2016–17 season andris nelsons music director

week 6 britten sibelius adès

season sponsors seiji ozawa music director laureate bernard haitink conductor emeritus lead sponsor supporting sponsor thomas adès artistic partner The most famous 19th-century American painter you’ve never heard of

Through January 16, 2017

mfa.org/chase

“William Merritt Chase” was organized by the Museum of Fine Arts, Boston; The Phillips Collection, Presented with generous support from The Mr. and Mrs. Raymond J. Horowitz Foundation Washington, DC; the Fondazione Musei Civici di Venezia; and the Terra Foundation for American Art. for the Arts, Inc., and the Deedee and Barrie A. Wigmore Fund in honor of Malcolm Rogers. Additional support from the Betty L. Heath Paintings Fund for the Art of the Americas, and the The exhibition and its publication were made possible with the Eugenie Prendergast Memorial Fund, made possible by a grant from Jan and Warren Adelson. generous support of the Terra Foundation for American Art.

William Merritt Chase, The Young Orphan (An Idle Moment) (detail), 1884. Oil on canvas. NA diploma presentation, November 24, 1890. National Academy Museum, New York (221-P). Table of Contents | Week 6

7 bso news 1 5 on display in hall 16 bso music director andris nelsons 18 the boston symphony 21 brahms’s orchestral voice by jan swafford 2 8 this week’s program

Notes on the Program

30 The Program in Brief… 31 39 Jean Sibelius 47 Thomas Adès 65 To Read and Hear More…

Guest Artists

69 Thomas Adès 71 Christianne Stotijn 73 Mark Stone

74 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

the friday preview on november 4 is given by bso assistant director of program publications robert kirzinger.

program copyright ©2016 Boston Symphony Orchestra, Inc. program book design by Hecht Design, Arlington, MA cover photo by Dominick Reuter cover design by BSO Marketing

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

andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner 136th season, 2016–2017

trustees of the boston symphony orchestra, inc.

William F. Achtmeyer, Chair • Paul Buttenwieser, President • George D. Behrakis, Vice-Chair • Carmine A. Martignetti, Vice-Chair • Theresa M. Stone, Treasurer

David Altshuler • Ronald G. Casty • Susan Bredhoff Cohen • Richard F. Connolly, Jr. • Cynthia Curme • Alan J. Dworsky • Philip J. Edmundson, ex-officio • William R. Elfers • Thomas E. Faust, Jr. • Levi A. Garraway • Michael Gordon • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Martin Levine, ex-officio • Joyce Linde • John M. Loder • Nancy K. Lubin • Joshua A. Lutzker • Robert J. Mayer, M.D. • Susan W. Paine • Steven R. Perles • John Reed • Carol Reich • Arthur I. Segel • Wendy Shattuck • Caroline Taylor • Stephen R. Weber • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

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

Mark Volpe, Eunice and Julian Cohen Managing Director • Thomas D. May, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc. Philip J. Edmundson, Chair

Noubar Afeyan • James E. Aisner • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • Mark G. Borden • Partha Bose • William N. Booth • Karen Bressler • Anne F. Brooke † • Gregory E. Bulger • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • William Curry, M.D. • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Ursula Ehret-Dichter • Sarah E. Eustis • Joseph F. Fallon • Beth Fentin • Peter Fiedler • Steven S. Fischman • John F. Fish • Sanford Fisher • Alexandra J. Fuchs • Robert Gallery • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Nathan Hayward, III • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. • Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • Everett L. Jassy •

week 6 trustees and overseers 3 CARING FOR WHAT’S IMPORTANT IS PART OF OUR MISSION. Official Airline of the Boston Symphony Orchestra. photos by Michael J. Lutch

Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Paul L. Joskow • Karen Kaplan • Stephen R. Karp • Steve Kidder • John L. Klinck, Jr. • Tom Kuo • Sandra O. Moose • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Claudio Pincus • Lina S. Plantilla, M.D. • Irving H. Plotkin • Irene Pollin • Jonathan Poorvu • William F. Pounds • Claire Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D • Susan Rothenberg • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D • Katherine Chapman Stemberg • Jean Tempel • Douglas Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Joseph M. Tucci • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Sarah Rainwater Ward • Dr. Christoph Westphal • June K. Wu, M.D. • Patricia Plum Wylde • Marillyn Zacharis overseers emeriti

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

† Deceased

week 6 trustees and overseers 5 OYSTER PERPETUAL

AIR-KING

rolex oyster perpetual and air-king are ® trademarks. BSO News

Welcoming Thomas Adès as the BSO’s New Artistic Partner This week’s concerts with the Boston Symphony Orchestra mark -conductor- pianist Thomas Adès’s first appearances with the orchestra in his capacity as the BSO’s new Deborah and Philip Edmundson Artistic Partner, a post he will hold for three seasons, from this fall through the summer of 2019. As the BSO’s first-ever Artistic Partner, Mr. Adès will appear both at Symphony Hall and at Tanglewood as conductor and performer with both the BSO and the Boston Symphony Chamber Players. At Tanglewood he will be a faculty member at the Tanglewood Music Center, teaching and working with the TMC Fellows, and he will direct the Festival of Contemporary Music in 2018 and 2019. Mr. Adès’s activ- ities as Artistic Partner began last weekend, when he appeared as pianist with tenor Ian Bostridge last Friday night at Jordan Hall performing Schubert’s song cycle Winterreise (presented in association with the Celebrity Series of Boston to celebrate the start of Mr. Adès’s three-year appointment), and when he appeared as pianist, composer, and conductor with the Boston Symphony Chamber Players last Sunday afternoon, also at Jordan Hall.

“Do You Hear What I Hear?” A collaboration between the Boston Symphony Orchestra and New England Conservatory, “Do You Hear What I Hear?” is a series of free hour-long events that introduce audiences to working with the BSO via composer-curated chamber music programs performed by NEC students with coaching by NEC faculty and the composers themselves. Moderated by BSO Assistant Artistic Administrator Eric Valliere, with pianist Stephen Drury as musical consultant, there will be three such sessions this season—on Tuesday, November 15, at 6 p.m. in NEC’s Williams Hall, with composers Eric Nathan and Timo Andres (the for- mer’s the space of a door and the latter’s Everything Happens So Much receive their world pre- mieres on the BSO concerts of November 8 and November 15, respectively); on Thursday, January 26, at 6 p.m. in Williams Hall, with composer Julian Anderson (whose Incantesimi receives its American premiere with the BSO that same evening), and on Thursday, February 23, at 6 p.m. in NEC’s Brown Hall, with composer Sofia Gubaidulina (whose Triple for violin, cello, and bayan receives its world premiere on that evening’s BSO concert).

BSO 101, the BSO’s Free Adult Education Series at Symphony Hall and Beyond “BSO 101” returns in 2016-17, again offering the opportunity to increase your enjoyment of BSO concerts. These free sessions with BSO Director of Program Publications Marc Mandel joined by members of the BSO—on selected Wednesdays at Symphony Hall from

week 6 bso news 7

5:30-7 p.m., and, thanks to the generosity of an anonymous donor, on selected Sundays from 2-3:30 p.m. in various Boston-area communities—will enhance your listening abilities and appreciation of music by focusing on upcoming BSO repertoire, examining aspects of musical shape and form, and of the composers’ individual musical styles. Each session includes recorded musical examples, and each is self-contained, so no prior musical training, or attendance at any previous session, is required. Up next: “– Rethinking Tradition,” this Sunday, November 6, at Salem State University. For more information, please visit bso.org, where BSO 101 can be found under the “Education & Community” tab on the home page.

Friday Previews at Symphony Hall Friday Previews take place from 12:15-12:45 p.m. in Symphony Hall before all of the BSO’s Friday-afternoon subscription concerts throughout the season. Given by BSO Director of Program Publications Marc Mandel, Assistant Director of Program Publications Robert Kirzinger, and a number of guest speakers, these informative half-hour talks incorporate recorded examples from the music to be performed. This week’s Friday Preview on Novem- ber 4 is given by Robert Kirzinger. Friday Previews in the weeks ahead will be given by Marc Mandel on November 11 and by composer/pianist Jeremy Gill on November 25. individual tickets are on sale for all concerts in the bso’s 2016-2017 season. for specific information on purchasing tickets by phone, online, by mail, or in person at the symphony hall box office, please see page 91 of this program book.

The Theresa M. and Charles F. year. Having admired the Boston Symphony Stone III Concert, since childhood, she feels privileged to serve Saturday, November 5, 2016 as one of its Trustees. Terry is the former Executive Vice-President and Treasurer of Saturday evening’s concert is supported by a the Massachusetts Institute of Technology. generous gift from BSO Trustee Theresa M. She is a life member of the MIT Corpora- Stone and Charles F. Stone III. BSO subscrib- tion and previously served on the Executive ers and Symphony Annual Fund supporters Committee and chaired the board of the MIT since 2008, Terry and Rick are currently Investment Management Company. She members of the Higginson Society at the serves on the board of directors of Ameri- Encore level. They have also generously sup- can International Group (AIG) Inc. and is a ported the BSO Endowment and Symphony former director of Progress Energy Inc. Terry and Tanglewood Galas. Terry was elected to and Rick are active on a number of not-for- the BSO Board of Overseers in 2009 and the profit cultural and education boards. Terry Board of Trustees in 2010; in 2012 she was is a trustee of the Museum of Fine Arts, elected its Treasurer, in which role she serves Boston, and the Harold Alfond Foundation. as Chair of the Finance Committee, as well She is also a former trustee of Historic New as a member of the Audit and Investment England. Rick is Chair of the Board of Trust- committees. ees of the Paul Taylor Dance Foundation and Terry attended Girls’ Latin School in Boston a longtime member of the Board of the Mac- and was a member of the Greater Boston Dowell Colony. He is also Chair of the Coun- Youth Symphony Orchestra in its founding cil for the Arts at MIT and recently chaired

week 6 bso news 9 We are honored to support the Boston Symphony Orchestra

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

H E R E . F O R O U R C O M M U N I T I E S . H E R E . F O R G O O D . the Foundation Board of the North Carolina phony Orchestra—its musicians, conductors, School of Science and Mathematics. and supporters—as well as offer in-depth information about the Hall itself. Tours are Both Terry and Rick earned master’s degrees offered on selected weekdays at 4 p.m. and in management from the MIT Sloan School some Saturdays during the BSO season. of Management. Rick grew up in Atlanta and Please visit bso.org/tours for more informa- attended Princeton; Terry attended Welles- tion and to register. ley. Their son, Charlie, recently graduated from Harvard Business School and currently resides in London. Planned Gifts for the BSO: Orchestrate Your Legacy BSO Broadcasts on WCRB There are many creative ways that can let BSO concerts are heard on the radio at 99.5 you support the BSO over the long term. WCRB. Saturday-night concerts are broad- Planned gifts such as bequest intentions cast live at 8 p.m. with host Ron Della Chiesa, (through your will, personal trust, IRA, or and encore broadcasts are aired on Monday insurance policy), charitable trusts, and gift nights at 8 p.m. In addition, interviews with annuities can generate significant benefits for guest conductors, soloists, and BSO musi- you now while enabling you to make a larger cians are available online, along with a one- gift to the BSO than you may have otherwise year archive of concert broadcasts. Listeners thought possible. In many cases, you could can also hear the BSO Concert Channel, an realize significant tax savings and secure an online radio station consisting of BSO con- attractive income stream for yourself and/ cert performances from the previous twelve or a loved one, all while providing valuable months. Visit classicalwcrb.org/bso. Current future support for the performances and pro- and upcoming broadcasts include last week’s grams you care about. When you establish program under Charles Dutoit featuring vocal and notify us of your planned gift for the Bos- soloists Ildikó Komlósi and Matthias Goerne ton Symphony Orchestra, you will become a in Bartók’s Bluebeard’s Castle (encore Novem- member of the Walter Piston Society, joining ber 7), this week’s program of Britten, Sibel- a group of the BSO’s most loyal supporters ius, and Adès led by BSO Artistic Partner who help to ensure the future of the BSO’s Thomas Adès (November 5; encore Novem- extraordinary performances. Members of the ber 14), and next week’s program under Piston Society—named for Pulitzer Prize-win- Andris Nelsons featuring the world premiere ning composer and noted musician Walter of Eric Nathan’s BSO-commissioned the Piston, who endowed the Principal Flute space of a door and pianist Hélène Grimaud Chair with a bequest—are recognized in sev- in Brahms’s Concerto No. 1 (November eral of our publications and offered a variety 12; encore November 21). of exclusive benefits, including invitations to various events in Boston and at Tanglewood. For more information about planned gift Go Behind the Scenes: options and how to join the Walter Piston The Irving W. and Charlotte F. Rabb Society, please contact Jill Ng, Director of Symphony Hall Tours Planned Giving and Senior Major Gifts Offi- cer, at (617) 638-9274 or [email protected]. We The Irving W. and Charlotte F. Rabb Sympho- would be delighted to help you orchestrate ny Hall Tours, named in honor of the Rabbs’ your legacy with the BSO. devotion to Symphony Hall through a gift from their children James and Melinda Rabb and Betty (Rabb) and Jack Schafer, provide BSO Members in Concert a rare opportunity to go behind the scenes Founded by former BSO cellist Jonathan at Symphony Hall. In these free, guided Miller, the Boston Artists Ensemble performs tours, experienced members of the Boston a program entitled “Darkness & Light” on Symphony Association of Volunteers unfold Friday, November 11, at 8 p.m. at Hamilton the history and traditions of the Boston Sym-

