2017–18 Season Week 14 Mozart Shostakovich

2017–18 season andris nelsons music director

week 14 mozart shostakovich

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Takeda is proud to support the Boston Symphony Orchestra Table of Contents | Week 14

7 bso news 1 4 tanglewood 2018 1 7 on display in symphony hall 18 bso music director andris nelsons 2 0 the boston symphony orchestra 25 shostakovich’s mahler obsession by thomas may 3 4 this week’s program

Notes on the Program

36 The Program in Brief… 37 Wolfgang Amadè Mozart 45 Dmitri Shostakovich 57 To Read and Hear More…

Guest Artists

69 Kristine Opolais 73 Alexander Tsymbalyuk

7 4 sponsors and donors 88 future programs 90 symphony hall exit plan 9 1 symphony hall information

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 thomas wilkins, germeshausen youth and family concerts conductor 137th season, 2017–2018 trustees of the boston symphony orchestra, inc.

Susan W. Paine, Chair • Susan Bredhoff Cohen, Co-President • Robert J. Mayer, M.D., Co-President • George D. Behrakis, Vice-Chair • Cynthia Curme, Vice-Chair • John M. Loder, Vice-Chair • Theresa M. Stone, Treasurer

William F. Achtmeyer • David Altshuler • Gregory E. Bulger • Ronald G. Casty • Richard F. Connolly, Jr. • William Curry, M.D. • Alan J. Dworsky • Philip J. Edmundson • Thomas E. Faust, Jr. • Levi A. Garraway • Michael Gordon • Nathan Hayward, III • Brent L. Henry • Susan Hockfield • Barbara W. Hostetter • Stephen B. Kay • Edmund Kelly • Tom Kuo, ex-officio • Martin Levine, ex-officio • Joyce Linde • Nancy K. Lubin • Joshua A. Lutzker • Carmine A. Martignetti • Steven R. Perles • John Reed • Carol Reich • Arthur I. Segel • Wendy Shattuck • Caroline Taylor • Sarah Rainwater Ward, ex-officio • Roberta S. Weiner • Robert C. Winters • D. Brooks Zug life trustees

Vernon R. Alden • Harlan E. Anderson • J.P. Barger • Gabriella Beranek • Jan Brett • Peter A. Brooke • Paul Buttenwieser • John F. Cogan, Jr. • Diddy Cullinane • Mrs. Edith L. Dabney • Nelson J. Darling, Jr. • Deborah B. Davis • Nina L. Doggett • William R. Elfers • Nancy J. Fitzpatrick • Charles H. Jenkins, Jr. • Mrs. Béla T. Kalman • George Krupp • Richard P. Morse • David Mugar • 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. Weber • Stephen R. Weiner • Dr. Nicholas T. Zervas other officers of the corporation

Mark Volpe, Eunice and Julian Cohen Managing Director • Evelyn Barnes, Chief Financial Officer • Bart Reidy, Clerk of the Board overseers of the boston symphony orchestra, inc.

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

Nathaniel Adams • Noubar Afeyan • James E. Aisner • Holly Ambler • Peter C. Andersen • Bob Atchinson • Lloyd Axelrod, M.D. • Liliana Bachrach • Judith W. Barr • Linda J.L. Becker • Paul Berz • William N. Booth • Mark G. Borden • Partha Bose • Karen Bressler • Thomas M. Burger • Joanne M. Burke • Bonnie Burman, Ph.D. • Richard E. Cavanagh • Miceal Chamberlain • Yumin Choi • Michele Montrone Cogan • Roberta L. Cohn • RoAnn Costin • Sally Currier • Gene D. Dahmen • Lynn A. Dale • Anna L. Davol • Michelle A. Dipp, M.D., Ph.D. • Peter Dixon • Dr. Ronald F. Dixon • Sarah E. Eustis • Beth Fentin • Peter Fiedler • Sanford Fisher • Alexandra J. Fuchs • Stephen T. Gannon • Zoher Ghogawala, M.D. • Cora H. Ginsberg • Robert R. Glauber • Todd R. Golub • Barbara Nan Grossman • Ricki Tigert Helfer • Rebecca M. Henderson • James M. Herzog, M.D. •

week 14 trustees and overseers 3

photos by Michael Blanchard and Winslow Townson

Stuart Hirshfield • Albert A. Holman, III • Lawrence S. Horn • Jill Hornor • Valerie Hyman • George Jacobstein • Stephen J. Jerome • Darlene Luccio Jordan, Esq. • Mark Jung • Karen Kaplan • Steve Kidder • John L. Klinck, Jr. • Sandra O. Moose • Kristin A. Mortimer • Cecile Higginson Murphy • John F. O’Leary • Peter Palandjian • Donald R. Peck • Wendy Philbrick • Randy Pierce • Lina S. Plantilla, M.D. • Irving H. Plotkin • Jim Pollin • William F. Pounds • Esther A. Pryor • James M. Rabb, M.D. • Ronald Rettner • Robert L. Reynolds • Robin S. Richman, M.D. • Dr. Carmichael Roberts • Graham Robinson • Patricia Romeo-Gilbert • Michael Rosenblatt, M.D. • Sean C. Rush • Malcolm S. Salter • Dan Schrager • Donald L. Shapiro • Phillip A. Sharp, Ph.D. • Carol S. Smokler • Anne-Marie Soullière • Michael B. Sporn, M.D. • Nicole Stata • Margery Steinberg, Ph.D. • Katherine Chapman Stemberg • Jean Tempel • Douglas Dockery Thomas • Mark D. Thompson • Albert Togut • Blair Trippe • Sandra A. Urie • Edward Wacks, Esq. • Linda S. Waintrup • Vita L. Weir • 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 • Ursula Ehret-Dichter • George Elvin • Pamela D. Everhart • Judy Moss Feingold • Steven S. Fischman • John F. Fish • Myrna H. Freedman • Mrs. James Garivaltis • Dr. Arthur Gelb • Robert P. Gittens • Jordan Golding • Mark R. Goldweitz • Michael Halperson • John Hamill • Deborah M. Hauser • Carol Henderson • Mrs. Richard D. Hill • Roger Hunt • Lola Jaffe • Everett L. Jassy • Paul L. Joskow • Martin S. Kaplan • Stephen R. Karp • Mrs. Gordon F. Kingsley • Robert I. Kleinberg • David I. Kosowsky • Robert K. Kraft • Peter E. Lacaillade • Benjamin H. Lacy • Mrs. William D. Larkin • Robert J. Lepofsky • Frederick H. Lovejoy, Jr. • Diane H. Lupean • Mrs. Harry L. Marks • Jay Marks • Joseph B. Martin, M.D. • Joseph C. McNay • Dr. Martin C. Mihm, Jr. • Robert Mnookin • Paul M. Montrone • Robert J. Morrissey • Joseph Patton • John A. Perkins • Ann M. Philbin • May H. Pierce • Claudio Pincus • Irene Pollin • Dr. John Thomas Potts, Jr. • Dr. Tina Young Poussaint • Claire Pryor • Robert E. Remis • John Ex Rodgers • Susan Rothenberg • Alan W. Rottenberg • Joseph D. Roxe • Kenan Sahin • Roger A. Saunders • Lynda Anne Schubert • L. Scott Singleton • Gilda Slifka • Christopher Smallhorn • Patricia L. Tambone • Samuel Thorne • Diana Osgood Tottenham • Joseph M. Tucci • David C. Weinstein • James Westra • Mrs. Joan D. Wheeler • Margaret Williams-DeCelles • Richard Wurtman, M.D.

week 14 trustees and overseers 5 When it Comes to Dependability, One Stands Alone. a d Commonwealth Worldwide has been the premier choice of discerning clientele in Boston and beyond for more than 35 years. Discover why we are a seven-time Best of Boston® winner by Boston magazine.

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A Special “Leipzig Week in Boston” Chamber Concert with the Boston Symphony Symphony Chamber Players and Gewandhaus-Quartett Sunday, February 11, at 3 p.m. in Symphony Hall Celebrating the new alliance between the BSO and Gewandhausorchester Leipzig, the Boston Symphony Chamber Players and the Gewandhaus-Quartett join forces for a special chamber music performance on Sunday afternoon, February 11, at 3 p.m. in Symphony Hall. The program includes Haydn’s String Quartet in D, Op. 64, No. 5, The Lark; Ligeti’s Six Bagatelles for Wind Quintet; Foss’s For Aaron, for chamber ensemble; and Mendelssohn’s Octet in E-flat for strings, Op. 20. Tickets at $38, $29, and $22 are available at the Symphony Hall box office, at bso.org, or by calling SymphonyCharge at (617) 266-1200.

Celebrating “Leipzig Week in Boston,” February 4-11, 2018 The week of February 4-11 marks the first “Leipzig Week in Boston,” initiating the multi- dimensional alliance between the Boston Symphony Orchestra and the Gewandhaus Orchestra of Leipzig, of which BSO Music Director Andris Nelsons becomes Gewand- hauskapellmeister in February. In addition to the BSO’s Leipzig-themed program of February 8-10 led by Maestro Nelsons, and a celebratory event at the Boston Public Library (BPL) on the evening of Monday, February 5, activities also include illustrated discussions, including musical performances by the Gewandhaus-Quartett, in the BPL’s Rabb Hall on Tuesday, February 6, at 6 p.m. (“Gewandhaus and Symphony Hall: Spaces For Music”) and Wednesday, February 7, at 6 p.m. (“Bach, Mendelssohn, and Schumann at the Early Gewandhaus”); and a special chamber music concert—music of Haydn, Ligeti, Foss, and Mendelssohn—at Symphony Hall on Sunday, February 11, at 3 p.m. featuring the Boston Symphony Chamber Players and the Gewandhaus-Quartett. On Monday, February 5, during their live broadcast between 11 a.m. and 2 p.m., Jim Braude and Margery Eagan of WGBH’s Boston Public Radio will interview Andris Nelsons, Mark Volpe, and others about the BSO/GHO Alliance. In addition, Emmanuel Music’s “Mendelssohn/Wolf Chamber Series” includes an all-Mendelssohn program in the Parish Hall of Emmanuel Church at 4 p.m. on Sunday, February 4; and Emmanuel Music presents “Music of the Mendelssohns” (Felix and Fanny) at the Boston Athenæum on Thursday, February 8, at 6 p.m. For more information, please visit bso.org.

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BSO Community Chamber Concerts in February and March The BSO continues its series of free, hour-long Community Chamber Concerts this season in venues throughout the greater Boston area on Sunday afternoons at 3 p.m. (followed by a coffee-and-dessert reception for the audience and musicians), and at Northeastern University’s Fenway Center on Friday afternoons at 1:30 p.m., offering chamber music performances by BSO musicians. This Friday, February 2, at the Fenway Center, and on Sunday, February 4, at Cotuit Center for the Arts, BSO string players Tatiana Dimitriades, Lucia Lin, Rebecca Gitter, Danny Kim, Alexandre Lecarme, Owen Young, and Thomas Van Dyck perform music of Fred Lerdahl, Richard Strauss, and Johann Strauss, Jr. On Friday, February 9, at the Fenway Center, Sunday, February 11, at The Footlight Club in Jamaica Plain, and Sunday, February 18, at Bunker Hill Community College, BSO string players Glen Cherry, Leah Ferguson, Rebekah Edewards, and Mickey Katz, and BSO horn player Rachel Childers, perform music of Mozart and Irving Fine. On Friday, March 16, at the Fenway Center, Sunday, March 18, at the Pao Arts Center in Chinatown, and Sunday, March 25, at Nevins Hall in Framingham, BSO string players Si-Jing Huang, Victor Romanul, Michael Zaretsky, and Owen Young play music of Beethoven, Sibelius, and Brahms. For further details, please visit bso.org and go to “Education & Community” on the home page. The BSO’s 2017-18 Community Concerts are sponsored by Takeda Pharmaceutical Company Limited. individual tickets are on sale for all concerts in the bso’s 2017-2018 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.

BSO Broadcasts on WCRB cians are available online at classicalwcrb. BSO concerts are heard on the radio at 99.5 org/bso. Current and upcoming broadcasts WCRB. Saturday-night concerts are broad- include this Saturday’s program under Andris cast live at 8 p.m. with host Ron Della Chiesa, Nelsons of Mozart and Shostakovich, fea- and encore broadcasts are aired on Monday turing soprano Kristine Opolais and bass nights at 8 p.m. In addition, interviews with Alexander Tsymbalyuk in Shostakovich’s guest conductors, soloists, and BSO musi- Symphony No. 14 (February 3; encore Febru-

week 14 bso news 9 ary 12); Maestro Nelsons’ “Leipzig Week in Join Our Community of Boston” program next week of music by J.S. Music Lovers— Bach, Schumann, Sean Shepherd, and Men- The Friends of the BSO delssohn, with pianists Thomas Adès, Kirill Gerstein, and Jean-Yves Thibaudet (Feb- Attending a BSO concert at Symphony Hall ruary 10; encore February 19); and the fol- is a communal experience—thousands lowing week’s Ravel-focused program under of concertgoers join together to hear 100 Jacques Lacombe featuring pianist Jean-Yves musicians collaborate on each memorable Thibaudet and the Tanglewood Festival performance. Without an orchestra, there is Chorus (February 17; encore February 16). no performance, and without an audience, it is just a rehearsal. Every single person is important to ensuring another great expe- Planned Gifts for the BSO: rience at Symphony Hall. There’s another Orchestrate Your Legacy community that helps to make it all possible, There are many creative ways that you can one that you might not notice while enjoying support the BSO over the long term. Planned a concert—the Friends of the BSO. Every $1 gifts such as bequest intentions (through the BSO receives through ticket sales must your will, personal trust, IRA, or insurance be matched by an additional $1 of contribut- policy), charitable trusts, and gift annuities ed support to cover annual expenses. Friends can generate significant benefits for you of the BSO help bridge that gap, keeping the now while enabling you to make a larger gift music playing to the delight of audiences all to the BSO than you may have otherwise year long. In addition to joining a commu- thought possible. In many cases, you could nity of like-minded music lovers, becoming realize significant tax savings and secure a Friend of the BSO entitles you to benefits an attractive income stream for yourself that bring you closer to the music you cher- and/or a loved one, all while providing valu- ish. Friends receive advance ticket ordering able future support for the performances privileges, discounts at the Symphony Shop, and programs you care about. When you and access to the BSO’s online newsletter establish and notify us of your planned InTune, as well as invitations to exclusive gift for the Boston Symphony Orchestra, donor events such as BSO and Pops working you will become a member of the Walter rehearsals, and much more. Friends member- Piston Society, joining a group of the BSO’s ships start at just $100. To join our commu- most loyal supporters who are helping to nity of music lovers in the Friends of the BSO, ensure the future of the BSO’s extraordi- contact the Friends Office at (617) 638-9276 nary performances. Members of the Piston or [email protected], or join online at Society—named for Pulitzer Prize-winning bso.org/contribute. composer and noted musician Walter Piston, who endowed the Principal Flute Chair with BSO Members in Concert a bequest—are recognized in several of our publications and offered a variety of exclu- Collage New Music, founded by former BSO sive benefits, including invitations to various percussionist Frank Epstein and whose mem- events in Boston and at Tanglewood. If you bership includes BSO violinist Catherine French would like more information about planned and former BSO cellist Joel Moerschel, per- gift options and how to join the Walter Pis- forms an all-British program featuring works ton Society, please contact Jill Ng, Director by David Horne, Peter Maxwell Davies, Helen of Planned Giving and Senior Major Gifts Grime, and James MacMillan on Monday, Officer, at (617) 638-9274 or [email protected]. February 5, at 8 p.m. (pre-concert talk at We would be delighted to help you orches- 7 p.m.) at Edward M. Pickman Concert Hall trate your legacy with the BSO. at the Longy School of Music of Bard College,

