in Octo- ber 1997. His most recent BSO appearances were at Tanglewood in August 2010 in music of Bach and Sarasate, and in Los Angeles in December 2010 as soloist in the Brahms Violin Concerto. He appeared with John Williams and the Boston Pops Orchestra in their 2011 Film Night Concert at Tanglewood. This past summer at Tanglewood he participated in the gala concert celebrating Mr. Williams’s eightieth birthday, and was soloist the next day in Beethoven’s Violin Concerto with Rafael Frühbeck de Burgos and the Tanglewood Music Center Orchestra in the annual Leonard Bernstein Memorial Concert.

Symphony Shopping

VisitVisit the Symphony ShopShop inin the the Cohen Cohen Wing atat the West Entrance ononHuntington Huntington Avenue. Hours:Open Thursday Tuesday andthrough Saturday, Friday, 3-6pm, 11–4; Saturdayand for all from Symphony 12–6; and Hall from performances one hour beforethrough each intermission. concert through intermission.

week 6 guest artists 57 The Great Benefactors

In the building of his new symphony for Boston, the BSO’s founder and first benefactor, Henry Lee Higginson, knew that ticket revenues could never fully cover the costs of running a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Bart Reidy, Director of Development, at 617-638-9469 or [email protected].

ten million and above

Julian Cohen ‡ • Fidelity Investments • Linde Family Foundation • Maria and Ray Stata • Anonymous

seven and one half million

Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille

five million

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

two and one half million

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

58 one million

Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Dorothy and David B. Arnold, Jr. • AT&T • Gabriella and Leo Beranek • William I. Bernell ‡ • Roberta and George Berry • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/ Gregory Bulger and Richard Dix • Chiles Foundation • Commonwealth Worldwide Chauffeured Transportation • Mr. ‡ and Mrs. William H. Congleton • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. Dabney • Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • William and Deborah Elfers • Elizabeth B. Ely ‡ Nancy S. ‡ and John P. Eustis II • Shirley and Richard Fennell • Anna E. Finnerty ‡ • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • Edith C. Howie ‡ • Dorothy and Charlie Jenkins • John Hancock Financial Services • Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Farla and Harvey Chet ‡ Krentzman • Lizbeth and George Krupp • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • Massachusetts Cultural Council • The Andrew W. Mellon Foundation • Kate and Al Merck • Henrietta N. Meyer • Mr. and Mrs. ‡ Nathan R. Miller • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • John S. and Cynthia Reed • Carol and Joe Reich • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan Rothenberg • Carole and Edward I. Rudman • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Kristin and Roger Servison • Ruth and Carl J. Shapiro • Miriam Shaw Fund • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • State Street Corporation • Thomas G. Stemberg • Dr. Nathan B. and Anne P. Talbot ‡ • Caroline and James Taylor • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Anonymous (10)

‡ Deceased

week 6 the great benefactors 59

The Walter Piston Society

everett l. jassy, co-chair planned giving committee richard p. morse, co-chair planned giving committee peter c. read, co-chair planned giving committee

The Walter Piston Society was established in 1987 and named for the Pulitzer Prize-winning composer and noted musician who endowed the BSO's Principal Flute Chair with a bequest. The Society recognizes and honors those who have establishedone or more"planned" gifts for the future benefit of the Boston Symphony Orchestra, Boston Pops, or Tanglewood. Such gifts includebequest intentions (throughone’s will, personal trust, IRA, or insurance policy), charitable trusts, and gift annuities. If you would like information about how to include the BSO in your gift plans, or if you find that your name is notincluded with other Piston Society membersand should be, please contact John MacRae, Director of Principal and Planned Giving, at (617) 638-9268 or [email protected]. ‡ This symbol denotes a deceased donor.