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45 School Street, Old City Hall, Boston, MA 02108 T: 617.557.9800 | www.welchforbes.com Hall in Salem and on Sunday, November also features Stravinsky’s Ragtime (tran- 13, at 3 p.m. at St. Paul’s Episcopal Church, scribed by Mr. Lipsitt) and Haydn’s Sympho- 15 St. Paul Street, Brookline. Joining Mr. ny No. 104, London. Tickets from $35 to $78 Miller for this program of string quartets are available at web.ovationtix.com. For more by Szymanowski and Beethoven are BSO information, visit bbbsociety.org or call (305) violinists Lucia Lin and Tatiana Dimitriades 970-1132. and BSO violist Rebecca Gitter. Tickets are $30 (discounts for seniors and students), available at the door. For more information, Those Electronic Devices… visit bostonartistsensemble.org or call (617) As the presence of smartphones, tablets, 964-6553. and other electronic devices used for com- munication, note-taking, and photography Former BSO principal harp Ann Hobson has increased, there have also been continu- Pilot is soloist in Ginastera’s Harp Concer- ing expressions of concern from concertgoers to with the Boston Civic Symphony, led by and musicians who find themselves distracted guest conductor Steven Lipsitt, on Sunday, not only by the illuminated screens on these November 13, at 2 p.m. at New England Con- devices, but also by the physical movements servatory’s Jordan Hall. Also on the program that accompany their use. For this reason, are works by Weber and Brahms. Tickets and as a courtesy both to those on stage and are $15-$40 (discounts for students and those around you, we respectfully request seniors), available at csob.org or by calling that all such electronic devices be completely (617) 923-6333. turned off and kept from view while BSO per- The Walden Chamber Players, whose mem- formances are in progress. In addition, please bership includes BSO musicians Tatiana also keep in mind that taking pictures of the Dimitriades and Alexander Velinzon, violins, orchestra—whether photographs or videos— and Richard Ranti, , perform music is prohibited during concerts. Thank you very of Schubert, Fred Lerdahl, Milhaud, and much for your cooperation. Dohnányi, on Sunday, November 13, at 4 p.m. at Wilson Chapel, 210 Herrick Road, Newton Centre. Tickets are $20 ($10 for Comings and Goings... students; children under twelve free), Please note that latecomers will be seated available at the door or at waldencham- by the patron service staff during the first berplayers.org. For more information, email convenient pause in the program. In addition, [email protected] or call (617) please also note that patrons who leave the 871-9WCP [-9927]. auditorium during the performance will not BSO violinist Lucia Lin is soloist in Tchaikov- be allowed to reenter until the next conve- sky’s with the Bach, Beethoven nientpause in the program, so as not to dis- and Brahms Society, Steven Lipsitt, music turb the performers or other audience mem- director, on Sunday, November 20, at 3 p.m., bers while the music is in progress. We thank at Boston’s Faneuil Hall. The program, enti- you for your cooperation in this matter. tled “Russian Radiance, Haydn’s London,”

week 6 bso news 13 MASTERCARD® IS PROUD TO SUPPORT THE BOSTON SYMPHONY ORCHESTRA

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Certain terms and restrictions apply. Quantities are limited. For MasterCard® cardholders only. MasterCard, World MasterCard, Priceless and the MasterCard brand mark are registered trademarks of MasterCard International Incorporated. © 2016 MasterCard. on display in symphony hall This season’s BSO Archives exhibit once again displays the wide variety of holdings in the Boston Symphony Archives. highlights of this year’s exhibit include, on the orchestra level of symphony hall: • a display case in the Brooke Corridor exploring the BSO’s early performances of works by Brahms • two display cases in the Brooke corridor focusing on BSO music directors Arthur Nikisch (1889-93) and Charles Munch (1949-62) • two display cases in the Huntington Avenue corridor featuring the percussionists and timpanists, and the contrabassoonists, of the BSO exhibits on the first-balcony level of symphony hall include: • a display case in the first-balcony corridor, audience-right, devoted to the BSO’s acquisition in 1926 of the Casadesus Collection of “ancient instruments” • a display case, also in the first-balcony corridor, audience-right, focusing on historic BSO performances of Shostakovich’s Sixth and Seventh • a display case in the first-balcony corridor, audience-left, exploring the early history of the Boston Pops

CABOT-CAHNERS ROOM EXHIBIT—THE HEINZ W. WEISSENSTEIN/WHITESTONE PHOTOGRAPH COLLECTION: 45 YEARS AT TANGLEWOOD An exhibit highlighting the acquisition by the BSO Archives of the Whitestone Photo- graph Collection, a collection of more than 90,000 negatives and prints documenting the rich musical life at Tanglewood, the BSO’s summer home

TOP OF PAGE, LEFT TO RIGHT: Photograph of a 19th-century serpent from the Casadesus Collection of Ancient Instruments, acquired by the BSO in 1926 (photographer unknown) Souvenir program for the U.S. and Canadian tour of the Orchestre National de France led by Charles Munch in 1948—the year before he became the BSO’s music director Photographer Heinz Weissenstein flanked by , Gunther Schuller, and Seiji Ozawa at Tangle- wood, 1970 (photo by then BSO Assistant Manager Mary H. Smith, using Weissenstein’s Rolleiflex camera)

week 6 on display 15 Marco Borggreve

Andris Nelsons

In 2016-17, his third season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in fourteen wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in late February/early March, followed by two concerts in Montreal and Toronto. In the sum- mer of 2015, following his first season as music director, his contract with the Boston Symphony Orchestra was extended through the 2021-22 season. In addition, in 2017 he becomes Gewandhauskapellmeister of the Gewandhausorchester Leipzig, in which capacity he will also bring the BSO and GWO together for a unique multi-dimensional alliance. Following the 2015 Tanglewood season, Maestro Nelsons and the BSO under- took a twelve-concert, eight-city tour to major European capitals as well as the Lucerne, Salzburg, and Grafenegg festivals. A second European tour, to eight cities in Germany (including the BSO’s first performance in Leipzig’s famed Gewandhaus), ustria,A and Luxembourg, took place in May 2016.

The fifteenth music director in the history of the Boston Symphony Orchestra, Andris Nelsons made his BSO debut at Carnegie Hall in March 2011 with Mahler’s Symphony No. 9. He made his Tanglewood debut in July 2012, leading both the BSO and Tangle- wood Music Center Orchestra as part of Tanglewood’s 75th Anniversary Gala. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Symphony No. 2—was released in November 2014 on BSO Classics. In 2014-15, in col- laboration with Deutsche Grammophon, he and the BSO initiated a multi-year recording project entitled “Shostakovich Under Stalin’s Shadow,” to include live performances of Shostakovich’s symphonies 5 through 10 and other works composed under the life-threatening shadow of Soviet dictator Joseph Stalin. Released in July 2015, their first Shostakovich disc—the Symphony No. 10 and the Passacaglia from the Lady Macbeth of Mtsensk—won the 2016 Grammy Award for Best Orchestral Performance. May 2016 brought not only the second release in this series—a two-disc set including

16 symphonies 5, 8, and 9 and excerpts from Shostakovich’s 1932 incidental music for Hamlet—but also the extension of the collaboration with Deutsche Grammophon to encompass the composer’s complete symphonies and Lady Macbeth of Mtsensk. More recently, this past August, their disc of Shostakovich’s Symphony No. 10 won Gramo- phone Magazine’s Orchestral Award.

From 2008 to 2015, Andris Nelsons was critically acclaimed as music director of the City of Birmingham Symphony Orchestra. In the next few seasons, he continues his collaborations with the , Vienna Philharmonic, the Royal Concertge- bouw Orchestra of Amsterdam, the Bavarian Radio Symphony Orchestra, and the Philhar- monia Orchestra. A regular guest at the , Vienna State Opera, and Metropolitan Opera, he returned to the Bayreuth Festival in summer 2014 to conduct Wagner’s Lohengrin, in a production directed by Hans Neuenfels, which he premiered at Bayreuth in 2010. Under a new, exclusive contract with Deutsche Grammophon, Mr. Nelsons will record the complete Beethoven symphonies with the Vienna Philharmonic and Bruckner symphonies with the Gewandhausorchester Leipzig.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009 and music director of the Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film enti- tled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 6 andris nelsons 17 Boston Symphony Orchestra 2016–2017

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

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

18 photos by Michael J. Lutch

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

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Author/composer Jan Swafford reflects on the place in the concert repertoire of Brahms’s four symphonies and two piano , which Andris Nelsons and the Boston Symphony Orchestra perform November 8-19, with soloist Hélène Grimaud in the concertos.

It would have been a considerable surprise to critics and connoisseurs of the late 19th century to learn that by the time the 20th century was well underway, Johannes Brahms had become one of the most beloved composers of orchestral music, a position he has occupied ever since. There are perhaps two central reasons for his own time’s coolness toward that side of his work. First, orchestral music was a comparatively sparse element in his output. Haydn wrote over a hundred symphonies, Mozart over forty, Beethoven nine, Brahms four. Mozart wrote over thirty concertos, Beethoven seven, Brahms four (two for piano, one for violin, and the Double Concerto for violin and cello). Added to that were his two orchestral overtures, the Haydn Variations, two early serenades, and that’s all. In its Brahms programs this fall, the Boston Symphony will perform the four symphonies and the two piano concertos, which together form a summary of most of his life and career.

Moreover, listeners of his day tended to find Brahms’s orchestral music difficult and intellectual, too much for the common listener. Even Max Kalbeck, a member of Brahms’s intimate circle and eventually his biographer, felt that the symphonies lacked Beethoven’s popular touch and would never find a wide audience. And of course we can’t forget that when Symphony Hall opened its doors in 1900, a local critic suggested the egresses should be marked “Exit In Case of Brahms.”

Brahms in 1868, when the “German Requiem” was premiered

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There are in turn two aspects to our critic’s notorious brickbat. First, many of the other orchestral works created during Brahms’s lifetime were conceived on the Wagner/Liszt side of the equation, meaning perfervid in expression and usually based on programmatic ideas—a story, a poem, a drama. It was Liszt who invented the orchestral tone poem founded on a literary theme (e.g., Les Preludes, or the Faust-Symphony). By the end of the century, that concept had expanded into the symphonic poems of —Don Juan, Don Quixote, Thus spake Zarathustra, and others—which were operatically decked out with images and events.

Brahms was not a mainstream Romantic, and he resolutely avoided program music. A characteristic example is his Tragic Overture, firmly in the tradition of programmatic Romantic overtures such as Mendelssohn’s Fingal’s Cave, which was inspired by a famous landmark in Scotland. But in his Tragic Overture, Brahms did not inform us what particular tragedy he had in mind, if any. In other words, he wrote a high-Romantic genre work that omitted a central element—storytelling and tone painting—suggested by its title. Mean- while in all his music Brahms stayed true to Classical forms going back through Beethoven to Mozart and Haydn, which we know under the names of sonata form, sonata-rondo, theme and variations, and so on—the old forms that Wagner and Liszt declared dead and buried. Brahms, Liszt wrote, represents “the posthumous party” in music.

For Romantic audiences, program music offered lots of handles to get into a piece: drama, imagery, emotion that goes for the jugular. Brahms offered few overt handles: no stated drama, no imagery, and shades of feeling often more delicate and subtle than the titanic or the heart-on-sleeve variety Romantics craved (think Liszt, Bruckner, Tchaikovsky). He was declared the great abstractionist, uniting Classical form with Romantic expression. Whether in a song or a symphony Brahms was more concerned with the overall expressive tone and its progress, and the effectiveness of the form, than in tone painting, or Wagner’s epic spine-tinglings, or Bruckner’s warm bath of emotion

week 6 brahms’s orchestral voice 23 and paroxysms of brass. Meanwhile there was Brahms’s use of what came to be called “developing variation,” which in practice means that as soon as an idea is presented he usually begins to toy with it, meditate on it, develop it. He can’t simply say something and leave it alone, critics said. You can’t keep up with his incessant tinkering with ideas, his endless roaming through the keys.

So audiences called Brahms’s orchestral voice intellectual and forbidding, and preferred his far more extensive body of chamber music, his German Requiem, his stacks of light- classical items like the Hungarian Dances and Liebeslieder Waltzes. Make no mistake: in terms of career, Brahms had one about as successful as a composer ever has. It was his orchestral music that was the main sticking point. As an example, the exquisitely beauti- ful Violin Concerto never caught on in his lifetime.

Yet, as cultural historian Peter Gay noted, as soon as Brahms was in his grave his orchestral reputation went in short order from forbidding to warm and fuzzy. What happened? How did the forbidding Brahms become a familiar and cherished part of the repertoire? Much of that process is unsearchable. I suspect, though, that some of it had to do with the spread of the German Requiem, which the Boston Symphony played earlier this season. That piece was more or less an instant and permanent success, and it seems to me that anyone who hears this manifestly heartfelt, moving, powerful piece understands that this is who Brahms was. So via that and/or other routes, this under- standing finally came to be applied to the supposedly abstract orchestral music. In other words, listeners began better to understand its warmth, its subtle drama, its distinctive melodic and harmonic beauty. In short, its humanity.

24 Brahms around the time of his Symphony No. 3, premiered 1883

None of this is simple, though, and the development of Brahms’s orchestral work as reflected in the BSO’s November programs is a case in point. The kind of problem his music faced can be seen in the early reception of the First . At its 1859 second performance, in conservative Leipzig with Brahms as soloist, he was hissed off the stage. To the extent that the public knew concertos, they were virtuosic and win- ning ones by the likes of Viotti, Paganini’s hyper-virtuosic outings, the elegant ones of Mozart, and the more robust ones of Beethoven—nothing like the tone of tragic alarm that begins the First, the concerto’s enormous proportions, its widely variegated ideas, its singular integration of orchestra and soloist. It’s the first concerto that resembles a symphony during which a piano just happens to be playing most of the time! The solo part manages to be at once brutally difficult without being conventionally virtuosic.

Still, in its tone the First Piano Concerto was a one-off for Brahms, suffused with the turmoil of his early twenties—his discovery by Robert Schuman, Schumann’s descent into madness, Brahms’s doomed passion for Clara Schumann. (So much for the great abstractionist.) He finished the First Concerto after years of struggle with a medium with which he never entirely felt comfortable. It took him over a decade more to find his true voice with the orchestra, which appeared first in the Haydn Variations of 1873. The 1881 Second Piano Concerto is even longer then the First, its piano part as two-fistedly epic, its symphonic approach to the concerto the same as the First. But this is the work of a mature master experienced with the orchestra, and its tone is largely Olympian except for the massive and demonic scherzo.

The symphonies have their own complexities. The First Symphony’s tumultuous opening movement was drafted in 1862, when Brahms was twenty-nine, though only later did he add its searing, fateful introduction. He finally finished the First some fifteen years later. It is marked by Beethoven through and through: the progress from darkness at the beginning to light in the finale echoes Beethoven’s Fifth; the chorale theme of Brahms’s

week 6 brahms’s orchestral voice 25 finale recalls Beethoven’s Ninth. When somebody pointed out the latter resemblance, Brahms snapped, “Any jackass can see that!” He meant that anyone discerning can see that the piece is also unmistakably Brahms’s own, the chorale theme in his own heart-piercing expressive world, the traditional forms handled with enormous freedom and imagination. The relatively sunny—albeit some dark clouds—Second Symphony is Brahms’s equally individual response to, among other things, Beethoven’s Pastoral Sym- phony.

Some have called the Third Symphony the first one where he escaped the model of Beethoven and stamped the genre definitively with his own personality, from its tow- ering and anguished moments to the exquisitely lyrical ones, the treatment of form so original that the underlying traditional models seem close to dissolution: for one exam- ple, the recapitulation and development of the second movement’s ominous chorale theme is reserved for the finale. Finally came Brahms’s late farewell to symphonies in the towering, dark-toned Fourth, in which his backward-looking viewpoint joined with his unique voice comes to rest in the elegiac finale, laid out in the Baroque form of the chaconne.

So in this Boston Symphony series we see Brahms as composer of concertos and sym- phonies from early to late. Concertos were a high-Romantic genre, and his were at once part of that tradition and distinctive. By the time he finished the First Symphony the genre was verging on moribund (Liszt, Wagner, and their disciples had already declared it dead), never having regained the heights Beethoven brought it to. From the First to the Fourth Brahms virtually revived the symphony, paving the way for generations of symphonists to come: Bruckner, Mahler, Sibelius, and a long list beyond. He also provid- ed, even if he did not live to see it, works that live vibrantly in the repertoire and in the hearts of countless listeners. jan swafford is a prizewinning composer and writer whose books include biographies of Johannes Brahms and Charles Ives, “The Vintage Guide to ,” and, most recently, “Beethoven: Anguish and Triumph.” An alumnus of the Tanglewood Music Center, where he studied composition, he is currently working on a biography of Mozart.

week 6 brahms’s orchestral voice 27 andris nelsons, ray and maria stata music director bernard haitink, lacroix family fund conductor emeritus seiji ozawa, music director laureate thomas adès, deborah and philip edmundson artistic partner Boston Symphony Orchestra 136th season, 2016–2017

Thursday, November 3, 8pm Friday, November 4, 1:30pm Saturday, November 5, 8pm | the theresa m. and charles f. stone iii concert

thomas adès conducting

britten “,” opus 20 Lacrymosa— Dies irae— Requiem aeternam

sibelius “tapiola,” tone poem for orchestra, opus 112

{intermission} Stu Rosner

Composer-conductor Thomas Adès on the occasion of his first BSO appearance in March 2011, with violinist Anthony Marwood following their performance of Adès’s Violin Concerto, “Concentric Paths”

28 adès “,” for mezzo-soprano, , and orchestra christianne stotijn, mezzo-soprano mark stone, baritone Text and translation begin on page 56.