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FiduciaryTrustBoston.com Contact Randy Kinard at 617-574-3432 or [email protected] 27 Garden Street, Cambridge. Among the rarely cancels a concert due to snow or bad guest performers are soprano Tony Arnold weather. If a concert is canceled, the Snow and BSO violinist Ronan Lefkowitz. General Line message is updated accordingly, and admission tickets are $25 in advance ($30 at the BSO also notifies television and radio the door) and are discounted for seniors and stations. BSO patrons are kindly request- students. ed to check the Snow Line frequently for updates during bad weather. The Muir String Quartet—BSO violinist Lucia Lin and BSO principal violist Steven Ansell, violinist Peter Zazofsky, and cellist Michael Those Electronic Devices… Reynolds—plays Joan Tower’s String Quartet As the presence of smartphones, tablets, No. 1, Mozart’s D major flute quartet, K.285, and other electronic devices used for com- with flutist Linda Toote, and Beethoven’s munication, note-taking, and photography String Quartet No. 8 in E minor, Opus 59, has increased, there have also been continu- No. 2, on Tuesday, February 6, at 8 p.m. at ing expressions of concern from concertgoers BU’s Tsai Performance Center, 685 Com- and musicians who find themselves distracted monwealth Avenue. Admission is free. not only by the illuminated screens on these Joined by flutist Carol Wincenc, the Muir devices, but also by the physical movements String Quartet performs Schulhoff’s String that accompany their use. For this reason, Quartet No. 1, Mozart’s Flute Quartet in D, and as a courtesy both to those on stage and K.285, and Beethoven’s E minor string quar- those around you, we respectfully request tet, Op. 59, No. 2, on Monday, February 12, that all such electronic devices be completely at 7:30 p.m. in the Nazarian Center at Rhode turned off and kept from view while BSO per- Island College, 600 Mt. Pleasant Avenue, formances are in progress. In addition, please Providence. General admission is $35 (dis- also keep in mind that taking pictures of the counts for seniors and students). For more orchestra—whether photographs or videos— information, visit ric.edu/pfa or call (401) is prohibited during concerts. Thank you very 456-8144. much for your cooperation.

In Case of Snow... Comings and Goings... In case of snow, BSO patrons are advised to Please note that latecomers will be seated call the BSO Snow Line at (617) 638-9495 by the patron service staff during the first for updated concert information. In the convenient pause in the program. In addition, event of an impending or occurring storm, please also note that patrons who leave the the Snow Line is updated frequently during auditorium during the performance will not the day and evening. For more information, be allowed to reenter until the next conve- please visit the inclement weather page nientpause in the program, so as not to dis- at bso.org, which is linked to the Snow turb the performers or other audience mem- Line advisory under “BSO Policies and bers while the music is in progress. We thank Information” on the home page. The BSO you for your cooperation in this matter.

week 14 bso news 13 Hilary Scott

Tanglewood 2018 Tickets Now on Sale

Throughout the summer of 2018, Tanglewood celebrates the centennial of Lawrence- born, Boston-bred conductor-composer Leonard Bernstein’s birth. Bernstein’s close relationship with the BSO spanned a half-century, from the time he became a protégé of legendary BSO conductor Serge Koussevitzky as a member of the first Tanglewood Music Center class in 1940 until the final concerts he ever conducted, with the BSO and Tanglewood Music Center Orchestra at Tanglewood in 1990. Besides concert works including his Chichester Psalms, · Halil for flute and orchestra,Songfest , the Serenade (after Plato’s “Symposium”), and the BSO-commissioned Divertimento for Orchestra, performances also include the operas Trouble in Leonard Bernstein Tahiti and A Quiet Place; the Broadway hit On the Town; Candide; the ballet Fancy Free to be performed in collaboration with Boston Ballet, and the Oscar-winning film version ofWest Side Story with the BSO playing the score live as the movie is shown on large screens in high definition with the original vocals and dialogue intact. On Andris Nelsons August 25, Bernstein’s birth-date, “The Bernstein Centennial Celebration at Tanglewood,” to be conducted by BSO Music Director Andris Nelsons, Christoph Eschenbach, Keith Lockhart, Michael Tilson Thomas, and John Williams, will feature an extraordinary array of guest artists, among them Audra McDonald, Midori, Yo-Yo Ma, Susan Graham, and Thomas Hampson. The BSO will also be joined for this very special occasion by members of numerous other orchestras with which Bernstein Kristine Opolais maintained close associations, including the New York Philhar- monic, Vienna Philharmonic, Israel Philharmonic, Tanglewood Music Center Orchestra, Pacific Music Festival, and Schleswig-Holstein Music Festival. Besides his participation in “The Bernstein Centennial Celebration at Yo-Yo Ma Tanglewood” and performances with the Tanglewood Music Center Orchestra (TMCO), Andris Nelsons conducts the BSO in concerts featuring pianists Lang Lang, Rudolf Buchbinder, Yuja Wang, and Yefim Bronfman; a complete, semi-staged performance of Puccini’s La bohème with soprano Kristine Opolais and

14 tenor Piotr Beczala; a special Young People’s Concert evoking those led by Bernstein himself, with Bernstein’s daughter Jamie Bernstein as host; an all-Bernstein program featuring violinist Baiba Skride in the Serenade (after Plato’s “Symposium”), and Mahler’s Third Sym- phony with soloist Susan Graham. Maestro Nelsons also leads the TMCO’s annual Leonard Bernstein Memorial Concert, this year with Yo-Yo Ma as soloist, and joins John Williams on the Pamela Frank podium for “John Williams’ Film Night.” Also leading BSO concerts will be BSO Artistic Partner Thomas Adès, BSO

Thomas Adès Assistant Conductor Moritz Gnann, and guest conductors Herbert Blomstedt, Christoph Eschenbach, Juanjo Mena, David Newman, Michael Tilson Thomas, and Bramwell Tovey. Soloists with the BSO also include pianists Emanuel Ax, 2018 Koussevitzky Artist Kirill Gerstein, Igor Levit, Paul Lewis, and Garrick Ohlsson; BSO principal fluteElizabeth Rowe; and violinists Joshua Bell, Gil Shaham, and Christian Tetzlaff. Thomas Adès will also direct Tanglewood’s 2018 Festival of Contemporary Music and perform an evening of two-piano music in Ozawa Hall with Kirill Gerstein—who is also soloist in this year’s gala Tanglewood on Parade concert. Paul Lewis’s Ozawa Hall recital launches a multi-year survey at Tangle- wood featuring him in piano works by Haydn, Beethoven, and Paul Lewis Brahms. The 2018 Ozawa Hall line-up also includes the Boston Kirill Gerstein Symphony Chamber Players with Rudolf Buchbinder; a duo appearance by Pamela Frank and Emanuel Ax; The Fleisher-Jacobson Piano Duo in a recital marking Leon Fleisher’s 90th birthday; the Emerson Quartet performing Beethoven’s late string quartets; Igor Levit with the JACK Quartet; and the Skride Quartet in a program of piano quartets. Boston Pops events this summer include star vocalist Audra McDonald as soloist with musical director Andy Einhorn; Keith Lockhart leading the Boston Pops Orchestra in On the Town and as part of Tanglewood on Parade; and “John Williams’ Film Night.” Other surefire crowd-pleasers include the returns to Tanglewood of Wait Wait...Don’t Tell Me! and Live from Here, now with new host Chris Thile, as well as James Taylor for two shows with Joshua Bell his all-star band. As usual, the summer also offers a full schedule of concerts spotlighting the accomplished young musicians of the Tanglewood Music Audra McDonald Center; the weekly Friday-evening and Saturday-evening Prelude Concerts in Ozawa Hall featuring BSO members on Fridays and TMC Fellows on Saturdays; Saturday-morning rehearsals; the lifelong learning series “One Day University”; and “Summer Sundays,” offering pre-concert events for all ages each Sunday starting at noon, prior to the afternoon’s 2:30pm BSO concert.

Tanglewood tickets are available at the Symphony Hall box office, online at bso.org, or by calling SymphonyCharge at (617) 266-1200 or toll-free at 1-888-266-1200.

week 14 tanglewood preview 15 AA standing standing ovationovation toto TheThe BostonBoston SymphonySymphony OrchestraOrchestra fromfrom one one masterpiecemasterpiece toto another. another.

61 STORIES. BOSTON’S PREMIER ADDRESS. 61 STORIES. BOSTON’S PREMIER ADDRESS. on display in symphony hall Using archival materials displayed on the orchestra and first-balcony evelsl of Symphony Hall, this season’s BSO Archives exhibit recognizes three significant anniversaries. celebrating the bernstein centennial Anticipating the 100th anniversary on August 25, 2018, next summer of Leonard Bernstein’s birth, the Archives has assembled materials documenting Bernstein’s Boston roots and his deep, lifelong connection with the BSO, Tanglewood, and the Tanglewood Music Center. • An exhibit in the Brooke Corridor focuses on Bernstein’s early connections with Boston and the BSO. • An exhibit case on the first balcony, audience-right, is devoted to the world premiere of Bernstein’s opera Trouble in Tahiti on June 12, 1952, as part of a Creative Arts Festival at Brandeis University in which many BSO members performed. • An exhibit case on the first balcony, audience-left, documents BSO performances of Bee- thoven’s Missa Solemnis at Tanglewood in 1951, 1955, and 1971 led by Leonard Bernstein in memory of his mentor, BSO conductor Serge Koussevitzky. • A display in the Cabot-Cahners Room of photographs, musical scores, and memorabilia documents the BSO premieres of works by Leonard Bernstein and BSO-commissioned works by Bernstein himself. marking the 100th anniversary of the bso’s first recordings in 1917 One hundred years ago the BSO traveled to Camden, New Jersey, to make its very first recordings for the Victor Talking Machine Co. (later RCA Victor). • An exhibit near the backstage door in the Brooke Corridor focuses on the turbulent World War I era during which the BSO’s first recordings were made. • A display on the first balcony, audience-left, documents the BSO’s first recording sessions of October 2-5, 1917. marking the 60th anniversary of the boston youth symphony orchestras (byso) • In the Hatch Corridor, material on loan from the BYSO Archives documents both its own history and its ongoing partnership with the BSO.

TOP OF PAGE, LEFT TO RIGHT: Leonard Bernstein and his mentor Serge Koussevitzky at Tanglewood, c.1946 (photo by Heinz H. Weissen- stein, Whitestone Photo) Label from one of the BSO’s first commercial recordings, the Prelude to Act III of “Lohengrin” led by Karl Muck BYSO’s founding music director, Dr. Marvin J. Rabin, with members of the orchestra, c.1960 (courtesy BYSO)

week 14 on display 17 Marco Borggreve

Andris Nelsons

In October 2017, BSO Music Director Andris Nelsons was named Musical America’s 2018 Artist of the Year. In 2017-18, his fourth season as the BSO’s Ray and Maria Stata Music Director, Andris Nelsons leads the Boston Symphony Orchestra in twelve wide-ranging subscription programs at Symphony Hall, repeating three of them at New York’s Carnegie Hall in March. Also this season, in November, he and the orchestra toured Japan together for the first time, playing concerts in Nagoya, Osaka, Kawasaki, and Tokyo. In addition, in February 2018 Maestro Nelsons becomes Gewandhaus- kapellmeister of the Gewandhausorchester Leipzig, in which capacity he will bring both orchestras together for a unique multi-dimensional alliance; under his direction, the BSO celebrates its first “Leipzig Week in Boston” that same month. In the summer of 2015, following his first season as music director, his contract with the Bos- ton Symphony Orchestra was extended through the 2021-22 season. Following the 2015 Tanglewood season, he and the BSO undertook 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, Austria, 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, his Tanglewood debut in July 2012, and his BSO subscription series debut in January 2013. His first CD with the BSO—live recordings of Wagner’s Tannhäuser Overture and Sibelius’s Sym- phony No. 2—was released in November 2014 on BSO Classics. April 2017 brought the release on BSO Classics of the four Brahms symphonies with Maestro Nelsons conducting, recorded live at Symphony Hall in November 2016. In an ongoing, multi- year collaboration with Deutsche Grammophon initiated in 2014-15, he and the BSO are making live recordings of Shostakovich’s complete symphonies, the opera Lady

18 Macbeth of Mtsensk, and other works by the composer. The first release in this series (the Symphony No. 10 and the Passacaglia from Lady Macbeth of Mtsensk) won the 2016 Grammy Award for Best Orchestral Performance and Gramophone Magazine’s Orchestral Award. The second release (symphonies 5, 8, and 9, plus excerpts from Shostakovich’s 1932 incidental music to Hamlet) won the 2017 Grammy for Best Orchestral Performance. Also for Deutsche Grammophon, Andris Nelsons is recording the Bruckner symphonies with the Gewandhausorchester Leipzig and the Beetho- ven symphonies with the Vienna Philharmonic.

In 2017-18, Andris Nelsons is artist-in-residence at the Konzerthaus Dortmund and continues his regular collaboration with the Vienna Philharmonic, leading that orchestra on tour to China. He also maintains regular collaborations with the Royal Concert- gebouw Orchestra of Amsterdam, the Berlin Philharmonic, the Bavarian Radio Sym- phony Orchestra, and the Philharmonia Orchestra. Maestro Nelsons has also been a regular guest at the Bayreuth Festival and at the Royal Opera House, Covent Garden, where he conducts a new David Alden production of Lohengrin this season.

Born in Riga in 1978 into a family of musicians, Andris Nelsons began his career as a trumpeter in the Latvian National Opera Orchestra before studying conducting. He was music director of the City of Birmingham Symphony Orchestra from 2008 to 2015, principal conductor of the Nordwestdeutsche Philharmonie in Herford, Germany, from 2006 to 2009, and music director of Latvian National Opera from 2003 to 2007. Mr. Nelsons is the subject of a 2013 DVD from Orfeo, a documentary film entitled “Andris Nelsons: Genius on Fire.” Marco Borggreve

week 14 andris nelsons 19 Boston Symphony Orchestra 2017–2018

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

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

week 14 boston symphony orchestra 21

ONE DAY UNIVERSITY® at Tanglewood register Sunday, August 26, 9:30am–1:15pm Ozawa Hall today! at General Registration: $159 Foreign Policy, Sleep and Climate Change event schedule for One Day University, the acclaimed lifelong learning series, returns to august 26, 2018 Tanglewood for the eighth year! Join these award-winning professors from three renowned schools, each presenting their best lecture in • lectures take place in ozawa hall • Ozawa Hall. Then join guest conductor Christoph Eschenbach and the BSO for the 2018 season finale performance of Beethoven’s Ninth 9:30–9:40am Introduction Symphony. 9:40–10:45am STEPHEN KOTKIN, Princeton University American Foreign Policy: Where Are We Headed? Stephen Kotkin, Professor of History and International Affairs, 10:45–10:55am Break Princeton University 10:55am–12pm JESSICA PAYNE, In examining the profound anxiety in the U.S. and abroad today, Professor University of Kotkin will look back to the uncertainties of the 1970s: Watergate and Notre Dame impeachment, Vietnam, inflation, a stagnant Soviet Union and intense 12–12:10pm Break poverty and mass violence in Communist China. 40+ years later, the Soviet Union is gone, China has become the world’s second largest 12:10–1:15pm DAVID HELFAND, economy and in some ways, America is more prosperous than ever, yet Columbia University in other ways we’ve moved in the wrong direction. Professor Kotkin will explore what happened, the real strengths and weaknesses of major

• koussevitzky music shed • powers in 2018, and how the world might look in another 40 years. 2:30 pm Boston Symphony Orchestra The Science of Sleep: How it Affects Creativity, Focus and Memory Christoph Eschenbach, conductor Jessica Payne, Professor of Psychology, University of Notre Dame Hanna-Elisabeth Müller, soprano Sasha Cooke, mezzo-soprano What’s going on in your head while you sleep? Professor Payne’s Joseph Kaiser, tenor research shows non-waking hours are incredibly valuable to our day- Thomas Hampson, baritone to-day lives. Many regions of the brain—especially those involved in Tanglewood Festival Chorus, learning, processing information, and emotion—are actually more active James Burton, conductor during sleep than when we’re awake, working together to help process BERNSTEIN Symphony No. 1, and sort information taken in during the day. Professor Payne will also Jeremiah outline practical information on how to control sleep habits to insure BEETHOVEN Symphony No. 9 maximum productivity.