Sonia S. Abrams • Dellson Alberts • Vernon R. Alden • John F. Allen • Rosamond Warren Allen • Lois and Harlan Anderson • Mr. Matthew Anderson • Mariann Berg (Hundahl) Appley • Dorothy and David Arnold • Dr. David M. Aronson • Miss Eleanor Babikian • Denise Bacon • Henry W. D. Bain • Mr. and Mrs. Sherwood E. Bain • Mr. Donald Ball • Dr. and Mrs. Richard F. Balsam • Dr. and Mrs. James E. Barrett • Robert Michael Beech • Alan and Judith Benjamin • Gabriella and Leo Beranek • Deborah Davis Berman • George and Joan Berman • Leonard and Jane Bernstein • Roberta and George Berry • Mr. Roger Berube • Mrs. Ben Beyea • Mr. Peter M. Black • Mr. Carl G. Bottcher • Mrs. John M. Bradley • Jan Brett and Joseph Hearne • Peter and Anne Brooke • Phyllis Brooks • Mr. and Mrs. E. B. Brown • Ms. Lorian R. Brown • Dulce W. Bryan • Mr. Richard-Scott S. Burow • Margaret A. Bush • Mrs. Winifred B. Bush • Catherine and Paul Buttenwieser • Mrs. Mary L. Cabot • Crystal Cousins Campbell • Eleanor L. and Levin H. Campbell • Mr. and Mrs. Steven Castraberti • Ms. Deborah P. Clark • Kathleen G. and Gregory S. Clear • John F. Cogan, Jr. and Mary L. Cornille • Ms. Carolyn A. Cohen • Saul and Mimi Cohen • Mrs. Aaron H. Cole • Dr. and Mrs. James C. Collias • Mrs. Abram T. Collier • Mr. and Mrs. Marvin A. Collier • Mrs. Carol P. Côme • Mrs. William H. Congleton • Dr. William G. and Patricia M. Conroy • Dr. Michael T. Corgan and Sallie Riggs Corgan • Mrs. Bigelow Crocker • Joan P. and Ronald C. Curhan • Mrs. Edith L. Dabney • Gene and Lloyd Dahmen • Peggy Daniel • Eugene M. Darling, Jr. • Mr. and Mrs. Nelson J. Darling, Jr. • Maude Sergeant Davis • Tamara P. and Charles H. Davis II • Mr. Henry B. Dewey • Mr. Robert Djorup • Mr. and Mrs. David Doane • Nina L. and Eugene B. Doggett • Mr. Norman Dorian • Henry P. Dunbar • The Rev. and Mrs. J. Bruce Duncan • Alan R. Dynner • Mrs. Harriett M. Eckstein • Ms. Marie J. Eger and Ms. Mary Jane Osborne •