Supertitles by David Rebhun SuperTitle System courtesy of Digital Tech Services, LLC, Portsmouth, VA William Diefenderfer, Supertitles Technician John Geller, Supertitles Caller

thursday evening’s guest artist performances are supported by a gift from the alan j. and suzanne w. dworsky fund for voice and chorus. bank of america and dell emc are proud to sponsor the bso’s 2016-17 season.

The evening concerts will end about 10:05, the afternoon concert about 3:35. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. Steinway & Sons , selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Chauffeured Transportation. The program books for the Friday series are given in loving memory of Mrs. Hugh Bancroft by her daughters, the late Mrs. A. Werk Cook and the late Mrs. William C. Cox. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB. In consideration of the performers and those around you, please turn off all electronic equipment during the concert, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the orchestra—whether photographs or videos—is prohibited during concerts.

week 6 program 29 The Program in Brief...

In his first concerts with the orchestra as the BSO’s Artistic Partner, Thomas Adès leads his own 2013 work for mezzo-soprano, baritone, and orchestra, Totentanz (“Dance of Death”), the text of which is taken from a 15th-century frieze created for the Marien- kirche in Lübeck, Germany, by the artist Bernt Notke. The frieze, which was destroyed during Allied bombing in World War II, depicts a skeletal Grim Reaper in congress with individuals representing all of mankind in order of (temporal) status—the Pope and an emperor through various strata of society all the way to a peasant, a young girl, and an innocent baby. The dance of death is the one dance “none of us may refuse”; it’s the great leveler, and as such has its comic aspects: the Pope and Emperor are no less at death’s mercy in spite of their power and wealth than the Peasant (who, far from fearing death, is happy to lay down his burden). Adès assigns Death’s words to the baritone, while the mezzo-soprano represents each of the mortal characters, whose responses to Death’s irrefusable invitation vary widely.

Benjamin Britten wrote his Sinfonia da Requiem in 1940 while living in the United States as a conscientious objector from Britain’s involvement in World War II. It was premiered by the New York Philharmonic in March 1941, and the BSO under Serge Koussevitzky performed it the following season, in January 1942. Impressed by Britten and the dra- matic intensity of his orchestral work, Koussevitzky soon thereafter commissioned the composer to write the opera that was to cement his reputation, .

The origin of the Sinfonia da Requiem was a request from the British Council for a piece celebrating the dynasty of the Japanese Emperor, but the score Britten submitted, because of its strong references to the Catholic Requiem Mass, was rejected. In addition, part of Britten’s impetus had been the 1937 death of his mother as well as the start of the war, so the Sinfonia is ultimately less celebratory than somber and, at times, anguished.

The tone poem Tapiola was, for all practical purposes, Sibelius’s last major work, even though he lived another thirty years after its completion. (An Eighth Symphony, prom- ised to Koussevitzky for the BSO’s 50th anniversary, never materialized; if written at all, it was probably destroyed by the composer.) Tapiola is part of the composer’s career- long preoccupation with symphonic poems on subject matter from the Kalevala, the so-called Finnish national epic, which brought together retellings of ancient folk legends of the region. Tapio is the forest deity/spirit of Finnish legend, and Sibelius’s piece illus- trates the darkness and shadow, layers of activity, and constant change that characterize the spirit’s mysterious and austere realm.

Robert Kirzinger

30 Benjamin Britten “Sinfonia da Requiem,” Opus 20

EDWARD BENJAMIN BRITTEN was born in Lowestoft, Suffolk, England, on November 22, 1913, and died in Aldeburgh on December 4, 1976. He composed the “Sinfonia da Requiem” in 1940, while living in the United States. The first performance took place in Carnegie Hall with John Barbirolli conducting the New York Philharmonic on March 30, 1941.

THE SCORE OF THE “SINFONIA DA REQUIEM” calls for three flutes and piccolo, two oboes and English horn, two clarinets, E-flat clarinet, and bass clarinet, two bassoons and contrabassoon, saxophone in E-flat, six horns, three trumpets, three trombones and tuba, timpani, bass drum, cymbals, two harps, xylophone, snare drum, tambourine, whip, piano, and strings.

The Sinfonia da Requiem is the most significant early orchestral work by the young (twenty-seven-year-old) Benjamin Britten. Moreover its performances under Serge Koussevitzky’s baton in Symphony Hall in January 1942 had far-reaching consequences for the young composer. After performing this vivid and gripping work, Koussevitzky asked Britten why a composer with such a clear theatrical flair had not written an opera. Britten had, in fact, recently come across a poem that strongly appealed to him as the potential basis for an opera, but—ever practical—he asked, “Who would perform it?” Koussevitzky replied, “You write. I perform.” This conversation was eventually formal- ized into a commission for the opera that became Peter Grimes, generally recognized as the beginning of a rich modern tradition of British opera and, of course, one of the most important turning points in the life of its composer, because Britten went on to become the most prolific and widely performed composer of opera in English in the 20th century.

The composer’s ability to conceive bold theatrical strokes and to project them musically, one of the great strengths of Peter Grimes, is already apparent in the Sinfonia da Requiem. Even though it lacks a text or a specific dramatic impetus, it cannot help but evoke the time in which it was written and the composer’s personal situation at that time. The lay- out in multiple movements and the seriousness of its construction might have suggested

week 6 program notes 31 Program page for the first Boston Symphony performances of Britten’s “Sinfonia da Requiem” on January 2 and 3, 1942, with Serge Koussevitzky conducting (BSO Archives)

32 Serge Koussevitzky and Benjamin Britten in Boston, January 2, 1942, following the first BSO performance of the “Sinfonia da Requiem”

the simple term “symphony” for the work. The less generic and more specific titleSin- fonia da Requiem, which might be translated “symphony after the manner of a requiem,” turns the listener’s thoughts to ultimate issues. The composer said at the time of the premiere that mood and scheme derived “from the Catholic Requiem Mass, though the relation of the Sinfonia to the Catholic ceremony, avowedly, is emotional rather than liturgical.”

The first impulse to writing a large and serious score—and no doubt the one that sug- gested the word “requiem” for its title —had been the death of the composer’s mother early in 1937 (his father had died several years earlier). But the political situation world- wide no doubt played a part as well. The situation intensified with the Munich crisis of September 1938 and Neville Chamberlain’s appeasement of Hitler in the hope of finding “peace in our time.” By the following spring Hitler had annexed Czechoslovakia, and on September 1, with the surprise Nazi attack on Poland, a new world war began in earnest. Early in 1939 two of Britten’s close friends, poet W.H. Auden and writer Christopher Isherwood, had emigrated to the United States. He was tempted to follow, largely out of his determined pacifism (and the hope that the United States would remain out of a European war), and partly because of his realization that his music was better appreciated abroad than at home. The Variations on a Theme of Frank Bridge had been a sensational success at a contemporary music festival in Salzburg, but the leading English critics condescended to call it merely “clever,” full of “strikingly original effects” but “lacking in originality.”

In May 1939, Britten and his lifelong companion and musical partner Peter Pears left England for Canada and later New York. After hearing the first New York performance of the Bridge Variations in a New York Philharmonic concert, they were invited for a weekend visit to the Long Island home of a psychiatrist, Dr. William Mayer, and his wife Elizabeth, a firm devotee of the arts who became a kind of second mother to the young

week 6 program notes 33

A photograph of Koussevitzky inscribed to Benjamin Britten, “Boston 1942”

composer. The Mayers’ home became both regular residence and refuge, as well as a sick ward, because Britten was often seriously ill during this time, and Elizabeth nursed him devotedly back to health during his entire three-year stay in the country.

The actual starting point of the Sinfonia da Requiem came when the British Council asked Britten if he would write a substantial piece for some celebration dealing with “the reigning dynasty of a foreign power”—not identified at first. Britten agreed, with the stipulation that “no form of musical jingoism” was necessary. The foreign power turned out to be Japan, then planning a celebration for the 2600th anniversary of the emperor’s dynasty. Britten submitted the outline of the three-movement symphony with its movement headings (Lacrymosa, Dies irae, and Requiem aeternam) for approval from the Japanese. Having received that, he composed the work and sent the score to Tokyo. Only then did the planners of the celebration decide—in an outraged protest—that the Christian theme of the work was an insult to the Emperor.

Once the Japanese had refused the work, Britten was at liberty to offer it anywhere else, and both the New York Philharmonic and the Boston Symphony performed it within a period of nine months. Once Britten began to make a name for himself as an opera com- poser, much of his earlier instrumental music was cast into a shadow for a time, with relatively few performances. But the Sinfonia da Requiem emerged as one of the compos- er’s most powerful and affecting scores, to be recognized as one of the major expressive high points of his career. It was, after all, composed in the middle of a war that was gradually to become truly another world war (the United States entered the conflict during the period between the New York and Boston performances).

The Sinfonia da Requiem is one of those pieces that feels big, even though it is remarkably taut and compact, the three movements together lasting only about twenty minutes. The

week 6 program notes 35

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36 opening movement, entitled Lacrymosa (“full of tears”), is filled almost single-mindedly with the mood of lamentation at the dominance of Death. (The thundering blows on the pitch D became symbolic for Britten of Death’s power—it is a musical reference that he employed in several scores of this period.) The movement builds, in a long arch con- structed almost entirely from the syncopated sighing figures heard at the outset against a dark marching pulse in the bass. Over a tonic D, we can expect to hear either the major key’s F-sharp or the minor key’s F-natural, which could be symbolic of peace and war respectively. The struggle between these two realms is played out in a first move- ment of great harmonic tension.

Dies irae (“day of wrath”) describes the Last Judgment in a Requiem Mass; here it sym- bolizes the full outbreak of war, described by the composer in his first program note as “a form of Dance of Death, with occasional moments of quiet marching rhythm.” It is a frenzied movement, filled with arresting orchestral color, giving an impression of disjointed fragments, though these are in fact arranged in what is essentially a da capo form. Britten’s emphasis on the tritone sonority as a baleful sound symbolizing war fore- shadows its similar use two decades later in his for soloists, chorus, and orchestra. When the scherzo returns after the saxophone’s eerily lyrical treatment of the Lacrymosa theme, the entire movement disintegrates into fragments and nothingness.

Out of the collapse—and, indeed, running directly on from it—comes the ultimate con- solation of the final movement, headedRequiem aeternam (“eternal rest”). With a turn toward D major and spacious open sonorities, Britten gives the flutes a gentle song that has grown out of a passage heard in a quite different way in the second movement; the strings have their part to play in the middle of the movement, and the ending becomes more luminous as it progresses. The symphony closes in peace—though surely, in 1940, it was peace hoped-for, not peace achieved.

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

THE FIRST AMERICAN PERFORMANCE OF THE “SINFONIA DA REQUIEM”—also the world premiere performance, as noted above—was given by John Barbirolli with the New York Philhar- monic on March 30, 1941, in Carnegie Hall in New York.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF THE “SINFONIA DA REQUIEM” were given by Serge Koussevitzky on January 2 and 3, 1942. Until now, it has only been played by the orchestra on two other occasions: in subscription concerts led by James Conlon in November 1993, and at Tanglewood with Jeffrey Tate conducting on August 6, 1999.

week 6 program notes 37 ©2016 Bose Corporation. CC018258 P We invite you to experience what our passion brings to t to brings passion our what experience to you invite We what inspires all we do at Bose. Bose. at do we all inspires what To learn more or to order: to or Tomore learn ht rae mc o wa w lv aot ui. n it’s And music. about love we what of much creates that Each musician reads from the same score, but each brings brings each but score, same the from reads musician Each including how you can hear Bose hear can youhow including performance of our products. Visit our website to learn mor learn to website our Visit products. our of performance his or her own artistry to the performance. It’s their passion passion their It’s performance. the to artistry own her or his assion Bose.com It’s at the heart heart the at hearttheat It’s

performanc ® sound for yourself. of their their of And our And s. e— he he e . Jean Sibelius “Tapiola,” Tone poem for orchestra, Opus 112

JEAN (JOHAN JULIUS CHRISTIAN) SIBELIUS was born in Hämeenlinna, Finland, on Decem- ber 8, 1865, and died at Järvenpää, at his country home near Helsinki, on September 20, 1957. He composed “Tapiola” in 1926 for the Symphony Society of New York, which extended him a commission in January of that year. Composition took place between March and May, and the first performance (“Specially composed for the Symphony Society,” noted the printed program) was given by that group with Walter Damrosch conducting on December 26, 1926—concluding a concert that began with Beethoven’s Fifth Symphony, then continued with George Gershwin’s Piano Concerto in F, with the composer as soloist.

THE SCORE OF “TAPIOLA” calls for three flutes and piccolo, two oboes and English horn, two clarinets and bass clarinet, two bassoons and contrabassoon, four horns, three trumpets, three trombones, timpani, and strings.

Sibelius observed in 1904, around the time of his Third Symphony, that he “was not a literary musician: for me, music begins where words leave off” and that also for him, “a symphony should be music first and last.” But it remains true nevertheless that Sibelius’s particular musical sensibility informs equally both his symphonies and his tone poems: we recognize in his symphonies thematic contours and gestures, use of tonality and modality, and techniques of instrumentation that suggest the tone poems, and vice versa, stamping the composer’s musical language as specifically and individually Sibelian whether intended to suggest a story or not. Sibelius composed his First Symphony in 1899, his last—his Seventh—in 1924. The earliest of his tone poems, En Saga, dates from 1892, the last, Tapiola, from 1926. After Tapiola—Sibelius’s only important work to follow the Seventh Symphony—came what was, with regard to musical production, effectively a thirty-year silence lasting until his death, the so-called “silence from Järvenpää,” the small country village northeast of Helsinki where he lived from 1904. Whatever sketches may have existed for an Eighth Symphony were destroyed; seemingly he had nothing more to say in the realm of symphonic music.

week 6 program notes 39 Program page for the first Boston Symphony performances of Sibelius’s “Tapiola” on November 4 and 5, 1932, with Serge Koussevitzky conducting (BSO Archives)

40 Between those beginning and end points came, among many other things, the four tone poems brought together in 1896 as the Lemminkäinen Suite (including The Swan of Tuonela, with its solo English horn evoking the animal’s languid course); Finlandia (1900, based on music written for an 1899 press pageant celebrating Finnish history and cul- ture), and the rarely heard (in fact barely known) tone poems The Dryad (1910) and The Bard (1913). Often—as was the case for Kullervo (a seventy-minute work for soloists, male chorus, and orchestra, which put the twenty-six-year-old composer on the map, at least in Finland, when it was premiered in April 1892), the Lemminkäinen Suite, Luonnotar (1912, an extraordinary tone poem for soprano and orchestra based on a creation myth), and Tapiola—Sibelius took inspiration from the so-called “Finnish national epic,” the Kalevala, a conflation of Finnish folk tales, lyrics, narrative, and magic charms actually

2016-17

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compiled in 1835 after extensive field research by Elias Lönnrot, then expanded by Lönnrot and David Europaeus fourteen years later to twice its original length.