Registration includes: Climate Change: What We Know and What We Don’t Know • All three professor presentations David Helfand, Professor of Astronomy, Columbia University • One complimentary lawn Every planet’s temperature is controlled by a simple balance between the admission to the 2:30pm BSO energy it receives and the energy it radiates back into space. Professor concert, or a 10% discount on a Helfand will examine each of the main factors affecting balance, first by Shed ticket* exploring the astronomical phenomena that have driven climate change • VIP Parking in the past, then showing how the Earth’s atmosphere continues to change today. By examining the current energy balance and what we can • 10% off 8/26 Meals-to-Go expect in the next decades, Professor Helfand will provide a scientific analysis of what we know and don’t yet know about climate change.

To register or for more information, call Mary Ludwig at 617-638-9359

ONE DAY UNIVERSITY at Tanglewood • 888-266-1200 • tanglewood.org/onedayu

*One Day University lawn admissions have no dollar value and may not be used to upgrade for a ticket inside the Shed. All One Day University registrants are eligible for a 10% discount on 8/26 at 2:30pm (Beethoven 9) Shed tickets purchased in advance of the concert. Roger & Renate Rössing/Deutsche Fotothek

Shostakovich’s Mahler Obsession by Thomas May

In conjunction with the BSO’s performances this season of Shostakovich’s Symphony No. 14 (February 1-3) and Symphony No. 4 (March 22-27; April 6), writer-lecturer Thomas May explores the musical and philosophical relationship between Dmitri Shostakovich and Gustav Mahler.

In December 1942, Dmitri Shostakovich was asked whether he might consider completing Mahler’s Tenth Symphony from the available sketches. The proposal came from the West, via a letter from the Canadian-American Jack Diether, a Mahler enthusiast who would later achieve recognition as a critic and as the director of the Gustav Mahler Society of America.

“Your view of Mahler’s Tenth Symphony, which still awaits its completion, has my sym- pathy,” Shostakovich responded. “In spite of my love for this composer, I cannot take it upon myself to accomplish this huge task. This calls for deep penetration into the spiritual world of the composer, as well as his creative and individual style. For me it would be impossible.”

Unsurprisingly, it took a year for Shostakovich’s rejection to arrive; the Soviet Union was still in the middle of its life-or-death struggle with Hitler’s invading hordes. Yet what does give pause is the distance Shostakovich underscores between himself and Mahler. Over the last few decades, appreciation of both composers has advanced so far that the assertion of a deep affinity between Gustav Mahler and Dmitri Shostakovich now features regularly in discussions of the Russian master’s musical world.

Dmitri Shostakovich in 1950

week 14 shostakovich’s mahler obsession 25

The “Time” magazine cover of July 20, 1942, showing Shostakovich in his fireman’s helmet

Indeed, the latter’s firm refusal seems almost defensive, as if the real impossibility he feared from such a mind-meld was that of being “objective”—of being unable to avoid blending his own artistic self with Mahler’s. In his extensive biography of the latter, Henry Louis de La Grange reports that Shostakovich in fact embarked on a two-piano version, which he never finished, of the Tenth’s extant Adagio movement for his students.

Arnold Schoenberg, who had a direct personal link to the Mahler tradition, likewise rejected the project when Diether, together with Alma Mahler, proposed it to him a few years later. But Diether’s intuition that Shostakovich had a valuable perspective to contribute was remarkably perceptive. At the time, the Russian was essentially known as a composer who had made an unlikely comeback after triggering Stalin’s displeasure in 1936 with his hit opera Lady Macbeth of the Mtsensk District.

As far as the Allies were concerned, Shostakovich had taken on the mantle of official composer of the Soviet Union, with which they were now joined in the fight against the Nazis. In July 1942, the bespectacled composer even appeared on the cover of Time magazine, wearing a fireman’s helmet and posed against a smoldering city backdrop. (The photograph had in fact been posed before the bombing of Leningrad/St. Petersburg began.)

Beyond all the propaganda, Shostakovich’s love of Mahler must have been apparent— even though Diether could not have been aware, for example, of the profoundly “Mahlerian” imprint of the Russian’s boldest symphony to date, the Fourth, which he completed after his 1936 fall from official grace overLady Macbeth of Mtsensk. Like the notoriously airbrushed photos documenting the approved Soviet version of history, the Fourth simply “disappeared” for decades—a chronological gap explained only as a score mysteriously

week 14 shostakovich’s mahler obsession 27

“withdrawn” by its composer until the full score was finally premiered a quarter-century later, in 1961.

Mahler’s profound influence on Shostakovich extends beyond the latter’s incorporation of marches, grotesquerie, and even direct quotations—all of which can be found not only in the Fourth but across the Russian’s symphonic oeuvre. It also involves more than the ironic juxtapositions of “high” and “low” idioms that are recognized as a Shostakovich signature. Mahler served as no less than “one of the foundation stones of Shostakovich’s mature symphonic style,” as the musicologist Pauline Fairclough observes.

The Russian composer’s magnetic attraction to his predecessor was rooted in another meeting of minds: his intense friendship with Ivan Sollertinsky, which began in the mid- 1920s, when both were students in Leningrad. Barely four years older, Sollertinsky was a multitalented arts journalist, linguist, and educator. As artistic adviser to the Leningrad Philharmonic, he became a significant champion of his friend, and his death following an evacuation during the war came as a crushing blow to Shostakovich.

Sollertinsky also acted as a guiding force in Mahler reception during the early years of the Soviet Union. In the immediate aftermath of the Bolshevik Revolution, everything—“high culture” naturally included—was being reevaluated with proletarian prior- ities in mind. “Soviet attitudes to ‘bourgeois’ genres such as symphony and opera were at a crossroads,” writes Fairclough. “For these genres to survive in such a climate, their social relevance had to be beyond question.”

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week 14 shostakovich’s mahler obsession 29 BoSTon yoUTH SyMpHony oRCHeSTRAS

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Gustav Mahler in 1907

Sollertinsky played a crucial role in rescuing Mahler from being dismissed as a “decadent” Western composer in these years, repackaging him as a prophet of the Prom- ised Land of Soviet new beginnings. In 1932, Sollertinsky published a highly influential monograph on Mahler in which, as the conductor/scholar Leon Bostein describes it, he presented the Austrian as “a radical critic of bourgeois civilization...demonstrating the ‘impossibility’ of a genuine symphonic expression within capitalism” while foreshadow- ing the need for “a new symphonic model that was adequate to socialist society.”

Several of Mahler’s symphonies were performed in Leningrad in the 1920s—with the telling exceptions of the so-called Tragic Sixth and the Seventh. And, in comparison with the German- and English-speaking worlds, “Mahler reception was at that time considerably more sympathetic in [the Soviet Union]...(at least in Leningrad),” according to Fairclough. Still, Sollertinsky had to perform considerable ideological eggshell- walking to propose Mahler implicitly as “an ideal model for Soviet composers.”

The direct influence of Sollertinsky’s enthusiasm on his younger friend is most clearly manifest in works from these years such as Lady Macbeth and the Third and Fourth symphonies. The critic Franco Pulcini even suggests that Shostakovich may have prompted some of Sollertinsky’s published insights about Mahler; and, in hindsight, the Russian’s precocious First Symphony (completed in his teens, while still at conservatory) indeed brings to mind a Mahlerian outlook in its daring juxtapositions of emotional registers.

In any case, Mahler accompanied Shostakovich across his career, to the very end. One of his students recalled the ailing Shostakovich, shortly before his death, listening in the hospital over and over to a recording of the song-cycle-as-symphony Das Lied von der Erde, a composition he particularly cherished and that served as a prototype for his penultimate, death-obsessed Fourteenth Symphony of 1969. Das Lied, itself part of a de facto symphonic trilogy embodying Mahler’s most advanced meditations on the inevita-

week 14 shostakovich’s mahler obsession 31 bility of death, had already been echoed in the shocking “twilit coda,” as Eric Roseberry describes it, of Shostakovich’s Fourth.

The Soviet musicologist Marina Sabinina, who knew the composer and wrote exten- sively about him, singled out the Fourteenth Symphony as marking a radical shift. He dedicated the eleven-movement work, which sets texts by the poets Lorca, Apollinaire, Küchelbecker, and Rilke, to another important friend and fellow Mahler admirer, Benjamin Britten.

Along with its formal experimentation with the genre—the Fourteenth Symphony began as an oratorio—Shostakovich extended his harmonic language to incorporate twelve-tone techniques and clusters. Yet the Mahlerian imprint coexists with these developments: on the large-scale level of conception as well as the local one of particular gestures, such as the celesta timbre that evokes Mahler’s ineffable use of its sonority in Der Abschied (“The Farewell”), the final movement ofDas Lied von der Erde.

In addition to technical and timbral ideas, Mahler provided a creative source malleable enough to accommodate this long arch of development in Shostakovich’s music. Mahler’s persistent presence is not simply a matter of “influence.” It has been compared to the similarly profound role Dostoevsky played in Shostakovich’s aesthetic and moral think- ing. Esti Sheinberg, a musicologist who has explored modes of irony and parody in Shostakovich, notes parallels in the strong attraction both Shostakovich and Mahler felt for the Russian novelist’s “existential query [asking] what is a proper human existence.”

The conjuring act that Sollertinsky performed to transform Mahler into a proto-Soviet composer, observes Leon Botstein, finds its ironic echo in the posthumous casting of Shostakovich as “critical of socialist Soviet society”—a role that has helped move him from the margins to the point that he has been “appointed...as the dominant successor to Mahler in terms of concert life.” thomas may writes about the arts and blogs at memeteria.com.

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week 14 shostakovich’s mahler obsession 33 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 137th season, 2017–2018

Thursday, February 1, 8pm Friday, February 2, 8pm Saturday, February 3, 8pm | the sandy moose and eric birch concert andris nelsons conducting

Please note that, having arrived back in Boston this week with a bad cold, Andris Nelsons will conduct only Shostakovich’s Symphony No. 14 on this week’s program, and is grateful to the members of the Boston Symphony Orchestra for performing Mozart’s “Gran Partita” on the first half of the concert without a conductor. The personnel for the Mozart are specified below. mozart serenade no. 10 in b-flat for winds, k.361(370a), “gran partita” Largo—Molto allegro Menuetto; Trio I; Trio II Adagio Menuetto: Allegretto; Trio I; Trio II Romance: Adagio—Allegretto—Adagio Theme (Andante) and Variations Finale: Molto allegro john ferrillo, mark mcewen, and amanda hardy, oboes william r. hudgins and michael wayne, clarinets thomas martin and craig nordstrom, basset horns richard svoboda and suzanne nelsen, bassoons james sommerville, rachel childers, michael winter, jason snider, and jonathan menkis, horns gregg henegar, contrabassoon

week 14 insert 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 137th season, 2017–2018

Thursday, February 1, 8pm Friday, February 2, 8pm Saturday, February 3, 8pm | the sandy moose and eric birch concert

andris nelsons conducting

mozart serenade no. 10 in b-flat for winds, k.361(370a), “gran partita” Largo—Molto allegro Menuetto; Trio I; Trio II Adagio Menuetto: Allegretto; Trio I; Trio II Romance: Adagio—Allegretto—Adagio Theme (Andante) and Variations Finale: Molto allegro

{intermission}

saturday evening’s performance of shostakovich’s symphony no. 14 is supported by a gift from lloyd axelrod, m.d.

bank of america and takeda pharmaceutical company limited are proud to sponsor the bso’s 2017-18 season.

These concerts will end about 10. Concertmaster Malcolm Lowe performs on a Stradivarius violin, known as the “Lafont,” generously donated to the Boston Symphony Orchestra by the O’Block Family. First associate concertmaster Tamara Smirnova performs on a 1754 J.B. Guadagnini violin, the “ex-Zazofsky,” and James Cooke performs on a 1778 Nicolò Gagliano violin, both generously donated to the orchestra by Michael L. Nieland, M.D., in loving memory of Mischa Nieland, a member of the cello section from 1943 to 1988. Steinway & Sons Pianos, selected exclusively for Symphony Hall. The BSO’s Steinway & Sons pianos were purchased through a generous gift from Gabriella and Leo Beranek. Special thanks to Fairmont Copley Plaza, Delta Air Lines, and Commonwealth Worldwide Executive Limousine. Broadcasts of the Boston Symphony Orchestra are heard on 99.5 WCRB.

34 shostakovich symphony no. 14, opus 135, for soprano, bass, and chamber orchestra I. De Profundis (poem by Federico García Lorca) II. Malagueña (Lorca) III. Loreley (Guillaume Apollinaire, after Clemens Brentano) IV. The Suicide (Apollinaire) V. On the Alert (Apollinaire) VI. Look Here, Madame! (Apollinaire) VII. At the Santé Jail (Apollinaire) VIII. The Zaporozhye Cossacks’ Reply to the Sultan of Constantinople (Apollinaire) IX. O Delvig, Delvig! (W.K. Küchelbecker) X. The Poet’s Death (Rainer Maria Rilke) XI. Conclusion (Rilke) kristine opolais, soprano alexander tsymbalyuk, bass

Texts and translations are provided on pages 60-67 for reference only, as the house lights will be dark during the performances.

Please note that these performances of Shostakovich’s Symphony No. 14 are being recorded for future release as part of Andris Nelsons and the BSO’s complete Shostakovich symphony cycle on Deutsche Grammophon. Your cooperation in keeping noise in Symphony Hall at a minimum is sincerely appreciated.

Supertitles by LEXICA Productions, Inc. SuperTitle System courtesy of DIGITAL TECH SERVICES, LLC, Portsmouth, VA Jesse Levine, supertitles caller Casey Smith, supertitles technician

Please note that bass-baritone Sir Bryn Terfel has regrettably had to withdraw from his appearances here this week on the advice of his doctors, as he continues to heal and rest following vocal fatigue. We are fortunate that bass Alexander Tsymbalyuk was available to sing in this week’s performances of Shostakovich’s Symphony No. 14.