week 6 the walter piston society 61 Ursula Ehret-Dichter • Miss Mary C. Eliot • Mrs. Richard S. Emmett • Lillian K. Etmekjian • John P. Eustis II • David H. Evans • Marilyn Evans • Mrs. Samuel B. Feinberg • Roger and Judith Feingold • Mr. Gaffney J. Feskoe • Miss Elio Ruth Fine • C. Peter and Beverly A. Fischer • Doucet and Stephen Fischer • Mr. Stuart M. Fischman • Jane Fitzpatrick • Elaine Foster • Mr. Matthew Fox and Ms. Linda Levant Fox • Mr. and Mrs. Dean W. Freed • Dr. Joyce B. Friedman • Mr. Gabor Garai and Ms. Susan Pravda • Mrs. James G. Garivaltis • Prof. Joseph Gifford • Mrs. Henry C. Gill, Jr. • Annette and Leonard Gilman • Cora and Ted Ginsberg • Barry Glasser and Candace Baker • Mrs. Joseph Glasser • Susan Godoy • Thelma and Ray Goldberg • Ms. Claire Goldman • Mr. Mark R. Goldweitz • Midge Golin • Hon. Jose A. Gonzalez, Jr. and Mary Copeland Gonzalez • Jane W. and John B. Goodwin • Mrs. Clark H. Gowen • Madeline L. Gregory • Mrs. Norman Gritz • Hope and Warren Hagler • Mr. and Mrs. Roger H. Hallowell, Jr. • Mr. Michael A. Halperson • Dr. Firmon E. Hardenbergh • Anne and Neil Harper • Ms. Judith Harris • Mr. Warren Hassmer • Mrs. Francis W. Hatch • Deborah Hauser • Mr. Harold A. Hawkes • Dorothy A. Heath • Julie and Bayard Henry • Ann S. Higgins • Mr. James G. Hinkle, Jr. • Mrs. Richard B. Hirsch • Mr. John Hitchcock • Joan and Peter Hoffman • Mrs. Marilyn Brachman Hoffman • Mr. Richard Holman ‡ • Ms. Emily C. Hood • Silka Hook • Larry and Jackie Horn • Mr. Charles A. Hubbard II • Wayne and Laurell Huber • Mr. and Mrs. F. Donald Hudson • Holcombe Hughes, Sr. • Mr. and Mrs. Roger Hunt • Mrs. Joseph Hyman • Valerie and Allen Hyman • Janet S. Isenberg • Emilie K. Jacobs • Margery and Everett Jassy • Mrs. David Jeffries • Carolyn J. Jenkins • Lloyd W. Johnson and Joel H. Laski • Ms. Elizabeth W. Jones • Mr. and Mrs. H. E. Jones • Mrs. Béla T. Kalman • Dr. Alice S. Kandell • David L. Kaufman • Stephen B. Kay and Lisbeth L. Tarlow • Mrs. Richard L. Kaye • Ms. Nancy Keil • Dr. Eileen Kennedy • Robert W. Kent • Athena and Richard Kimball • Mary S. Kingsbery • Ms. Marsha A. Klein • Mr. Mason J. O. Klinck, Sr. • Kathleen Knudsen • Audrey Noreen Koller • Joan H. Kopperl • Mr. Robert K. Kraft • Farla Krentzman • Mr. George F. Krim • Mr. and Mrs. Rudolf M. Kroc • Mr. Richard I. Land • Mr. and Mrs. Robert A. Lawrence • Dr. Robert Lee • Mrs. Shirley Lefenfeld • Don and Virginia LeSieur • Mrs. Vincent J. Lesunaitis • Toby Levine • Jeffrey and Della Levy • Dr. Audrey Lewis • Marjorie Lieberman • Mrs. George R. Lloyd • John M. Loder • Diane H. Lupean • Adam M. Lutynski and Joyce M. Bowden • Mr. and Mrs. Donald Malpass, Jr. • Matthew B. and Catherine C. Mandel • Mrs. Irma Fisher Mann • Mr. Russell E. Marchand • Jay Marks • Mrs. Nancy Lurie Marks • Mr. and Mrs. Jeffrey E. Marshall • Jane and Robert J. Mayer, M.D. • Mrs. Barbara McCullough • Mrs. Richard M. McGrane • Mr. and Mrs. David McKearnan • Mrs. Williard W. McLeod, Jr. • Mr. and Mrs. Russell P. Mead • Mr. Heinrich A. Medicus • Dr. Joel R. Melamed • Henrietta N. Meyer • Edie Michelson and Sumner Milender • Richard Mickey and Nancy Salz • Dr. Martin C. Mihm, Jr. • Miss Margo Miller • Mr. and Mrs. ‡ Nathan R. Miller • Richard S. Milstein, Esq. • Patricia A. Monk • Mrs. John Hamilton Morrish • Richard P. and Claire W. Morse • Mr. James Edward Mulcahy • John Munier and Dorothy Fitch • Cecile Higginson Murphy • Mrs. Robert M. Mustard • Katharine S. Nash • Chloe and Paul Nassau • Robert and Lee Neff • Anne J. Neilson • Ms. Dianna Nelson • Mary S. Newman • Michael L. Nieland, M.D. • Koko Nishino • Mr. Richard C. Norris • Mr. and Mrs. Arthur E. Norton • Ms. Luciana Noymer • Dr. Peter Ofner • Annette and Vincent O'Reilly • Mrs. Stephen D. Paine • Mrs. Marion S. Palm • Catherine L. Pappas • Mary B. Parent • Janet Fitch Parker • Mrs. Jack S. Parker • Mr. and Mrs. John B. Pepper • Mr. John A. Perkins • Polly Perry •