In fact, Sibelius’s affinity for his country’s folklore and geography was apparent in his music from the start: his earliest piece, for violin and cello pizzicato, was called Water- drops. Years later, as he observed in his diaries, the beauties of the land near his country estate helped distract him from the atrocities of the civil war that ravaged Finland in the final phase of its struggle against Russia at the close of World War I. Bengt de Torne, one of Sibelius’s biographers, recalled that “One day I mentioned the impression which always takes hold of me when returning to Finland across the Baltic, the first forebod- ings of our country being given us by low, reddish granite rocks emerging from the pale blue sea, solitary islands of a hard, archaic beauty.... I concluded by saying that this landscape many centuries ago was the cradle of the Vikings. ‘Yes,’ Sibelius answered eagerly, and his eyes flashed, ‘and when we see those granite rocks we know why we are able to treat the orchestra as we do!’ ”

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

Isaac Babel, renowned Russian playwright and short-story author of the early 20th century, claimed that “if the world could write by itself, it would write like Tolstoy.” The tone poem Tapiola, which stands as Sibelius’s last completed major composition, inspires a sense of awe at the masterfully natural expression of reality through the lens of art as does, similarly, the hauntingly vivid prose of Anna Karenina. The subject matter, however, could not be more different. Whereas Tolstoy distills the essence of Man, Sibelius captures the wildness of Nature. Tapiola’s subject is the frigid, forbidding Finnish pine forests and Tapio, the fierce god-spirit of this wilderness, who rules over the trees

week 6 program notes 43 and wildlife contained within. The composer himself provided some explanation of the piece by way of the following four lines of verse printed at the beginning of the score: Widespread they stand, the Northland’s dusky forests, Ancient, mysterious, brooding savage dreams; Within them dwells the Forest’s mighty God, And wood-sprites in the gloom weave magic secrets.

The portrayal of nature in music was certainly not new by this time, but Tapiola, in con- trast to, say, the stylized playfulness of Vivaldi’s Four Seasons or Mahler’s madcap Arca- dianism, is arrestingly austere. Like all art, music is chiefly a humanistic pursuit, meant to provide us with a window to our world. In this piece, however, there is the hair-raising sense that the paradigm has been reversed and that we are the ones being watched. There is the sense that the music is listening to us.

After a blustery opening, all sense of time is suspended, and for nearly twenty minutes, the music uneasily meanders about, breezy sighs and freezing gusts from the strings rustling leaves on branches and on the forest floor. Pregnant rests seem to stretch on interminably, and sustained notes in the winds create a static background that is most noticeable only when it suddenly disappears, leaving behind an eerily empty silence soon filled with anxious footstep-like runs in the violins and flutes. Throughout, the standoffish opening theme is always present, and though it appears in many guises and variations, it arrives at none that make it any less unsettling. Ostensibly this is a peaceful work overall, but it is peaceful only in the sense of primeval nature being left to its own devices, and when finally the piece drifts to an end with three unmistakable and unex- pected pulses of a pure major triad, it’s hard not to wonder if everything doesn’t seem just a little too quiet.

Jay Goodwin

New York-based annotator jay goodwin is managing editor at the Metropolitan Opera. He has written for the Boston Symphony Orchestra, St. Louis Symphony, Australian Chamber Orchestra, Juilliard School, and Carnegie Hall and was the BSO’s Tanglewood Music Center Publications Fellow in 2009.

THE FIRST AMERICAN PERFORMANCE OF “TAPIOLA”—the world premiere, as noted above— was given by the Symphony Society of New York on December 26, 1926, at New York’s Mecca Auditorium, with Walter Damrosch conducting.

THE FIRST BOSTON SYMPHONY PERFORMANCES OF “TAPIOLA” were given by Serge Koussevitzky on November 4 and 5, 1932, followed by performances in Hartford, New York, Brooklyn, Providence, and Washington, D.C. Koussevitzky led the BSO in further performances in 1935, 1937, and 1939 (also recording it with the orchestra in April 1939), after which the only con- ductor to have programmed it with the BSO until now was , in February/March 1973, November/December 1975 (at which time he and the BSO recorded it as part of their Sibelius cycle for Philips), and at Tanglewood on August 1, 1976—the BSO’s most recent performance until this week, though the Tanglewood Music Center Orchestra played it there more recently on June 29, 2009, with TMC Fellow Gergely Madaras conducting.

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Thomas Adès “Totentanz,” for mezzo-soprano, baritone, and orchestra

THOMAS JOSEPH EDMUND ADÈS was born in London on March 1, 1971, and lives there. He wrote “Totentanz” on commission from former Faber Music chairman Robin Boyle “in memory of Witold Lutos´lawski (1913-1994) and of his wife Danuta” (Danuta Lutos´lawska [1911-1994]). The world premiere performance, led by the composer, was given by the BBC Symphony Orchestra with soloists Christianne Stotijn, mezzo-soprano, and , baritone, at the Royal Albert Hall during the BBC Proms on July 17, 2013. The American premiere was given by the New York Philharmonic on March 12, 2015, at Avery Fisher Hall, with the composer conducting and soloists Chrisianne Stotijn and Mark Stone. The present performances are the first by the Boston Symphony Orchestra and the first in Boston.

IN ADDITION TO THE MEZZO-SOPRANO AND BARITONE SOLOISTS, the score of “Totentanz” calls for three flutes (all doubling piccolo; third doubling alto flute), three oboes (third doubling English horn), three clarinets (first doubling E-flat clarinet, second and third doubling bass clarinet), three bassoons (second doubling contrabassoon, third doubling contraforte [a trademarked low ceilings, first floor master suite and private outdoor space, wind instrument similar to a contrabassoon]), four horns, three trumpets (all doubling ), two trombones and bass trombone, contrabass tuba, percussion (eight players recommended, variously playing glockenspiel, xylophone, vibraphone, marimba, crotales, tubular bells, two bell plates, two gongs, four anvils, small steel sheet, small and large tam-tams, eight suspended cym- bals, class cymbals, hi-hat, four side drums, tenor drum, two military drums, Taiko [large Japanese drum], pedal bass drum, bass drum [with cymbal], two “swanee” [slide] whistles, referee’s whistle, two siren whistles, three whips, two clappers, two small maracas, two small ratchets, large guero [gourd rasp], tambourine, two pairs of bamboo tubes, six sets of “bones”), timpani, harp, piano and celesta, and strings. The duration of the work is about thirty-five minutes.

Dedicated to the memory of Witold Lutosławski, Totentanz is a setting of the anon- ymous text that appeared under a 15th-century frieze in the Marienkirche, Lübeck, Germany. Destroyed by bombing in World War Two, the frieze depicted members of every category of human society in strictly descending order of status, from the Pope

week 6 program notes 47 A BLAZING RETELLING OF THE OEDIPUS STORY

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48 to a baby. In-between each human figure is an image of Death, dancing and inviting the humans to join him. In this setting, each of the humans in turn is represented by a low soprano, and Death by a baritone. —Thomas Adès

Thomas Adès is beginning his first season as the BSO’s Deborah and Philip Edmundson Artistic Partner, an unprecedented role created to deepen the already warm relationship between Adès and the BSO and to showcase the composer-conductor-pianist-curator’s many interests and talents on various collaborative levels. During Adès’s October/ November Boston residency this fall, he has already collaborated with tenor Ian Bost- ridge for Schubert’s great song cycle Winterreise at Jordan Hall and performed as pia- nist and conductor with the Boston Symphony Chamber Players in a varied program of chamber music, including his own Court Studies from , also at Jordan Hall. In this week’s BSO concerts he’s represented as conductor and composer, and next summer at Tanglewood he will participate in a variety of roles with the Fellows of the Tanglewood Music Center.

For more than twenty-five years, which is to say since the early-blooming composer’s late teens, Thomas Adès has been celebrated as one of the shining talents of British music, a reputation that his varied activities have broadened and deepened in the eyes of both the public and musical professionals over the years. His music was noted from the beginning for its brilliant, exuberant surfaces and the specificity, when called for, of its mimicry and characterization. He surreally mixed pastiche of mid-20th-century popular music with dazzlingly virtuosic instrumental and vocal modernism in his 1995 chamber opera , and tapped into then-current popular avant-garde dance music for one movement of his 1999 quasi-symphony . That piece, his biggest concert work to that point, won the prestigious and demonstrated a bigger-picture trajectory in the clarity of its large-scale forms, especially the idea of a cyclic harmonic progression akin to a chaconne that became one of the composer’s favorite techniques. The title of his Violin Concerto, Concentric Paths, refers directly to this developmental idea; his orchestral work employs a similar form, as do smaller sections of his Shakespeare-based opera The Tempest, as well as Totentanz.

Adès has written a fair amount of chamber music, but most of his composing time in recent years has been devoted to large-scale, high-profile orchestral and dramatic proj- ects. The Tempest was commissioned by the Royal Opera–Covent Garden, where it was premiered in 2004 and revived in 2007. A new production was created for the Québec City Opera, Vienna State Opera, and the Metropolitan Opera in New York, where it was performed in 2012. This year his latest opera, The Exterminating Angel (based on the film by Luis Buñuel), was premiered at the Salzburg Festival, which commissioned it together with the Royal Opera in London, the Metropolitan Opera, and the Danish Royal Opera. Instrumental works include the piano concerto and the orchestral work , both of which featured optional projected video components by . Adès himself has conducted many of these pieces with the Boston Symphony Orchestra: the Violin Concerto and scenes from The Tempest in his conducting debut with the orches-

week 6 program notes 49 The fascinating contrast between French and English musical culture: Masterpieces by Debussy and Dutilleux radiate color and evocativeness, and the British genius for musical portraiture is on display in Walton and Elgar.

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tra in 2011; In Seven Days in 2012; and Polaris in 2013, on programs in which he also led music by such diverse composers as Mendelssohn, Ives, Franck, and Sibelius.

Death has been represented artistically in many ways, but the image of skeletal remains (sometimes wearing a warm robe, perhaps carrying a scythe) is surely the most prev- alent. It’s usefully ironic that the bare skull’s terrifying visage most clearly resembles, as facial expression, an ear-to-ear grin. That laughing, grinning death is a constant in European art at least from the Middle Ages on. Holding Yorick’s skull, Shakespeare’s Hamlet sighs, “Where be your gibes now? your gambols? your songs? your flashes of merriment, that were wont to set the table on a roar? Not one now, to mock your own grinning?” And Richard III laments: “...within the hollow crown... Keeps Death his court, and there the antic sits/Scoffing his state and grinning at his pomp.” Among the skeletal host of Pieter Breughel the Elder’s 17th-century masterpiece The Triumph of Death are a surprising number of skeletal musicians—bell-ringers, players, a violinist, and one riding a wagon full of skulls while playing the hurdy-gurdy. It’s not for nothing that the Death card commonly found in the Tarot and represented by a skeleton signifies not so much death itself as change, a change of state or situation. Death is the greatest, strangest change we all face with anticipation (as far as we know; and as opposed to the gaining of consciousness, which is presumably a surprise).

The death-image has been used by the Church and its commissioned artists as “memento mori,” the reminder of our temporary status here on earth. The other edge of the sword is consolation for some: death as the great leveler, harvesting not only the poor, the wretched, but also the world’s jolly princes and beatific saints. This is the origin of the “dance of death,” , Totentanz, the earliest known image of which, simi- lar to the Lübeck frieze, dates from early 15th-century France. The cloth frieze in the Marienkirche in Lübeck was originally created in 1483 by the German artist Bernt Notke (c.1435-c.1509). By the early 18th century this had deteriorated and was replaced, and in 1942 the Allied forces’ bombing of the city destroyed it altogether. (There is a similar frieze still extant at the St. Nicolas Church in Tallinn, Estonia, considered to be by the same artist.) Underneath the images of the frieze was inscribed the German rhyming text that Thomas Adès sets in his Totentanz.

week 6 program notes 51

The dance of death is “the dance that none of us may refuse,” states the composer, yet much of humanity confronts the subject reluctantly and with a hint of denial. As the Preacher’s opening verse in the text for Totentanz puts it, “Let every man think on this: no-one can live forever.” The degree of regret and acceptance of Death’s arrival changes over the course of the Totentanz text: the Pope and Emperor don’t seem at all surprised; the Usurer and Merchant in the middle drag their feet a bit. It’s the Peasant who most welcomes his fate: “But now my Guide shall bring me to my sweet repose.” The Maiden and the Child are both perplexed, the infant wondering “O Death, how can I understand? I cannot walk, yet I must dance!” The painting and the text are both solemn and funny— for example when Death reminds the Pope that his three-part crown is too tall to fit the grave.

The variety of characters represented gave Adès ample opportunity for variety of illus- tration in his music. The baritone sings the brief opening verse and the speeches of Death throughout, while the mezzo-soprano takes on the roles of each of the mortals in turn. Totentanz begins with a brief, raucous orchestral outburst, followed immediately by the baritone’s recitative-like intonation of the Preacher’s introduction. The second cou- plet of the verse is accompanied by a descending, limping dance in the orchestra, mov- ing quickly between tempos (via the insertion of the unusual 2/6 time signature, making the beat 2/3 of its normal duration). Percussion, especially the slapsticks and “bones” (wood or actual bones clacked together), vividly evokes the skeletal hero of the piece, but vocally he is assured and suave, downright charming in his reminder to the Pope to remove his crown before joining the dance. A transformed version of the orchestra’s falling figure (which one hears again and again throughout the piece) is played by high strings in independent tempos under the Pope’s resigned reply.

Death is a little more insistent with the Emperor, and almost conciliatory with the Car- dinal. Gradually the orchestra has darkened in timbre and sunk to the lower end of its range, revealing part of the larger arc of the work’s overall form. The Cardinal’s reply is accompanied by overlapping, shorter falling figures. With the King, the texture is

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54 Stu Rosner

Thomas Adès conducting the BSO in his piano concerto “In Seven Days” in November 2012, with soloist

even more broken, almost aggressive: Death seems to be losing patience. The King’s reply hints at terror: rising figures create great tension, culminating in a short orchestral episode. Adès uses tolling bells (suggested by the text) and a relaxed tempo, almost archaic, for the Monk, thinning out the texture radically at “No fear of solitude.” A strongly contrasting, dancing orchestral transition brings us to the martial music of Death’s address to the Knight, who is surprisingly contrite in accepting his “final foe.” The Mayor, as befits a politician, argues with Death, beginning a series of interlocked episodes that proceed rapidly, Death continuing to invite each citizen—the Mayor, Doctor, Usurer, and Merchant in turn—without waiting for each to finish a reply. Note the contrasting tempos—the mezzo-soprano singing slowly while the baritone sings fast, and vice versa, with the orchestra mediating in several layers, surging toward a vast cli- mactic interlude that finally breaks free from all control by the conductor.