In consideration of the performers and those around you, please turn off all electronic equipment during the performance, including tablets, cellular phones, pagers, watch alarms, messaging devices of any kind, anything that emits an audible signal, and anything that glows. Thank you for your cooperation. Please note that the use of audio or video recording devices, or taking pictures of the artists—whether photographs or videos—is prohibited during concerts.

week 14 program 35 The Program in Brief...

Besides writing music for concerts and the stage, Mozart, like most composers of his era, wrote many pieces intended as background for parties and other purposes. These were called by various names, such as “serenade” or “divertimento.” Mozart’s Serenade in B-flat for twelve winds and double bass, widely known as theGran Partita, is a large- scale work with seven movements totaling over forty-five minutes; it is considered by many to be the greatest masterwork for wind ensemble. Likely written around the time Mozart moved to Vienna in 1781, it was probably this work that was performed by his friend, the clarinetist Anton Stadler, in 1784. Mozart was unsurpassed in writing for wind instruments: even Haydn, more than twenty years his senior, gave Mozart credit for teaching him how to do so. Encompassing music ranging variously from boisterous to yearning, the Gran Partita’s seven movements include two slow movements, two minuets, and a theme and variations sandwiched between its fast outer movements.

By the time he wrote his Symphony No. 14 in 1969, Russian composer Dmitri Shostakovich had suffered not only the life-threatening and psychologically debilitating terrors of Joseph Stalin’s dictatorial regime, but had been hospitalized earlier that year for ailments including a heart attack. Given his continuing awareness of his own mortality, it is perhaps not surprising that, in choosing poetry for the work that became his Symphony No. 14, he focused on eleven poems whose subject was death—creating a musical meditation on that subject from varying perspectives, and a work that is essentially a symphonic song cycle, despite its generic title of “symphony.”

The score calls for soprano solo, bass solo, and a chamber orchestra of strings and percussion. The percussion is used sparingly, making its use all the more effective. Four poets are represented—the Spanish Federico García Lorca; the French Guillaume Apollinaire; the Bohemian-Austrian Rainer Maria Rilke; and the Russian Wilhelm Küchelbecker. The poems of the first three are sung in Russian translations, Küchelbecker’s in its original Russian.

Shostakovich mentioned three composers as influences for this symphony: Gustav Mahler, whose symphonic song cycles and Das Lied von der Erde (The Song of the Earth) can be heard as predecessors; Shostakovich’s close friend, British composer Benjamin Britten, whose War Requiem for orchestra, soloists, and chorus had made a profound international impression upon its premiere in 1962; and perhaps most important, Shostakovich’s compatriot predecessor Modest Mussorgsky: it was while making an orchestration of Mussorgsky’s Songs and Dances of Death that Shostakovich first considered writing a similar work. In fact, prior to a private Moscow performance of the Symphony No. 14 in June 1969, Shostakovich stated specifically in an address ot the audience that he viewed one of the songs in Mussorgsky’s cycle as “a great protest against death and a reminder to live one’s life honestly, decently, nobly, never commit- ting base acts.” Likely intended by Shostakovich as a justification to the Soviet authorities for writing so darkly conceived a work, such a characterization would be applicable, too, to his own Symphony No. 14.

Robert Kirzinger (Mozart)/Marc Mandel (Shostakovich)

36 Wolfgang Amadè Mozart Serenade No. 10 in B-flat for winds, K.361(370A), “Gran Partita”

WOLFGANG MOZART evidently composed his B-flat wind serenade shortly before February 1784, though he may have begun it as early as 1781; the work was first performed in late March of 1784 in a concert given by Anton Stadler.

THE WORK IS SCORED for two oboes, two clarinets, two basset horns, two bassoons, four horns, and double bass (contrabassoon in these performances).

Anton Stadler was Mozart’s favorite clarinetist, with whom he played the first performance of the E-flat quintet, K.452, for piano and winds (Mozart was the pianist on that occasion) and who premiered the Clarinet Quintet, K.581, in 1789. When Stadler planned a benefit concert in the early spring of 1784, a Vienna newspaper announced that the program would include “a big wind piece of quite an exceptional kind composed by Herr Mozart.” A later writer described the piece with enough detail to pinpoint the B-flat serenade: I heard music for wind instruments today by Herr Mozart, in four movements, glorious and sublime. It consisted of thirteen instruments; viz. four corni, two oboi, two fagotti, two clarinetti, two basset-corni, a contre-violin, and at each instrument sat a master— glorious and grand, excellent and sublime.

The instrumentation listed here (in a terminology in the style of Mozart’s day) corresponds exactly to that of this Serenade in B-flat. The only surprise is the mention of four movements, since the full work as we know it has seven. One possibility is that Mozart enlarged the piece to seven movements after the premiere. But inspection of the composer’s manuscript suggests, rather, that it was all composed at the same time. What no doubt happened, then, is that the players chose the movements they liked best from a very long composition (it runs nearly an hour at full length) and just played those, as has been the case at many performances since then.

The classical serenade was a rather freewheeling genre, designed for entertainment

week 14 program notes 37 Program page for the first Boston Symphony Orchestra performances of Mozart’s “Gran Partita” (five movements only) on December 2 and 3, 1932, with Serge Koussevitzky conducting (BSO Archives)

38 and employed frequently in circumstances where listeners would not be concentrating on music so much as on food, drink, and conversation. The performers sought to fill the available time with attractive and varied music. Rarely was such music composed by a master of the likes of Mozart, and rarely does it reward serious attention so much as in the present instance. There has long been a tradition, repeated in many books, that Mozart began to compose the Serenade when he was in Munich in 1781 for the performances of his opera Idomeneo, in which Stadler was the principal clarinetist, and that he completed it at a later time. But the paper and handwriting in the original manuscript offer no support for this view. It is most likely that he composed it fairly soon after arriving in Vienna in 1781, though it then (most unusually) remained unperformed for some three years. In February 1784, Mozart began keeping a carefully dated catalogue of his works; because the Serenade is not listed therein, it is safe to assume that it was completed, at the very latest, by January 1784.

Mozart loved the sound of the clarinet and wrote for it felicitously, so it is not surprising that with Stadler playing the principal part he should feature the clarinets. Indeed, he created a unique sonority by adding to his two clarinets the plaintive tone of two basset horns (a lower-pitched cousin of the clarinet) and the richness of four horns (two pairs in different keys). The work revels in ever-changing combinations of instruments, alternating solo with tutti, mixing the timbres, yet retaining a brilliant clarity overall.

Mozart composed three great wind serenades in Vienna: the present work in B-flat, K.361(370a), often called the “Gran Partita” from a heading added to the manuscript in a hand other than Mozart’s; a serenade in E-flat, K.375, composed in October 1781 for wind sextet (clarinets, bassoons, and horns in pairs) and expanded the following July to include two oboes; and a work in C minor, K.388(384a), “Nacht Musique,” composed in July 1782. The change in character of these consecutive pieces is striking. The first is the most loosely built of the three, in an open-ended pattern of seven movements, suitable for use as accompaniment to a cheerful occasion. The second is similar in character, but briefer, consisting of five movements, with a Menuetto placed on either side

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of a slow movement, and the whole framed by two larger and faster movements. The remaining work is altogether mysterious: composed for an unknown occasion, it has four movements (like a symphony) and is surprisingly somber and scarcely suitable for a party. Evidently Mozart was moving decisively away from the Salzburg style of serenade, which had, first of all, been a work for orchestra, with the full string complement, and had embodied the loose-limbed, almost casual character of the B-flat serenade. Later he increasingly considered these works as “night pieces,” ultimately composing one that approaches a dark night of the soul. In Vienna, where the social milieu for the earlier sort of party pieces was lacking, Mozart turned more and more from the associated casualness of style.

With the Gran Partita, however, we have not moved far from the Salzburg origins. The first movement begins with a slow introduction that wastes no time in introducing the principal clarinet (undoubtedly Stadler’s part). The introduction builds to a climax that resolves in sighs, a gesture that will play an important part in the main section of the movement. The ensuing Molto allegro quotes a theme from the aria “Je suis douce, je suis bonne,” from Philidor’s opera Maréchal ferrant, a work Mozart might have heard in Paris. The theme serves as both first and second subject, a Haydnesque trick rarely found in Mozart.

The second movement is the first of two labeled “Menuetto”; like the beginning of the Jupiter Symphony, it takes its energy at the outset from the contrast of bold assertions, forte, and gentler responses, piano. The second section features a canon between the top and bottom of the ensemble, with sustained notes on the horns in the middle. Mozart limits the first of the two Trios to clarinets and their basset horn cousins. After a repetition

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42 of the Menuetto, the second Trio arrives in G minor, but with lively triplets counteracting the poignancy of the key.

The Adagio is one of the great slow movements for winds. Oboe, clarinet, and basset horn enter one by one, then function as a leading trio against the incantatory rhythmic figure of the other parts. The movement’s sustained solemnity is so striking that an unknown musician once arranged it as a sacred chorus to the words “Quis te compre- hendet” (“Who might understand Thee?”) with an attribution to Mozart himself. Few indeed are the serenade movements that could sustain such a sea change!

The second minuet sports two Trios, like the first, again alternating with the main Menuetto in the pattern ABACA. The movement as a whole is in the home key of B-flat, with the first Trio in the dark, then-rare key of B-flat minor. The contrasting second Trio, in F, dances along cheerfully in the rustic mood of an Austrian Ländler.

“Romanze” is a term that Mozart used very rarely in instrumental music. The heading may imply that the work is based on a song, but no one has succeeded in locating the original. The E-flat melody gives way to a dark, fretful, faster middle section in C minor.

The theme with variations is evidently a reworking of a movement from a C major flute quartet composed in 1778 and finished, in any case, before the composition of the present serenade. But Mozart has thoroughly rethought the scoring of the music, to show off each of the instruments in its best light and to provide abundantly diverse sonorities. One of the variations (No. 4) is in the minor mode, to be followed by a soulful Adagio aria for the oboe (with commentary from the clarinet) and a jovial finale once again evoking the Ländler.

The finale is a cheerful rondo, offering brilliant scoring and infectious musical delight. Its main purpose, it would seem, is to cast out the possible shadows of poignant sentiment that might remain from some of the previous movements and leave every listener in a state of high good humor.

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

THE FIRST BOSTON SYMPHONY PERFORMANCES OF THE “GRAN PARTITA” were given by Serge Koussevitzky, who led five movements of the work on December 2 and 3, 1932, and then again at Tanglewood in 1947. Subsequent BSO performances—complete unless otherwise noted— were led by Charles Munch (four movements), Erich Leinsdorf, Seiji Ozawa, Edo de Waart (four movements), Bernard Haitink, and Ingo Metzmacher. It was Leinsdorf who led the BSO’s first complete performance, at Tanglewood on July 11, 1964, as well as the BSO’s first complete subscription performances, in January 1989. The most recent Tanglewood performance was de Waart’s, on July 12, 1987. The most recent subscription performances were a series led by Ingo Metzmacher in February 2005, and single performances given by members of the orchestra without a conductor on January 14 and March 8, 2014.

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DMITRI DMITRIEVICH SHOSTAKOVICH was born in St. Petersburg, Russia, on September 25, 1906, and died in Moscow on August 9, 1975. He composed his Symphony No. 14 for soprano, bass, and chamber orchestra in 1969, using texts by Federico García Lorca, Guillaume Apollinaire, Wilhelm Küchelbecker, and Rainer Maria Rilke (the Küchelbecker in its Russian original, the rest in Russian translation). The piano score was completed on February 16, 1969, the full score on March 2. The symphony is dedicated to Benjamin Britten. An early, closed performance for an invited audience was given on June 21, 1969, in the Small Hall of the Moscow Conservatory; Rudolf Barshai conducted the Moscow Chamber Orchestra, with soloists Margarita Miroshnikova, soprano, and Yevgeny Vladimirov, bass. The official Leningrad premiere took place on September 29, 1969, at the Hall of the Glinka Capella, with Barshai, the Moscow Chamber Orchestra, soprano Galina Vishnevskaya, and Yevgeny Vladimirov. The official Moscow premiere followed on October 6, with the same orchestra and conductor, Vishnevskaya, and bass Mark Reshetin. Benjamin Britten led the English Chamber Orchestra in the UK premiere on June 14, 1970, at the Aldeburgh Festi- val, also with Galina Vishnevskaya and Mark Reshetin.

IN ADDITION TO THE SOPRANO AND BASS SOLOISTS, Shostakovich’s Symphony No. 14 calls for a chamber orchestra of strings (ten violins, four violas, three cellos, and two double basses are specified) and percussion (castanets, wood block; soprano, alto, and tenor tom-toms; whip, chimes, vibraphone, xylophone, and celesta).

In his fourteenth, penultimate symphony, Dmitri Shostakovich confronts death in all its terror and majesty. Encompassing verses by four poets of different nationalities (Spanish, French, Russian, German), the music seethes, soars, and sighs as it lays bare the myriad emotions that death inspires: anger, love, regret, suffering, pain, forgiveness, resignation— even grotesque humor. Of the composer’s fifteen symphonies, the Fourteenth is the most unconventional and experimental in instrumental forces, form, and musical language. Constructed in eleven episodes of varying length, each a setting of a verse text, it disregards the sonata-form rules of the genre of the classical symphony and could more precisely be called a symphonic song cycle. Yet this masterful and intensely personal

week 14 program notes 45 Program page for the only previous BSO performances of Shostakovich’s Symphony No. 14 in January 1990, Dennis Russell Davies conducting, with soloists Ljubov Kazarnovskaya and Thomas Paul (BSO Archives)

46 work follows a concise, complex course (proceeding mostly without pause) that pulses with a tense musical and dramatic unity from first measure to last.

For Shostakovich—who was gravely ill and increasingly aware of his own mortality toward the close of a life in which he had seen more than his share of death and suffering— the Symphony No. 14 held special significance. “Everything that I have written until now over these long years has merely served as a preparation for this work,” he wrote to his confidant Isaak Glikman. At the same time, Shostakovich found it necessary to justify the symphony’s somber mood to a Soviet audience used to a diet of unrelenting optimism and Socialist happy endings. He even resorted to quoting from one of the classics of Soviet Socialist Realism, How the Steel Was Tempered by Nikolai Ostrovsky, to defend his choice of material: “Man’s dearest possession is life. It is given to him but once, and he must live it so that dying, he might say: all my life, all my strength were given to the finest cause in the world—the fight for the Liberation of Mankind.”

As he began work, Shostakovich had three models in mind. One was his longtime idol Gustav Mahler (1860-1911), whose symphonies (specifically Nos. 2, 3, 4, and 8) and vocal works (song cycles including the Songs of a Wayfarer and Kindertotenlieder, and Das Lied von der Erde for two soloists and orchestra) so successfully incorporated vocal soloists and choruses. The second was his friend, the British composer Benjamin Britten (1913-1976). In 1962, Britten had completed his War Requiem for orchestra, soloists, and

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week 14 program notes 47 48 Ria Novosti

Dmitri Shostakovich and Benjamin Britten, the dedicatee of Shostakovich’s Symphony No. 14, in Moscow, 1966

chorus combining excerpts from the Latin Requiem Mass with poems by World War I soldier/poet Wilfred Owen.