62 Mrs. Roger A. Perry, Jr. • Margaret D. Philbrick • Rev. Louis W. Pitt, Jr. • Mrs. Rita Pollet • William and Lia Poorvu • M. Joan Potter • William and Helen Pounds • Mr. Peter J. Previte • Dr. Robert O. Preyer • Carol Procter • Mrs. Daphne Brooks Prout • Mrs. Millard H. Pryor, Jr. • Dr. Herbert Rakatansky and Mrs. Barbara Sokoloff • Mark Reach and Laurel Bifano • Mr. John B. Read, Jr. • Peter and Suzanne Read • Kenneth Sawyer Recu • Emily M. Reeves • John S. Reidy • Robert and Ruth Remis • Ms. Carol Ann Rennie • Marcia and Norman Resnick • Dr. Paul A. Richer • Barbara Rimbach • Elizabeth P. Roberts • Ms. Margaret C. Roberts • Mr. David Rockefeller, Jr. • Dr. J. Myron Rosen • Mr. James L. Roth • Arnold Roy • Jordan S. Ruboy, M.D. • Mr. Robert M. Sanders • Mr. Stephen Santis • Ms. Carol Scheifele-Holmes and Mr. Ben L. Holmes • Constance Lee Scheurer • John N. and Liolia J. Schipper • Dr. Raymond Schneider • Dr. and Mrs. Leslie R. Schroeder • Gloria Schusterman • Mrs. Aire-Maija Schwann • Mr. and Mrs. George G. Schwenk • Alice M. Seelinger • Mrs. George James Seibert • Kristin and Roger Servison • Joyce and Bert Serwitz • Carl H. and Claudia K. Shuster • Mrs. Jane Silverman • Scott and Robert Singleton • Barbara F. Sittinger • Dr. and Mrs. Jan P. Skalicky • Mr. and Mrs. Christopher E. Smith • Mrs. W. D. Sohier • Mrs. Joseph P. Solomon • Drs. Norman Solomon and Merwin Geffen • Harold Sparr and Suzanne Abramsky • Maria and Ray Stata • Thomas G. Stemberg • Marylen R. Sternweiler • Mr. and Mrs. Josiah Stevenson IV • Miss Ruth Elsa Stickney • Henry S. Stone • Lillian C. Stone • Theresa M. and Charles F. Stone III • Mrs. Patricia Hansen Strang • Peter and Joanna Strauss • Mr. and Mrs. Jonathon D. Sutton • Mona N. Tariot • Mr. Thomas Teal • John Lowell Thorndike • Mr. and Mrs. Samuel Thorne • Mrs. Carlos H. Tosi • Diana O. Tottenham • Robert and Theresa Vieira • Mr. and Mrs. Mark Volpe • Carol A. and Henry J. Walker • Eileen and Michael Walker • Lyle Warner • Harvey and Joëlle Wartosky • Ms. Kathleen M. Webb • Stephen and Dorothy Weber • Allen C. West • Carol Andrea Whitcomb • Mrs. Constance V. R. White • Edward T. Whitney, Jr. • Dr. Michael Wiedman • Mr. and Mrs. Mordechai Wiesler • Mrs. Mary Wilkinson-Greenberg • Mr. and Mrs. Richard E. Willett • Georgia H. Williams ‡ • Mr. Jeffery D. Williams • Samantha and John Williams • Mrs. Margaret Williams-DeCelles • Mrs. Leslie J. Wilson • Jeanne H. Wolf • Chip and Jean Wood • David A. Wood • Drs. Richard and Judith Wurtman • Patricia Plum Wylde • Mr. David Yalen • Isa Kaftal and George O. Zimmerman • Richard M. Ziter, M.D. • Anonymous (50) ee Vanderwarker Peter

week 6 the walter piston society 63

Administration

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

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

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

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

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Pam Wells, Controller

Sophia Bennett, Staff Accountant • Thomas Engeln, Budget Assistant • Michelle Green, Executive Assistant to the Business Management Team • Karen Guy, Accounts Payable Supervisor • Minnie Kwon, Payroll Associate • Evan Mehler, Budget Manager • John O’Callaghan, Payroll Supervisor • Nia Patterson, Accounts Payable Assistant • Harriet Prout, Accounting Manager • Mario Rossi, Staff Accountant • Teresa Wang, Staff Accountant • Audrey Wood, Senior Investment Accountant

week 6 administration 65 66 development

Joseph Chart, Director of Major Gifts • Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Development Events and Volunteer Outreach • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Planned Gifts • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems

Cara Allen, Assistant Manager of Development Communications • Leslie Antoniel, Assistant Director of Society Giving • Erin Asbury, Major Gifts Coordinator • Stephanie Baker, Campaign Manager • Dulce Maria de Borbon, Beranek Room Hostess • Cullen E. Bouvier, Donor Relations Officer • Maria Capello, Grant Writer • Diane Cataudella, Associate Director of Donor Relations • Catherine Cushing, Annual Funds Project Coordinator • Emily Diaz, Assistant Manager of Gift Processing • Laura Duerksen, Donor Ticketing Associate • Allison Cooley Goossens, Associate Director of Society Giving • David Grant, Assistant Director of Development Information Systems • Barbara Hanson, Major Gifts Officer • James Jackson, Assistant Director of Telephone Outreach • Jennifer Johnston, Graphic Designer • Sabrina Karpe, Manager of Direct Fundraising and Friends Membership • Anne McGuire, Assistant Manager of Donor Information and Acknowledgments • Jill Ng, Senior Major and Planned Giving Officer • Suzanne Page, Associate Director for Board Relations • Kathleen Pendleton, Development Events and Volunteer Services Coordinator • Emily Reeves, Assistant Manager of Planned Giving • Amanda Roosevelt, Executive Assistant • Laura Sancken, Assistant Manager of Development Events and Volunteer Services • Alexandria Sieja, Manager of Development Events and Volunteer Services • Yong-Hee Silver, Major Gifts Officer • Michael Silverman, Call Center Senior Team Leader • Thayer Surette, Corporate Giving Coordinator • Szeman Tse, Assistant Director of Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement

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

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

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

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

week 6 administration 67 information technology Timothy James, Director of Information Technology

Andrew Cordero, Manager of User Support • Stella Easland, Switchboard Operator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Snehal Sheth, Business Analyst • Brian Van Sickle, User Support Specialist • Richard Yung, Technology Specialist public relations

Samuel Brewer, Public Relations Assistant • Taryn Lott, Public Relations Manager publications Marc Mandel, Director of Program Publications

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

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

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

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

week 6 administration 69 NICE PEOPLE ~ FINE MERCHANDISE ~ OLD-FASHIONED SERVICE ~ AND THE 2 BEST-LOOKING GOLDEN RETRIEVERS YOU’VE EVER SEEN

ONE LIBERTY SQUARE BOSTON, MA 02109 617-350-6070 New England’s Largest Oxxford Dealer Visit us at ZarehBoston.com Boston Symphony Association of Volunteers executive committee Chair, Charles W. Jack Vice-Chair, Boston, Pattie Geier Vice-Chair, Tanglewood, Howard Arkans Secretary, Audley H. Fuller Co-Chairs, Boston Suzanne Baum • Mary C. Gregorio • Natalie Slater Co-Chairs, Tanglewood Judith Benjamin • Roberta Cohn • Martin Levine Liaisons, Tanglewood Ushers, Judy Slotnick • Glass Houses, Stanley Feld boston project leads and liaisons 2012-13

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Judy Albee and Sybil Williams • Computer and Office Support, Helen Adelman and Gerald Dreher • Flower Decorating, Linda Clarke • Instrument Playground, Beverly Pieper • Mailings, Rosemary Noren • Membership Table/Hall Greeters, Elle Driska • Newsletter, Judith Duffy • Recruitment/Retention/Reward, Gerald Dreher • Symphony Shop, Karen Brown • Tour Guides, Richard Dixon

week 6 administration 71 Next Program…

Thursday, November 8, 8pm Friday, November 9, 1:30pm Saturday, November 10, 8pm

giancarlo guerrero conducting

sierra “fandangos” for orchestra

tchaikovsky piano concerto no. 1 in b-flat minor, opus 23 Allegro non troppo e molto maestoso—Allegro con spirito Andantino semplice—Prestissimo—Tempo I Allegro con fuoco daniil trifonov

{intermission}

prokofiev symphony no. 5 in b-flat, opus 100 Andante Allegro moderato Adagio Allegro giocoso

FRIDAY PREVIEW TALK (NOVEMBER 9) BY HARLOW ROBINSON OF NORTHEASTERNUNIVERSITY

At the heart of next week’s BSO program—to be led by Costa Rican conductor Giancarlo Guerrero, music director of the Nashville Symphony, and featuring the young Russian pianist Daniil Trifonov in his BSO debut—are two powerhouse Russian works: Tchaikovsky’s Piano Concerto No. 1, a fan-favorite and repertoire staple, and Prokofiev’s Symphony No. 5, described as a “hymn to free and happy Man,” which the composer wrote in 1944 amidst the chaos of World War II, and which was given its American premiere by Serge Koussevitzky and the BSO in 1945. Puerto Rican-born composer Roberto Sierra’s colorful Fandangos for orchestra (2000) opens the program.