Death is sweetly kind with the Parish Clerk, whose regret at not achieving a higher position in his career is palpable in this almost static passage. Death’s reply initiates a resurgence of the orchestra. The conversation between Death and the Handworker ends in a quiet, harmonized cadence. With the Peasant, Death is jolly and inviting, the music becoming rustically dancelike in kind, with (perhaps) Haydnesque use of horns. Although insisting he will pay “no compliments” to the Maiden, Death’s invitation to her is relatively gentle; her bemused response, accompanied primarily by the harp and vibra- phone, is tentative and halting. The final conversation, between Death and the Child, deliberately evokes, and strangely colors, a past style—Mahler, the Beethoven of Fidelio, Brahms, suggesting that this is a dance that has been going on for a long time, and will continue forever.

Robert Kirzinger

Composer/annotator robert kirzinger is Assistant Director of Program Publications of the Boston Symphony Orchestra.

week 6 program notes 55 THOMAS ADÈS “Totentanz” (Medieval text adapted by the composer, with grateful acknowledgment to Dr. Herbert Grieshop and Dr. Thomas Hinzpeter for their advice and assistance)

DER PREDIGER THE PREACHER Ach redeliche Kreatur, ob arm, ob reich, Good folk, rich or poor, sieh hier das Schauspiel, jung und alt gleich. come to see the play: young and old alike! Es denke jedermann daran, Let everyone think on this: daß niemand ewig leben kann. no-one can live forever.

DER TOD DEATH Zu diesem Tanz ruf ich alle ein, To this dance I bid you all: Papst, Kaiser, Mönch und Bauer! Pope, Emperor, monk and peasant. Wenn ich komme, groß und klein, When I come, great and small, hilft euch allen keine Trauer. no grieving helps you. Bedenket ihr zu aller Zeit, Always think gute Werke mitzubringen, of having good works Um eure Sünden zu verzeih’n. to pardon your sins. Ihr müßt nach meiner Pfeife springen! You must dance to my pipe!

DER TOD ZUM PAPST DEATH TO THE POPE Herr Papst, du bist der höchste nu, Sir Pope, you are the highest, tanzen wir vor, ich und du! let’s lead the dance, you and I! Kreuch aus dem Vatikan Crawl from the Vatican in diesen Sarg hinein. into this coffin. Hier trägt dein Scheitel noch Your pate still bears das Golden von drei Kronen, the gold of three crowns; der Hut ist viel zu hoch, your hat is much too high, du mußt jetzt enger wohnen. you must narrow down your home.

DER PAPST THE POPE Ach Herre Gott, was nützt es mir, Ah Lord God, what good to me so hoch im Rang zu werden? is my high rank? Wie alle Menschen hier Like anyone here, bin ich dereinst nur Erden. I shall be mere earth.

DER TOD ZUM KAISER DEATH TO THE EMPEROR Auf, großer Kaiser, auf, Up, great Emperor, segne dein Reich und die Welt! bless your empire and the world! Und wiße, daß ich dir Know that I have decreed den letzten Tanz bestellt. your final dance. Mein alter Bund gilt mehr My ancient bond outweighs als Apfel, Schwert und Bullen, orb, sword and seal. Wer mir Gesetze schreibt To write laws for me is futile: mahlt eitel blinder Nullen. it achieves simply nothing.

56 DER KAISER THE EMPEROR O Tod, dein Angesicht so bleich, Death, your pale face verändert mir mein ganzes Wesen. changes all my being. Ich war der mächtigste und reich, I was the mightiest, rich, keiner kam mir im entfernt’sten gleich. unrivalled at any distance. Könige, Fürsten und Herren Kings, princes, lords Sich beugten und mich verehrten bowed low and honoured me. Jetzt machst du, schrecklichste Form Now, loathsome form, Aus mir Speise für den Wurm. you feed me to the worm.

DER TOD ZUM KARDINAL DEATH TO THE CARDINAL Sag gute Nacht der Welt Say goodnight to the world, bestürzter Kardinal! fallen Cardinal! Dein Ende rufet dich Your latter end calls you zur ungezählten Zahl. to the uncounted throng. Das weiß ich, Sohn, du hast My son, I know you undertook viel Gutes hier empfangen much good here: Ich weiß nicht, was du dort there, I don’t know wirst für ein Teil erlangen. what will be your portion.

DER KARDINAL THE CARDINAL Meiner, Herr, erbarme dich! Sire, have mercy on me! Nicht entfliehen kann ich dir. I cannot flee from you: Seh ich vor oder hinter mich behind me and before, spür ich den Tod schon nah bei mir. I sense Death close by. Was nützt mir mein Rang auf Erden What use to me are my rank on earth, Meine Kleider aus Burgund my clothes of Burgundy? Ich werd’ unwürdiger werden I shall be worth less Als ein stinkender, unreiner Hund. than a filthy stinking dog.

DER TOD ZUM KÖNIG DEATH TO THE KING Denk an den wahren Spruch, Think on the true saying den Toten abgefaßt, written for the dead: der heute König heißt he who is called king today liegt morgen ganz erblaßt. is pale and prostrate tomorrow. Alsdann so kann man dich So you can no longer nicht mehr großmächtig schreiben, be called mighty, Weil deine Macht zu schwach for your might is too feeble die Würmer zu vertreiben. to repulse the worms.

DER KÖNIG THE KING O Tod, dein Spruch hat mich erschreckt! Death, your words terrify me! Diesen Tanz, den kenn ich nicht. I don’t know this dance. Jetzt ist dein Beil ins Ziel gesteckt: Your axe is deep in its target: so raubst Du mir mein Reich. you steal my kingdom.

Please turn the page quietly.

week 6 text and translation 57 DER TOD ZUM MÖNCH DEATH TO THE MONK Hör Abt! Die Glocke schlägt Hear, abbot! The bell tolls, die dich zu Bette ruft, calling you to bed. Nun tanze fort mit mir Dance away with me zu der bestimmten Gruft. to your appointed crypt. Inzwischen laß die Furcht Meanwhile dismiss any fear der Einsamkeit verschwinden, of loneliness: dort wirst du ein Convent you shall find a monastery von tausend Brüdern finden. of a thousand brothers.

DER MÖNCH THE MONK Mein strenger Orden schreibt My strict order prescribes me mir tausend Regeln für, a thousand rules. Jetzt greift der Tod mich an Now Death attacks me, und rufet: Folge mir! cries ‘Follow me!’ Ich bin noch nicht bereit I’m not yet ready mein Kloster zu verlaßen to leave my cloister: Wenn ich die Regul nur if only I could grasp the rules der Sterbekunst könnt’ faßen! of how to die!

DER TOD ZUM RITTER DEATH TO THE KNIGHT Kein Eisen schützet dich No iron can protect you vor meinen scharfen Pfeilen. from my sharp arrows. Ritter! Du mußt mit mir zum Tanz Knight, you must come quickly, in leichter Rüstung eilen. light–armed, to dance with me.

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HARRY CHRISTOPHERS Handel: Messiah CONDUCTS THE HANDEL FRI, NOV 25, 2016 AT 7:30PM AND HAYDN SOCIETY SAT, NOV 26, 2016 AT 3:00PM SUN, NOV 27, 2016 AT 3:00PM SYMPHONY HALL

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58 DER RITTER THE KNIGHT Ihr Helden schauet mich You heroes, look at me in diesen Waffen an! in this armour! So focht ich als ein Löw, I fought like a lion, so stund ich als ein Mann. I stood like a man, Bis daß mein Gegenpart till my enemy gestrecket lag zur Erden. was laid out on earth. Nun will der letzte Feind Now I face a new knight, an mir zum Ritter werden. the final foe.

DER TOD ZUM BÜRGERMEISTER DEATH TO THE MAYOR Bürgermeister, für dein Arbeit, für dein Leben Mayor, for your work and life großen Lohn hast du empfangen. you have had great reward. Was dir zusteht, wird dir gegeben. All that’s owed you, is given you. Nach mir hattest du kein Verlangen. I am not what you desired. Für deine Sünden reuig sei! Repent of your sins! ... Mediziner, an die Reih’! ... Doctor, join the line!

DER BÜRGERMEISTER THE MAYOR Oh weh, wie quälet mich der Tod, Woe! How Death torments me. an das Sterben hab ich kaum gedacht. I’ve scarcely thought of dying. Jetzt muß ich reisen und weiß nicht wohin, Now I must go, I don’t know where, eh ich mein’ Sünden hab gut gemacht. before I can put right my sins.

DER TOD ZUM ARZT DEATH TO THE DOCTOR Beschaue dich nur selbst Just examine yourself, und nicht das Krankenglas not the sick man’s glass: Du bist dem Körper nach your body is no more so dauerhaft als das. durable than that. Ein Stoß zerbricht das Glas, Glass breaks at a blow, der Mensch zerfällt im Sterben man shatters in death. Was findet man hernach What is left of both? von beiden? Nichts als Scherben. Nothing but shards.

DER ARZT THE DOCTOR Viele Menschen hülfe ich I’d help many people, wenn es nur möglich sei. if I only could. Aber helfen gegen dich But against you, tut keine Kunst noch Arzenei. medical skill is no help.

DER TOD ZUM WUCHERER DEATH TO THE USURER Wucherer, ich ford’re deinen Rest Usurer, I demand your residue als meinen Zins von dir as my interest. Zahl ab! und laß die Last Pay up! Lay down the load deines schweren Beutels hier. of your heavy purse. Komm mit mir in meinen Reigen Come with me into my roundelay, usurer, Wucherer, folge mir ins Schweigen. follow me into silence.

week 6 text and translation 59 Bowers & Wilkins congratulates the Boston Symphony Orchestra on its Grammy Award for “Shostakovich: Under Stalin’s Shadow”

Bowers & Wilkins products consistently set the benchmark for high-performance stereo, home theater and personal sound. The 802 Diamond loudspeakers are the reference monitors in the control room at Boston Symphony Hall. Bowers & Wilkins offers best in class speakers for nearly every budget and application, along with award-winning headphones and Wireless Music Systems. Most recently, Bowers & Wilkins has become the audio system of choice for premium automotive manufacturers such as BMW and Maserati. DER WUCHERER THE USURER O Tod, du unerwarteter, Death, unexpected! Mit Freud’ genoß ich viel Besitz. I have enjoyed great wealth. Muß ich jetzt sterben, ist mir schwer. So now I must die: that’s hard. Vorstellt’ ich mir nie dein Antlitz. I have never imagined your face.

DER TOD ZUM KAUFMANN DEATH TO THE MERCHANT Jetzt mußt du in ein anderes Land Now you must visit another land, Kaufmann, reiche mir die Hand. merchant: give me your hand. Zahl aus und liefer mir Total up and deliver den Anteil meiner Ware, my share of the goods, so viel ich faßen kann as much as I can lay auf einer Leichenbahre. on a funeral bier.

DER KAUFMANN THE MERCHANT Meine Rechnung geht noch nicht auf, My account is not yet made up, sonst ginge ich fröhlich mit deinem Lauf. else I’d gladly go along with you. Es liegt mir fern, bereit zu sein I’m far from ready, obwohl ich habe Kleider though I have clothes für Land und für die See for land and sea, für Regen, Wind und Schnee for rain, wind and snow: Doch nicht für diese Reise. but nothing for this journey.

Please turn the page quietly.

week 6 text and translation 61 DER TOD ZUM KÜSTER DEATH TO THE PARISH CLERK Küster, Bruder, komm heran. Parish Clerk, brother: come forward.

DER KÜSTER THE PARISH CLERK Ach Herr Tod, nun ich erst zu dienen begann! Sir Death, my service has only just begun! Hab ich doch fest daran geglaubt, And I firmly believed Daß niemand mir den Aufstieg raubt. no–one would rob me of promotion. Ein hohes Amt, mein ganzes Ziel — High office was my whole aim: Jetzt ist mir klar, daß es zerfiel. now clearly it has collapsed. Nichts wird mir mehr gelingen, I’ll have no more success: Der Tod wird mich verschlingen. death will swallow me.

DER TOD ZUM KÜSTER DEATH TO THE PARISH CLERK Gelingt es dir, dich hochzuheben If you manage to rise higher, Kommt dir mehr Gefahr ins Leben more danger comes into your life. Doch streibst du weiter Jahr für Jahr, By years of exertion, So bringst du dich nur in Gefahr. you only come into danger. Drum folge mir, begleite mich, So follow me, keep me company, Damit kein Hochmut packe dich don’t be caught by vanity, Und bleibe gottesfromm. abide in fear of God. ... Nu, Mann des Handwerks, komm. ... Now, Handworker, come.

DER HANDWERKER THE HANDWORKER Ach weh, was wird mir geschehen? Woe, what will happen to me? Übles ist mir vorgesehen. The prospect is not good. Nachläßig war ich, unbedacht, I was neglectful, thoughtless, Und auch mein Handwerk schlecht gemacht. even did my handwork badly. Ich schätzte meine Güter sehr I treasured my possessions. Muß ich dich beten, lieber Herr, Dear Lord, I beg you All meine Sünden zu vergeben to forgive all my sins. O führe mich ins ew’ge Leben! Lead me into eternal life!

DER TOD ZUM HANDWERKER DEATH TO THE HANDWORKER Handwerker, Schurken allgemein! Handworkers, rascals one and all! Ihr achtet wohl auf alles Klein. Your concerns are petty, Sich wechselseitig gern betrügen you readily cheat each other, Und dies und das zusammenlügen. you concoct all sorts of lies. Ihr denkt so selten an der Tod You so rarely think about Death, Der Euch wie allen and’ren droht who threatens you like all the rest! Für euer Seele wird es schwer. It’ll be hard for your soul. ... Bauer, in den Reigen, kommet her. ... Peasants, come forward into the ring.

62 DER TOD ZUM BAUER DEATH TO THE PEASANT Komm Landsmann zu dem Tanz, Rustic, come to the dance, von Müh’ und Arbeit heiß hot with labour and toil. So schwitzest du zuletzt At last you shall sweat den kalten Todeßchweiß. the cold sweat of Death. Mit deiner Mühsal und Ehrlichkeit With your honest effort, gehört dir das Himmelreich. the heavenly kingdom is yours. Du kannst wohl fröhlich tanzen, You can dance joyfully indeed! nun komm’ zu mir sogleich. Come to me, now.

DER BAUER THE PEASANT Ich trug des Tages Last und Not I bore the day’s burden and need, und aß mein schwerverdientes Brot. and ate my hard–earned bread. Doch will mein Führer mich But now my Guide shall zu sanfter Ruhe bringen, bring me to sweet repose: so kann ich wohlvergnügt contented I may sing das Consummatum singen. Consummatum Est.

DER TOD ZUM MÄDCHEN DEATH TO THE MAIDEN Ich halte wie die Welt I don’t hold with the world, von Komplimenten nichts. I pay no compliments. Muß sagen mein hartes Wort, I say my harsh words das Stahl und Eisen bricht. that break iron and steel. Und warum wollt ihr mir And why do you deny me den letzten Tanz versagen? the last dance? Die Jungfrau’n pflegen sonst Girls don’t usually kein Tänzchen abzuschlagen. turn down a little dance.