The third and most important model was Russian composer Modest Mussorgsky (1839-1881), revered by Shostakovich for his psychological insight, spiritual depth, and originality. Indeed, it was while preparing an orchestration in 1962 of Mussorgsky’s Songs and Dances of Death, a dark and searing setting of four poems for voice and piano, that Shostakovich first contemplated creating a similar work. That same year, he completed his Symphony No. 13, Babi Yar, for large orchestra, bass solo, and chorus to verses by Yevgeny Yevtushenko, including a poem about the slaughter of thousands of Jews during the Nazi Holocaust in Ukraine in 1941. In the following years, Shosta- kovich focused mainly on chamber works, completing his string quartets 9, 10, 11, and 12 between 1964 and 1968. His skill in writing for small string ensembles shows in the Symphony No. 14, with its many extended passages scored for string solos (especially cello), trio, and quartet, creating an atmosphere of intimacy and reflection. (The open- ing section, “De Profundis,” is a particularly good example, where the bass soloist is accompanied only by violins, violas, and double basses.)

Shostakovich spent January and February of 1969 in the elite Moscow Kremlin Hospital recovering from various serious ailments—a heart attack, a broken leg, and chronic muscle weakness. He passed the days reading poetry in Russian translation, eventually choosing eleven poems. “My choice of poems is probably quite random,” he wrote to Glikman. “But it seems to me that they are given unity through the music.”

In fact, the four poets have a great deal in common. All four had immediate and crushing experience of war and the spectacle of death. Spanish poet and playwright Federico García Lorca (1898-1936) was shot by a firing squad in Spain during the Spanish ivilC War. French poet Guillaume Apollinaire (1880-1918) was seriously wounded in combat

week 14 program notes 49 Be in touch with the full spectrum of arts and culture happening right here in our community. Visit The ARTery at wbur.org/artery today. Federico García Lorca (1898-1936) Guillaume Apollinaire (1880-1918)

in World War I, and died prematurely of influenza. German/Austrian poet Rainer Maria Rilke (1875-1926) served briefly in the Austro-Hungarian army in World War I, expe- riencing profound psychological trauma. Russian poet Wilhelm Küchelbecker (1797- 1846) was exiled for life to Siberia for participating in the unsuccessful 1825 Decembrist Uprising against the Tsarist government. In his Symphony No. 14, Shostakovich uses (in this order) two poems by Lorca (“De Profundis,” “Malagueña”), six by Apollinaire (“Loreley,” “The Suicide,” “On the Alert,” “Look Here, Madame!,” “In the Santé Jail,” “The Zaporozhye Cossacks’ Reply to the Sultan of Constantinople”), one by Küchelbecker (“O Delvig, Delvig!”), and two by Rilke (“The Poet’s Death,” “Conclusion”). The first, seventh, eighth, and ninth poems are sung by bass solo, the second, fourth, fifth, and tenth by the soprano. Both soloists sing in the third and sixth movements, but only in the final—and shortest—movement do they join in a duet.

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Shostakovich’s wife Irina helped him adapt and abridge the poems. In the original version, all ten non-Russian poems are sung in Russian in translations done by four different translators. In numerous cases, particular words or phrases are repeated for rhythmic, sonic, or thematic effect (e.g., the haunting repetition of the words “tri lilii”/ “three lilies” in “The Suicide,” or the crazy laughter “kha-kha-kha-kha-chu” in “Look Here, Madame!”). Several of the Apollinaire settings are fragments taken from larger cycles of poems, as is the only poem written originally in Russian, Küchelbecker’s tribute to fellow poet Anton Delvig (1798-1831) and the immortality of art.

The symphony’s musical language is highly varied, dissonant, multi-layered, and dense. Shostakovich largely disregards conventional structure, although the key of G minor dominates. The most recognizable “theme” is the keening phrase that opens the first movement and reappears elsewhere in modified form, notably in movements 9 (“O Delvig, Delvig!”) and 10 (“The Poet’s Death”) and in the final measures. Several movements (“Loreley,” “On the Alert”) employ twelve-tone rows as structural elements, one of the few instances in Shostakovich’s music of serialist technique, long banned in Soviet music as a decadent Western import. Unusual instrumental combinations abound: castanets with strings and soprano for Spanish flavor in “Malagueña”; wood block, whip, chimes, xylophone, vibraphone, and celesta to convey the dream world of “Loreley”; string players striking the strings with the wood of the bow (col legno) in “In the Santé Jail.” At several points the various stringed instruments divide into as many as ten different parts. A furious crescendo concludes the symphony, the strings pounding out a frantic dissonant chord that holds out little hope for the afterlife.

Some listeners, including author Alexander Solzhenitsyn, found Shostakovich’s view of mortality excessively bleak and uncompromising. And yet overall the Fourteenth Symphony enjoyed a positive critical and popular reception. An odd incident at the first, closed performance in June 1969 at the Moscow Conservatory contributed to the

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Assisting New England families with the sale of their fine jewelry and paintings since 1987. groganco.com | 20 charles street, boston, massachusetts 02114 | 617.720.2020 work’s fame. In attendance among the packed crowd was Pavel Apostolov, a musicologist and Communist Party apparatchik known for his repeated attacks on Shostakovich in 1948 and afterwards. As the fifth section, “On the Alert,” was being performed, Apostolov suddenly got up and left the hall, causing a disruption. When the audience filed out after the performance, Apostolov was seen being tended to by medical personnel in the hallway, having suffered an apparent heart attack or stroke. Many of those in attendance, including Shostakovich, believed he had died on the spot, and this story became part of the symphony’s legend. In fact, however, Apostolov passed away a few weeks later. In any case, that Apostolov was struck down during the performance of a symphony about death composed by the man he had so long persecuted seemed to many a divine act of retribution.

The first public performances of the Fourteenth Symphony in Leningrad and Moscow attracted large audiences that included many members of the Soviet and diplomatic cultural elite. Surprisingly, perhaps deferring to Shostakovich’s ill health and enormous international stature, Soviet cultural officials refrained from attacking him for address- ing such a difficult topic in such an uncompromising manner. Numerous performances followed soon after across the USSR, in Soviet satellite countries, and in the West.

Harlow Robinson

harlow robinson is an author, lecturer, and Matthews Distinguished University Professor of History at Northeastern University. The author of “Sergei Prokofiev: A Biography” and “Russians in Hollywood, Hollywood’s Russians,” he is a frequent annotator and lecturer for the Boston Symphony Orchestra, Lincoln Center, Metropolitan Opera Guild, and Aspen Music Festival.

THE FIRST AMERICAN PERFORMANCE OF SHOSTAKOVICH’S SYMPHONY NO. 14 was given by Eugene Ormandy and the Philadelphia Orchestra on January 1, 1971, with soloists Phyllis Curtin and Simon Estes. The same forces gave the first New York performance four days later, on January 5, John Singer Sargent, in Philharmonic Hall (now David Geffen Hall) at Lincoln Center.

THE ONLY PREVIOUS BSO PERFORMANCES OF SHOSTAKOVICH’S SYMPHONY NO. 14 were conducted by Dennis Russell Davies on January 18, 19, 20, and 23, 1990, with soprano Ljubov sold: Kazarnovskaya and bass Thomas Paul. More recently, however, the Tanglewood Music Center Orchestra performed the work on August 8, 2016, led by TMC Conducting Fellow Christian Reif, the vocal parts being divided on that occasion among TMC Vocal Fellows Sarah Tuttle, Adriana Velinova, Quinn Middleman, Joel Balzun, and Keith Colclough, and TMC faculty members Dawn Upshaw and Sanford Sylvan.

Assisting New England families with the sale of their fine jewelry and paintings since 1987. groganco.com | 20 charles street, boston, massachusetts 02114 | 617.720.2020 week 14 program notes 55 The Juilliard-Nord Anglia Performing Arts Programme The British International School of Boston offers students an innovative performing arts curriculum developed by The Juilliard School in collaboration with Nord Anglia Education. Students will gain life skills to enrich their academic experience, develop cultural literacy and be inspired to engage with performing arts throughout their lives. www.naejuilliard.com/bisboston To Read and Hear More...

The important modern biography of Mozart is Maynard Solomon’s Mozart: A Life (Harper- Perennial paperback). Peter Gay’s wonderfully readable Mozart is a concise, straightfor- ward introduction to the composer’s life, reputation, and artistry (Penguin paperback). John Rosselli’s The life of Mozart is one of the compact composer biographies in the series “Musical Lives” (Cambridge paperback). Christoph Wolff’s Mozart at the Gateway to his Fortune: Serving the Emperor, 1788-1791 takes a close look at the realities, prospects, and interrupted promise of the composer’s final years (Norton). For further delving, there are Stanley Sadie’s Mozart: The Early Years, 1756-1781 (Oxford); Volkmar Braun- behrens’s Mozart in Vienna, 1781-1791, which focuses on the composer’s final decade (HarperPerennial paperback); Julian Rushton’s Mozart: His Life and Work, in the “Master Musicians” series (Oxford), and Robert Gutman’s Mozart: A Cultural Biography (Harcourt Brace Jovanovich/Harvest paperback). Peter Clive’s Mozart and his Circle: A Biographical Dictionary is a handy reference work with entries on virtually anyone you can think of who figured in Mozart’s life (Yale University Press).The Mozart Compendium: A Guide to Mozart’s Life and Music, edited by H.C. Robbins Landon, includes discussion by Roger Hellyer of the Gran Partita, under the subject heading “Harmoniemusik and other works for multiple wind instruments” (Schirmer). The Gran Partita is also discussed in Erik Smith’s Mozart Serenades, Divertimenti, and Dances in the series of BBC Music Guides (University of Washington paperback).

Recordings of the Gran Partita include Daniel Barenboim’s with members of the English Chamber Orchestra (EMI), Pierre Boulez’s with the Ensemble Intercontemporain (Decca), Edo de Waart’s with the Netherlands Wind Ensemble (Philips), Philippe Herreweghe’s with the Champs-Élysées Wind Ensemble (Harmonia Mundi), Sir Charles Mackerras’s with members of the Orchestra of St. Luke’s (Telarc), Sir Neville Marriner’s with the Academy of St. Martin in the Fields (Philips), and a famous 1947 account made by Wilhelm Furtwängler with wind soloists from the Vienna Philharmonic (EMI).

Important books about Shostakovich include Elizabeth Wilson’s Shostakovich: A Life Remembered, now in a second edition published in 2006 (Princeton University paperback); Laurel E. Fay’s Shostakovich: A Life (Oxford paperback); the anthology Shosta- kovich Reconsidered, written and edited by Allan B. Ho and Dmitry Feofanov (Toccata Press); Shostakovich and Stalin by Solomon Volkov (Random House); Shostakovich and his World, edited by Laurel E. Fay (Princeton University Press), and A Shostakovich Casebook, edited by Malcolm Hamrick Brown (Indiana University Press). Among other things,

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58 the last two of these continued to address issues of authenticity surrounding Volkov’s earlier book, Testimony: The Memoirs of Dmitri Shostakovich as (ostensibly) related to and edited by Volkov, published originally in 1979 (currently a Faber & Faber paperback). Volkov’s Testimony served as the basis for a 1988 Tony Palmer film starring Ben Kings- ley as Shostakovich. English writer Julian Barnes’s recent novel, The Noise of Time, uses three crucial moments in Shostakovich’s life to address matters of life, art, society, and political oppression (Knopf). An older but still important biography of the composer, written during his lifetime, is Dmitri Rabinovich’s Dmitri Shostakovich, published in a 1959 English translation by George Hanna (Foreign Languages Publishing House). Also still useful is Boris Schwarz’s Music and Musical Life in Soviet Russia, Enlarged Edition, 1917- 1981 (Indiana University Press). David Fanning discusses Shostakovich’s symphonies in the chapter “The Symphony in the Soviet Union (1917-91)” in A Guide to the Symphony, edited by Robert Layton (Oxford paperback). Hugh Ottaway’s Shostakovich Symphonies in the handy series of BBC Music Guides is worth seeking (University of Washington paperback).

Shostakovich’s Symphony No. 14 is being recorded live at these concerts for future release on Deutsche Grammophon as part of the ongoing Andris Nelsons/BSO Shosta- kovich symphony cycle on that label. Currently available recordings include Mariss Jansons’s with the Bavarian Radio Symphony Orchestra, Larissa Gogolewskaja, and Ser- gei Aleksashkin (EMI); Vladimir Jurowski’s live with the London Philharmonic, Tatiana Monogarova, and Sergei Leiferkus (LPO); Vasily Petrenko’s with the Royal Liverpool Phil- harmonic, Gal James, and Alexander Vinogradov (Naxos); and that of the composer’s son, Maxim Shostakovich, live with the Prague Symphony Orchestra, Marina Shaguch, and Peter Mikuláš (Supraphon). On Bernard Haitink’s recording with the Concertge- bouw Orchestra of Amsterdam, Julia Varady, and Dietrich Fischer-Dieskau, the texts are sung in their original languages (Decca). Historic recordings of interest include Mstislav Rostropovich’s from 1973 with the Academic Symphony Orchestra of the Moscow State Philharmonic and soloists Galina Vishnevskaya and Mark Reshetin, both of whom figured in the work’s initial performances (Warner Classics); the Western premiere recording from January 1971 with Eugene Ormandy leading the Philadelphia Orchestra, Phyllis Curtin, and Simon Estes (originally RCA); and a CD release of the UK premiere led by Benjamin Britten on June 14, 1970, with the English Chamber Orchestra, Galina Vish- nevskaya, and Mark Reshetin (BBC/“Britten the Performer”). Other releases include at least two recorded concert performances under Rudolf Barshai (who led the premiere), one with soloists Margarita Miroshnikova and Yevgeny Vladimirov, the other with Galina Vishnevskaya and Mark Reshetin.

Marc Mandel

week 14 read and hear more 59 SHOSTAKOVICH Symphony No. 14, Opus 135 Texts by Federico García Lorca, Guillaume Apollinaire, Wilhelm Küchelbecker, and Rainer Maria Rilke

Please note that, given the use of projected supertitles, these texts and translations for Shostakovich's Symphony No. 14 are provided only for reference, and that the house lights will be dark during the performances.

1. De Profundis (Adagio; Bass solo) Sto goryacho vlyublyonnykh A hundred ardent lovers snom vekovym usnuli Fell into eternal sleep gluboko pod sukhoy zemlyoyu. Deep beneath the dry ground. Krasnym peskom pokryty Red sands now cover dorogi Andaluzii. The Andalusian roads. Vetvi oliv zelyonykh The olive trees’ green boughs Kordovu zaslonili. Spread shade over Cordova. Zdes im kresty postavyat Here crosses will be set chtob ikh ne zabyli lyudi. So that people will not forget them. Sto goryacho vlyublyonnykh A hundred ardent lovers snom vekovym usnuli. Fell into eternal sleep.

FEDERICO GARCÍA LORCA (Russian translation by I. Tynyanova)

2. Malagueña (Allegretto; Soprano solo) Smert voshla i ushla iz taverny. Death strides in and out of the tavern. Chyornye koni i tyomnye dushi Black horses and dark souls v ushchelyakh gitary brodyat. Wander in the depths of the guitar. Zapakhli solyu i zharkoy krovyu The smell of salt and hot blood sotsvetya zybi nervnoy. Permeates the blossoms of the nervous sea. A smert vsyo vykhodit i vkhodit Death keeps striding in and out i vsyo ne uidyot iz taverny. And will not leave the tavern.