Single tickets for all Boston Symphony Orchestra concerts throughout the season are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at (888) 266-1200, Monday through Friday from 10 a.m. to 6 p.m. (Saturday from 12 noon to 6 p.m.). Please note that there is a $6.25 handling fee for each ticket ordered by phone or online.

72 Coming Concerts… friday previews: The BSO offers half-hour Friday Preview talks prior to all of the BSO’s Friday-afternoon subscription concerts throughout the season. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall.

Thursday ‘B’ November 8, 8-10:10 Friday ‘A’ November 23, 8-10:10 Friday ‘A’ November 9, 1:30-3:40 Saturday ‘B’ November 24, 1:30-3:40 Saturday ‘B’ November 10, 8-10:10 Tuesday ‘B’ November 27, 8-10:10 GIANCARLOGUERRERO, conductor CHRISTIANZACHARIAS, conductor and piano DANIILTRIFONOV , piano HAYDN Symphony No. 76 SIERRA Fandangos for orchestra MOZART Piano Concerto No. 18 in B-flat, TCHAIKOVSKY Piano Concerto No. 1 K.456 PROKOFIEV Symphony No. 5 BEETHOVEN Music from the ballet score The Creatures of Prometheus

Thursday ‘D’ November 15, 8-10:10 Friday ‘B’ November 16, 1:30-3:40 Thursday ‘A’ November 29, 8-10 Saturday ‘A’ November 17, 8-10:10 Friday ‘B’ November 30, 1:30-3:30 Saturday ‘A’ December 1, 8-10 THOMASADÈS, conductor DAWNUPSHAW, soprano STÉPHANEDENÈVE, conductor KIRILLGERSTEIN, piano JEAN-YVESTHIBAUDET, piano SIBELIUS Luonnotar, for soprano and BERLIOZ Overture to Les Francs-juges orchestra SAINT-SAËNS Piano Concerto No. 5, Egyptian ADÈS In Seven Days, for piano and MacMILLAN Three Interludes from the orchestra opera The Sacrifice PROKOFIEV Piano Concerto No. 1 ROUSSEL Bacchus et Ariane, Suite No. 2 SIBELIUS Symphony No. 6

Thursday ‘A’ January 10, 8-10:10 Sunday, November 18, 3pm Friday ‘A’ January 11, 1:30-3:40 Jordan Hall, New England Conservatory Saturday ‘A’ January 12, 8-10:10 Tuesday ‘C’ January 15, 8-10:10 BOSTONSYMPHONYCHAMBERPLAYERS THOMASADÈS and KIRILLGERSTEIN, pianos ALANGILBERT, conductor LISA BATIASHVILI, violin BEETHOVEN Grosse Fuge, arranged by the composer for piano four-hands, DUTILLEUX Métaboles Op. 134 TCHAIKOVSKY Violin Concerto CARTER Figment III for double bass (2007) STRAVINSKY Symphony in Three Movements CARTER Wind Quintet (1948) RAVEL La Valse BRAHMS Piano Quintet in F minor, Op. 34

Programs and artists subject to change.

week 6 coming concerts 73 Symphony Hall Exit Plan

74 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 (12 noon until 6 p.m. on Saturday). On concert evenings it remains open through intermission for BSO events or a half-hour past starting time for other events. In addition, the box office opens Sunday at 12 noon when there is a concert that afternoon or evening. Single tickets for all Boston Symphony subscription concerts are available at the box office. For most outside events at Symphony Hall, tickets are available three weeks before the concert at the box office or through SymphonyCharge. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 6 p.m. Monday through Friday (12 noon to 6 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.25 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. 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. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426

week 6 symphony hall information 75 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday, Thursday, and Friday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays, Thursdays, and Fridays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $75 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. Business for BSO: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9277 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thursday and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.