DAS MÄDCHEN THE MAIDEN Ich spür von der Welt die Freude. I sense the joy of the world Dich kenn ich nicht, fremder Mann. Stranger, I don’t know you. Ich folge, weil ich muß, I follow, since I must, und tanze, wie ich kann. and I dance, as I can.

DER TOD ZUM KIND DEATH TO THE CHILD Nimm zarter Säugling an den frühen You tender babe, behold the scythe’s Sensenschlag. untimely blow. Und schlaf hernach getrost bis zu dem Till the last day, sleep now: sleep on, Jüngsten Tag! consoled.

DAS KIND THE CHILD O Tod wie soll ich das verstehen? O Death, how can I understand? Ich soll tanzen und kann nicht gehen! I cannot walk, yet I must dance!

Anonymous, 15th century Translation copyright © TIMOTHY ADÈS

week 6 text and translation 63

To Read and Hear More...

A good place to start reading about Benjamin Britten is Michael Kennedy’s Britten in the Master Musicians series (Oxford paperback). The big biographical account of the composer’s life is Humphrey Carpenter’s Benjamin Britten (Scribners). Two other biogra- phies were published in 2013 to mark the composer’s centennial: Neil Powell’s Benjamin Britten: A Life for Music (Henry Holt) and Paul Kildea’s Benjamin Britten: A Life in the Twentieth Century (Penguin paperback). Other older books that remain of interest include Michael Oliver’s Benjamin Britten in the well-illustrated series “20th-Century Composers” (Phaidon paperback), Peter Evans’s The Music of Benjamin Britten (Claren- don Press), and Letters From a Life: Selected Letters and Diaries of Benjamin Britten, a 1400- page compilation edited by Donald Mitchell and Philip Reed (University of California). Other sources of information include The Cambridge Companion to Benjamin Britten, edit- ed by Mervyn Cooke (Cambridge University paperback); Britten’s Musical Language by Philip Rupprecht (also Cambridge); Rethinking Britten, an essay collection edited by Rup- precht (Oxford), and The Britten Companion, edited by Christopher Palmer (Cambridge). Out of print but worth seeking from second-hand sources is the photographic survey Benjamin Britten: Pictures From a Life, 1913-1976, by Donald Mitchell and John Evans (Scribners). For basic information on the composer and his music, visit the website of the Britten-Pears Foundation, brittenpears.org.

Britten himself recorded the Sinfonia da Requiem with the National Philharmonic Orches- tra (Decca); a live performance with the composer conducting the Southwest German Radio Symphony Orchestra is also available (Hänssler Classsic). Other recordings include Steuart Bedford’s (Naxos), Richard Hickox’s (Chandos), and André Previn’s (EMI), all with the London Symphony Orchestra; Libor Pešek’s with the Royal Liverpool Philharmonic (Warner Classics), and ’s with the City of Birmingham Sym- phony Orchesta (EMI).

Robert Layton’s Sibelius in the Master Musicians series is a useful life-and-works study (Schirmer). The major biography of Sibelius, in Finnish, is by Erik Tawaststjerna. All three volumes have been translated into English by Robert Layton, but only the first two were published in this country (University of California; the third volume was pub- lished by Faber & Faber in London). Also useful are Andrew Barnett’s Sibelius, a detailed, single-volume study of the composer’s life and music (Yale University Press), and The Sibelius Companion, edited by Glenda Dawn Ross, a compendium of essays by a variety of Sibelius specialists (Greenwood Press). Lionel Pike’s collection of essays, Beethoven,

week 6 read and hear more 65 Sibelius, and “the Profound Logic,” is recommended to readers with a strong technical knowledge of music (Athlone Press, London). English-language editions of the Kalevala, the collection of Finnish folk legends that served as inspiration for a number of Sibelius’s works, include translations by Francis Peabody Magoun, Jr. (Harvard University paper- back) and Keith Bosley (Oxford World’s Classic paperback).

The Boston Symphony Orchestra recorded Tapiola with Colin Davis conducting in 1975 as part of his famous Sibelius cycle with the BSO (Philips), and with Serge Koussevitzky conducting in 1939 (originally RCA). Other recordings include Paavo Berglund’s with the Helsinki Philharmonic (EMI), Herbert Blomstedt’s with the San Francisco Symphony (Decca), Sakari Oramo’s with the City of Birmingham Symphony Orchestra (Erato), Osmo Vänskä’s with the Lahti Symphony Orchestra (Bis), and an historic 1932 recording with Sibelius champion Robert Kajanus leading the London Symphony Orchestra (Warner Classics, in the five-disc set “Jean Sibelius, Historical Recordings and Rarities, 1928-1948”).

Marc Mandel

Thomas Adès’s website, thomasades.com, is the most comprehensive source for up-to- date information about the composer. Basic information can also be found on the web- sites of his publisher, Faber Music (fabermusic.com), and his record label, EMI Classics (emiclassics.com). The Faber site features a works-list and program notes for many of Adès’s pieces. Thomas Adès: Full of Noises, conversations with , presents Adès as a widely knowledgeable polemicist and offers some commentary on method and

66 on specific pieces, but be aware that this is neither a biography nor a methodical sur- vey of the composer’s music (Farrar, Straus and Giroux). Tom Service is a respected and thoughtful English critic writing for . The brief Adès article in New Grove II, originally written more than a dozen years ago and not yet updated, was written by Arnold Whitall.

Totentanz has not been released as a commercial recording, but at least for the time being a video of the premiere performance from the 2013 London Proms, with the com- poser conducting the BBC Symphony Orchestra, mezzo-soprano Christianne Stotijn, and baritone Simon Keenlyside, is accessible via YouTube: https://www.youtube.com/ watch?v=2G8ySgSayK8. The performance is preceded by a short conversation about the piece between Adès and Tom Service. Much of Adès’s music has been released on EMI. Of particular interest is the composer’s Shakespeare-based opera The Tempest; the 2007 Covent Garden production is available on CD, and the 2012 Metropolitan Opera production has been issued by Deutsche Grammophon on DVD. Taking single works from a number of earlier releases is the two-disc “Anthology” that includes the string quartet , the Quintet for Piano and Strings, America: A Prophecy, and the Adès/Anthony Marwood recording of the Violin Concerto, along with a number of other pieces. Sir Simon Rattle and the City of Birmingham Symphony Orchestra recorded his quasi-symphony Asyla (on a disc including his Concerto Conciso, These Premises Are Alarmed, Chamber Symphony, and ...but all shall be well). The opera Powder Her Face is also available, performed by the Almeida Opera and conducted by the composer. Other releases include a live New York Philharmonic performance of Polaris under Alan Gilbert (released by the Philharmonic for download via iTunes); a disc of chamber music with the composer and the Calder Quartet (Signum Classics); and the piano concerto In Seven Days with soloist Nicolas Hodges and the London led by Adès (Signum Classics). Adès as a performer of others’ music has released a piano recital disc of works by Grieg, Busoni, Janáˇcek, Stanchinsky, Kurtág, and Castiglioni, and accompanies tenor Ian Bostridge in Janáˇcek’s song cycle The Diary of One Who Disappeared (both also EMI). A disc of music for cello and piano with cellist Steven Isserlis, “Lieux retrouvés,” includes works by Liszt, Fauré, Kurtág, Janáˇcek, and Adès (Hyperion). As conductor, Adès led the Birmingham Contemporary Music Group and various soloists in Gerald Barry’s opera The Importance of Being Earnest, recorded live in concert performances in 2012 (NMC).

Robert Kirzinger

week 6 read and hear more 67 familymatters

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goulstonstorrs.com Guest Artists Brian Voce

Thomas Adès

Thomas Adès was born in London in 1971. His compositions include three : the most recent, The Exterminating Angel, which was premiered at the 2016 Salzburg Festival, and will be heard at the Royal Opera–Covent Garden, the Metropolitan Opera, and Royal Danish Opera; his first,Powder Her Face, which was presented at the Cheltenham Festival/ Almeida Theatre in 1995; and The Tempest, commissioned by Covent Garden in 2004 with subsequent productions at the Vienna State Opera, Metropolitan Opera, and elsewhere. His orchestral works include Asyla (City of Birmingham Symphony Orchestra, 1997), Tevot (Berlin Philharmonic and Carnegie Hall, 2007), Polaris (New World Symphony, Miami 2011), the Violin Concerto, Concentric Paths (Berliner Festspiele and the BBC Proms, 2005), In Seven Days–Piano Concerto with moving image ( and London’s Royal Festival Hall, 2008), and Totentanz for mezzo-soprano, baritone, and orchestra (BBC Proms, 2013). Chamber works include the string quartets Arcadiana (1993) and The Four Quarters (2011), the Piano Quintet (2001), and Lieux retrouvés for cello and piano (2010). Solo piano works include Darknesse Visible (1992), Traced Overhead (1996), and Three Mazurkas (2010). Choral works include The Fairfax Carol (King’s College, Cambridge, 1997), America: a Prophecy (New York Philharmonic, 1999), and January Writ (Temple Church, London 2000). Thomas Adès was recently appointed the Boston Symphony Orchestra’s first-ever Artistic Partner. As the BSO's Deborah and Philip Edmundson Artis- tic Partner for three seasons beginning this fall, he will collaborate variously as conductor, pianist, curator, and educator with members of the BSO community both in Boston and at Tanglewood. Mr. Adès coaches piano and chamber music regularly at the International

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Developed by Massachusetts General Hospital Proudly Celebrating 25 Years! Musicians Seminar at Prussia Cove, Cornwall, and from 1999 to 2008 served as artistic director of the Aldeburgh Festival. In addition to the BSO, Thomas Adès regularly conducts the Los Angeles Philharmonic, New York Philharmonic, London Symphony Orchestra, the Royal of Amsterdam, the Melbourne Symphony, Sydney Symphony, BBC Symphony, and City of Birmingham Symphony Orchestra, among others. He has led opera productions at Covent Garden, the Metropolitan Opera, Vienna Philharmonic, Salzburg Festival, and Zurich Opera. Current and future engagements include conducting Totentanz with the Boston Symphony Orchestra and Los Angeles Philharmonic, and a tour of Schubert’s Winterreise with Ian Bostridge, including a performance in Boston at New England Conservatory’s Jordan Hall. His many awards include the Grawemeyer Award for Asyla (1999); Royal Philharmonic Society large-scale composition awards for Asyla, The Tempest, and Tevot; the Ernst von Siemens Composers’ Prize for Arcadiana; and the British Composer Award for The Four Quarters. His CD recording of The Tempest from the Royal Opera House (EMI) won the Contemporary category of the 2010 Gramophone Awards; and his DVD of the production from the Metropolitan Opera was awarded the 2013 Diapason d’Or de l’Année, a 2014 Grammy Award for Best Opera Recording, and a 2014 ECHO Klassik Award for Music DVD Recording of the Year. In 2015 he was awarded Denmark’s prestigious Léonie Sonning Music Prize. Thomas Adès made his BSO debut in March 2011 (leading music of Tchaikovsky, Sibelius, and his own), subsequently returning for further subscription series in November 2012 (a program of Sibelius, Prokofiev, and Adès) and October 2013 (music of Mendelssohn, Ives, Adès, and Franck). Last weekend at Jordan Hall he collaborated as pianist with tenor Ian Bostridge in Schubert’s Winterreise on Friday night, and as conductor-pianist-composer with the Boston Symphony Chamber Players on Sunday afternoon.

Christianne Stotijn

Born in Delft, mezzo-soprano Christianne Stotijn studied violin and voice at the Amsterdam Conservatory. After obtaining her solo violin diploma, she continued her vocal studies with Udo Reinemann, Jard van Nes, and Dame Janet Baker. Ms. Stotijn has won numerous awards, including the ECHO Rising Stars Award, the Borletti-Buitoni Award, and the Neder-

week 6 guest artists 71 lands Muziekprijs; she was a 2007 BBC New Generation Artist. She performs regularly in recital with longtime accompanists Joseph Breinl and Julius Drake, and in chamber music with such musicians as violist Antoine Tamestit, her brother, double bassist Rick Stotijn, and the Oxalys Ensemble. Under the direction of Bernard Haitink, who has had a profound influence on her career, she has performed with the Royal Concertgebouw Orchestra, Bos- ton Symphony, Chicago Symphony, and London Symphony. She has also worked with such conductors as Claudio Abbado, Iván Fischer, Esa-Pekka Salonen, Yannick Nézet-Séguin, Andris Nelsons, Gustavo Dudamel, Mark Elder, and , performing repertoire including Berlioz’s La Mort de Cléopâtre and Les Nuits d’été, Elgar’s Sea Pictures, Britten’s Phae- dra, Mussorgsky’s Songs and Dances of Death, Mahler’s Rückert-Lieder and Kindertotenlieder, Lieberson’s Neruda Songs, Henze’s Fünf neapolitanische Lieder, Wagner’s Wesendonck-Lieder, and Berg’s Sieben frühe Lieder. Composer Michel van der Aa jointly dedicated his song cycle Spaces of Blank to Ms. Stotijn and the Royal Concertgebouw Orchestra in 2009. In 2013 she sang the world premiere at the London Proms of Adès’s Totentanz, a piece she has since sung with the New York Philharmonic, Danish National Symphony (both under Adès), and with the Hamburg Symphony under Jeffrey Tate. On the operatic stage she has sung Pauline in Pique Dame at the Paris Opera, Isabella in L’italiana in Algeri at Festival d’Aix-en-Provence, Ottavia in Poppea at , the Teatro Campoamor in Oviedo, and the Teatro Arriaga in Bilbao, and Cornelia in Giulio Cesare at the Monnaie in Brussels and Dutch National Opera. She has sung the title role in Tamerlano at the Royal Opera House–Covent Garden, Brangäne in a concert performance of Wagner’s Tristan und Isolde, and Marfa in Mussorgsky’s Khovanshchina at Oper Stuttgart. Her 2016-17 season includes Totentanz un- der Thomas Adès with the Boston Symphony, Los Angeles Philharmonic, and RTE National Symphony orchestras; Berlioz’s L’Enfance du Christ with the Scottish Chamber Orchestra under Emmanuel Krivine; Elijah with the Vienna Symphony and Matthew Halls; Neruda Songs with the Rotterdam Philharmonic under Andrés Orozco-Estrada; Ivan the Terrible with the Royal Flemish Philharmonic and Martyn Brabbins; Mozart’s Requiem with the Rund- funk Sinfonieorchester Berlin and Vladimir Jurowski; St. Matthew Passion with the Dallas Symphony under Jaap van Zweden; Des Knaben Wunderhorn with the Oslo Philharmonic and Christian Eggen, and Mahler’s Third Symphony with the Prague Symphony Orchestra. Christianne Stotijn’s acclaimed discography includes Tchaikovsky songs (Onyx; BBC Music Magazine Award-winner), Frank Martin’s Die Weise von Liebe und Tod des Cornets Christoph Rilke (MDG; ECHO Award), and, most recently, her debut recording for Warner Classics, “If the Owl Calls Again” (Gramophone Editor’s Choice). Christianne Stotijn has appeared with the Boston Symphony Orchestra on three previous occasions: in Bach’s St. Matthew Passion with Bernard Haitink conducting in March 2008; in Mahler’s Symphony No. 2 in July 2008 at Tanglewood, also with Mr. Haitink; and in Mahler’s Das Lied von der Erde at Symphony Hall in October 2013 with .