LORCA (Russian translation by L. Geleskula)

3. Loreley (Allegro molto; Soprano and Bass) K belokuroy koldunye iz prireinskovo kraya To the blonde bewitcher from the Rhineland shli muzhchiny tolpoy, ot lyubvi umiraya. Men came in droves, all sick with love. I velel yeyo vyzvat yepiskop na sud, And the Bishop summoned her to question her, Vsyo v dushe yei proshchaya za yeyo krasotu. Forgiving her everything because of her beauty. “O, skazhi, Loreleya, chyi glaza tak prekrasny, “Oh tell me, Loreley, whose eyes are so beautiful, kto tebya nauchil etim charam opasnym?” Who taught you your wicked sorcery?”

60 “Zhizn mne v tyagost, yepiskop, i proklyat “Life is a burden to me, Bishop, and my moy vzor. glance is accursed. Kto vzglyanul na menya, svoy prochol prigovor. Whoever looks on me reads his own doom. O, yepiskop, v glazakh moikh plamya pozhara, O, Bishop, my eyes are full of fire, tak predaite ognyu eti strashnyye chary!” so let my sorcery be devoured by flames.” “Loreleya, pozhar tvoy vsesilen: ved ya “Loreley, your fire is powerful; even I sam toboy okoldovan i tebe ne sudya!” find myself bewitched and cannot judge you.” “Zamolchite, yepiskop! Pomolites i verte: “Be silent, Bishop! Pray and learn that eto volya Gospodnya—predat menya smerti. God wills that I shall die. Moy lyubimyi uyekhal, on v dalekoy strane. My beloved has gone to a distant land, Vse teper mne ne milo, vsyo teper ne po mne. Nothing gives me pleasure, nothing is worthwhile. Serdtse tak isstradalos, chto dolzhna My heart is so sick that I know I will die. umeret ya. Dazhe vid moy vnushayet mne mysli Even my own beauty makes me think o smerti. of death. Moy lyubimyi uyekhal, i s etovo dnya My beloved has gone, and from that moment svet mne belyi ne mil, noch v dushe nothing gives me pleasure, all is dark in u menya.” my heart.” I tryokh rytsarei kliknul yepiskop: “Skoreye And the Bishop summoned three knights: uvedite v glukhoy monastyr Loreleyu. “Take Loreley to a far-off convent. Proch, bezumnaya Lor, volookaya Lor! Begone, demented Lor’, doe-eyed Lor’! Ty monakhiney stanesh, i pomerknet You will become a nun, and your gaze tvoy vzor.” will dim.” Troye rytsarei s devoy idut po doroge. The three knights lead the maiden along a road. Govorit ona strazhnikam khmurym i strogim: She speaks to her guards, grave and serious. “Na skale toy vysokoy daite mne postoyat, “Let me stand upon that high rock, chtob uvidet moy zamok mogla ya opyat, so that I may see my castle once more, chtob svoyo otrazhenye ya uvidela snova let me see my reflection in the waters pered tem kak voiti v monastyr vash surovyi.” Before I enter the harsh convent life.” Veter volosy sputal, i gorit yeyo vzglyad. Her hair is wild, her eyes like fire, Tshchtono strazha krichit yei: “Loreleya, And the guards call: “Loreley, come back!” nazad!” “Na izluchinu Reina ladya vyplyvayet. “At the bend of the Rhine a boat comes forth V nei sidit moy lyubimyi, on menya and therein sits my beloved, calling to me. prizyvayet. Tak lehko na dushe, tak prozrachna volna...” My heart is so light, the waters are clear—” I s vysokoy skaly v Rein upala ona, And from the rocky cliff into the Rhine plunges Loreley, uvidav otrazhonnyye v gladi potoka Deep into the smooth stream that reflected to her svoi reinskiye ochi, svoy solnechnyi lokon. Her Rhine-colored eyes, her hair like the sun.

GUILLAUME APOLLINAIRE (Russian translation by M. Kudinov)

week 14 text and translation 61 4. The Suicide (Adagio; Soprano solo) Tri lilii, tri lilii, lilii tri na mogile moyei bez Three lilies, three lilies, lilies three, lie on my kresta. unmarked grave. Tri lilii, chyu pozolotu kholodnye vetry Three lilies, whose freshness the cold wind sduvayut, wears away, i chornoye nebo, prolivshis dozhdyom, And the black rain sometimes washes ikh poroy omyvayet. over them. I slovno u skipetrov groznykh torzhestvenna They are as beautiful and solemn as the ikh krasota. royal scepters. Rastyot iz rany odna, i kak tolko zakat zapylayet, One grows from my wound, and at sunset okrovavlennoy kazhetsya skorbnaya liliya ta. That mournful lily seems stained with blood. Tri lilii, tri lilii, lilii tri na mogile moyei bez Three lilies, three lilies, lilies three, lie on my kresta. unmarked grave. Tri lilii, chyu pozolotu kholodnyye vetry Three lilies, whose freshness the cold wind sduvayut. wears away. Drugaya iz serdtza rastyot moyevo, chto tak Another lily grows from my heart, which silno stradayet suffers sorely na lozhe chervivom; a tretya kornyami mne On its wormy bed; the third tears at my rot razryvayet. mouth with its roots. Oni na mogile moyei odinoko rastut, i pusta They grow alone on my grave, and bare around vokrug nikh zemlya, i, kak zhizn moya, is the earth, for, as with my life, their beauty proklyata ikh krasota. is accursed. Tri lilii, tri lilii, lilii tri na mogile moyei bez Three lilies, three lilies, lilies three, lie on my kresta. unmarked grave.

APOLLINAIRE (Russian translation by Kudinov)

62 5. On the Alert (Allegretto; Soprano solo) V transheye on umryot do nastuplenya nochi, He will die in the trenches before night falls, moy malenkii soldat, chey utomlyonnyi My little soldier, whose weary eyes vzglyad iz-za ukrytiya sledil vse dni podryad Kept watch from the shelter day after day za Slavoy, chto vzletet uzhe ne knochet. For Glory, which no longer takes to flight. Sevodnya on umryot do nastuplenya nochi. Today he will die, before night falls, moy malenkii soldat, lyubovnik moy i brat. My little soldier, my love, my brother. I vot poetomu khochu ya stat krasivoy. And that is why I want to become beautiful. Pust yarkim fakelom grud u menya gorit, Let my breast burn as bright as a torch, pust opalit moy vzglyad zasnezhennyye nivy, Let my gaze melt the snow in the fields, pust poyasom mogil moy budet stan obvit. Let me wear a belt of graves around my waist. V krovosmeshenii i v smerti stat krasivoy In incest and death, I want to become beautiful khochu ya dlya togo, kto dolzhen byt ubit. For him who is to be killed. Zakat korovoyu revet, pylayut rozy, The sunset lows like a cow; the roses blaze, i siney ptitseyu moy zacharovan vzglyad. My eyes are enchanted by a blue bird. To probil chas Lyubvi, i chas likhoradki groznoy, The hour of Love sounded, the hour of terrible fever, to probil Smerti chas, i nyet puti nazad. The hour of Death sounded, and there is no way back. Sevodnya on umryot, kak umirayut rozy, Today he will die, as roses die, moy malenkii soldat, lyubovnik moy i brat. My little soldier, my love, my brother.

APOLLINAIRE (Russian translation by Kudinov)

6. Look Here, Madame! (Adagio; Soprano and Bass) “Madam, posmotrite! “Madame, look here! Poteryali vy chto-to...” You have lost something...” “Akh, pustyaki! Eto serdtse moyo. “Oh, it’s nothing! Just my heart. Skoreye evo podberite. Quickly, pick it up. Zakhochu—otdam. Zakhochu— I may give it away, or I may zaberu evo snova, poverte, Take it back again, you can be sure, i ya khokhochu, khokhochu And I laugh, laugh, laugh nad lyubovyu, chto skoshena smertyu.” At love, which is cut down by death.”

APOLLINAIRE (Russian translation by Kudinov)

week 14 text and translation 63

7. At the Santé Jail (Adagio; Bass solo) Menya razdeli do gola, They stripped me naked kogda vveli v tyurmu; When they brought me to prison. sudboy srazhon iz-za ugla, Struck by fate, from around a dark corner, nizvergnut ya vo tmu. I am thrust down into darkness. Proshchai, vesyolyi khorovod, Farewell, merry dances, proshchai, devichii smekh, Farewell, girlish laughter. zdes nada mnoy mogilnyi svod, The tomb’s vault now covers me. zdes umer ya dlya vsekh. Here I am dead to everyone. Nyet, ya ne tot, No, I am not the same, sovsem ne tot, chto prezhde. Not at all the same as I was: Teper ya arestant, Now I am a prisoner. i vot konets nadezhde. Hope ends here. V kakoy-to yame, kak medved, Like a caged bear khozhu vpreyod—nazad. I pace back and forth. A nebo...luchshe ne smotret— And the sky—it is better not to see, ya nebu zdes ne rad. For it can give me no happiness.

week 14 text and translation 65 V kakoy-to yame, kak medved, Like a caged bear khozhu vperyod—nazad. I pace back and forth. Za chto ty pechal mne etu prinyos? Why have you brought me this sadness? Skazhi, Vsemogushchii Bozhe. Tell me, almighty God. O, szhalsya, szhalsya! O, have pity, have pity! V glazakh moikh netu slyoz, There are no more tears in my eyes, na masku litso pokhozhe. My face is like a mask. Ty vidish skolko neschastnykh serdets You can see how many hopeless hearts pod svodom tyuremnym byotsya! Beat under this prison vault. Sorvi-zhe s menya ternovyi venets, Tear away my crown of thorns, ne to on mne v mozg vopyotsya. Before it pierces my brain. Den konchilsya. Lampa nad golovoyu The day is ended. The lamp above my head gorit, okruzhonnaya tmoy. Burns in the surrounding darkness. Vsyo tikho. Nas v kamere tolko dvoye: All is quiet. In our cell there are only two of us: ya i rassudok moy. Myself and my mind.

APOLLINAIRE (Russian translation by Kudinov)

8. The Zaporozhye Cossacks’ Reply to the Sultan of Constantinople (Allegro; Bass solo) Ty prestupney Varavvy v sto raz. You are more wicked than Barabbas by a hundred times. S Velzevulom zhivya po sosedstvu, With Beelzebub as your neighbor, v samykh merzkikh grekhakh ty pogryaz. You are steeped in the mire of sin. Nechistotami vskormlennyi s detstva. You have fed on filth since childhood. Znay: svoy shabash ty spravish’ bez nas. Know that you will celebrate your Sabbath without us. Rak protukhshii. Salonik otbrosy, Rotten cancer, garbage of Salonica, skvernyi son, chto nelzya rasskazat, Nightmare too horrid to be told, okrivevshiy, gniloy i beznosyi, Evil-eyed, rotten and noseless, ty rodilsya, kogda tvoya mat You were born when your mother izvivalas v korchakh ponosa. Wallowed in torrents of filth. Zloy palach Podolya, vzglyani: Mad butcher of Padolie, look: ves ty v ranakh, yazvakh i strupyakh. You are covered with holes, cankers, and scabs. Zad kobyly, rylo svini. Horse’s rump, pig’s snout. Pust tebe vse snadobya skupyat, There are not enough medicines chtob lechil ty bolyachki svoi. To treat your rotten sores.

APOLLINAIRE (Russian translation by Kudinov)

9. O Delvig, Delvig! (Andante; Bass solo) O Delvig, Delvig! Chto nagrada Oh Delvig, Delvig! What is the reward i del vysokikh i stikhov? For lofty deeds and for poetry? Talantu chto i ged otrada For talent, what comfort is there sredi zlodeyev i gluptsov? Among villains and fools?

66 V ruke surovoy Yuvenala In Juvenal’s stern hand, zlodeyam groznyi bich svistit A stinging whip menaces villains i krasku gonit s ikh lanit, And drives the color from their faces, i vlast tiranov zadrozhala. And powerful tyrants shudder. O Delvig, Delvig, chto gonenya? Oh, Delvig, Delvig! What persecution? Bessmertiye ravno udel Immortality is as much the same destiny i smelykh vdokhnovennykh del Of bold and lofty deeds i sladostnovo pesnopenya! As of sweet song! Tak ne umryot i nash soyoz, And so our bond will not perish svobodnyi, radostnyi i gordyi! In freedom, joyful and proud. I v schastye i v neschastye tvyordyi In happiness and sorrow it stands firmly, soyuz lyubimtzev vechnykh muz. The bond of lovers of the eternal Muses.

WILHELM KÜCHELBECKER

10. The Poet’s Death (Largo; Soprano solo) Poet byl myortv. Litsvo evo, khranya The poet was dead. His face, vsyo tu-zhe blednost, chto-to otvergalo. Keeping its paleness, rejected something. Ono kogda-to vsyo o mire znalo, Once it knew everything about the world, no eto znanye ugasalo But this knowledge died i vozvrashchalos v ravnodushye dnya. And turned into indifference of the time. Gde im ponyat, kak dolog etot put? How can they understand how long the road is? O! mir i on—vsyo bylo tak yedino: Oh, World and He—once they were as one. ozyora, i ushchelya, i ravnina The lakes, valleys, and plains evo litsa i sostavlyali sut. Made up the very essence of his face. Litso evo i bylo tem prostorom, His face was that landscape chto tyanetsya k nemu i tshchotno lnyot, He vainly sought to call his own; a eta maska robkaya umryot, But this weak mask will die otkryto predostavlennaya vzoram, Upon being exposed, na tenya obrechennyi, nezhnyi plod. A tender fruit, deemed to rot.

RAINER MARIA RILKE (Russian translation by T. Silman)

11. Conclusion (Moderato; Soprano and Bass) Vsevlastna smert. Death is all-powerful. Ona na strazhe It watches, i v schastya chas. Even in the hour of happiness. V mig vysshey zhizhni ona v nas strazhdet, In our moments of goodness, it watches, zhivyot i zhazhdet— Lives and longs, i plachet v nas. And weeps within us.

RILKE (Russian translation by Silman)

week 14 text and translation 67

Guest Artists

Kristine Opolais

One of today’s most sought-after sopranos on the international scene, Kristine Opolais appears regularly at the Metropolitan Opera, Wiener Staatsoper, Deutsche Staatsoper Berlin, Bayerische Staatsoper, Teatro alla Scala, Opernhaus Zürich, and the Royal Opera House, Covent Garden, working with such conductors as Barenboim, Pappano, Rattle, Elder, Harding, Nelsons, Luisi, Petrenko, and Bychkov. In the 2017-18 season Ms. Opolais continues her notable collaboration with the Royal Opera House, making her role debut as Elsa in Lohengrin, opposite Klaus Florian Vogt in a new production by David Alden. She makes her house debut as Cio-Cio San as part of the Hamburg Staatsoper’s Italian Opera Festival and reprises that signature role at the Wiener Staatsoper. Also noted for her collaborations with the Metropolitan Opera, she received the highest critical praise for her performance in the title role of Rusalka. Ms. Opolais has maintained a strong relationship with the Met since her 2013 debut there as Magda in La rondine. In April 2014 she made Met history, when, within eighteen hours, she made house debuts in two roles, giving an acclaimed, scheduled performance as Cio-Cio San, then stepping in as Mimì for a matinee performance of La bohème the very next day—a performance broadcast to cinemas around the world. Continuing her association with the Bayerische Staatsoper, which began with her 2010 debut as Rusalka, she has appeared there as Cio-Cio San, Tatiana in Eugene Onegin, and Margherita in Mefistofele. Her collaboration with the Royal Opera House has featured the Puccini roles of Cio-Cio San, Floria Tosca, and Manon Lescaut. She has appeared at Opernhaus Zürich in the title role of Jen˚ufa and this season returned to the Wiener Staatsoper for Cio-Cio San. Recent concert and festival performances

week 14 guest artists 69 2017-18

Our upcoming MARCH concerts Salem Giants of Romanticism Friday Evenings at 8:00 Salem Fri. March 9, 8:00 Brookline Sun. March 11, 3:00 in historic Hamilton Hall Mar 9 | Apr 20 Schumann Quartet in A minor, Opus 41, No. 1 Clarinet Quintet in B minor, Brookline Brahms Opus 115

Thomas Martin – clarinet, Tatiana Dimitriades, Bayla Keyes – violins, Rebecca Gitter – viola, Jonathan Miller – cello Sunday Afternoons at 3:00 in beautiful St. Paul’s Church Mar 11 | Apr 22

You ™ Please note Hamilton Hall is a Registered National Historic Landmark and is not handicap accessible to the performance hall on the second floor. Are Hear BostonArtistsEnsemble.org

70 have included the Salzburg Festival, BBC Proms, and Tanglewood, where she is a regular guest, this past season singing Mahler’s Symphony No. 4 and, with Sir Bryn Terfel, an opera gala including Act II of Tosca. Other recent concert engagements have taken her to the Berlin Philharmonic, Concertgebouw Orchestra, Symphonieorchester des Bay- erischen Rundfunks, WDR Sinfonieorchester Köln, and Filarmonica della Scala. In the 2017-18 season she opened the Prague Festival, alongside Piotr Beczała and René Pape, in Dvoˇrák’s Stabat Mater and makes her Vienna Philharmonic debut, marking her third consecutive season appearing at the Musikverein. A DVD release of Tosca is forthcoming, from Himmelmann’s 2017 production in Baden-Baden with the Berlin Philharmonic under Rattle. Other DVD recordings include the Royal Opera House’s Manon Lescaut opposite Jonas Kaufmann, Prokofiev’s The Gambler at Deutsche Staatsoper Berlin under Barenboim, and Rusalka from the Bayerische Staatsoper. Among her recent CD releases are an Orfeo recording with WDR Sinfonieorchester Köln of Puccini’s Suor Angelica, which was nominated for a BBC Music Magazine Award; Simon Boccanegra with the Vienna Symphony on Decca; and Jonas Kaufmann’s Grammy-nominated Puccini album on Sony. Kristine Opolais made her BSO debut in July 2013 at Tanglewood with Verdi’s Requiem; her first Symphony Hall appearance was in September 2014, as a soloist in Andris Nelsons’ inau- gural concert as the BSO’s music director, a performance subsequently telecast in the PBS series “Great Performances.” Other appearances with the orchestra have included music of Rachmaninoff and Tchaikovsky in spring 2016 in Boston and on tour in Europe; the title role in an August 2016 concert performance of Verdi’s Aida, Acts I and II, at Tanglewood; Mahler’s Symphony No. 4 at Symphony Hall in May 2017 and at Tanglewood that July; and, most recently, the aforementioned opera concert at Tanglewood with Sir Byrn Terfel in August 2017.

They practice for hours. They play like professionals. They want to change the world. They’re just kids, right? Photo credit: Kevin Kennedy Kevin credit: Photo Not exactly.

NPR’S LIVE IN BOSTON FEBRUARY 11, 2018! WITH HOST CHRISTOPHER O’RILEY GO TO www.fromthetop.org/boston-tickets

week 14 guest artists 71 MUSSORGSKY: KHOVANSHCHINA PRELUDE

PROKOFIEV: PIANO CONCERTO NO. 3 ALEXANDER KORSANTIA, PIANO

TCHAIKOVSKY: SYMPHONY NO. 4

THURSDAY, SATURDAY, SUNDAY, FEBRUARY 22 FEBRUARY 24 FEBRUARY 25 7:30PM 8:00PM 3:00PM SANDERS NEC’S SANDERS THEATRE JORDAN HALL THEATRE

SUBSCRIPTIONS STILL AVAILABLE! TICKETS FROM $15 / STUDENTS $10 / CALL 617.236.0999 BUY TICKETS AT BOSTONPHIL.ORG

72 Alexander Tsymbalyuk

Making his Boston Symphony Orchestra debut this week, the Ukrainian bass Alexander Tsymbalyuk is one of the youngest basses ever to have performed the title role in Boris Godunov on a major international stage, at the Bayerische Staatsoper in Calixto Bieito’s production. His career is soaring following successful company debuts at the Metropolitan Opera, Teatro alla Scala in Milan, Copenhagen’s Royal Danish Opera, the Bayerische Staats- oper in Munich, Deutsche Staatsoper Berlin, Palau de les Arts Reina Sofia in Valencia, the Royal Opera House–Covent Garden, Barcelona’s Liceu, Bolshoi Theatre in Moscow, and Maggio Musicale Fiorentino. The current season brings his company debut at Lyric Opera of Chicago as Sparafucile in Rigoletto and return engagements with the Metropoli- tan Opera as Timur in Turandot, the Bayerische Staatsoper as Fasolt in Das Rheingold, and Staatsoper Hamburg as Gremin in Eugene Onegin. Further appearances include Ruben- stein’s Demon at the Gran Teatro del Liceu and concert performances of Don Giovanni in Japan, Samson et Dalila at the Théâtre des Champs-Élysées in Paris, and Boris Godunov at Amsterdam’s Concertgebouw. Alexander Tsymbalyuk has had successful collaborations with such conductors as Zubin Mehta, Lorin Maazel, Riccardo Muti, Daniel Barenboim, Sir Colin Davis, Antonio Pappano, Marco Armiliato, Nicola Luisotti, Kent Nagano, Gustavo Dudamel, Riccardo Chailly, Ivor Bolton, Edward Gardner, Antonello Manacorda, Daniele Rustioni, Jukka-Pekka Saraste, Alain Altinoglu, Vasily Petrenko, Kirill Petrenko, Dan Ettinger, Evelino Pidò, and Simone Young. In concert Mr. Tsymbalyuk has appeared at the Maggio Musicale Fiorentino singing Mozart’s Requiem, Verdi’s Requiem, and Don Carlo (all under the baton of Zubin Mehta), as well as his firstGurrelieder at Vienna’s Konzerthaus also under Mehta, the Prologue from Boito’s Mefistofele with the Accademia Santa Cecilia conducted by Pappano, Rigoletto in concert at the Hollywood Bowl with Dudamel, and Otello in concert with Sir Colin Davis and the London Symphony Orchestra at London’s Barbican Centre. He has given a solo recital at St. Johns Smith Square, London, and took part in the 20th-anniversary celebration concert of the charity event Festliche Gala der Deutschen AIDS Stiftung at Deutsche Oper Berlin. Mr. Tsymbalyuk’s recordings include Schoenberg’s Gurrelieder led by Zubin Mehta (Helicon Classics), Das Rheingold under Simone Young (Oehms Classics), and Turandot also under Mehta (Naxos). In his most recent release, he sings the title role in Boris Godunov led by Kent Nagano (Bel Air Classiques).

week 14 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 running a great orchestra. From 1881 to 1918 Higginson covered the orchestra’s annual deficits with personal contributions that exceeded $1 million. The Boston Symphony Orchestra now honors each of the following generous donors whose cumulative giving to the BSO is $1 million or more with the designation of Great Benefactor. For more information, please contact Bart Reidy, Director of Development, at 617-638-9469 or [email protected].

ten million and above

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

seven and one half million

Bank of America • Mr. and Mrs. George D. Behrakis • John F. Cogan, Jr. and Mary L. Cornille • Cynthia and Oliver Curme/The Lost & Foundation, Inc. • EMC Corporation

five million

Alli and Bill Achtmeyer • Catherine and Paul Buttenwieser • Alan J. and Suzanne W. Dworsky • Fairmont Copley Plaza • Germeshausen Foundation • Sally ‡ and Michael Gordon • Barbara and Amos Hostetter • Ted and Debbie Kelly • Commonwealth of Massachusetts • Cecile Higginson Murphy • NEC Corporation • Megan and Robert O’Block • UBS • Stephen and Dorothy Weber

two and one half million

Mary and J.P. Barger • Gabriella and Leo ‡ Beranek • Roberta and George ‡ Berry • Bloomberg • Peter and Anne ‡ Brooke • Eleanor L. and Levin H. Campbell • Chiles Foundation • Mr. and Mrs. William H. Congleton ‡ • Mara E. Dole ‡ •

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

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 • Caroline Dwight Bain ‡ • William I. Bernell ‡ • BNY Mellon • The Boston Foundation • Lorraine D. and Alan S. ‡ Bressler • Jan Brett and Joseph Hearne • Gregory E. Bulger Foundation/Gregory Bulger and Richard Dix • Ronald G. and Ronni J. ‡ Casty • Commonwealth Worldwide Chauffeured Transportation • William F. Connell ‡ and Family • Dick and Ann Marie Connolly • Country Curtains • Diddy and John Cullinane • Edith L. and Lewis S. ‡ Dabney •

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

Muriel E. and Richard L. Kaye ‡ • Nancy D. and George H. ‡ Kidder • Kingsbury Road Charitable Foundation • Audrey Noreen Koller ‡ • Farla and Harvey Chet Krentzman ‡ • Barbara and Bill Leith ‡ • Elizabeth W. and John M. Loder • Nancy and Richard Lubin • Vera M. and John D. MacDonald ‡ • Nancy Lurie Marks Family Foundation • Carmine A. and Beth V. Martignetti • Jane B. and Robert J. Mayer, M.D. • The McGrath Family • The Andrew W. Mellon Foundation • Henrietta N. Meyer ‡ • Mr. and Mrs. Nathan R. Miller ‡ • Mr. and Mrs. Paul M. Montrone • Richard P. and Claire W. Morse Foundation • William Inglis Morse Trust • Mary S. Newman ‡ • Mr. ‡ and Mrs. Norio Ohga • P&G Gillette • The Claudia and Steven Perles Family Foundation • Polly and Dan ‡ Pierce • Mary G. and Dwight P. Robinson, Jr. ‡ • Susan and Dan ‡ Rothenberg • Carole and Edward I. Rudman • Richard Saltonstall Charitable Foundation • Wilhemina C. (Hannaford) Sandwen ‡ • Hannah H. ‡ and Dr. Raymond Schneider • Carl Schoenhof Family • Ruth ‡ and Carl J. Shapiro • Wendy Shattuck and Samuel Plimpton • Marian Skinner ‡ • Richard and Susan Smith Family Foundation/Richard A. and Susan F. ‡ Smith • Sony Corporation of America • Dr. Nathan B. and Anne P. Talbot ‡ • Diana O. Tottenham • The Wallace Foundation • Edwin S. Webster Foundation • Roberta and Stephen R. Weiner • The Helen F. Whitaker Fund • Robert and Roberta Winters • Helen and Josef Zimbler ‡ • Brooks and Linda Zug • Anonymous (12)

‡ Deceased week 14 the great benefactors 75 BSO Major Corporate Sponsors 2017–18 Season

BSO SEASON LEAD SPONSOR Bank of America is proud of our longstanding support of the Boston Symphony Orchestra and we’re excited to serve once again as co-sponsor for the 2017-2018 season. Bank of America’s support of the arts reflects our belief that the arts matter: they are a powerful tool to help economies thrive, to help individuals connect with each other and across cultures, and to educate and enrich societies. Our Arts and Culture Program is Miceal Chamberlain diverse and global, supporting nonprofit arts institutions that deliver the Massachusetts President, visual and performing arts, provide inspirational and educational sus- Bank of America tenance, anchor communities, create jobs, augment and complement existing school offerings, and generate substantial revenue for local businesses. On a global scale, the arts speak to us in a universal language that provides pathways to greater cultural understanding. It’s an honor and privilege to continue our collaboration with the Boston Symphony Orchestra, and to play a part in welcoming the valued audiences and world-class artists for each and every performance of this cherished institution.

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

CASUAL FRIDAYS SERIES, COLLEGE CARD PROGRAM, John Donohue Chairman and CEO YOUTH & FAMILY CONCERTS, AND THE BSO’S YOUNG PROFESSIONALS PROGRAM SPONSOR The Arbella Insurance Group, through the Arbella Insurance Foundation, is proud to sponsor the Boston Symphony Orchestra’s Casual Fridays Series, College Card program, Youth & Family Concerts, and Young Professionals program. These programs give local students and young professionals the opportunity to experience classical music performed by one of the world’s leading orchestras in historic Symphony Hall. Arbella is a local company that’s passionate about serving our communities throughout New England, and through the Foundation we support many wonderful organizations like the BSO. 76 OFFICIAL AIRLINE OF THE BSO Delta Air Lines has been proud to support the Boston Symphony Orchestra since 2004 as the Official Airline of the BSO at Symphony Hall, and most recently as a BSO Great Benefactor. The BSO's dedication to the performing Charlie Schewe arts and arts education programs continues to delight and enrich Massa- Director of Sales- chusetts and beyond with each passing season. As the BSO continues to New England help classical music soar, Delta looks forward to celebrating this vibrant institution's rich legacy for many years to come.

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

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

Boston Symphony Orchestra and Symphony Hall major corporate sponsorships reflect the increasing importance of alliance between business and the arts. The BSO is honored to be associated with the companies listed above and gratefully acknowledges their partnership. For information regarding BSO, Boston Pops, and/or Tanglewood sponsorship opportunities, contact Alyson Bristol, Director of Corporate Partnerships, at (617) 638-9279 or at [email protected].

week 14 bso major corporate sponsors 77 Your evening enchantment

A service of WGBH A SERVICE OF WGBH

Download the App Start your day with Joe.

Joe Mathieu is now on Morning Edition.

wgbhnews.org OUR NEW BOSTON SHOWROOM IS NOW OPEN.

Steinway and other pianos of distinction park plaza, boston natick mall, natick msteinert.com

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

Mark Volpe, Eunice and Julian Cohen Managing Director, endowed in perpetuity Evelyn Barnes, Chief Financial Officer Anthony Fogg, William I. Bernell Artistic Administrator and Director of Tanglewood Marion Gardner-Saxe, Director of Human Resources Ellen Highstein, Edward H. Linde Tanglewood Music Center Director, endowed by Alan S. Bressler and Edward I. Rudman Bernadette M. Horgan, Director of Public Relations Lynn G. Larsen, Orchestra Manager and Director of Orchestra Personnel Bart Reidy, Director of Development Christopher W. Ruigomez, Director of the Boston Pops and Concert Operations and Assistant Director of Tanglewood administrative staff/artistic

Bridget P. Carr, Director of Archives and Digital Collections • Jennifer Dilzell, Chorus Manager • Sarah Donovan, Associate Archivist for Digital Assets • Julie Giattina Moerschel, Executive Assistant to the Managing Director • Vincenzo Natale, Chauffeur/Valet • Sarah Radcliffe-Marrs, Manager of Artists Services • Eric Valliere, Assistant Artistic Administrator administrative staff/production

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

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

Kathleen Donahue, Controller • Mia Schultz, Director of Investment Operations and Compliance James Daley, Accounting Manager • Karen Guy, Accounts Payable Supervisor • Jared Hettrick, Budget and Finance Reporting Assistant • Erik Johnson, Interim Director of Planning and Budgeting • Evan Mehler, Budget Manager • Robin Moxley, Payroll Supervisor • Kwan Pak, Payroll Specialist • Nia Patterson, Staff Accountant • Mario Rossi, Senior Accountant • Lucy Song, Accounts Payable Assistant • Teresa Wang, Staff Accountant • Maggie Zhong, Senior Endowment Accountant

week 14 administration 81 2017–2018 season andris nelsons music director

program book re-use initiative

The BSO is pleased to continue its program book re-use initiative as part of the process of increasing its recycling and eco-friendly efforts. We are also studying the best approaches for alternative and more efficient energy systems to reduce our dependency on fossil fuels. If you would like your program book to be re-used, please choose from the following: 1) Return your unwanted clean program book to an usher following the performance. 2) Leave your program book on your seat. 3) Return your clean program book to the program holders located at the Massachusetts Avenue and Huntington Avenue entrances.