72 Mark Stone

Making his Boston Symphony debut this week, baritone Mark Stone studied mathematics at King’s College, Cambridge, and singing at the Guildhall School of Music and Drama. In 1998 he was awarded the Decca Prize at the Kathleen Ferrier Awards. Recent operatic engagements include the title role in at , , and ; Mountjoy (Britten’s ) and Valmont (Francesconi’s Quartett) at the Royal Opera House–Covent Garden; Storch () at ; Ned Keene (Peter Grimes) with the London Philharmonic Orchestra and Vladimir Jurowski and at the Beijing Festival; Count Almaviva (Le nozze di Figaro) at and in Hamburg; Faninal () with the City of Birmingham Symphony Orchestra and Andris Nelsons; Kurwenal (Tristan und Isolde) with the London Symphony Orchestra under Daniel Harding; the Ferryman in the acclaimed Netia Jones production of Britten’s , and his first Rigoletto for Nevill Holt Opera. He regularly appears with Philadelphia Opera, where his roles have included Ford (Falstaff), Giorgio Germont (La traviata), the title role in , and, most recently, Papageno (Die Zauberflöte). In Santa Fe he has sung Guglielmo in Così fan tutte. In the 2016-17 season he returns to the Los Angeles Philharmonic for Gerald Barry’s Alice. In Europe this season he sings the title role in his first staged production ofWozzeck in Geneva, and returns to Welsh National Opera for Eisenstein () and the Count in Elena Lange’s , and to Garsington for Prosdocimo (). Recent concert engagements have taken him to the New York Philharmonic and Danish Radio Orchestra with Thomas Adès (Totentanz), the Rotterdam Philharmonic under James Gaffigan (Vaughan Williams’sA Sea Symphony), the Kammerorchester Basel with Paul Goodwin (Messiah), the São Paulo State Symphony (Stravinsky’s Canticum Sacrum), Orchestre Dijon Bourgogne with Gergely Madaras (A German Requiem), the Helsinki Philharmonic, CBSO, and Royal Liverpool Philharmonic under John Storgårds (Walton’s Belshazzar’s Feast), and the BBC Scottish Symphony with Andrew Manze (Vaughan Williams’s A Sea Symphony).

week 6 guest artists 73 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 run- ning a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Bart Reidy, Director of Development, at 617-638-9469 or [email protected].

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

seven and one half million Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

five million Alli and Bill Achtmeyer • Bank of America • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million Mary and J.P. Barger • Gabriella and Leo Beranek • Roberta and George ‡ Berry • Peter and Anne Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mara E. Dole ‡ • Fairmont Copley Plaza and Fairmont Hotels and Resorts •

Jane and Jack Fitzpatrick ‡ • Susan Morse Hilles ‡ • Dorothy and Charlie Jenkins • Stephen B. Kay and Lisbeth L. Tarlow/The Aquidneck Foundation • The Kresge Foundation • Lizbeth and George Krupp • Liberty Mutual Foundation, Inc. • Massachusetts Cultural Council • Kate and Al ‡ Merck • Cecile Higginson Murphy • National Endowment for the Arts • William and Lia Poorvu • John S. and Cynthia Reed • Carol and Joe Reich • Kristin and Roger Servison • Miriam Shaw Fund • State Street Corporation and State Street Foundation • Thomas G. Stemberg ‡ • Miriam and Sidney Stoneman ‡ • Elizabeth B. Storer ‡ • Caroline and James Taylor • Samantha and John Williams • Anonymous (3)

74 one million Helaine B. Allen • American Airlines • Lois and Harlan Anderson • Mariann Berg (Hundahl) Appley • Arbella Insurance Foundation and Arbella Insurance Group • Dorothy and David B. ‡ Arnold, Jr. • AT&T • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. Casty • Commonwealth Worldwide Chauffeured Transportation • Mr. and Mrs. William H. Congleton ‡ • William F. Connell ‡ and Family • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney •

Elisabeth K. and Stanton W. Davis ‡ • Mary Deland R. de Beaumont ‡ • Delta Air Lines • Bob and Happy Doran • Alan and Lisa Dynner and Akiko ‡ Dynner • Deborah and Philip Edmundson • William and Deborah Elfers • Elizabeth B. Ely ‡ • Nancy S. and John P. Eustis II ‡ • Shirley and Richard ‡ Fennell • Anna E. Finnerty ‡ • John and Cyndy Fish • Fromm Music Foundation • The Ann and Gordon Getty Foundation • Marie L. Gillet ‡ • Sophia and Bernard Gordon • Mrs. Donald C. Heath ‡ • Francis Lee Higginson ‡ • Major Henry Lee Higginson ‡ • John Hitchcock ‡ • Edith C. Howie ‡ • John Hancock Financial •

Muriel E. and Richard L. ‡ Kaye • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Commonwealth of Massachusetts • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust •

Mary S. Newman ‡ • Mrs. Mischa Nieland ‡ and Dr. Michael L. Nieland • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (9)

‡ Deceased

week 6 the great benefactors 75

Corporate, Foundation, and Government Contributors

The operating support provided by members of the corporate community, foundation grantors, and government agencies enables the Boston Symphony Orchestra to maintain an unparalleled level of artistic excellence, to keep ticket prices at accessible levels, and to support extensive education and community engagement programs throughout the Greater Boston area and the Commonwealth of Massachusetts. The BSO gratefully acknowledges the following contributors for their generous support during the 2015-16 season through major corporate sponsorships, corporate events, BSO Business Partners, foundations programs, and government grants.

$500,000 and above Fidelity Investments

$250,000 - $499,999 Arbella Insurance Foundation and Arbella Insurance Group, John F. Donohue • Bank of America, Anne M. Finucane, Miceal Chamberlain • EMC Corporation, William J. Teuber, Jr. • Fairmont Copley Plaza, George Terpilowski • Massachusetts Cultural Council and MassDevelopment

$100,000 - $249,999 American Airlines, Jim Carter • Commonwealth Worldwide Chauffeured Transportation, Dawson Rutter • Delta Air Lines, Charlie Schewe • The Nancy Foss Heath and Richard B. Heath Educational, Cultural and Environmental Foundation • National Endowment for the Arts

$50,000 - $99,999 Citizens Bank, Stephen T. Gannon • Dick and Ann Marie Connolly • Fromm Music Foundation • The Geoffrey C. Hughes Foundation • The Ann and Gordon Getty Foundation • Intercontinental Real Estate Corporation, Peter Palandjian • Mastercard • Miriam Shaw Fund • National Endowment for the Humanities • National Historical Publications and Records Commission • Parthenon-EY, Alli and Bill Achtmeyer • Perspecta Trust, LLC, Paul M. Montrone • Putnam Investments, Robert L. Reynolds • Stoneman Family Foundation • Suffolk Cares, John F. Fish

week 6 corporate, foundation, and government contributors 77 $25,000 - $49,999 The Aaron Copland Fund for Music, Inc. • Adage Capital Management, Michelle and Bob Atchinson • Anbaric Holding LLC, Edward N. Krapels • Josh and Anita Bekenstein • Connell Limited Partnership, Frank Doyle, Margot C. Connell • Eileen and Jack Connors, Jr. • Eaton Vance Corp., Thomas E. Faust, Jr. • Elizabeth Taylor Fessenden Foundation • Eversource Energy, Jim Judge • Gerondelis Foundation • Goodwin, Regina M. Pisa • Grew Family Charitable Foundation • Hemenway & Barnes LLP, Kurt F. Somerville • Highland Capital Partners & Highland Consumer Partners • Hill Holliday, Karen Kaplan • Houghton Mifflin Harcourt, William Bayers • John Hancock Financial, Craig Bromley • Kingsbury Road Charitable Foundation • Liberty Mutual Insurance, David H. Long • The Lynch Foundation • The McGrath Family/The Highland Street Foundation/Holly and David Bruce • Natixis Global Asset Management, John T. Hailer • The New England Foundation, Joseph C. McNay • Staples, Inc., Shira Goodman • Vertex Pharmaceuticals, Inc., Jeffrey Leiden • Waters Corporation, Chris O’Connell • Edwin S. Webster Foundation • Wilmington Trust, N.A., Christopher T. Casey • Wynn Boston Harbor, Bob DeSalvio

$15,000 - $24,999 The Harold Alfond Foundation • Alfred P. Sloan Foundation • Analog Devices, Inc., Ray Stata • Arthur J. Hurley Company, Inc., Arthur J. Hurley III • Associated Grant Makers of Massachusetts • Bicon, LLC, Vincent J. Morgan, D.M.D. • Blue Cross Blue Shield of Massachusetts, Andrew Dreyfus • The Boston Consulting Group, Kermit King • Boston Private, Clayton G. Deutsch • Boston Seed Capital, LLC, Nicole Maria Stata • The Carl & Ruth Shapiro Family Foundation • Charles Schwab & Co., Inc. • Clough Capital Partners, LP, Charles I. Clough, Jr. • RoAnn Costin • John and Diddy Cullinane • Debevoise & Plimpton LLP, Gregory J. Lyons • Farley White Interests, Roger W. Altreuter, John F. Power • Flex Pharma, Christoph Westphal • Goldman, Sachs & Co. • Greater Media, Inc., Peter H. Smyth • J.P. Marvel Investment Advisors, Inc., Joseph F. Patton, Jr. • John Moriarty & Associates, Inc., John Moriarty, David Leathers • The Gerald R. Jordan Foundation, Darlene L. Jordan • The Lowell Institute • Macy’s • John and Rose Mahoney • Martignetti Companies • Medical Information Technology, Inc., Howard Messing • MetLife Foundation • MullenLowe U.S. / Interpublic Group, Michael I. Roth • New Balance Foundation, Anne and Jim Davis • New England Development, Stephen R. Karp • OvaScience, Harald Stock • The Alice Ward Fund of The Rhode Island Foundation • Saquish Foundation • The TJX Companies, Inc. • Tufts Health Plan, Thomas A. Croswell • Sandra Urie and Frank Herron • Ernst von Siemens Music Foundation • VPNE Parking Solutions, Kevin W. Leary • WBZ-TV/CBS Boston, Mark Lund • Anonymous

$10,000 - $14,999 Advent International Corporation, Peter A. Brooke • Albrecht Auto Group, George T. Albrecht • Arthur J. Gallagher & Co., Patrick Veale • Billy Rose Foundation • Boston Properties, Inc., Douglas T. Linde • Dennis and Kimberly Burns • Cabot Corporation, Martin O’Neill • Charles River Laboratories, Inc., James C. Foster • Chubb, John Swords • Colliers International, Kevin C. Phelan • Deutsch Family Wine & Spirits • DJ Dream Fund, Inc. • EY, George R. Neble • Fiduciary Trust, Todd Eckler • FTI Consulting, Stephen J. Burlone • Steve and Betty Gannon • H. Carr & Sons, Inc., James L. Carr, Jr. • Herald Media, Inc., Patrick J. Purcell •

78 Ironshore, Kevin H. Kelley • JPMorgan Chase & Co., Stephen W. Burbage • Kaufman & Company, LLC, Sumner Kaufman • Roger and Myrna Landay Charitable Foundation • Mintz, Levin, Cohn, Ferris, Glovsky and Popeo, P.C. and ML Strategies, LLC, R. Robert Popeo, Esq. • Morgan, Lewis & Bockius LLP, Catherine Curtin • Navigator Management, Thomas M. O’Neill • New England Patriots Charitable Foundation • Steve and Judy Pagliuca • Raytheon Company • Jack and Alissa Sebastian • TA Realty, Michael Ruane • Tetlow Realty Associates, Inc., Paul B. Gilbert • The Verrochi Family • Wayne J. Griffin Electric, Inc., Wayne J. Griffin

$5,000 - $9,999 Abbot and Dorothy H. Stevens Foundation • Accenture • Adelaide Breed Bayrd Foundation • Adler Pollock & Sheehan P.C. • Allied Universal Security Services • The Amphion Foundation, Inc. • Amuleto, Mexican Table • Atlantic Trust Private Wealth Management • Berkshire Bank • Berkshire Partners LLC • Blake & Blake Genealogists • The Boston Globe • The Cambridge Homes • Century-TyWood Manufacturing Inc. • Chadwick Martin Bailey • The Clayton F. and Ruth L. Hawkridge Foundation • The Cleary Family • Michael Cronin • Cushman & Wakefield • Cutler Associates, Inc. • D.C. Beane and Associates Construction Company • Davidson Kempner Capital Management LP • Irene E. and George A. Davis Foundation • Davis Polk & Wardwell LLP • DeMoulas Supermarkets, Inc. • Gaston Dufresne Foundation • E2 Showjumpers • The E. Nakamichi Foundation • Edward A. Taft Trust • Epsilon • Feeney Brothers Excavation • The French American Fund for Contemporary Music • General Catalyst Partners • Greater Boston Chamber of Commerce • High Output, Inc. • IBM • International Paper • Jack Madden Ford • Locke Lord LLP • Lucia B. Morrill Charitable Foundation • McCarter & English, LLP • McKinsey & Company • The Norio Ohga Foundation • Nutter McClennen & Fish LLP • Joe and Kathy O’Donnell • Pamplona Capital Management • People’s United Bank • Abraham Perlman Foundation • Proskauer Rose LLP • PwC • Quanta Services, Inc. • Riemer & Braunstein LLP • Thomas A. and Georgina T. Russo Family Fund • William E. and Bertha E. Schrafft Charitable Trust • Shawmut Design and Construction • Signature Printing & Consulting, Woburn, MA • Stetson Whitcher Fund • The Studley Press, Inc. • Sullivan & Cromwell LLP • TigerRisk Partners • W.B. Mason Co., Inc. • Walsh Brothers, Inc. • Willis Towers Watson • Wilmer Cutler Pickering Hale and Dorr LLP • Wolf, Greenfield & Sacks, P.C. • Anonymous (2)

$2,500 - $4,999 Alice Willard Dorr Foundation • Allied Printing Services, Inc. • Boston Magazine • Brookline Youth Concerts Fund • Cambridge Community Foundation • Cambridge Trust Company • Carson Limited Partnership • Complete Staffing Solutions, Inc. • Congress Wealth Management • Katharine L.W. and Winthrop M. Crane, 3D Charitable Foundation • Elizabeth Grant Fund • Deborah and Vernon Ellinger and Colin and Erika Angle • Fire Equipment, Inc. • Fowler Printing & Graphics • The Fuller Foundation • Jackson and Irene Golden 1989 Charitable Trust • Greenberg Traurig LLP • Hoche-Scofield Foundation • Morrison & Foerster LLP • NorBella • Oxford Fund • Republic Services • Ruberto, Israel & Weiner • Sametz Blackstone Associates • Mr. and Mrs. Ronald Sargent • P.J. Spillane Company • Vedder Price • Verrill Dana • Anonymous

week 6 corporate, foundation, and government contributors 79

Administration

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

Bridget P. Carr, Senior Archivist • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production Christopher W. Ruigomez, Director of Concert Operations and Assistant Director of Tanglewood Kristie Chan, Chorus and Orchestra Management Assistant • Jennifer Dilzell, Chorus Manager • Tuaha Khan, Stage Technician • Jake Moerschel, Technical Supervisor/Assistant Stage Manager • Leah Monder, Operations Manager • John Morin, Stage Technician • Mark C. Rawson, Stage Technician • Emily W. Siders, Concert Operations Administrator • Nick Squire, Recording Engineer • Andrew Tremblay, Orchestra Personnel Administrator boston pops