Thank you for helping to make the BSO more green! development

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

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

week 14 administration 83 “boston symphony orchestra: complete recordings on deutsche grammophon” limited edition, 57-cd set now available

• The BSO’s recorded legacy on Deutsche Grammophon, reflecting its spirit and character over nearly 50 years, from 1969–2017 • Conducted by William Steinberg, Seiji Ozawa, and Andris Nelsons, as well as Claudio Abbado, Leonard Bernstein, Charles Dutoit, Eugen Jochum, Rafael Kubelik, André Previn, Michael Tilson Thomas, and John Williams • Soloists including Christoph Eschenbach, Gidon Kremer, Anne-Sophie Mutter, Itzhak Perlman, Mstislav Rostropovich, Gil Shaham, and Krystian Zimerman, among others • Six discs of recordings by the Boston Symphony Chamber Players • Previously unreleased recordings led by Andris Nelsons and Seiji Ozawa • Contains a lavishly illustrated booklet, plus individual CD sleeves reproducing the cover artwork of the original releases

Available for $199.95 in the Symphony Shop and at bso.org information technology Timothy James, Director of Information Technology James Beaulieu, IT Services Lead • Andrew Cordero, IT Asset Manager • Ana Costagliola, Senior Database Analyst • Isa Cuba, Infrastructure Engineer • Stella Easland, Telephone Systems Coordinator • Michael Finlan, Telephone Systems Manager • Karol Krajewski, Senior Infrastructure Systems Architect • Brian Van Sickle, User Support Specialist public relations

Nicole Banks, Publicist • Samuel Brewer, Senior Publicist • Taryn Lott, Assistant Director of Public Relations publications Marc Mandel, Director of Program Publications Robert Kirzinger, Associate Director of Program Publications—Editorial • Eleanor Hayes McGourty, Assistant Director of Program Publications—Production and Advertising sales, subscription, and marketing

Alyson Bristol, Director of Corporate Partnerships • Roberta Kennedy, Director of Retail Operations • Sarah L. Manoog, Senior Director of Sales, Marketing, and Branding • Michael Miller, Director of Ticketing and Customer Experience Amy Aldrich, Associate Director of Subscriptions and Patron Services • Amanda Beaudoin, Senior Graphic Designer • Gretchen Borzi, Director of Marketing Programs • Hester C.G. Breen, Corporate Partnerships Coordinator • Lenore Camassar, Associate Manager, SymphonyCharge • Megan Cokely, Group Sales Manager • Susan Coombs, SymphonyCharge Coordinator • Jonathan Doyle, Graphic Designer • Leslie Wu Foley, Associate Director of Audience Development • Paul Ginocchio, Manager, Symphony Shop and Tanglewood Glass House • Neal Goldman, Subscriptions Representative • Mary Ludwig, Senior Manager, Corporate Sponsor Relations • Tammy Lynch, Front of House Director • Ronnie McKinley, Ticket Exchange Coordinator • Michael Moore, Manager of Digital Marketing and Analytics • Laurence E. Oberwager, Director of Tanglewood Business Partners • Meaghan O’Rourke, Digital Media Manager • Greg Ragnio, Subscriptions Representative • Ellen Rogoz, Marketing 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 • David Chandler Winn, Tessitura Liaison and Associate Director of Tanglewood Ticketing box office Jason Lyon, Symphony Hall Box Office Manager • Nicholas Vincent, Assistant Manager Kelsey Devlin, Box Office Administrator • Evan Xenakis, Box Office Representative event services James Gribaudo, Function Manager • Kyle Ronayne, Director of Event Administration • John Stanton, Venue and Events Manager tanglewood music center

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

week 14 administration 85

Boston Symphony Association of Volunteers executive committee Chair, Martin Levine Chair-Elect, Gerald L. Dreher Vice-Chair, Boston, Suzanne Baum Vice-Chair, Tanglewood, Bob Braun Secretary, Beverly Pieper Co-Chairs, Boston Trish Lavoie • Cathy Mazza • George Mellman Co-Chairs, Tanglewood Nancy Finn • Gabriel Kosakoff • Susan Price Liaisons, Tanglewood Glass Houses, Adele Cukor • Ushers, Carolyn Ivory boston project leads 2017-18

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

BEETHOVEN HANDEL MESSIAH BACH MASS SYMPHONY NO. 9 Dec 1 + 2 + 3 IN B MINOR Oct 6 + 8 Mar 23 + 25 BACH CHRISTMAS MOZART + Dec 14 + 17 PURCELL BEETHOVEN THE FAIRY QUEEN Oct 27 + 29 MOZART + HAYDN Apr 6 + 8 Jan 26 + 28 AMADEUS LIVE HANDEL HERCULES Nov 10 + 11 + 12 BACH BRANDENBURG May 4 + 6 CONCERTOS Complete film with soundtrack Feb 16 + 18 performed live by the H+H Orchestra and Chorus.

HANDELANDHAYDN.ORG 617.266.3605

week 14 administration 87 Next Program…

Thursday, February 8, 10:30am (Open Rehearsal; Pre-Rehearsal Talk at 9:30am in Symphony Hall) Thursday, February 8, 8pm Friday, February 9, 8pm (“Casual Friday” concert, with introductory comments from the stage by a BSO member and no intermission) Saturday, February 10, 8pm

andris nelsons conducting

“Leipzig Week in Boston”

j.s. bach concerto in d minor for three pianos, bwv 1063 [no tempo indication] Alla Siciliana Allegro kirill gerstein, piano jean-yves thibaudet, piano thomas adès, piano

schumann “nachtlied,” opus 108, and “neujahrslied,” opus 144 (February 8 and 10 only) tanglewood festival chorus, james burton, conductor david kravitz, baritone

{intermission}

Sean shepherd “express abstractionism” (2017) (world premiere; bso co-commission)

mendelssohn symphony no. 3 in a minor, opus 56, “scottish” Introduction and Allegro agitato Scherzo assai vivace Adagio cantabile Allegro guerriero and Finale maestoso

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.

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

Thursday, February 8, 10:30am (Open Rehearsal) Sunday, February 11, 3pm Thursday ‘D’ February 8, 8-10:10 Symphony Hall

Friday Evening February 9, 8-9:25 BOSTON SYMPHONY CHAMBER PLAYERS (Casual Friday, with introductory comments GEWANDHAUS-QUARTETT by a BSO member and no intermission) Saturday ‘B’ February 10, 8-10:10 HAYDN String Quartet in D, Op. 64, No. 5, The Lark ANDRIS NELSONS, conductor LIGETI Six Bagatelles for Wind Quintet THOMAS ADÈS, piano FOSS For Aaron, for chamber KIRILL GERSTEIN, piano ensemble JEAN-YVES THIBAUDET, piano MENDELSSOHN Octet in E-flat for strings, Op. 20 DAVID KRAVITZ, baritone TANGLEWOOD FESTIVAL CHORUS, JAMES BURTON, conductor Thursday ‘B’ February 15, 8-9:55 “Leipzig Week in Boston” Friday ‘A’ February 16, 1:30-3:25 J.S. BACH Concerto in D minor for three Saturday ‘A’ February 17, 8-9:55 pianos, BWV 1063 JACQUES LACOMBE, conductor SCHUMANN Nachtlied and Neujahrslied for JEAN-YVES THIBAUDET, piano chorus and orchestra TANGLEWOOD FESTIVAL CHORUS, (February 8 and 10 only) JAMES BURTON, conductor SEAN SHEPHERD Express Abstractionism (world premiere; BSO DEBUSSY Sarabande et Danse co-commission) (orch. RAVEL) RAVEL Piano Concerto for the left hand MENDELSSOHN Symphony No. 3, Scottish RAVEL Daphnis et Chloé (complete)

The BSO’s 2017-18 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.

Next week’s varied, Leipzig-centric program—marking the BSO’s first “Leipzig Week in Boston”— celebrates Andris Nelsons and the BSO’s new collaboration with the venerable Gewandhaus- orchester Leipzig by featuring three composers strongly associated with that city, plus a new work jointly commissioned by both ensembles from American composer Sean Shepherd, a Tangle- wood Music Center alumnus now based in Pittsburgh. The opener brings together three world- class virtuoso pianists for Bach’s triple keyboard concerto, BWV 1063, possibly created for performances involving his two elder sons, W.F. and C.P.E Bach, at Zimmermann’s coffeehouse in 1730s Leipzig. Closing the concert is the deeply Romantic Scottish Symphony of Felix Mendelssohn, who was music director of the Gewandhaus from 1835 to 1847. And it was Leipzig where Robert Schumann met his wife Clara and spent much of his early career; his two contrasting, rarely heard works for chorus and orchestra on this program—“Night Song” and “New Year’s Song”—date from the late 1840s.

week 14 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 information about any of the orchestra’s activities, please call Symphony Hall, visit bso.org, or write to the Boston Symphony Orchestra, Symphony Hall, 301 Massachusetts Avenue, Boston, MA 02115. The BSO’s web site (bso.org) provides information on all of the orchestra’s activities at Symphony Hall and at Tanglewood, and is updated regularly. In addition, tickets for BSO concerts can be purchased online through a secure credit card transaction. The Eunice S. and Julian Cohen Wing, adjacent to Symphony Hall on Huntington Avenue, may be entered by the Symphony Hall West Entrance on Huntington Avenue. In the event of a building emergency, patrons will be notified by an announcement from the stage. Should the building need to be evacuated, please exit via the nearest door (see map on opposite page), or according to instructions. For Symphony Hall rental information, call (617) 638-9241, or write the Director of Event Administration, Symphony Hall, Boston, MA 02115. The Box Office is open from 10 a.m. until 6 p.m. Monday through Friday, or until a half-hour past starting time on performance evenings. On Saturdays, the box office is open from 4 p.m. until 8:30 p.m. when there is a concert, but is otherwise closed. For an early Saturday or Sunday performance, the box office is generally open two hours before concert time. To purchase BSO Tickets: American Express, MasterCard, Visa, Diners Club, Discover, a personal check, and cash are accepted at the box office. To charge tickets instantly on a major credit card, call “SymphonyCharge” at (617) 266-1200, from 10 a.m. until 5 p.m. Monday through Friday (12:30 p.m. to 4:30 p.m. on Saturday). Outside the 617 area code, phone 1-888-266-1200. As noted above, tickets can also be purchased online. There is a handling fee of $6.50 for each ticket ordered by phone or online. Group Sales: Groups may take advantage of advance ticket sales. For BSO concerts at Symphony Hall, groups of twenty-five or more may reserve tickets by telephone and take advantage of ticket discounts and flexible payment options. To place an order, or for more information, call Group Sales at (617) 638-9345 or (800) 933-4255, or e-mail [email protected]. For patrons with disabilities, elevator access to Symphony Hall is available at both the Massachusetts Avenue and Cohen Wing entrances. An access service center, large print programs, and accessible restrooms are available inside the Cohen Wing. For more information, call the Access Services 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 program pieces in order not to disturb other patrons.

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

week 14 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 $10 each, one to a customer, at the Symphony Hall box office on Fridays as of 10 a.m. for afternoon concerts, and on Tuesdays and Thursdays as of 5 p.m. for evening concerts. Please note that there are no Rush Tickets available for Friday and Saturday evenings. Please note that smoking is not permitted anywhere in Symphony Hall. Camera and recording equipment may not be brought into Symphony Hall during concerts. Lost and found is located at the security desk at the stage door to Symphony Hall on St. Stephen Street. First aid facilities for both men and women are available. On-call physicians attending concerts should leave their names and seat locations at the Cohen Wing entrance on Huntington Avenue. Parking: The Prudential Center Garage and Copley Place Parking on Huntington Avenue offer discounted parking to any BSO patron with a ticket stub for evening performances. Limited street parking is available. As a special benefit, guaranteed pre-paid parking near Symphony Hall is available to subscribers who attend evening concerts. For more information, call the Subscription Office at (617) 266-7575. Elevators are located outside the O’Block/Kay and Cabot-Cahners rooms on the Massachusetts Avenue side of Symphony Hall, and in the Cohen Wing. Ladies’ rooms are located on both main corridors of the orchestra level, as well as at both ends of the first balcony, audience-left, and in the Cohen Wing. Men’s rooms are located on the orchestra level, audience-right, outside the O’Block/Kay Room near the elevator; on the first-balcony level, also audience-right near the elevator, outside the Cabot-Cahners Room; and in the Cohen Wing. Coatrooms are located on the orchestra and first-balcony levels, audience-left, outside the O’Block/Kay and Cabot-Cahners rooms, and in the Cohen Wing. Please note that the BSO is not responsible for personal apparel or other property of patrons. Lounges and Bar Service: There are two lounges in Symphony Hall. The O’Block/Kay Room on the orchestra level and the Cabot-Cahners Room on the first-balcony level serve drinks starting one hour before each performance. For the Friday-afternoon concerts, both rooms open at noon, with sandwiches available until concert time. Drink coupons may be purchased in advance online or through SymphonyCharge for all performances. Boston Symphony Broadcasts: Saturday-evening concerts of the Boston Symphony Orchestra are broadcast live in the Boston area by 99.5 WCRB Classical Radio Boston. BSO Friends: The Friends are donors who contribute $100 or more to the Boston Symphony Orchestra Annual Funds. For information, please call the Friends of the BSO Office at (617) 638-9276 or e-mail [email protected]. If you are already a Friend and you have changed your address, please inform us by sending your new and old addresses to Friends of the BSO, Symphony Hall, Boston, MA 02115. Including your patron number will assure a quick and accurate change of address in our files. BSO Business Partners: The BSO Business Partners program makes it possible for businesses to participate in the life of the Boston Symphony Orchestra. Benefits include corporate recognition in the BSO program book, access to the Beranek Room reception lounge, two-for-one ticket pricing, and advance ticket ordering. For further information, please call the BSO Business Partners Office at (617) 638-9275 or e-mail [email protected]. The Symphony Shop is located in the Cohen Wing at the West Entrance on Huntington Avenue and is open Thurs day and Saturday from 3 to 6 p.m., and for all Symphony Hall performances through intermission. The Symphony Shop features exclusive BSO merchandise, including calendars, coffee mugs, an expanded line of BSO apparel and recordings, and unique gift items. The Shop also carries children’s books and musical-motif gift items. A selection of Symphony Shop merchandise is also available online at bso.org and, during concert hours, outside the Cabot-Cahners Room. All proceeds benefit the Boston Symphony Orchestra. For further information and telephone orders, please call (617) 638-9383, or purchase online at bso.org.

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