Dennis Alves, Director of Artistic Planning • Richard MacDonald, Executive Producer and Operations Director • Pamela J. Picard, Executive Producer and Event Director, July 4 Fireworks Spectacular, and Broadcast and Media Director Wei Jing Saw, Assistant Manager of Artistic Administration • Amanda Severin, Manager of Artistic Planning and Services business office

Sarah J. Harrington, Director of Planning and Budgeting • Mia Schultz, Director of Investment Operations and Compliance • Natasa Vucetic, Controller James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Finance and Marketing Administrator • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Nia Patterson, Staff Accountant • Mario Rossi, Staff Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 6 administration 81 Celebrating

Big Bad Wolf DEC 11 3 PM ANNUAL FAMILY CONCERT William Schuman Newsreel in 5 Shots Bernard Hoffer : The Timber Wolf WORLD PREMIERE Andy Vores Big Bad Wolf TICKETS ON SALE Paul Patterson Little Red Riding Hood Song Book NEPhilharmonic.org WBZ-TV’s Eric Fisher, Narrator Boston City Singers, Joshua DeWitte, Director ALL CONCERTS HELD AT THE TSAI PERFORMANCE Concerto played by Young Artist Competition Winner CENTER

82 development

Susan Grosel, Director of Annual Funds and Donor Relations • Nina Jung, Director of Board, Donor, and Volunteer Engagement • Ryan Losey, Director of Foundation and Government Relations • John C. MacRae, Director of Principal and Major Gifts • Jill Ng, Director of Planned Giving and Senior Major Gifts Officer • Richard Subrizio, Director of Development Communications • Mary E. Thomson, Director of Corporate Initiatives • Jennifer Roosa Williams, Director of Development Research and Information Systems Kyla Ainsworth, Donor Acknowledgment and Research Coordinator • Erin Asbury, Manager of Volunteer Services • Stephanie Baker, Assistant Director, Campaign Planning and Administration • Nadine Biss, Assistant Manager, Development Communications • Diane Cataudella, Associate Director, Donor Relations • Caitlin Charnley, Donor Ticketing Associate • Allison Cooley, Major Gifts Officer • Emily Diaz, Assistant Manager, Gift Processing • Elizabeth Estey, Major Gifts Coordinator • Emily Fritz-Endres, Executive Assistant to the Director of Development • Barbara Hanson, Senior Leadership Gifts Officer • Laura Hill, Friends Program Coordinator • James Jackson, Assistant Director, Telephone Outreach • Allison Kunze, Major Gifts Coordinator • Laine Kyllonen, Assistant Manager, Donor Relations • Andrew Leeson, Manager, Direct Fundraising and Friends Program • Anne McGuire, Assistant Manager, Corporate Initiatives and Research • Kara O’Keefe, Leadership Gifts Officer • Suzanne Page, Major Gifts Officer • Mark Paskind, Assistant Manager of Planned Giving • Kathleen Pendleton, Assistant Manager, Development Events and Volunteer Services • Johanna Pittman, Grant Writer • Maggie Rascoe, Annual Funds Coordinator • Emily Reynolds, Assistant Director, Development Information Systems • Francis Rogers, Major Gifts Officer • Alexandria Sieja, Assistant Director, Development Events • Yong-Hee Silver, Senior Major Gifts Officer • Szeman Tse, Assistant Director, Development Research education and community engagement Jessica Schmidt, Helaine B. Allen Director of Education and Community Engagement Claire Carr, Senior Manager of Education and Community Engagement • Emilio Gonzalez, Manager of Education and Community Engagement • Elizabeth Mullins, Assistant Manager of Education and Community Engagement • Darlene White, Manager of Berkshire Education and Community Engagement facilities Robert Barnes, Director of Facilities symphony hall operations Peter J. Rossi, Symphony Hall Facilities Manager Charles F. Cassell, Jr., Facilities Compliance and Training Coordinator • Alana Forbes, Facilities Coordinator • Shawn Wilder, Mailroom Clerk maintenance services Jim Boudreau, Lead Electrician • Thomas Davenport, Carpenter • Michael Frazier, Carpenter • Steven Harper, HVAC Technician • Sandra Lemerise, Painter • Adam Twiss, Electrician environmental services Landel Milton, Lead Custodian • Rudolph Lewis, Assistant Lead Custodian • Desmond Boland, Custodian • Julien Buckmire, Custodian/Set-up Coordinator • Claudia Ramirez Calmo, Custodian • Garfield Cunningham, Custodian • Errol Smart, Custodian • Gaho Boniface Wahi, Custodian tanglewood operations Robert Lahart, Director of Tanglewood Facilities Bruce Peeples, Grounds Supervisor • Peter Socha, Tanglewood Facilities Manager • Fallyn Davis, Tanglewood Facilities Coordinator • Stephen Curley, Crew • Richard Drumm, Mechanic • Maurice Garofoli, Electrician • Bruce Huber, Assistant Carpenter/Roofer human resources

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

week 6 administration 83 Redefining Retirement

Carleton-Willard Village is a place to truly call home. The grounds connect our residents to a rich sense of heritage, while social activities foster a deep sense of connection. Interested in connecting with our community while staying in your own home? Carleton- Willard At Home offers a membership with many of the benefits of Village life. Contact us today to learn more.

781.275.8700 www.cwvillage.org

Wolfgang, Gustav, Johann Sebastian, Sergei, and Franz, meet NEC’s 2016-17 Orchestra Season Cindy, Ellen, features work by seven women composers. That’s in addition to Augusta, Anna, favorites by Mozart, Mahler, Bach, and more. Fabulous performances, Caroline, Jennifer, superb young musicians, Jordan Hall—and such exciting music. All for free. You don’t want to miss and Kati. this season!

necmusic.edu/orchestras

84 information technology Timothy James, Director of Information Technology Andrew Cordero, IT Asset Manager • Ana Costagliola, Database Business Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Infrastructure Systems Manager • Brian Van Sickle, User Support Specialist public relations

Samuel Brewer, Senior Publicist • Alyssa Kim, Senior Publicist • Taryn Lott, Assistant Director of Public Relations 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

Helen N.H. Brady, Director of Group Sales • Alyson Bristol, Director of Corporate Partnerships • Dan Kaplan, Director of Boston Pops Business Development • Roberta Kennedy, Buyer for Symphony Hall and Tanglewood • Sarah L. Manoog, Director of Marketing • Michael Miller, Director of Ticketing Amy Aldrich, Associate Director of Subscriptions and Patron Services • Christopher Barberesi, Assistant Manager, Corporate Partnerships • Gretchen Borzi, Associate Director of Marketing • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Mary Ludwig, Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michelle Meacham, Subscriptions Representative • Michael Moore, Associate Director of Internet Marketing and Digital Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Internet Marketing and Social Media Manager • Greg Ragnio, Subscriptions Representative • Doreen Reis, Advertising Manager • Laura Schneider, Internet Marketing Manager and Front End Lead • Robert Sistare, Senior Subscriptions Representative • Richard Sizensky, Access Coordinator • Kevin Toler, Art Director • Himanshu Vakil, Associate Director of Internet and Security Technologies • Claudia Veitch, Director, BSO Business Partners • Thomas Vigna, Group Sales and Marketing Associate • Amanda Warren, Graphic Designer • Ellery Weiss, SymphonyCharge Representative • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Jane Esterquest, Box Office Administrator • Kelsey Devlin, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • Luciano Silva, Manager of Venue Rentals and Event Administration • John Stanton, Venue and Events Manager tanglewood music center

Karen Leopardi, Associate Director for Faculty and Guest Artists • Michael Nock, Associate Director for Student Affairs • Bridget Sawyer-Revels, Manager of Administration • Gary Wallen, Associate Director for Production and Scheduling

week 6 administration 85

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Alexandra Warshaw Secretary, Susan Price Co-Chairs, Boston Mary Gregorio • Trish Lavoie • George Mellman Co-Chairs, Tanglewood Bob Braun • David Galpern • Gabriel Kosakoff Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2016-17

Café Flowers, Stephanie Henry and Kevin Montague • Chamber Music Series, Rita Richmond • Computer and Office Support, Helen Adelman • Flower Decorating, Linda Clarke • Guide’s Guide, Audley H. Fuller and Renee Voltmann • Instrument Playground, Melissa Riesgo • Mailings, Steve Butera • Membership Table/Hall Greeters, Sabrina Ellis • Newsletter, Cassandra Gordon • Volunteer Applications, Carol Beck • Symphony Shop, Karen Brown • Tour Guides, Cathy Mazza

week 6 administration 87 Next Program…

Tuesday, November 8, 8pm Thursday, November 10, 8pm Friday, November 11, 1:30pm (Friday Preview from 12:15-12:45 in Symphony Hall) Saturday, November 12, 8pm

andris nelsons conducting

Eric nathan “the space of a door” (world premiere; bso commission)

brahms piano concerto no. 1 in d minor, opus 15 Maestoso Adagio Allegro non troppo hélène grimaud

{intermission}

brahms symphony no. 1 in c minor, opus 68 (november 8 and 10 only) Un poco sostenuto—Allegro Andante sostenuto Un poco allegretto e grazioso Adagio—Più Andante—Allegro non troppo ma con brio—Più Allegro

brahms symphony no. 2 in d, opus 73 (november 11 and 12 only) Allegro non troppo Adagio non troppo Allegretto grazioso (quasi andantino) Allegro con spirito

With these concerts, BSO Music Director Andris Nelsons opens a two-week Brahms mini-festival traversing all four of the composer’s symphonies and his two piano concertos, both featuring the distinguished French pianist Hélène Grimaud. In addition, these concerts feature the world premieres of two brief, complementary works commissioned for the occasion from the young American composers Eric Nathan and Timo Andres. Nathan’s piece begins the first of these programs, which continues with Brahms’s intense, craggy Piano Concerto in D minor. Brahms’s First Symphony concludes the concerts of November 8 and 10; the Second Symphony completes the concerts of November 11 and 12.

88 Coming Concerts… friday previews and rehearsal talks: The BSO offers half-hour talks prior to all of the BSO’s Friday-afternoon subscription concerts and Thursday-morning Open Rehearsals. Free to all ticket holders, the Friday Previews take place from 12:15-12:45 p.m. and the Open Rehearsal Talks from 9:30-10 a.m. in Symphony Hall.

Tuesday ‘C’ November 8, 8-10:20 Tuesday ‘C’ November 22, 8-9:55 Thursday ‘D’ November 10, 8-10:20 Friday ‘A’ November 25, 1:30-3:25 Friday ‘B’ November 11, 1:30-3:45 Saturday ‘A’ November 26, 8-9:55 Saturday ‘A’ November 12, 8-10:15 MORITZ GNANN, conductor ANDRIS NELSONS, conductor MENAHEM PRESSLER, piano HÉLÈNE GRIMAUD , piano MENDELSSOHN Overture, The Hebrides NATHAN the space of a door (world (Fingal’s Cave) premiere; BSO commission) MOZART Piano Concerto No. 27 in BRAHMS Piano Concerto No. 1 B-flat, K.595 BRAHMS Symphony No. 1 DVORÁˇ K Symphony No. 9, From the (November 8 & 10 only) New World BRAHMS Symphony No. 2 (November 11 & 12 only) Thursday ‘C’ January 5, 8-10 Friday ‘B’ January 6, 1:30-3:30 Tuesday ‘B’ November 15, 8-10:10 Saturday ‘A’ January 7, 8-10 Thursday ‘B’ November 17, 8-10:10 KEN-DAVID MASUR, conductor Friday Evening November 18, 8-10:15 CYNTHIA MEYERS, piccolo Saturday ‘B’ November 19, 8-10:15 WILLIAM R. HUDGINS and ANDRIS NELSONS, conductor MICHAEL WAYNE, clarinets HÉLÈNE GRIMAUD, piano THOMAS ROLFS, trumpet TOBY OFT ANDRES Everything Happens So , trombone Much (world premiere; JAMES SOMMERVILLE, MICHAEL WINTER, BSO commission) RACHEL CHILDERS, and JASON SNIDER, horns BRAHMS Piano Concerto No. 2 VIVALDI Piccolo Concerto in C BRAHMS Symphony No. 3 KROMMER Concerto No. 2 for two (November 15 & 17 only) clarinets and orchestra BRAHMS Symphony No. 4 JOLIVET Concertino for trumpet, (November 18 & 19 only) piano, and strings ROTA Concerto for Trombone and Orchestra SCHUMANN Concert Piece for four horns and orchestra The BSO’s 2016-17 season is supported in part by the Massachusetts Cultural Council, which receives support from the State of Massachusetts and the National Endowment for the Arts. Programs and artists subject to change.

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

week 6 coming concerts 89 Symphony Hall Exit Plan

90 Symphony Hall Information

For Symphony Hall concert and ticket information, call (617) 266-1492. For Boston Symphony concert program information, call “C-O-N-C-E-R-T” (266-2378). The Boston Symphony Orchestra performs ten months a year, in Symphony Hall and at Tanglewood. For infor- mation about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday (4 p.m. until 6 p.m. on Saturday), until 8:30 p.m. on concert evenings, and for a half-hour past starting time for other events. In addition, the box office opens at least two hours prior to most Sunday performances. Single tickets for all Boston Symphony subscription concerts are available at the box office. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (4 p.m. to 8:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are avail- able inside the Cohen Wing. For more information, call the Access Services Administrator line at (617) 638-9431 or TDD/TTY (617) 638-9289. In consideration of our patrons and artists, children age four or younger will not be admitted to Boston Symphony Orchestra concerts. Please note that no food or beverage (except water) is permitted in the Symphony Hall auditorium. Patrons who bring bags to Symphony Hall are subject to mandatory inspections before entering the building. Those arriving late or returning to their seats will be seated by the patron service staff only during a convenient pause in the program. Those who need to leave before the end of the concert are asked to do so between pro- gram pieces in order not to disturb other patrons.

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

week 6 symphony hall information 91 Ticket Resale: If you are unable to attend a Boston Symphony concert for which you hold a subscription ticket, you may make your ticket available for resale by calling (617) 266-1492 during business hours, or (617) 638-9426 up to one hour before the concert. This helps bring needed revenue to the orchestra and makes your seat available to someone who wants to attend the concert. A mailed receipt will acknowledge your tax-deductible contribution. Rush Seats: There are a limited number of Rush Seats available for Boston Symphony subscription concerts on Tuesday and Thursday evenings, and on Friday afternoons. The low price of these seats is assured through the Morse Rush Seat Fund. Rush Tickets are sold at $9 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening con- certs. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balco- ny, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 All-Classical. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further infor- mation, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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